01 painting, The amorous game, Italian School, early 18th Century's Anthony and Cleopatra , with Footnotes #106

Italian School, early 18th Century

Anthony and Cleopatra

Oil on canvas, an oval made into a rectangle

122,5 x 103,5 cm ; 48¼ by 40¾ in.

Private collection

Sold for 18,900 EUR in June 2021

Anthony and Cleopatra are arguably the most famous lovers in history. Marcus Antonius of Rome stood at the pinnacle of power, fighting to be the most powerful man in the known world; and Cleopatra VII Philopator was the queen of one ancient civilization, Egypt, and heir to the unmatched cultural achievements of another, Greece.

Their love affair, their war together, their defeat and, finally, their suicides have been told and retold for centuries. More on Anthony and Cleopatra

Italy was the main centre of artistic developments throughout the Renaissance (1300-1600), beginning with the Proto-Renaissance of Giotto and reaching a particular peak in the High Renaissance of Leonardo da Vinci, Michelangelo and Raphael, whose works inspired the later phase of the Renaissance, known as Mannerism. Italy retained its artistic dominance into the 17th century with the Baroque (1600-1750), and into the 18th century with Neoclassicism (1750-1850). In this period, cultural tourism became a major prop to Italian economy. Both Baroque and Neoclassicism originated in Rome and spread to all Western art. Italy maintained a presence in the international art scene from the mid-19th century onwards, with movements such as the Macchiaioli, Futurism, Metaphysical, Novecento Italiano, Spatialism, Arte Povera, and Transavantgarde.

Italian art has influenced several major movements throughout the centuries and has produced several great artists, including painters, architects and sculptors. Today, Italy has an important place in the international art scene, with several major art galleries, museums and exhibitions; major artistic centres in the country include Rome, Florence, Venice, Milan, Turin, Genoa, Naples, Palermo, Lecce and other cities. Italy is home to 58 World Heritage Sites, the largest number of any country in the world. More on Italian art

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and my art stores at  deviantart and Aaroko

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07 Works, The Art of War, Abbott Handerson Thayer's The Valkyrie Arrive in Gaza, with footnotes

After Abbott Handerson Thayer

The Valkyrie Arrive in Gaza 1

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After Abbott Handerson Thayer

The Valkyrie Arrive in Gaza 2

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As the Valkyrie descended upon the grief-stricken land, her radiant presence brought a glimmer of hope amidst the despair. With her wings outstretched, she soared above the ruins, her eyes piercing through the smoke and rubble. Every cry for help echoed within her, fueling her determination to bring solace and aid to those in need.

After Abbott Handerson Thayer

The Valkyrie Arrive in Gaza 3

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She approached the fallen warriors, those who fought valiantly until their last breath, their spirits yearning for a place in the halls of Valhalla. With a gentle touch, she lifted their souls, carrying them towards the heavenly realm where eternal glory awaited them. Amidst the chaos, their sacrifices would not be forgotten.

After Abbott Handerson Thayer

The Valkyrie Arrive in Gaza 4

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Available at deviantart

But the Valkyrie's duty didn't end there. She descended upon the wounded, her healing touch soothing their pain and mending their broken bodies. With her celestial powers, she granted them strength to endure and hope for a better tomorrow.

After Abbott Handerson Thayer

The Valkyrie Arrive in Gaza 5

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Amidst the devastation, the valkyrie's mission extended to the orphaned and the suffering, especially the innocent children who had lost their families. She embraced them in her protective wings, giving them comfort and reassurance that they were not alone. With tender care, she extended her hand towards the mothers who cried out for help, wiping away their tears and offering them strength to persevere.

After Abbott Handerson Thayer

The Valkyrie Arrive in Gaza 6

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Throughout the desolate streets, the valkyrie became a symbol of resilience and compassion. Her presence served as a reminder that even in the darkest moments, there were forces of goodness and light willing to fight against the cruelty of the world. In the face of death and destruction, she became the beacon of hope for an afflicted land.

After Abbott Handerson Thayer

The Valkyrie Arrive in Gaza 7

AI Generated

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Available at deviantart

And as the valkyrie continued on her righteous path, her mission to aid those in need would never waver. Galvanized by the suffering she witnessed, she vowed to remain a guardian of the oppressed, a protector of the innocent, and a bringer of justice. With every flight over the city, she carried with her the unwavering spirit of compassion, inspiring others to join her in the fight against despair and to rebuild what had been destroyed.

