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Object of the Month: July 2015

St. Michael the Archangel and St. Agnes 

Oil on panel

Colijn de Coter

Flemish, c. 1455–d. 1538

 

Click on the links throughout the article to view additional artists’ works and reference material.

The construction of Colijn’s artistic career is based on three signed works, each representing the early, middle, and later phases of his style. Rogier van der Weyden’s compositional sense greatly influenced him, even though Colijn painted nearly half a century later. Colijn loved to explore the tactile qualities of the subjects he painted, while retaining the sculptural drapery effects characteristic of the art of this period. The influence of this artist’s works spread throughout his native Brussels in the late fifteenth and early sixteenth centuries.

Here, St. Michael is richly dressed in priestly embroidered silk robes similar to those found in van der Weyden’s works. The highly decorative cope is rendered so carefully that seemingly every gold thread of the garment is visible. The front trim of the cope has various unidentifiable saints within architectural niches while an elaborate gold quatrefoil morse clasps the garment together. Because St. Michael was originally part of a wing panel, de Coter breaks from van der Weyden’s frontal model and faces the character to the right in a contrapposto position that takes up nearly the entire width and height of the panel. The animation of his twisting pose is graphically emphasized by the long cross-staff that he uses to defeat the demon. One hand balances and thrusts the symbolic weapon into the demon’s throat, causing the flesh of its neck to protrude. Two fingers of the other hand carefully hold a ring in the fulcrum of the scales of justice.

The objects being weighed in the scales are of particular interest. On the right is a tiny seraph, identified by its six wings, representing a soul. Although Michael’s efforts will successfully prevent the demon from pulling the soul down, the object in the left pan of the scale far outweighs the soul and tips the scale to keep the symbolic seraph aloft (and safe from hell). What is it that could be providing such power to raise the soul out of evil’s grasp? At first glance it seems as if it might be representing the blood of Christ in a shallow dish. I John 1:7 says, “…and the blood of Jesus Christ his Son cleanseth us from all sin.” Closer examination reveals an image painted into the red oval shape (with pointed ends) that portrays a figure with a tiered tiara wearing a cope with a cross staff held in the left hand, the right hand across the front in a blessing position, and an arched throne behind. A narrow band also runs around the outer edge with marks that appear to represent letters. Altogether, the imagery presented identifies this object as a red wax seal in a lead dish—a type used by numerous secular and ecclesiastic rulers at this time but closest in shape and image to seals of a bishop or an abbot.

The presence of an ecclesiastic seal on St. Michael’s scale is virtually unknown outside of this image. Use of wax seals were commonplace throughout Europe in the fourteenth and fifteenth centuries and were used to validate acts or protect and validate documents that were executed under an official’s name. The implied meaning behind the seal’s efficacy to counterbalance the soul and keep it from going to hell is remarkable. Its presence either authenticates the seal owner’s power to save souls (on Christ’s behalf) or is meant to show a certain bishop or ecclesiastic’s validation for Christ’s payment for mankind’s sins (as evidenced by Michael’s cross-staff overcoming the demon’s efforts to claim the soul). The specific identity of the ecclesiastic office represented by the seal is not readily apparent in the present image. Nothing on the seal identifies a specific person who owns it. Perhaps the original panel(s) that belonged with the present wings provided more information on whose seal and authority is being promoted with this iconography.

The other figure on the fused panel represents St. Agnes dressed in gorgeous brocade and scarlet fabric. Agnes actively reads her book while holding her symbolic, name-sake lamb on a gold-chained leash. The finery of dress is particularly evident and provides a pleasing balance to the ecclesiastic garb of Michael. De Coter’s composition delicately balances the swayed poses of the two figures as each gently holds their respective objects—Michael’s scale and Agnes’s leash.

Although no original documents are known for the present work and little period archival documentation survives on the artist himself, de Coter remains one of the most important and prolific painters from the Renaissance in Brussels. St. Michael the Archangel and St. Agnes is among his best preserved works and testifies to the ability and ingenuity of this artist.

