Art Blog

01 Work, The Art of War, Stuart Reid's Deraa: The Arab Welcome to the First Handley Page Machine to Arrive in Palestine, with footnotes

Stuart Reid (1883–1971)

Deraa: The Arab Welcome to the First Handley Page Machine to Arrive in Palestine, 22 September 1918

Oil on panel

H 76.2 x W 91.4 cm

IWM (Imperial War Museums)

A Handley Page bomber aircraft has landed in a desert. It is surrounded by a group of Sherifan mounted troops; those in the foreground gallop past to celebrate its arrival.

The Handley Page bombing biplane, which had flown out from England, was ordered to proceed to the Sherifan HQ with supplies of petrol for two Bristol Fighter biplanes which had been attached to the Sherifan forces.

The Handley Page Type O was a biplane bomber used by Britain during the First World War. When built, the Type O was the largest aircraft that had been built in the UK and one of the largest in the world.

The aircraft were used in France for tactical night attacks on targets in German-occupied France and Belgium and for strategic bombing of industrial and transport targets in the Rhineland. Some aircraft were temporarily diverted to anti-submarine reconnaissance and bombing in the Tees estuary in 1917 and two aircraft operated in the eastern Mediterranean. The Type O made such an impression that for many years after the war any large aircraft in Britain was referred to as a "Handley Page", even getting a dictionary entry, More on Handley Page bomber

Deraa is a city in southwestern Syria, located about 13 kilometres (8.1 mi) north of the border with Jordan. It is the capital of Daraa Governorate, historically part of the ancient Hauran region. The city is located about 90 kilometres (56 mi) south of Damascus on the Damascus–Amman highway, and is used as a stopping station for travelers. More on Deraa

Stuart Reid (NZ/British/Aust., 1883-1971). In 1909 Reid went to London to study art. During WWI he served in Gallipoli and Sinai with the Scottish Light Horse before transferring to the Royal Flying Corps in Palestine. He continued to sketch and paint, and was a friend of Colonel T.E. Lawrence aka Lawrence of Arabia. During this time Reid was commissioned to paint a number of works for the British Imperial War Museum. In 1922 he returned to New Zealand. He later settled in Sydney. More on Stuart Reid

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 deviantart

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05 Works, The Art of War, Rembrandt andJohn Frederick Lewis's The destruction of Gaza, with footnotes

After John Frederick Lewis

Alma Lamenting the Destruction of her city

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John Frederick Lewis RA (London 14 July 1804 – 15 August 1876) was an Orientalist English painter. He specialized in Oriental and Mediterranean scenes in exquisitely detailed watercolour or oils. Lewis lived for several years in a traditional mansion in Cairo, and (after his return to England) painted highly detailed works showing both realistic genre scenes of Middle Eastern life and more idealized scenes in upper class Egyptian interiors with no traces of Western cultural influence yet apparent.

His very careful and loving representation of Islamic architecture, furnishings, screens, and costumes set new standards of realism, which influenced other artists, including the leading French Orientalist painter Jean-Léon Gérôme in his later works. Unlike many other Orientalist painters who took a salacious interest in the women of the Middle East, he "never painted a nude", and his wife modelled for several of his harem scenes. More on John Frederick Lewis

After Rembrandt Harmenszoon van Rijn

Alma Lamenting the Destruction of her home

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Alma Lamenting the Destruction of Gaza is a painting In the style of Rembrandt, the renowned Dutch artist who in 1630 painted the destruction of Jerusalem.

After Rembrandt Harmenszoon van Rijn

Alma Lamenting the Destruction of Gaza

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Rembrandt's interpretation of the scene showcases his mastery of light and shadow. The diagonal composition directs the viewer's attention to Alma, the central figure. She is shown wearing robes, her face expressing deep sorrow as she bows her head as she sits amongst the ruin of her home.

The background of the artwork features remnants of the ruined city, symbolizing the devastation caused by war and destruction. The muted color palette and subdued tones further contribute to the somber atmosphere of the scene.