In Norse mythology, a valkyrie is one of a host of female figures who guide souls of the dead to the god Odin's hall Valhalla. There, the deceased warriors become einherjar (fighters]). When the einherjar are not preparing for the cataclysmic events of Ragnarök, the valkyries bear them mead. Valkyries also appear as lovers of heroes and other mortals, where they are sometimes described as the daughters of royalty, sometimes accompanied by ravens and sometimes connected to swans or horses. More on the Valkyrie

Abbott Handerson Thayer (August 12, 1849 – May 29, 1921) was an American artist, naturalist, and teacher. As a painter of portraits, figures, animals, and landscapes, he enjoyed a certain prominence during his lifetime, and his paintings are represented in major American art collections. He is perhaps best known for his 'angel' paintings, some of which use his children as models.

During the last third of his life, he worked together with his son, Gerald Handerson Thayer, on a book about protective coloration in nature, titled Concealing-Coloration in the Animal Kingdom. First published by Macmillan in 1909, then reissued in 1918, it may have had an effect on military camouflage during World War I. However it was roundly mocked by Theodore Roosevelt and others for its assumption that all animal coloration is cryptic.

Thayer also influenced American art through his efforts as a teacher, training apprentices in his New Hampshire studio. More on Abbott Handerson Thayer

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01 Work, The art of War, Neapolitan master's ARCHANGEL MICHAEL FIGHTING THE DEVILS OF THE UNDERWORLD, with Footnotes

Neapolitan master of the 17th century

ARCHANGEL MICHAEL FIGHTING THE DEVILS OF THE UNDERWORLD

Oil on canvas. 

94 x 70 cm.

Private collection

Extremely complicated composition, with figures moving in opposite directions. In the color and the reproduction of the physical, the strong influence of Peter Paul Rubens (1577 - 1640) can be seen, with whom he had worked together at the festive decoration in Ghent. All these stylistic aspects suggest the attribution. So too, this painting is characterized by a turbulent concentration of bodies - here hellish figures - against which the youthfully heroically portrayed Saint Michael fights. His movement from top left to bottom right, corresponding to the light incidence in the picture. His outstretched right arm holding the flaming sword, the left the round shield. It is striking here that the male figure, which is at the top of a dragon, has almost portraited facial features, which gives reason to suppose that this is an allegory of the victory over a fallen opponent. The barb in the right hand of the fallen is an attribute of the Greek Hades, ruler of the underworld. More on this painting

ARCHANGEL MICHAEL, is an archangel in Judaism, Christianity, and Islam. In Roman Catholic, Eastern Orthodox, Anglican, and Lutheran traditions, he is called "Saint Michael the Archangel" and "Saint Michael". In the Oriental Orthodox and Eastern Orthodox traditions, he is called "Taxiarch Archangel Michael" or simply "Archangel Michael".

In the New Testament Michael leads God's armies against Satan's forces in the Book of Revelation, where during the war in heaven he defeats Satan. In the Epistle of Jude Michael is specifically referred to as "the archangel Michael". Christian sanctuaries to Michael appeared in the 4th century, when he was first seen as a healing angel, and then over time as a protector and the leader of the army of God against the forces of evil. By the 6th century, devotions to Archangel Michael were widespread both in the Eastern and Western Churches. Over time, teachings on Michael began to vary among Christian denominations. More Archangel Michael

The 17th century sparked a golden age for art in Naples. It was a period of extraordinary achievement in painting characterized by a level of originality and quality that placed Naples at the centre of international artistic taste. An almost continuous quantity of remarkable artistic accomplishments in Naples at this time left an indelible imprint on the history of European art. Such artists as Artemisia Gentileschi, Francesco Solimena, Luca Giordano, Francesco Guarino, Mico Spadaro, Salvatore Rosa, Jusepe De Ribera and more. The paintings depict religious and secular subjects, still life, portraiture, and 17th century city life in Naples, including the ravages of rebellion and plague, and moments of great triumph. More on the Neapolitan masters

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02 Works, The Art of War, Bernardo Strozzi's Allegorical Figure, Minerva, with footnotes

Bernardo Strozzi, (Italian, 1581?-1644)

Detail; Allegorical Figure, c. 1636

Oil on canvas

145.8 x 99.8 cm (57 3/8 x 39 5/16 in.)