John M. Nolan, Curator

 

Published in 2015

Object of the Month: June 2015

The Holy Family in the Carpenter Shop 

Oil on canvas

Gerrit van Honthorst, called Gherardo delle Notti

Dutch, 1592–1656

 

Click on the links throughout the article to view additional artists’ works and reference material.

Gerrit van Honthorst was a Dutch painter active during the early 17th century. Born in Utrecht, Holland in 1592, he was trained as an artist, as were two of his brothers. However, Gerrit became the most successful painter in his family. He was also the most famous member of a group called the “Utrecht Caravaggisti,” or those following the style of Michelangelo Merisi da Caravaggio in the northern European area called the Utrecht.

Honthorst is best known for taking Caravaggio’s example of dramatically using natural light and shadow and adapting the technique for nocturnal scenes with artificial light such as candles or lanterns to illuminate his paintings. This style trait gave him the nickname “Gherardo delle Notti” or “Gerard of the Night.”

Honthorst first studied in Utrecht, then lived and worked in Italy for several years before returning to the northern Netherlands in 1620. In 1622, he became a member of the Utrecht Guild of St. Luke and eventually served as its dean in the late 1620’s. Although Honthorst attracted international attention long before becoming a member of the guild, it was during this time, that he began to diversify from the Caravaggesque style by using less artificial light in his major works and made an extremely well-received visit to England, where he was given English citizenship and a lifetime pension (1628). After his return to Utrecht, his international reputation grew widely, especially among the royal and courtly circles in England and other nations.

M&G’s painting, The Holy Family in the Carpenter Shop, returns to the museum this month from an extended loan to the Uffizi Gallery in Florence, Italy, which featured a monograph exhibition showing Honthorst’s lifetime of work.

M&G’s painting is a classic example of the Utrecht Caravaggisti style of painting. The canvas is illuminated by a single candle-lit lantern, and the scene is both nocturnal and heavily shadowed. Honthorst depicts Mary, clothed in her symbolic red garments, helping a young Jesus hold the lantern high so that Joseph can see to carve in his woodshop. This portrayal invites the viewer into the intimate setting while also placing the family in an ordinary work environment.

Mollie Nelson, former M&G graduate assistant

 

Published in 2015

Object of the Month: May 2015

The Hiding of Moses 

Oil on canvas

Sébastien Bourdon

French, 1616–1671

 

Click on the links throughout the article to view additional artists’ works and reference material.

Background:

Born in 1616, Sébastien Bourdon was part of the bourgeoning French Baroque movement of the seventeenth century. Embroiled in intense and divisive political upheavals throughout much of the fifteenth century, French painters took a decided second place to the painters of the Italian Renaissance; however, during the sixteenth century, French artists began to reestablish their international prestige, with many French artists traveling to Rome to increase their artistic knowledge and abilities. Within this group, Bourdon deserves special attention for the wide range of artists he imitated and the immense stylistic variety he cultivated within his paintings.

History and Influences:

Born in Montpellier to a strict Calvinist family, Bourdon visited Rome in 1636, where he would study the styles of famed artists ranging from Dutch Golden Age painter Pieter van Laer (Il Bamboccio) to fellow-Frenchman Nicolas Poussin. The latter artist would have a particularly profound influence on Bourdon, with his emphasis on classical landscapes, carefully-ordered lines, and Platonic ideals, characteristics all present in Bourdon’s The Hiding of Moses. Unfortunately, Bourdon’s stay in Rome was cut short in 1638, as he was “forced to flee the Eternal City…after being denounced by the Catholic Inquisition as a heretic.” Upon returning to France, Bourdon would become a court painter to King Louis XIV and play a pivotal role in the 1648 founding of the French Royal Academy of Painting and Sculpture.

The Painting:

Acquired in 1955, The Hiding of Moses reflects Bourdon’s strong Poussinist influence. Classic architectural elements dominate the landscape, with the arches of bridges, the statute of a horse, an obelisk, and a dais with a sphere placed on it all work together to recreate an environment from antiquity. Taken together, these “elements combine to form an urban scene of man-made constructs,” through which the painter “was undoubtedly trying to give this landscape a Roman mood.”