After Rembrandt Harmenszoon van Rijn

The destruction of Gaza

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Alma Lamenting the Destruction of Gaza stands out as religious paintings, showcasing Rembrandt's ability to convey human emotions and spirituality through his art.

Alma was by far the most distinguished of women because of her many superior qualities, especially because of the bravery she demonstrated in defense of her people.

Islam elevated the status of women, treating them on an equal footing with a man. Women had a newfound independent identity, in the physical and spiritual spheres.

Islamic history is full of warrior women who fiercely fought for what they believed in, defended what they cherished, and defied all expectations and became legends.

The Warrior Woman is an ancient archetype that is not well known because the stories have been both forgotten and suppressed. Mythology is full of warrior goddesses.

Traditionally, the Bedouin were among the most dangerous of desert tribes, fighting among themselves when outsiders weren’t available. Constantly on the move to find new pastures for their livestock, they learned to live with the minimum of possessions and little external support in the harshest of lands. Loyalty to tribe and family was all that helped a warrior survive. More on Desert Warriors

Rembrandt Harmenszoon van Rijn (15 July 1606 – 4 October 1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art and the most important in Dutch history. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age when Dutch Golden Age painting, although in many ways antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative, and gave rise to important new genres in painting.

Having achieved youthful success as a portrait painter, Rembrandt's later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. Rembrandt's greatest creative triumphs are exemplified most notably in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.

In his paintings and prints he exhibited knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of Amsterdam's Jewish population. Because of his empathy for the human condition, he has been called "one of the great prophets of civilization." More on Rembrandt Harmenszoon van Rijn

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04 Works, The Art of War, TIZIANO Vecellio's Resilience Amidst Adversity, with footnotes

On a somber afternoon, a young Gazan, Salma, embarked on a journey to gather scarce provisions for her family, hoping to find a glimmer of hope amid the desolation. As she walked, her eyes searching for any signs of life, she clutched her tattered shawl tightly around her shoulders, a shield against the devastation and an emblem of her resilience.

After TIZIANO Vecellio

Resilience Amidst Adversity
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A lone enemy soldier lurked in the shadows, his heart consumed by anger and hatred. He saw in Salma a symbol of everything he had been taught to despise. Fuelled by a dangerous ideology, his intentions were sinister and aimed at breaking the spirit of a community already on the edge.

After TIZIANO Vecellio

Resilience Amidst Adversity
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With each cautious step Salma took, her weary eyes caught sight of the soldier's lurking presence. Fear instantly gripped her heart as she saw the malice in his eyes. She quickened her pace, desperately hoping to evade his grasp and escape unharmed.

After TIZIANO Vecellio

Resilience Amidst Adversity
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An overwhelming surge of adrenaline surged through Salma's veins as the soldier lunged towards her, fueled by a twisted conviction. But Salma's spirit was far stronger than the darkness that threatened to consume her. In a moment of sheer defiance, she unleashed a powerful scream, drawing the attention of nearby residents who had also braved the streets for their own survival.

After TIZIANO Vecellio

Resilience Amidst Adversity
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They rushed to her aid, united in their refusal to let the soldier carry out his wicked intentions. United against the nightmarish backdrop of their shattered city, the tight-knit community rose up, their collective voices denouncing the soldier's violent act. The soldier leaves the scene!

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01 Work, The Art of War, Titian's Warriors, with footnotes

After Titian

Warriors

AI Generated

nightcafe

Within the sublime and grandeur of a Titianesque composition, a poignant scene unfolds upon the canvas. The mastery of brushstrokes and the vividness of colors transport us to a tumultuous world where suffering and resilience coexist.

At the center of this tableau, stands the Hamas soldiers, their figures robust and towering, emanating an aura of rugged strength. Cloaked in their military uniform, symbolizing determination amidst bloodshed. Their hardened faces bear the marks of countless trials and tribulations. Sunken eyes, shaded with the weariness of war, fixate upon the viewer, searching for understanding or perhaps just a hint of empathy.