The Cleveland Museum of Art

Bernardo Strozzi, (Italian, 1581?-1644)

Allegorical Figure, c. 1636

Oil on canvas

145.8 x 99.8 cm (57 3/8 x 39 5/16 in.)

The Cleveland Museum of Art

During the 1630s, Strozzi painted a number of female figures representing various intellectual and artistic pursuits, reflecting the appeal of such allegories among learned patrons in northern Italy. Recent scholarship has convincingly identified the subject of this painting as Minerva. The Roman goddess of war has put aside her armor for more contemplative pursuits; her upward gaze—as if seeking inspiration—recalls her other associations with wisdom, eloquence, and the arts. More on this painting

Minerva is the Roman goddess of wisdom, justice, law, victory, and the sponsor of arts, trade, and strategy. Minerva is not a patron of violence such as Mars, but of strategic war. From the second century BC onward, the Romans equated her with the Greek goddess Athena. Minerva is one of the three Roman deities in the Capitoline Triad, along with Jupiter and Juno.

She was the virgin goddess of music, poetry, medicine, wisdom, commerce, weaving, and the crafts She is often depicted with her sacred creature, an owl, which symbolised her association with wisdom and knowledge as well as, less frequently, the snake and the olive tree. Minerva is commonly depicted as tall with an athletic and muscular build, as well as wearing armour and carrying a spear. As the most important Roman goddess, she is highly revered, honored, and respected. Marcus Terentius Varro considered her to be ideal and the plan for the universe personified. More on Minerva

The preparatory drawing for this painting is also in the collection of the Cleveland Museum of Art. See below

Bernardo Strozzi, (Italian, 1581?-1644)

Allegorical Figure, c. 1636

Black chalk with red chalk

37.3 x 26.2 cm (14 11/16 x 10 5/16 in.)

The Cleveland Museum of Art

Strozzi drew this female figure in preparation for one of his major oil painting above

Bernardo Strozzi, named il Cappuccino and il Prete Genovese (c. 1581 – 2 August 1644) was an Italian Baroque painter and engraver. A canvas and fresco artist, his wide subject range included history, allegorical, genre and portrait paintings as well as still lifes. Born and initially mainly active in Genoa, he worked in Venice in the latter part of his career. His work exercised considerable influence on artistic developments in both cities. He is considered a principal founder of the Venetian Baroque style. His powerful art stands out by its rich and glowing colour and broad, energetic brushstrokes. More on Bernardo Strozzi

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01 Work, The Art of War, Charles Meynier's Allegory of war, with footnotes

Circle Charles Meynier

Allegory of war

Two oil on canvas

54 x 145,5 cm 52 x 145 cm

Private collection

Sale for  €20,625 EUR in June 2022

This door top comes from Madame Mère's Palazzo Rinuccini in Rome. 

Charles Meynier (1763 or 1768, Paris – 1832, Paris) was a French painter of historical subjects in the late 18th and early 19th century. He was a contemporary of Antoine-Jean Gros und Jacques-Louis David. Already at a young age he was trained by Pierre-Philippe Choffard. As a student of François-André Vincent, Meynier won the second prize in the 1789 prix de Rome competition; Girodet won. He became a member of the Académie de France à Rome. In 1793 he went back to Paris.

He made designs for the bas-reliefs and statues on the Arc de Triomphe du Carrousel and the Paris Bourse. From 1816 onward, he was a member of the Académie des Beaux-Arts. In 1819 Meynier was appointed teacher at the École des Beaux-Arts. Like his wife he died of cholera. More on Charles Meynier

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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02 Works, The Art of War, Hercules and Minerva Fighting Mars by Peter Paul Rubens and Victor Wolfvoet the Younger, with footnotes

Wolfoet, Victor II (1612-1652)

Allegory of War, c. 1630s - 1640s

Oil on canvas

67x89 cm

Hermitage Museum

Minerva, protector of peace, assisted by Hercules, does not hesitate to throw herself against Mars, the god of war ready to massacre a woman with her child, under the gaze of Jupiter on his eagle. In the freedom of treatment and the science of movement we find the genius of an erudite and inventive artist for whom mythological allusions had no secrets' Catherine Loisel

Victor Wolfvoet (II) or Victor Wolfvoet the Younger (1612 – 1652), was a Flemish art dealer and painter of history and allegorical paintings. His artistic output was heavily influenced by Peter Paul Ruben

Wolfvoet the Younger was born in Antwerp as the son of Victor Wolfvoet the Elder, a painter and art dealer. His father was probably his teacher. He became a member of the Antwerp Guild of Saint Luke around 1644-5. Some sources refer to Wolfvoet as a pupil of Rubens.

