Thomas Eakins (artist)
American, 1844 – 1916
Baby at Play, 1876
Clodion (artist)
French, 1738 – 1814
Poetry and Music, c. 1774/1778
Jean-Pierre-Antoine Tassaert (artist)
Flemish, 1727 – 1788
Painting and Sculpture, 1774/1778
Jean-Baptiste Carpeaux (artist)
French, 1827 – 1875
Neapolitan Fisherboy (Pêcheur napolitain à la coquille), 1857-after 1861
Jean-Baptiste Carpeaux (artist)
French, 1827 – 1875
Girl with a Shell (Jeune fille à la coquille), 1863-1867
Agnolo Gaddi
Madonna Enthroned with Saints and Angels [middle panel], 1380/1390
Andrew W. Mellon Collection
1937.1.4.b
Agnolo Gaddi
The Coronation of the Virgin, probably c. 1370
Samuel H. Kress Collection
1939.1.203
Raphael
The Niccolini-Cowper Madonna, 1508
Andrew W. Mellon Collection
1937.1.25
Raphael
The Alba Madonna, c. 1510
Andrew W. Mellon Collection
1937.1.24
Unfortunately, When I took the pictures I didn’t write down who painted/sculpted them. If any of you recognize them, feel free to let me know and I’ll label them. (Update: I found a lot of them on the NGA website…still missing a few tho…apparently I like Raphael…who knew…he’s responsible for the angels/logo of this website too!)
I think my favorite was the guy listening to the shell. It’s like the very first IPod! Seriously, he must be hearing something besides the ocean given the total delight on his face.
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It’s amazing how we are drawn to the same visuals and audio, seeking comfort and pleasure without really realizing how or why…to find out what we like is the same author or artist. You have always liked the baby angel pic you use on this site!
I love your comment about the first IPOD!!!
Lol Kim,
Marge (from the preschool) used to call them the “ugly angels that I love”…she actually put stickers of them on my Christmas card this year…I can’t believe you remembered that!
As for being drawn to like artists…thank God I have good taste! What if I found myself being drawn to Edward Munch? I got no problem saying “Yes, Dahling, I prefer the Raphaels!” But can’t see myself saying “The “Scream” is simply divine, dont’ you think?” (no offense to any Much lovers)
Hey MK – just wanted you to know I’m here and looking at these. My illness returned yesterday, shortly after I finished the full course of antibiotics, so I spent most of today in the ER on my doctor’s recommendation. They were somewhat perplexed by me; ended up taking a ton of blood from like four different sites, and calling the infectious disease people to find out how to proceed. Kinda cool, but I’m exhausted and weak and will need to miss more work on Monday to see follow-up specialists, which ticks me off. Anyway I’m not really up to writing much but I am really enjoying looking at these.
Here is the color “words” of traditional orthodox Icons.
Our Faith : Icons Last Updated: Jul 11th, 2009 – 02:19:43
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Icons: Symbolism In Color
Anastasia
Mar 5, 2007, 17:55
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An introductory discussion on the symbolism of colors in icons Byzantines considered that the meaning of art is beauty. They painted icons that shined with metallic gold and bright colors. In their art each color had its place and value. Colors – whether bright or dark – were never mixed but always used pure. In Byzantium, color was considered to have the same substance as words, indeed each color had its own value and meaning. One or several colors combined together had the means to express ideas. Being trained in Byzantine art, Russian master-iconographers accepted and preserved the symbolism of color. Russian icons did not achieve the same magnificence and austerity as the art of imperial Byzantium. However, colors in Russian icons attained a brightness that was livelier and more vibrant. The iconographers of ancient Russia learned to create works close in inspiration to local conditions, tastes and ideals.
Gold
The brilliance of gold in mosaics and icons made it possible to feel the radiant light of God and the splendor of the celestial kingdom where there is never any night. Gold symbolized the divine nature of God himself. This color glimmers with different nuances in the icon of the Mother of God of Vladimir.
Purple
Purple, or crimson, was a color very important in Byzantine culture. This is the color of the Celestial King and the Byzantine emperor, whom André Grabar called “God’s Lieutenant on earth.” Only the Byzantine emperor could sign edicts in purple ink and sit in glory upon a purple throne, and it was only he who wore purple clothing and boots – for all others it was strictly forbidden. The leather or wood bindings of the Gospel in churches were sometimes covered with purple cloth. This color is present in icons on the clothing of the Mother of God – the Celestial Queen.
Red
Red is one of the most frequently used colors in icons. This is the color of heat, passion, love, life and life-giving energy, and for this very reason red became the symbol of the resurrection – the victory of life over death. But at the same time it is the color of blood and torments, and the color of Christ’s sacrifice. Martyrs are depicted in red clothing on icons. In red celestial fire blaze the wings of the Seraphim – angels stationed adjacent to God’s throne. Sometimes icons were painted with a red background as a symbol of the celebration of eternal life.
White
White is the symbol of the heavenly realm and God’s divine light. (Figure 3) This is the color of cleanliness, holiness and simplicity. On icons and frescoes, saints and righteous people are usually depicted clothed in white as righteous ones – people who were good, honest, and lived by “the Truth.” In the same manner, white was used in the swaddling bands of babies, the shrouds of the dead and the robes of angels. Only righteous souls were depicted as wearing white.