Paintings of Moses being discovered and pulled from the Nile are quite common among Baroque subjects, but Bourdon’s visual narrative is highly unique in that Moses is actually being placed into his basket by his birth-mother, as his grieving father looks on. As M&G curator John Nolan notes, this depiction “is much rarer than the typical scene of Pharaoh’s daughter finding Moses.” It is possible that Bourdon’s unique portrayal of Moses contained a deeply personal meaning for the painter, as his own flight from persecution in 1638 would have formed a vivid part of his personal history.

Bourdon’s outstanding portrayal of The Hiding of Moses is part of the collection at the Museum & Gallery.

Blaine Welgraven, Grant Specialist

 

Published in 2015

Object of the Month: April 2015

Christ in the House of the Pharisee 

Oil on canvas

Pierre Hubert Subleyras

French, active in Italy, 1699–1749

Click on the links throughout the article to view additional artists’ works and reference material.

As one of the eighteenth-century’s foremost French painters of portraits and religious works, Pierre Hubert Subleyras is considered a remarkable artist and rarely seen in American collections.

Pierre was introduced to the craft from his artist father, Matthieu Subleyras, and by age seventeen was signing his own works.  In 1717, he joined the workshop of Antoine Rivalz, a history painter in Toulouse a few days journey west of his hometown, Saint-Gilles-du-Gard.  Subleyras excelled under Rivalz’s training even earning the responsibility of executing his teacher’s designs and achieving an independent commission to decorate the ceiling of the chapel of the Pénitents Blancs in Toulouse, France.

At age 27, Subleyras moved to Paris, where he was awarded the Prix de Rome for his Moses and the Brazen Serpent (Musée des Beaux Arts, Nimes). This scholarship program initiated by King Louis XIV was given to the most promising French artists (painters, sculptors and architects) to study in Rome for a three to five year period.

Pierre left for Rome in 1728 to begin studies in the fall at the Académie de France, a branch of the Paris Royal Academy of Painting and Sculpture where “pensioners” or students studied anatomy, life drawing, and classical antiquity as well as absorbed and participated in Rome’s thriving contemporary art scene. Subleyras stayed seven years—somewhat longer than the more standard 4-year term.

At the end of his Académie training in 1735 at age 36, he became engaged to the miniaturist and respected artist in her own right, Maria Felice Tibaldi; the two artists married four years later, which helped to anchor the Frenchman in Rome’s society, where he couldn’t be lured away from the city even by a deathbed request from his former teacher Rivalz or appealing mediations with the Saxon Court in Dresden nor the Spanish Court in Madrid.

Subleyras’ artistic reputation was earned primarily through religious commissions beginning with Roman churches and moving to religious orders, but he was also highly regarded and widely recognized for his portraits.  Through his intellect and skilled work he became a central figure in the artistic and intellectual circles of Rome as evidenced by his varied commissions, election in 1743 to membership of the Accademia di San Luca, and acceptance into the Accademia dell’ Arcadia, an eighteenth-century Italian literary society.

His best known works include a formal portrait of Prince Frederick Christian of Saxony, portraits of Pope Benedict XIV (which were repeatedly reproduced), the Mass of St. Basil, and the monumental Supper in the House of Simon (nearly 7’x23’) commissioned by the Canons Regular of the Lateran for the refectory of their monastery of Santa Maria Nuova at Asti, Piedmont (and currently resides in the Louvre).

Since Subleyras’ workshop practice is yet uncertain, with questions about his making multiple, smaller copies of his large-scale masterpieces, it’s difficult to ascertain his reasons for repeating these works as well as if he or someone else, like his wife, participated in creating the variations.  The Louvre painting is one of a number of his own works that he made his own prints and an engraving; like this present painting at M&G, variations also exist in the Pinacoteca Capitolina Museum in Rome, Boston College Museum, and the Museum of Fine Arts, Boston.

