Vincent Sellaer, called Geldersman
Below the image, click play to listen.
The Jerry and Alice Lenz Gallery, First Presbyterian Church of Greenville
April-October 2023
The art of the Baroque period provides a glimpse into the life and culture of a distant past. Although the clothing, setting, and props may reflect an outdated time, the artistry used and the narratives explored by these Old Masters are universal. Enjoy a glimpse of 14 paintings from M&G’s collection on exhibit in downtown Greenville. May you ponder anew these timeless treasures and find inspiration relevant to life in the present.
A printed exhibition guide is provided.
Beginning April 4, available by appointment and for the following public hours:
Tuesday: 9:30 AM-1:30 PM
Thursday: 9:30 AM-1:30 PM
For Kids K5-8th grade
The artists in the Ponder Anew exhibition were not just great painters, they were also wonderful storytellers! Each picture is filled with fascinating details about historical figures from the Bible. Using your best observation skills, discover the real people in these timeless treasures. Get your scavenger hunt at the main reception desk at First Pres.
If you’re interested in a tour of the Ponder Anew exhibition, visit here. Tour groups must be 10 people or more, and the tour length runs 45-60 minutes.
Oil on panel
Italian, active 1517
The legend of St. Catherine of Alexandria is found first in The Golden Legend a compilation of the lives of saints, actual and legendary, published in 1275. Catherine, an Egyptian princess, vows to keep her virginity for a mystical marriage to Christ. When the Emperor Maxentius requires pagan worship, Catherine refuses and when confronted with fifty scholars to convince her, ends up converting them! She is condemned to death by torture on a razor-studded wheel.
Though St. Catherine is often painted in other scenes of her life and with other attributions speaking to her erudition, Casella here portrays only the iconographic signs of her martyrdom: the palm, the halo, and the wheel. In the legend, St. Catherine is spared the wheel through angelic intervention, but she achieves the martyr’s crown through decapitation shown by the sword hilt at the bottom of the portrait. Clearly, the work’s purpose, indicated by the three-quarter figure size and lack of significant background, is to elevate Catherine as a saint and a devotional example to follow. Women in the church found her to be a role model of devotion to God, an example of sacrificial faithfulness to truth, and a mentor in the quest for learning.
Catherine’s elegant dress and costly jewels may be an indication of the artist’s familiarity with other renditions of the saint in enamel figures. Those works have pearls and sapphires on both the saint’s dress and crown. A close look at the painting reveals that the jewels on her dress could be sapphires, befitting her station as royalty, with the central stone perhaps a ruby marking her as a “virtuous woman.” Her queen’s crown is adorned with the same sapphire-like jewels surrounded by three pearls, likely an indication of the Trinity.
Catherine had much to keep her in this world—position, power, and potential. Yet she gazes away from the earthly. As a modern Magdalen, she contemplates a world outside the palace, a view made possible by a partially drawn velvet curtain. The earthy green reflects the mortal life, the gold reverse a heavenly one. Surely the landscape she contemplates outside the window is not the palace grounds, but that “city whose builder and maker is God.” Golden streets lie waiting for the victorious saint’s feet.
Catherine’s gaze at the eternal rather than the temporal creates the devotional thrust of this M&G portrait. She models the goal of the Christian: keep one’s eyes on the eternal prize. There is something to be said for an objective examination of what one wants to have lived—and died—for. Francesco Casella’s portrait, characterized by what Mina Gregori calls “major monumentality… [and] refined, pictorial sharpness,” presents a view of the ideal.
Dr. Karen Rowe Jones, M&G board member and volunteer
References:
Young, Bonnie. “A Jewel of St. Catherine.” https://www.jstor.org/stable/3258995
Published 2023
Oil on canvas
French, 1619–1690
Though perhaps not as well known today, the fame of this French artist outlasted his years for at least a century, if not longer. Charles Le Brun was born February 24, 1619 and died twelve days before his 72nd birthday in 1690.
Le Brun was recognized for his prodigious talent at only 11 years of age, when he was noticed by the Chancellor of France, Louis Seguier. The Chancellor connected Charles with Simon Vouet, one of France’s most important painters of the seventeenth century (and also represented in M&G’s collection by two works, King David Playing the Harp and Salome with the Head of John the Baptist). He furthered his artistic study in Rome under fellow countryman Nicolas Poussin, developing a more classical Baroque style.
Charles had the skill and opportunities to develop political connections with French nobility and royalty, earning commissions and support from the most powerful of the French court. He was one of the twelve founding directors of the French Royal Academy of Painting and Sculpture, accepting leadership of it under the Sun King, Louis XIV and his powerful advisor, First Minister of State Jean-Baptiste Colbert. Unfortunately, as Charles’ successes increased, he snubbed his teacher Vouet, excluding him from involvement in the academy.
Le Brun’s influence and administrative ability enabled him to direct and determine the style of painting and design from a royal perspective. His texts, theories, and styles would be followed for at least a century. He is credited with making Paris the center of the art world, eclipsing the position first held by Rome. Many other works for which he was responsible as either artist or director are found in the great edifices of Versailles and Vaux-le-Vicomte.
Acquired in 1965, M&G’s Pentecost is a modello or final color study for a large altarpiece of the same subject Le Brun painted for the chapel of the seminary of St. Sulpice (now St Honoré-d’Eylau) in Paris. Engraved copies exist and attest to Le Brun’s ability and popularity. On the middle left, the figure looking out at the viewer is none other than the artist himself—Charles Le Brun, around 37 years old and in the prime of his career. By including himself in this occasion, he not only reveals himself as the artist but also as a disciple inviting the viewer to participate in the event. Le Brun transported the believers and the spectators of the painting to a classical architectural representation of the upper room for the place of the Spirit’s descent.