Dark-Blue and Blue
Dark-blue and blue indicate the infiniteness of the sky and is the symbol of another everlasting world. Dark blue was considered the color of the Mother of God who combines in her self both the terrestrial and celestial. The backgrounds of mural paintings in many Byzantine churches dedicated to the Mother of God are filled with a celestial dark blue.
Green
Green is the color of natural, living things. It is the color of grass and leaves, youth, flowering, hope, and eternal renovation. Ancient iconographers often painted the earth green to denote where life began – such as in scenes of the Annunciation (Figure 4) and the Nativity.
Brown
Brown is the color of the bare earth, dust, and all that is transient and perishable. Used in combination with the royal purple clothing of the Mother of God, this color reminds one of her human nature, which was subject to death.
Black
Black is the color of evil and death. In iconography, caves were painted with the color black as a symbol of humankind’s grave and the gaping infernal abyss. In some subjects this was also the color of mystery. For example, against a black background, which indicated the incomprehensible depth of the universe, icon painters depicted Cosmos – an old man with a crown – in the icon of the Pentecost or Descent of Holy Spirit. The black robes of monks, who have left the path of worldly life, are a symbol of their eschewing the pleasures and habits they formerly kept, and dying a death toward this way of life.
Colors Not Used in Iconography
A color that was never used in iconography is gray. When mixing black and white together, iniquity and righteousness, it becomes the color of vagueness, the color of the void and nonexistence. There was no place for this color in the radiant world of the icon.
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General rules of interpreting icon’s “human features”
The art of making Orthodox icons follow certain symbolism that carries a
meaningful message. Some of these characteristics are: First, large and wide
eyes symbolize the spiritual eye that look beyond the material world, the
Bible says “the light of the body is the eye: if therefore thine eye be
simple, thy whole body shall be full of light” [Matthew 6:22]. Second, large
ears listen to the word of God; “if any man have ears to hear, let them hear”
[Mark 4:23]. Third, gentle lips to glorify and praise the Lord “My mouth shall
praise thee with joyful lips” [Psalm 63:5]. The eyes and ears on a figure in
an icon are disproportionately large, because a spiritual person spends more
time listening to God’s word and seeking to do God’s will. On the other hand,
the mouth, which can also be often be the source of empty or harmful words is
small. The nose, which is seen a sensual is also small. Also, when an evil
character is portrayed on an icon, it is always in profile because it is not
desirable to make eye contact with such a person and thus to dwell or meditate
upon it.
On a personal note, there was a artist who made a series of “puppy dog prints” which had hugh eyes that caught your attention. The artist name escapes me for now, but I might look him up in my “Donald Art catlogue”
Plus, the next time you see the image/tilma of the Lady Of Guadalupe, you’ll notice the blue/green “robe” she is wearing has meaning beyound just the color. Notice the gold on the perimeter of her “robe”.
Cape,
This is great information. I began writing icons about 5 years ago. Some of this I learned, some is new. Thank you for sharing.
I recently read that the blue used in the oldest icons of the Blessed Mother came from ground lapis lazuli. Because of the expense it fell out of favor and was replaced with the deep red or brown which was made with earthen pigments which were less expensive and easier to acquire. The blue returned with the rise of Western religious art which was commissioned and sponsored by wealthy patrons who competitively spared no expense.
Also, in icons of the archangels they are wearing headbands with tails that stick out at what appears to be strange angles. An instructor told me that they are a kind of antenna, always tuned to God’s message.
One of the most important differences between icons and Western religious art is the reverse perspective. In Western art the vanishing point is forward with the intent of drawing the viewer into the painting. With a religious icon it is reversed. The image is a theological reality piercing through the veil of heaven (the solid background) and the vanishing point is literally the heart of the person who is praying with the holy image.
Deel,
A good source for writing icon’s with tempra is Betsy Porter.
For natural pigments, you can go to Iconofile which has a good supply of ” icon pigments “.
Ah, reverse perspective, we draw as a child with inverse/reverse perspective, and then lose that way of “seeing” as we grow up. It’s really hard to explain.
Alexandra,
Sounds like you and PIP are sharing the same mystery illness. What antibiotic were you on?? You’re both scaring me a little bit.
Cape,
THAT WAS AWESOME! The reason I took the particular pictures that I did, is because I had never seen “pink” in an Icon before. I don’t know if these pics are even true icons tho.
I LOVE the idea that the icon speaks to your heart. It’s true. They give you a sort of unnerved feeling when you look at them. Now I see that’s because the ball is put in your court.
They really are fascinating once you get past the weird feeling they give you. We should put up a few posts on them.
DeeL,
would you be willing to take a few icons and “give” them to us? Maybe three or four, one at a time? You can use the community news section to put up posts. I’ll help…
MK,
In Raphael you see linear perspective being used to bring Heaven down to Earth. Giotto was the first artist to begin to use linear perspective, or geometric based painting/drawing.