Periodically, Christ in the House of the Pharisee is featured in the annual Living Gallery, an Upstate Easter program. The original painting in M&G’s Collection, is relatively small—about 2½’x4’. However, the life-size Living Gallery reproduction, scaled for live models, is approximately 12’ high by 25’ wide—closer to the dimensions of the Louvre’s version. The life-size stage tableau was created by local artist, Kevin Isgett, who relates his experience with Subleyras’ work:

“There is a baroque sense of overabundance—a sense of frenetic activity, servants running to and fro, guests interacting, and (almost lost in the chaos) the key part of the narrative: the woman anointing Christ’s feet.  In analyzing the work, however, I wonder if that is not part of what Subleyras is trying to communicate. Unlike the disciples at the Last Supper who knew and loved Christ as the Messiah, the Pharisees viewed Him as a mere dinner guest. Thus, losing sight of Him amidst elegantly dressed characters and lavish gold and silver plates may be the most accurate interpretation of the scene.”

Subleyras died at a young 50 years, supposedly from overwork. Well-loved and well-known during his lifetime, he spent his entire career in Rome. He is not as familiar as his French contemporaries, but is still highly regarded today for his painterly style and refined, artistic sensibility.

Erin R. Jones, Executive Director

 

Published in 2015

Object of the Month: March 2015

Monks before a Fireplace 

Oil on canvas

Alessandro Magnasco, called Il Lissandrino

Genoese, 1667–1749

Click on the links throughout the article to view additional artists’ works and reference material.

No matter the era or the medium, it seems you can always count on artists to challenge the status quo.

Alessandro Magnasco was born in Genoa, northern Italy, in 1667. His father Stefano was a minor artist who died when Magnasco was only five years old. Around the age of ten, Magnasco was sent to Milan to live under the care of a patron while he learned commerce. However, his interests lay along the same lines as his father’s, and before long he had convinced his patron to sponsor an apprenticeship for him with the renowned Mannerist painter, Filippo Abbiati, of Milan. By 1690, Magnasco had mastered his craft and had established himself as a portraitist. This phase of his career lasted only a brief time before he transitioned into his distinguished, celebrated style.

Magnasco’s style is something of an anomaly, even for the eclectic movement that is the Baroque. His is a nervous, loose brushwork that conveys fluid movement and hazy figures and settings. Murky tones pervade his paintings, with the occasional pockets of stark light and strong color. Arguably his most interesting characteristic is his choice of unusual subject matter.

In a time largely characterized by paintings of religious subject matter, Magnasco chose instead to focus on the common man, such as beggars and gypsies, and on some of the more obscure facets of contemporary life, such as shadowy synagogue interiors and scenes of monastic life. Interestingly, Magnasco also often chose to portray scenes charged with social commentary, going even so far as to treat highly controversial subjects—in his day as well as our own—as in his painting of an Inquisition torture scene. Magnasco seemed captivated by the mysterious, socially questionable, and the bizarre.

Monks before a Fireplace is characteristic of Magnasco’s mature style. His elongated figures are reminiscent of the mannerist El Greco. At the same time, his monochromatic palate and mysterious, almost ghoulish, atmosphere heralds the coming of nineteenth-century realist Francisco Goya. Here, Magnasco once again presents the common man in his paintings—humble monks instead of otherworldly saints. His figures possess a uniformity, functioning almost as a nameless, faceless unit. But on closer examination, the figures are strikingly distinct, suggesting the idiosyncrasies of the individuals within the group including the monk perusing his crinkled manuscript and the man warming his feet at the fire while toying with the resident cat. He captures a snapshot of a quiet moment in contemporary monastic life.

Indeed, Magnasco’s very essence seems almost out of place in his world, a nod to modernism from the late baroque era.

Katharine Golighty, former Docent & Guest Services Attendant

 

Published in 2015

Object of the Month: December 2014

Madonna and Child with an Angel (“Madonna of the Magnificat”)

Tempera on panel

Alessandro di Mariano Filipepi, called Sandro Botticelli (and studio)

Florentine, 1444/45–1510

Click on the links throughout the article to view additional artists’ works and reference material.

The Florentine master Botticelli is known for creating elegantly fluid lines that give his paintings what art experts call an “ethereal quality.” Two expressive works showcasing this skill are his Madonna and Child with an Angel (c. 1490) and his Mystic Nativity (c. 1500).  Although both works highlight Christ’s incarnation, the overall composition and thematic nuances are vastly different.