He married in 1636. His 1652 will, which he made not long before his death, states that he was the widower of Elisabeth Mertens. Victor Wolfvoet died in Antwerp on 23 October 1652 leaving one daughter, Livina Wolfvoet.

The artist's estate comprised a substantial collection of artworks of seven hundred items. The inventory of his estate lists twenty sketches by Rubens, including several designs for the ceilings of the Carolus Borromeus Church in Antwerp and six bozzetti for the Triumph of the Eucharist tapestry series. There are also sketches by other artists, many unattributed sketches and framed grisailles, and a number of sketches after Rubens. Some of the sketches were likely in Wolfvoet's own hand, like his copies after Rubens' Abraham and Melchizedek and Manna from Heaven both now in the Mauritshuis, The Hague. The large collection of works has been regarded as evidence that the artist may also have been active as an art dealer. More on Victor Wolfvoet (II)

Peter Paul Rubens

Hercules and Minerva Fighting Mars, ca. 1632-35

Gouache and brush and brown ink over preliminary drawing in black chalk, on light brown paper

370 x 537 mm

Département des Arts Graphiques du Musée du Louvre, Paris

'In 1630 Rubens offered King Charles I of England the painting representing 'War and Peace' or 'Minerva fighting against Mars'. This work in some way celebrated the diplomatic negotiations in which the artist had participated to avoid a war between Spain, England and France in previous years.

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England.  More Sir Peter Paul Rubens

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01 Work, The Art of War, Louis Masreliez's An Allegory of War, with footnotes

Louis Masreliez (1748 – 19 March 1810)

An Allegory of War

Oil on canvas

36 1/8 x 52 1/8 in. (92.5 x 132 cm.)

Private collection

Sold for USD 62,500 in Apr 2021

The present Allegory of War depicts a furious Minerva, Roman goddess of War, dismounting her horse-drawn chariot, shield in one hand, thunderbolt in the other, charging toward a distant battle. Above her flies the winged, bearded, bare-chested Boreas, ancient god of the cold North Wind, accompanied by winged zephyrs, who blow snowflakes from their mouths onto the ground below.

The historic Battle of Narva (an Estonian city on the border with Russia) was an early victory for Swedish troops in the Great Northern War (1700-1721), in which they fended off an attack by Russian military forces that outnumbered the Swedish army four-to-one. The Swedish military repelled the Russian offensive in part by advancing under cover of the terrible weather conditions: the Swedes struck at the exact moment a deep-freeze hit the region, the winds shifted, and a violent snowstorm blew directly at the Russian forces, blinding them with its intensity. The Russians, suffering devastating losses, soon capitulated. More on this painting

Louis Masreliez (1748 – 19 March 1810), born Adrien Louis Masreliez, was a French born, Swedish painter and interior designer.

Masreliez was born in Paris and came to Sweden at the age of 5 in 1753. He was the son of French ornamental sculptor Adrien Masreliez (1717–1806) and the elder brother of sculptor Jean Baptiste Masreliez (1753–1801).

He began his education at the Royal Swedish Academy of Fine Arts (Ritakademien) at the age of 10. Since the academy did not teach painting, he studied in Stockholm at the workshop of ornament painter Lorens Gottman (1708–1779).

In 1769 he was given a study grant which he used to travel to Paris, Bologna and Rome to study. In Rome he spent time with several of the French, Italian and German artists who would shape the Neoclassicism decorative style. In 1783, Louis Masreliez was called back to Sweden after his twelve-year absence. Following his returned to Sweden, he became a member (ledamot) of the Royal Swedish Academy of Arts. The following year he was made a professor of art history. He became rector of the Academy in 1802 and director in 1805.

His work is represented in the Swedish Nationalmuseum, the Gothenburg Museum of Art, and the Royal Palace. More on Louis Masreliez

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1 Painting, The art of War, Tony Robert-Fleurys The Last Day of Corinth, with footnotes

Tony Robert-Fleury

The Last Day of Corinth, c. before 1870

Oil on canvas

H. 401.0; L. 602.0 cm.

Musée d'Orsay

In 146 BC, the Greek city of Corinth fell to Rome. Robert-Fleury depicts the moment when the Roman army enters the sacked city.