You notice the date on Ando Gaddi is the 14th century, while Raphael is 16th century.
In Western culture reverse perspective was fading away amongst artist, and naturalism/illusionist gained the day. Afterall, nothing really does get smaller, just because the object is further away! What you see, is like a illusion. A natural illusion.
The vanishing point in linear perspective is a “arrow”, with the point going away from you. In reverse perspective, the “arrow’s point” is coming at you, or your the point of the arrow. God/Heaven is looking at you, not you looking at God/Heaven(linear perspective) .
As for the color of the Madonna’s blouse, you never know if the color has faded in time. Just as they cleaned up Michaelangelo’s painting on the Sistene chapel,, it was quite a bit more “bright”. But, we can also conclude that Raphael was moving away from traditional color representation of the “icon method” of painting.
Cape,
I gotta think they meant it to be pink, because if you look at the angels wings, they have red in them which has not faded. I wonder if pink was added later? Or if this artist took liberties?
MK,
I’ll agree with you on that pink color being used in the painting.
Raphael was a naturalist master, and pigment color was being expanded during his time and before. Linseed oil was the main medium for drying and holding the paint together. Thing is, it yellow’s over time, which is why your white/gray plastics also yellow with time. So, black is the color of most electronics today.
I looked up that artist and he was famous for doing frescoes. I’m still not sure this was an actual Icon, although it was placed in a gallery that had nothing but icons…I think this was an altar piece at one time.
I think I really like Icons, now that I understand them…I wish I knew more.
A good source for European artist and their work is the site, Web Gallery Of Art.
http://www.wga.hu/
Chech out Raphael’s, The Liberation Of St. Peter. Now, that’s some vanishing point work. The site I mention above has the biography and explanation of their paintings.
Also, the site has the complete works of Gaddi. Have fun.
Thanks Cape.
Apparently, I like Reuben also. Who knew. You don’t recognize the paintings that I couldn’t identify, do you?
I cannot wait to get back to that museum!
MK,
Ahhhh. Who doesn’t love Reubens? They have quite a collection of them at the Biltmore in North Carolina. Or maybe it was Windsor Castle. I’m tired, I’m old, now I don’t remember, haha.
I would love to “give” you my icons. Let me know what you’re looking for and how to send them. I’m actually getting ready to begin one of St. Maximillian Kolbe. It’s not quite the same as the Eastern icons, but I could give you peek at the progression. It’s pretty cool, because unlike other art, you actually begin with the dark and move into the light, it’s all part of the theology.
DeeL,
I would LOVE for you to walk me through it. There is a Ukranian Catholic Church just down the street from me. I think I’m going to visit it, just to see the Icons. Who knows, maybe there will be a priest around to “learn” me ’bout ‘em.
Did you give any thought to put together a post about Iconography?
Oh, and I’m going to the Smokies this June, so if you could remember where those Reuben’s are, I’d way appreciate it. It’s just a hop/skip/jump to the Biltmore and I’ve never been…Windsor Castle on the other hand is not so close…lol
MK,
I would be happy to put something together on iconography, just keep in mind that I am a novice, not an expert. Tell me what you’re looking for and how to get pictures to you and maybe get it started sometime later this week or early next. We can begin with the Theotokos. I also have St. Michael the Archangel, the Guardian Angel, and Christ the Bridegroom. St. Genevieve of Paris is a work in progress. I will be starting St. Maximillian Kolbe as a Confirmation gift for my nephew, whom I a sponsoring. So just let me know what, exactly, you’re looking for and I’ll get started.
I very much want to get out to Annunciation Byzantine in Homer Glen. My understanding is that Fr. Loya has written many of the icons there. Perhaps we should make a field trip/pilgrimage out there??? Maybe as a lenten prayer exercise.
St. George Byzantine in Aurora has some really beautiful pieces. I have gone to a few liturgies out there (Good Friday is magnificent!!!) and if I had a Byzantine Rite church closer to me I would seriously consider making the jump from the Latin Rite to the Byzantine. They tend to respect the mystery a bit better than we do and I love, love, love all of the chant!
Oh, and the Biltmore is definitely worth seeing, even if it doesn’t have the Reubens collection. There is actually a connection between the two places, which may be adding to my confusion. Cornelia Vanderbilt married John Cecil, who is a descendent of William Cecil, a chief advisor the Queen Elizabeth I. I will check an get back to you on those paintings, though.
“To” Queen Elizabeth I. Ugh!
DeeL,
First, just start with a simple Icons 101. Go to the community center link up on top. It’s pretty self explanatory.
Send the pics to me email and I’ll get them up.
Second, you’re one of the few here that I haven’t “physically” met yet, (I met Helen yesterday) and you’re SO close. Yes, lets make a lenten trip to Homer Glen. God will have to get me there, as I am HOPELESS at directions, but I’m in.
DeeL,
I’d love a weekly tutorial…Maybe for Lent? Walk us through with Icons? What do you think?
Icons.
Rome.
Biltmore Estate.
ALL the William Bouguereau paintings.
Israel.
Reuben’s
The Bucket List grows…*sigh*
Sounds good, I’ll see what I can come up with.