This first work, a tondo from M&G’s collection, portrays a tender embrace between Mary and the Christ child.  The pose of the central figures readily awakens in the viewer that universal feeling of familial love.  It is an intimate human scene, but one that illuminates the wonder of the Word becoming flesh. This wonder is further explored through the angel who (unlike most angelic messengers) is without the defining attribute of wings. The angel’s focus on Mary’s Magnificat is also significant, for it draws our attention to the text that “gives voice” to the painting’s key theme: “My soul doth magnify the Lord, and my spirit hath rejoiced in God my Savior.”

The beautiful intimacy between Mary and the Christ child is also implied through the central vignette of his Mystic Nativity. However, radiating from this focal point is a sweeping panorama that takes the viewer beyond the incarnation to the final judgment. It is one of Botticelli’s most unusual works; it is also his only known signed painting. In his later years, Botticelli came under the influence of the fiery reformer Savonarola. In The Panorama of the Renaissance Margaret Aston notes that the “more expressive and powerful force discernible in his later works may represent his spiritual response to [Savonarola and] the spiritual unrest in Florence.”  Aston also points out that despite the juxtaposition of the incarnation with the apocalypse, the overall tone of the painting is joy. The apocalypse, usually so terrifying, is here transformed through the angels’ celebration.  Clearly, this nativity will change everything.

Donnalynn Hess, Director of Education

 

Published in 2014

Object of the Month: November 2014

St. Catherine of Alexandria Appearing to the Family of St. Bonaventura

Oil on canvas

Francisco de Herrera, the Elder

Spanish, c. 1590-1654

Click on the links throughout the article to view additional artists’ works and reference material.

Francisco came from a family of painters; his father was an illuminator and engraver, and his son also became a painter. He first studied with his father, Juan de Herrera Aguilar, who taught him in the Mannerist style of painting typical in late sixteenth century Seville.

His first known work is not a painting, but an engraved frontispiece for the Constituciones del Arzobispado de Sevilla (Seville, 1609). A year later, Herrera established a studio and may have been the first master of the well-known Diego Velázquez. However, a contemporary Spanish biographer, Palomino, wrote that Herrera had a terrible temper and difficulty keeping students. Nonetheless, throughout his career Herrera gained many commissions from various monasteries and convents in his hometown of Seville.

Herrera’s most significant contribution to Spanish painting is the freedom in his “modeling of forms with bold brushstrokes of solid pigment.” This mature style is evident in the present painting. “On December 30, 1627, Herrera signed a contract with the Procurator of the Franciscan College of St. Bonaventure at Seville to paint six canvases depicting scenes from the life of St. Bonaventure.” According to the contract, Herrera was to “begin work January 1, 1628, and to complete one painting every month and a half, for the sum of 900 reales for each composition. If the painter did not meet these terms, the father procurator was free to give the commission to another artist.” Herrera seems to have completed no more than four paintings including the current work along with St. Bonaventure as a Child Healed by St. Francis (Louvre, Paris), St. Bonaventure Received into the Franciscan Order (Prado, Madrid), and St. Bonaventure Receiving Communion from an Angel (Louvre, Paris).

It is not known why Herrera did not complete the commission. It could have been that he simply had too many commissions at one time. Besides the four works for St. Bonaventure, he was to complete the main altar and decorations for the Franciscan Monastery of Santa Ines, a Last Judgment for the Church of San Bernardo in Seville among others. The fact that Zurbarán had just arrived in town may have also played a role in the procurator’s decision to give the remainder of the commission to him instead of Herrera.

John M. Nolan, Curator

 

Published in 2014

Object of the Month: October 2014

A Sibyl

Oil on canvas

Ginevra Cantofoli

Bolognese, 1618-1672

 

Click on the links throughout the article to view additional artists’ works and reference material.

From the Middle Ages to the early Renaissance, an artist’s instruction commonly occurred in the workshop of master painters or religious orders; however, in the 13th century, the craft guild system launched an apprenticeship program to carefully regulate the training, materials, and assessment of prescribed artistic techniques. The standard training began for boys (around 13 years of age) within a master’s workshop setting, which lasted 3-7 years; this process became the required expectation as outlined in Cennino Cennini’s, The Craftsman’s Handbook, a how-to-guide to artistic techniques, “If you do not see some practice under some master, you will never amount to anything, nor will you ever be able to hold your head up in the company of masters.”