Tiziano Vecelli or Vecellio (c. 1488/90 – 27 August 1576), known in English as Titian), was an Italian (Venetian) painter of the Renaissance, considered the most important member of the 16th-century Venetian school.

Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of colour, exercised a profound influence not only on painters of the late Italian Renaissance, but on future generations of Western artists.

His career was successful from the start, and he became sought after by patrons, initially from Venice and its possessions, then joined by the north Italian princes, and finally the Habsburgs and papacy. Along with Giorgione, he is considered a founder of the Venetian School of Italian Renaissance painting.

During the course of his long life, Titian's artistic manner changed drastically, but he retained a lifelong interest in colour. More on Titian

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03 Works, The Art of War, Titian's Hamas soldier and a Gazan woman, with footnotes

After Titian

A Hamas soldier and a Gazan woman
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The scene unfolds with a striking composition, highlighting the contrasting emotions of the Hamas soldier and Gazan woman. The soldier stands tall, positioned slightly to the side, dominating the canvas and casting a shadow over the cowering woman. His gaze fixates on ground, filled with a mixture of hopelessness and hardened despair.

After Titian

The Hamas soldier supporting a Gazan woman
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The soldier is in his battle attire. His face, weathered and hardened by the cruelties of war, reflects a sense of weariness and resignation. Lines etched into his forehead convey the burden of his experiences.

After Titian

The soldier must return to the fight
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Tiziano Vecelli or Vecellio (c. 1488/90 – 27 August 1576), known in English as Titian, was an Italian (Venetian) painter of the Renaissance, considered the most important member of the 16th-century Venetian school.

During the course of his long life, Titian's artistic manner changed drastically, but he retained a lifelong interest in colour. More on Titian

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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.

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01 Work, The Art of War, Fritz Burmann's Lamentation, with footnotes

Fritz Burmann

Lamentation, c. 1929

Oil on board

67 x 54 cm. Frame: 83 x 70,5 x 6,5 x 10 cm.

The Museo Nacional de Bellas Artes

Fritz Burmann was born in 1892 in Westphalian Wiedenbrück. From 1909-12 he studied at the Düsseldorf Academy under August Deusser, becoming his master student, and at the Academy in Munich under Heinrich Knirr. This was followed by study trips through Europe, before he received a teaching position at the academy in Königsberg in 1926.

In 1936 he transferred to the Academy of Fine Arts in Berlin-Charlottenburg. In addition, Burmann often stayed in the Nida Artists' Colony. His oeuvre includes landscapes, particularly from the Curonian Spit, as well as portraits and still lifes, which show tendencies of the New Objectivity. Burmann died in 1945. More on Fritz Burmann

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01 Work, The Art of War, Francisco Goya's Escena de guerra (War scene), with footnotes

Francisco Goya

Escena de guerra (War scene), c. 1808-1812

Oil on panel

72 x 99,5 cm. - frame: 99,5 x 128 cm.

The Museo Nacional de Bellas Artes

Scene from the Spanish war of independence (between 1808 and 1812)

Francisco Goya was a talented Spanish painter and printmaker, and is considered one of the last of the Old Masters of painting, as well as the first of the moderns. He began his apprenticeship in painting at the age of 14, and his talent was quickly recognized. He first submitted entries to the Royal Academy of Fine Arts in 1763, and then later in 1766, both of which were denied. But, in 1771, he traveled to Rome and won second place in a painting competition and secured employment designing tapestries at the Royal Tapestry Factory. He completed over 42 patterns, which were used to cover the walls in the newly built palaces around Madrid, giving him an immediate royal audience.

In the 1780’2 he became friendly with the crown prince of Spain, spending two summers with him and his family, paintings portraits, and expanding his circle of royal patrons. He was given a salaried position as a court painter in 1786, and in 1799 was made the first court painter, painting for the king and his family, as well as the Spanish nobility.

