Photo Carraol Images of Mexico City: paintings

Tuesday, May 5, 2015

Saturday, September 21, 2013

The Gift

“The creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity.

The creative mind plays with the objects it loves. ”
― C.G. Jung

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Wednesday, August 15, 2012

The Triumph of Marius

Giovanni Battista Tiepolo (Italian, Venice 1696–1770 Madrid)

Date: 1729. Medium: Oil on canvas. Dimensions: Irregular painted surface, 220 x 128 5/8 in. (558.8 x 326.7 cm)

The subject of this triumphal procession is identified by a Latin inscription at the top of the canvas from the Roman historian Lucius Anneus Florus (Epitome of Roman History, 36:17): "The Roman people behold Jugurtha laden with chains." The African king Jugurtha is shown descending a hill before his captor, the Roman general Gaius Marius. A youth beats a tambourine while other figures carry booty, including a bust of the mother goddess Cybele. The thirty-year-old Tiepolo included his portrait among the figures at the left. The procession was held on January 1, 104 B.C.

The picture—a masterpiece of Tiepolo's early maturity—is from a series of ten canvases painted about 1725–29 to decorate the main room of the Ca' Dolfin, Venice. [The Metropolitan Museum of Art]

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Saturday, August 14, 2010

Farewell Paris

Snack

Wrong lens

Artemis with a Doe

Roman Imperial copy (first-second century AD) after a Greek original.

This work was a gift from Pope Paul IV to the French king Henri II, and one of the first ancient statues to arrive in France. The goddess - Diana to the Romans, Artemis to the Greeks -was Apollo's twin sister. The goddess of chastity, and a tireless hunter whose arrows could punish the misdeeds of men, she is depicted here accompanied by a deer. The statue is based on a fourth-century BC Greek bronze attributed to Leochares.

Gallery

The Sleep of Endymion. 1791. Anne Louis Girodet de Roussy-Trioson

Endymion the shepherd, a man of ideal beauty, is being visited at night by the goddess Diana in the form of a moonbeam. Her passage through the foliage is facilitated by Zephyr. In this early work, painted in Rome in 1791, Girodet, a pupil of David, demarcated himself from his master and foreshadowed romanticism. The idealized nude is antique in inspiration but the moonlight and the mysterious, dreamlike atmosphere are hallmarks of an emerging sensibility.

The Intervention of the Sabine Women By Jacques-Louis David. 1799. Oil on canvas

After the abduction of the Sabine women by the neighboring Romans, the Sabines attempted to get them back - David depicts this episode here. The Sabine women are intervening to stop the bloodshed. Hersilia is throwing herself between her husband, the king of Rome, and her father, the king of the Sabines. David is using the subject to advocate the reconciliation of the French people after the Revolution. His increasingly simple style is inspired by Ancient Greece.

Art Class (about Les Noces de Cana by Véronèse - 1562-1563)

Inner patio

Alessandro FILIPEPI, known as BOTTICELLI. Venus and the Three Graces Presenting Gifts to a Young Woman

c. 1483-85. This fresco is from the Villa Lemmi, a property near Florence that belonged to the Tornabuoni family, allies of the Medici. This decorative work may have been commissioned from Botticelli to mark the marriage of a member of this influential Florentine Dynasty - could the young woman of the title be Nanna di Niccolò Tornabuoni? Escorted by the Three Graces, Venus is shown placing a gift in the cloth container held out to her by the bride-to-be.

Cinq Maitres de la Renaissance Florentine. 1450. By Paolo Uccello
(L to R: Giotto, P. Uccelllo, Donatello, Manetti & Filipo Brunelleschi)

Leonardo di ser Piero da Vinci, known as LEONARDO DA VINCI (Vinci, 1452−Amboise, 1519)

The Virgin and Child with Saint Anne

Saint Anne, the Virgin Mary and the Infant Jesus – three generations, two the fruit of immaculate conception – are portrayed in a landscape. The picture was very probably commissioned as an ex-voto to Saint Anne in gratitude for the birth of Louis XII’s daughter, but Leonardo worked too long on the picture to deliver it. The composition is a fine example of his experimentation with figure composition and greatly inspired artists of the following generation.

Leonardo da Vinci. Portrait da Femme, La Belle Ferronniere (1495-99)

Portrait of Lisa Gherardini, wife of Francesco del Giocondo. Between 1503 and 1506. Leonardo di ser Pietro DA VINCI, known as Leonardo da Vinci.

This portrait was doubtless painted in Florence between 1503 and 1506. It is thought to be of Lisa Gherardini, wife of a Florentine cloth merchant named Francesco del Giocondo.
We know nothing about the commissioning of the portrait, its painting and payment. One of the first biographies of Leonardo states that it was painted for Francesco del Giocondo and is the portrait of his wife, Mona Lisa, whose maiden name was Gherardini. The birth of their third child in 1502 and the acquisition of a house would have been ideal pretexts for commissioning the portrait.
Paradoxically, little of Leonardo da Vinci's prolific and many-faceted output was devoted to painting, the medium he rated above all the others. Four works stand as landmarks in his career and, in a single painting, the Mona Lisa, he combined his research into the landscape, the portrait, and facial expression.

"Leonardo undertook to paint for Francesco del Giocondo the portrait of Mona Lisa his wife, but having spent four years on it left it unfinished. This work is now the property of King Francis of France in Fontainebleau. In this head, whoever wished to see how closely art could imitate nature, was able to comprehend it with ease; for in it were counterfeited all the minutenesses that with subtlety are able to be painted, seeing that the eyes had that luster and watery sheen which are always seen in life, and around them were all those rosy and pearly tints, as well as the lashes, which cannot be represented without the greatest subtlety. The eyebrows, through his having shown the manner in which the hairs spring from the flesh, here more close and here more scanty, and curve according to the pores of the skin, could not be more natural. The nose, with its beautiful nostrils, rosy and tender, appeared to be alive. The mouth, with its opening, and with its ends united by the red of the lips to the flesh-tints of the face, seemed, in truth, to be not colors but flesh. In the pit of the throat, if one gazed upon it.

Stoned Lady

Thank you Paris and Parisians for your endless Culture, Art, Beauty and Joie de Vivre (Joy of Living).
I leave a part of my heart here and forever.

music+image Vienna, Eisenstadt, Venice, Firenze and Rome series try to continue in Sketches of Cities. (At least once or twice a week) Gracias por su visita. / Thanks for visiting, please be sure that I read each and every one of your kind comments and I appreciate them all.