Once completing the basic preparatory skills, the youth could progress to “journeyman” (a master’s assistant) by possibly journeying to another city to study and practice under a different master at a new level of training and collaboration. After 3-4 years (sometimes longer), he was allowed to submit a test piece to be evaluated by both his own master and other guild representatives. If his “masterpiece” passed, he would then be able to work as a “master” painter himself and acquire a permit to establish his own workshop and apprentices—hence the name, Old Master painters.

During the Renaissance, a new concept of artistic training developed known as The Academy—a private, informal instruction venue that not only developed artistic skill, but also included life observation, philosophy, and discussion to increase knowledge and broaden understanding.

These various methods of training were challenging for artists, but produced some well-known greats as well as some very gifted lesser known artists. While art education was well framed, suited to males, and even strictly regulated in areas, there were yet some options for a female to pursue training and have a presence in the world of art.  One historian states, “Although there were routes to follow for a man who wanted to be an artist and no map at all for a woman, art training was more flexible than it seemed on the surface.”  Even when excluded from apprenticeships and academies, history provides many examples of women that received artistic training through private tuition or lessons (if her family had money), from an artist-father in his workshop, in a convent, or from seeking out friendly advice.

Interestingly, a number of the known female painters spring from Bologna, Italy in particular.  It was a city where women outnumbered the men and a place that prided itself for its famous university which as early as the 13th century opened its doors to women (some of whom became lecturers renowned for their scholarship).

Elisabetta Sirani, grew up in Bologna and under the tutelage of her artist-father, Giovanni Andrea Sirani, who (somewhat reluctantly) trained her in the manner of his master, the “Divine Guido” Reni. She became a respected painter and received important commissions for churches and portraits.  She became a member of “merit” as a full professor and a member of “honor” of the Academy of St. Luke in Rome—one of the first women painters and the only Bolognese of her generation to enjoy this privilege.  Since she was officially recognized as a professional artist, she could direct her own studio, take on apprentices, and train young artists. Breaking the tradition based on the model of arts education for men and women, Sirani welcomed women of all ages and backgrounds in her atelier including amateurs and aspiring artists like Ginevra Cantofoli, who went on to make a reputation of her own.

Ginevra Cantofoli is believed to come from a well-to-do family and was older than her teacher; yet, she was one of Elisabetta’s favorites and possibly became one of her assistants. She based many of her works on her teacher’s, and subsequently, some of her works have been confused as Sirani’s. However, she also produced original works including those for the Foresti family chapel and other large scale compositions for churches in Bologna. Rare for the 17th century, she earned her living as a professional artist; this is confirmed by a legal document drafted by the artist herself in 1688 in which reference is made to “money by her earned by her work of painting.”

A sibyl in classical mythology is a female prophetess often pictured with a book or scroll and which symbolized the harmony between Christian and Classical ideals.  However, this work is unusual as a self-portrait of Ginevra who blends the classical sibyl and Hebrew prophetess. By painting a sibyl, she associated herself with areas where women had little influence during the time, such as ancient literature and languages and religious painting.

Based on history and the great numbers of male Old Masters that followed the accepted training processes, it is unusual to see works by female Old Masters; however if you visit M&G, you can see at least two examples on display in the collection including this unique self-portrait.

Erin R. Jones, Executive Director

 

Published in 2014

Object of the Month: September 2014

Patience

Oil on canvas

Frederic James Shields, A.R.W.S.

English, 1833-1911

Click on the links throughout the article to view additional artists’ works and reference material.

Frederic James Shields, the creator of this work, was one of many provincial artists to embrace the tenets of the Pre-Raphaelite Brotherhood. Like many artistic movements, the Brotherhood began with a small group of youthful idealists decrying the conventions of their day. The founding members, Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt were a diverse set of friends with one thing in common—a genuine admiration for  “the immaculate purity of Pre-Renaissance art” (K. E. Sullivan). This passion, coupled with their growing disdain for London’s Royal Academy, motivated these young painters to set down four principles to govern their work.  These principles (or “declarations” as the young men labeled them) were:

  • To have genuine ideas to express;
  • To study Nature attentively;
  • To sympathize with what is direct and serious and heartfelt in previous art, to the exclusion of what is conventional and self-parading and learned by rote; and
  • Most indispensible of all, to produce thoroughly good pictures and statues.