Between the years of 1792 and 1793, Goya suffered from a mysterious illness, which made him deaf, and affected his mental behavior. Some current medical scientists believe that his deafness was a result of the lead in which he used in his paints, whereas others believe it may have been some sort of viral encephalitis. Either way, its effect on Goya cannot be understated. After his illness, he became withdrawn and introspective, and began painting a series of disturbing paintings on the walls of his house in Quinta del Sordo. His earlier themes of merry festivals and cartoons changed into depictions of war and corpses, representing a darkening of his mood. Whether this has more to do with the French declaration of war on Spain or some medical problem leading to mental disturbance is up to debate.

As such, his legacy ranges from simple portraits of the royal family to devilish portrayals of demons eating their young. His legacy also has inspired several operas, a piano suite, and a number of feature films. More on Francisco Goya

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02 Works, The Art of War, Anselm Feuerbach's The Battle of the Amazons, with footnotes

Anselm Feuerbach

Detail; The Battle of the Amazons, c. 1870/73

Oil on canvas

H 4,05 m x B 6,93 m

Germanisches Nationalmuseum, Nuremberg

Anselm Feuerbach

The Battle of the Amazons, c. 1870/73

Oil on canvas

H 4,05 m x B 6,93 m

Germanisches Nationalmuseum, Nuremberg

This dramatic historical painting, teeming with figures, depicts the devastating battle for the city of Troy. According to Homer, the Amazons with their queen Penthesilea came to the aid of the Trojan king Priamos, who had to defend himself against the Greeks under the leadership of king Menelaus. In the battle, Penthesilea is killed by Achilles, who falls in love with her when removing the dying woman's helmet. The beautiful Amazon can be seen in Feuerbach's picture in the middle of the foreground, with bare chest and precious arm decoration and headdress. More on this painting

In addition to the "Battle of the Amazons", Feuerbach worked almost simultaneously on the almost equally large painting "Plato's Banquet" (Berlin, National Gallery). He counted both paintings among his most important works and referred to them as "twin paintings". While the "Battle" embodies mutual overpowering, barbarism and destruction, the "Banquet" represents the civilized community in which people respect and complement each other. More on this painting

Anselm Feuerbach, (born September 12, 1829 - died January 4, 1880, Venice, Italy), one of the leading German painters of the mid-19th century working in a Romantic style of Classicism.

Feuerbach was the son of a classical archaeologist and the nephew of the philosopher Ludwig Feuerbach. After studying art at the Düsseldorf Academy and in Munich, he went twice to Paris, where he worked in the studio of Thomas Couture and was influenced by Gustave Courbet and Eugène Delacroix.

Feuerbach lived in Italy from 1855 to 1873, and much of his best work was produced during this period. He was influenced by antique Greek and Roman art and Italian High Renaissance painting, and he developed an interest in idealized figure compositions of a lyrical, elegiac nature.

In 1873 Feuerbach became a professor at the Vienna Academy of Fine Arts and painted for the academy building Fall of the Titans, generally regarded as his weakest work. Ill and discouraged by the harsh criticism of this work, Feuerbach left Vienna in 1876 and returned to Italy, where he died. More on Anselm Feuerbach

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01 Work, The Art of War, Arnold Böcklin's The Battle on the Bridge, with footnotes

Arnold Böcklin, Basel 1827–1901 Fiesole

The Battle on the Bridge

Oil on panel

100 x 142 cm.; 39¼ x 56 in.

Private collection

Estimate for 800,000 - 1,200,000 GBP in June 2024

The battle on the bridge between the Roman army and the advancing Germanic tribes reflects a broader fascination during the nineteenth century for the fall of the Roman Empire. Böcklin’s choice of subject was no doubt also influenced by philosophies current at the time, notably Nietzsche’s notion of the ‘blond beast’ expounded in his polemic, Zur Genealogie der Moral (On the Genealogy of Morals), published in 1887. More on this painting

Arnold Böcklin (born October 16, 1827, Basel, Switzerland—died January 16, 1901, Fiesole, Italy) was a painter whose moody landscapes and sinister allegories greatly influenced late 19th-century German artists and presaged the symbolism of the 20th-century Metaphysical and Surrealist artists.

Although he studied and worked throughout much of northern Europe—Düsseldorf, Antwerp, Brussels, and Paris—Böcklin found his real inspiration in the landscape of Italy, where he returned from time to time and where the last years of his life were spent.