The women of Corinth, fearing the fate reserved for them, took refuge at the foot of the statue of Athena.

The work of the young artist, who took three years to complete his twenty-four square meter painting, was rewarded at the Salon with a medal of honor. The criticism is nevertheless severe with regard to the painting: "We look, we admire, we are not gripped" (C. Lemonnier). More on this painting

Tony Robert-Fleury (1 September 1837 – 8 December 1911) was a French painter, known primarily for historical scenes. He was also a prominent art teacher, with many famous artists among his students.

He was born just outside Paris, and studied under his father Joseph-Nicolas Robert-Fleury and under Paul Delaroche and Léon Cogniet at the École des Beaux-Arts (School of Fine Arts) in Paris.

In 1870, he painted a canvas of Le Dernier Jour de Corinthe (Last Day of Corinth), which depicted the last day before the Roman legions looted and burned the ancient Greek city, according to Livy. This painting was purchased by the Musée du Luxembourg, and is now on display at the Musée d'Orsay. In 1880, he painted a ceiling for the Luxembourg Palace in Paris, representing "The Glorification of French Sculpture."

Robert-Fleury painted Pinel a la Salpêtrière (1876), which depicts the famed Father of Modern Psychiatry among the inmates of the asylum. Philippe Pinel had been named chief doctor at the asylum in 1795, and had instituted more charitable and rational treatments.

In 1875, Robert-Fleury painted Charlotte Corday at Caen, which shows the woman coming to the conclusion that Marat needed to be murdered. In 1882, he painted Vauban donnant le plan des fortifications de Belfort where the celebrated engineer is represented in Louis XIV costume reviewing maps and designs, while in the background laborers are building.

Robert-Fleury taught as a professor for many years at the Académie Julian in Paris.

Robert-Fleury became president of the Société des artistes français in succession to Bouguereau. He was honoured with Commander of the Legion of Honour in 1907. In 1908, he was elected president of the Taylor Foundation, a position he held until the end of his life. He acquired a great reputation and is renowned for his historical compositions, portraits and genre scenes; at his atelier he taught several well-known painters of the late 19th and early 20th centuries from various countries, including Lovis Corinth, Édouard Vuillard, Louise-Cécile Descamps-Sabouret and Sir George Clausen. More on Tony Robert-Fleury

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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01 Painting, The art of War, Peter Paul Rubens, Consequences of War, 1638-1639, with footnotes

Peter Paul Rubens  (1577–1640

The Consequences of War, c. between 1637 and 1638

Oil on canvas

height: 206 cm (81.1 in); width: 342 cm (11.2 ft)

Pitti Palace

Consequences of War, also known as Horror of war, serves as a commentary on a European continent ravaged by the Thirty Years' War, and the artist employed numerous symbols, both contemporary and ancient, to deplore the state of the continent.

Mars the Roman god of war charges with shield and sword as well as breastplate and helmet. The figure's skin and cape are dominated by the color red to further emphasize his identity as the Roman god of war.

Underneath Mars's feet lie a book and a drawing. These represent the manner in which the arts and letters are forgotten and destroyed in the chaos and violence of war.

To the far left of the painting, the Temple of Janus appears with its door ajar. In Ancient Rome, the Temple of Janus would be closed to indicate times of peace while an open door denoted war. 

Venus, the Roman goddess of love endeavors to restrain Mars and maintain peace. Her arm is looped ineffectually around his in a physical gesture. Her expression, meanwhile, plaintively entreaties Mars to stop his charge. More on this painting

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England. More Sir Peter Paul Rubens

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

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01 Paintings, MIDDLE EASTERN ART, With Footnotes - 10

Unknown

Rustam killing the White Demon

Reverse Glass Painting, c/. 19th c

18 3/4 in. x 13 1/4 in.

Private collection

Rostam was the mightiest of Iranian holy warriors. He was immortalized by the 10th-century Persian poet Ferdowsi in the Shahnameh, or Epic of Kings, which contains pre-Islamic Iranian folklore and history.

When Kai Kaus's, the Shahs, expedition to Mazandaran fails, and the army is captured by the Demons. Rostam engages to liberate them. Rostam passes through a hero's journey to save his sovereign who is captured by the demons of Mazandaran. This journey is called "Rostam's Seven Quests" 

In his seventh, and final,  quest Rostam overthrows and kills Div-e-Sepid, the White Demon. The blood of the White Demon's heart restores Kai Kavus. More on Rostam

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