Time would mellow some of the Brotherhood’s youthful disdain (Millais later became President of the Royal Academy). More importantly, it would refine and extend the Pre-Raphaelite vision.

The famed Manchester Art Treasures Exhibition (1857) “awakened” the Victorian public to a wide range of artistic venues including Pre-Raphaelite art. It was at this exhibition that Frederic James Shields first encountered the meticulously executed, vibrantly colored canvases of Rossetti, Millais, and Hunt. Shields later studied with Rossetti, and the two became life-long friends. However, the rich detail and typological symbolism in works like Patience reveals that Shields’ artistic technique and iconography are more in tune with William Holman Hunt’s oeuvre. A comparison of the topological symbolism in Hunt’s The Hireling Shepherd with Shields’ commentary on Patience illustrates some of the fascinating similarities between these two artists’ approach to subject and technique:

Set upon a sundial, her ankle chained thereto, her motions circumscribed with its time-measuring limit, stands Patience. Wings has she like a dove’s, but not till God shall loose her chain shall she fly away and be at rest.  Meanwhile she waits, crowned with thorns, with eyelids dropped as seeing things invisible, and lips, firm closed, like unto the Lamb of God, who brought to the slaughter, opened not His mouth.  Her once green garment is faded, stained and tattered with storm and wrack, and she is environed by sharp thorns and thistles, the thorns bearing still some lingering withered leaves of the past winter, and putting forth fresh green shoots (new woes fast on the heels of the old ones, and the thistle seeding to multiply yet more). She keeps pressed to her bosom the word of Christ’s patience, and bears His yoke, its noose around her neck.  Moreover, she carries a basketful of seed corn, and from her girded loins hangs a sickle (Frederic James Shields).

Donnalynn Hess. Director of Education

 

Published in 2014

Object of the Month: August 2014

Ecce Homo (Behold the Man)

Oil on canvas, Signed and dated middle left: Jusepe de Ribera español/ F.1638

Jusepe de Ribera, called Lo Spagnoletto

Spanish, active in Naples, 1591-1652

 

Ribera was born in Javita, Spain and presumably apprenticed in his homeland until he sailed for Naples, Italy in 1607, where he first observed the works of Caravaggio and developed an early affinity for the master’s style. Caravaggio’s art was a continual influence throughout Ribera’s career, but a trip to Rome provided exposure to the classical style of the Carracci and Guido Reni. Ribera’s impressive list of collectors includes Cosimo II, the Viceroys of Naples, and King Philip IV. He always considered himself a Spaniard (hence, the identification in the present signature) and greatly influenced the art of his homeland although he lived in Italy most of his life and made a considerable impact on Italian Baroque artists.

The present Ecce Homo is a devotional picture boldly presenting Christ after his torture and mockery by the Roman soldiers. Ribera painted the work in 1638 at the height of his popularity, and it illustrates his ability to combine a strong spiritual image with poignant realism. Christ gazes at the viewer with a confidence amidst the mockery, knowing that the crown of thorns and reed-scepter are emblems of a heavenly power unrealized by mankind. The empty background, isolation from the jeering crowd, and the engaging look of Christ’s eyes all contribute to create an arrestingly moving portrait of the highest order.

“El Greco to Goya” is the earliest known exhibition in which this painting participated—a 1963 show held at the John Herron Museum of Art in Indianapolis, IN and at the Museum of Art, Rhode Island School of Design in Providence, Rhode Island. Additionally, the Kimbell Art Museum in Fort Worth, TX hosted an exhibit in 1983 including M&G’s Ribera. Two of the foremost American scholars on Spanish paintings, Craig Felton and William Jordan, produced a corresponding exhibition catalog in which M&G’s painting is referred to as “unquestionably the finest” of Ribera’s known works of this subject.

John M. Nolan, Curator 

 

Published in 2014

 

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