Böcklin first won a reputation with the large mural Pan in the Bulrushes (c. 1857), which brought him the patronage of the king of Bavaria. From 1858 to 1861, he taught at the Weimar Art School, but his nostalgia for the Italian landscape pursued him. After an interval during which he completed his mythological frescoes for the decoration of the Public Art Collection, Basel, he settled in Italy and only occasionally returned to Germany, and then to experiment with flying machines. During his last two decades, Böcklin’s work became increasingly subjective, often showing fabulous creatures or being based on dark allegorical themes, as in Island of the Dead (1880), which provided the inspiration for the symphonic poem The Isle of the Dead by the Russian composer Sergey Rachmaninoff. Such spectral scenes as his Odysseus and Calypso (1883) and The Pest (1898) reveal the morbid symbolism that anticipated the so-called Freudian imagery of much 20th-century art. More on Arnold Böcklin

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12 Works, The Art of War, Franz von Stuck's Alma on a Mercy Mission, with footnotes

After Franz von Stuck

Alma briefs her troops of their upcoming mission

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Alma gathered her troops and briefs them on the mission. It was their duty to ensure that their small aid convoy reached the desert tribe safely, despite the potential dangers that lay ahead.

The convoy was made up of a few trucks carrying the much-needed food and medicine. Alma knew that their arrival would not only bring relief and hope to the desperate tribe but also show that their own tribe, the protectors of the desert, were always there to lend a helping hand.

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They set out on their journey

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As they set out on their journey, the group rode powerful horses on all sides of loaded trucks. The desert was vast and unforgiving, its scorching sun beating down mercilessly. Alma and her warriors were aware that they not only had to protect the supplies from possible attacks but also endure the harsh conditions of their surroundings.

After Franz von Stuck

Alma briefs her troops of their upcoming mission

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They soon became aware of the silence that enveloped the desert, the only sound echoing being the hooves of their horses and the wind whistling through the sand dunes. Hidden amongst these vast, barren landscapes lurked various threats – rival tribes, desert bandits, and even the unpredictable natural elements.

After Franz von Stuck

The troop's instincts sharpened

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Alma's instincts sharpened, ever vigilant, as they approached areas known to be dangerous. She had tasked her warriors to scout the surroundings and keep a close eye on any suspicious activities or signs of danger.

After Franz von Stuck

The convoy to stop at an oasis

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After Franz von Stuck

The troop take a short respite

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The troop take a short respite

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Their supplies dwindled, forcing the convoy to stop at an oasis they stumbled upon, taking a rest from the scorching heat and replenishing their dwindling water supplies. Despite the difficulties faced, Alma and her warriors never wavered in their determination to fulfill their mission.

Finally, they reached the outskirts of the desert tribe's territory. The tribe's grateful eyes met Alma's hardened gaze as trucks stop, and the unloading begins. They delivered the much-needed supplies. Their joy was palpable, their relief evident.

After Franz von Stuck

Delivering the food and medical supplies

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After Franz von Stuck

Delivering the food and medical supplies

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After Franz von Stuck

Delivering the food and medical supplies

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Alma and her warriors stayed with the tribe for a few days, helping them distribute the supplies and providing basic medical aid to those in need. The tribe's gratitude for their protection was overwhelming, evident in the bonds formed during their time together.

After Franz von Stuck

Delivery Completed

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As they departed, Alma couldn't help but feel a sense of fulfillment. They had accomplished their mission, providing a lifeline to those in desperate need. The desert had tested them, but they had emerged victorious.

Word of their heroic endeavor spread throughout the desert, reinforcing the reputation of Alma's troop as formidable protectors. Their acts of selflessness and bravery served as a reminder to all tribes that they were not alone in their struggles.

After Franz von Stuck

The troop for their return home

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Alma and her warriors rode back into their own territory, the desert winds whispering tales of their triumph. Ready to face new challenges, they knew that their duty as protectors would continue, forever united in their mission to aid those in need.

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.

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