Christ told His disciples to stay in Jerusalem until the Comforter or the Holy Spirit came. Acts 2 gives account of the fulfillment of Christ’s promise. The coming of the Spirit was the source of comfort and power for the early church to successfully carry out the work that Christ commissioned them to do in Matthew 28:18-20. Pentecost was not only a Jewish feast in the Old Testament, but it was the beginning of the Holy Spirit’s work that continues today. It was more than a historical event. True believers today are also indwelt by the same Spirit and commanded to be Spirit-filled as the apostle Paul wrote in Ephesians 5:18.
As you consider this painting and Le Brun’s invitation, may you also remember his February birthday and the wonderful truths of God’s Word that the Comforter has indeed come. “But the Comforter, which is the Holy Ghost, whom the Father will send in my name, he shall teach you all things, and bring all things to your remembrance, whatsoever I have said unto you” John 14:26.
John Good
M&G volunteer and former M&G docent and Security Manager
Published 2023
Psuedo Pier Francesco Fiorentino
Below the image, click play to listen.
Enjoy this series of segments highlighting Picture Books of the Past: Reading Old Master Paintings, a loan exhibition of 60+ works from the M&G collection. The exhibit has traveled to The Museum of the Bible in Washington, D.C. and the Orlando Museum of Art in Florida.
It is unusual to find a complete altarpiece from the late Gothic era, but this beautiful triptych (or three-paneled altarpiece) is still intact.
Enjoy this series of segments highlighting Picture Books of the Past: Reading Old Master Paintings, a loan exhibition of 60+ works from the M&G collection. The exhibit has traveled to The Museum of the Bible in Washington, D.C. and the Orlando Museum of Art in Florida.
During his lifetime, Edwin Long took several extended trips to Egypt and Syria and the images sparked by these memorable journeys are clearly evident in this beautiful rendering of Vashti from the book of Esther.
Oil on canvas, Monogrammed: AV (lower left)
Neapolitan, c 1605-1670
Andrea Vaccaro initially trained with the mannerist artist Girolamo Imparato, but was influenced by several other prominent artists of the time: Stanzione, Reni, Ribera, and van Dyck as well as the early Neapolitan Caravaggisti. During his lifetime he was in demand for church altarpieces, public works, and private commissions by the wealthy. According to historian Anna Kiyomi Tuck-Scala, he was elected “first prefetto of the renewed Corporation of Painters” in Naples in 1665, making “him a model religious painter of the period.”
Vaccaro’s pendant paintings portray the moment that the angel Gabriel announces that God has chosen Mary to be the Messiah’s earthly mother, a role that had been aspired to by countless Jewish maidens since the Fall of Man. Traditionally addressed by Gabriel in her bedchamber, Mary is usually reading Scripture, doing needlework. The angel often brings white lilies, signifying Mary’s purity.
Here Vaccaro instead focuses on the two actors. Since the Messiah is God’s Son come to earth to redeem humanity through His life, death, and resurrection, Vaccaro presents His mother as both exquisitely beautiful and devout. The sculptural smoothness of her face and neck, the delicate skin tones and the rich jewel colors of her attire combine to portray her as the ideal daughter of Israel. Though her upraised left hand betrays her startlement, her face remains serene. Being found at her devotions shows a spirit as lovely as her figure. Perhaps she is reading the book of Isaiah where the prophecy of the Messiah’s coming is given? Gabriel’s reverent facial expression reveals him to be cognizant of his role—and his news.
While the figures are on separate canvases, the single light source and the chiaroscuro so associated with Caravaggio unite them in submission to God’s will: he as messenger, Mary as handmaid of the Lord. The earthly and heavenly come together, pre-figuring the Incarnation itself.
Similar works are also attributed to Vaccaro. The Ackland Art Museum at Chapel Hill has a more “standard” Gabriel who holds a stalk of lilies. His hands are the long-fingered Mannerist hands of Vaccaro’s early training. Artnet’s version of Mary’s portrait appears to use the same model as M&G’s, but the addition of the neck drape on M&G’s Mary creates a more elegant, idealized portrait.
The treatment of both Marys’ hands is intriguing. The left hands are similarly posed, but the right hand of Mary in the M&G’s collection (see above) is much fleshier, contrasting with the elongated fingers of the left. According to Riccardo Lattuada, Vaccaro used his monogram (clearly seen on Mary’s book) only during his “first mature stage, 1636-1640.” Perhaps the contrasting hands indicate the artist’s transition from his mannerist roots. If as Marchesa Vittoria Colonna suggests that “contemplation of religious paintings . . . encourage[s] meditation on the kingdom of heaven,” these companion works by Vaccaro indeed picture a beautiful moment in the history of the world—and of eternity—to ponder.
Dr. Karen Rowe Jones, M&G Board Member & volunteer
Sources Cited:
Marchesa Vittoria Colonna, Marchesa Vittoria. The Bob Jones University Collection of Religious Paintings, 1962.
Tuck-Scala, Anna Kiyomi. “The Documented Paintings and Life of Andrea Vaccaro (1604-1670),” 2003.
Published 2022
M & G at BOB JONES UNIVERSITY; 1700 Wade Hampton Blvd - Greenville, SC 29614
