Viktor Vasnetsov: Ivan Tsarevich and the Firebird on a Magic Carpet

Photo: Ivan Tsarevich and the Firebird on a Magic Carpet (1880), oil on canvas painting by Viktor Vasnetsov (1848-1926), 165 × 297 cm, State Art Museum of Nizhny Novgorod, Russia

The painting shows the popular Russian folklore hero Ivan Tsarevich along with the firebird travelling on a flying magic carpet along with the Firebird. The painting was created by the Russian revivalist movement artist Viktor Mikhailovich Vasnetsov (1848-1926).

Ivan Tsarevich, one of the most popular heroes of Russian folklore, is often portrayed as the youngest of the three sons of a king or a peasant in different stories. As he has to be a superhero in each story, having no straightjacket character or origins, his personal history may vary in each story. But he is always shown fighting treacherous villains and finally winning the hands of his beloved Tsarina.

The name itself has two defining components; Ivan the commonest of the Russian names, and Tsarevich which means ‘the Tsar's son’. And he is sometimes attributed with magic powers. The antagonists also may be deathless characters having devilish powers. His friends may also have magical powers. His animal helpers can be a bird, a lion or a magical horse.

In one of the most popular folktales, ‘Prince Ivan, the Firebird and The Gray Wolf’, he was helped by a magical wolf as he captured the Firebird, after which he won the hand of the Tsarina.

Hip hip hooray! Artists celebrating at Skagen by P.S. Krøyer

Photo: Hip hip hooray! Artists celebrating at Skagen (1888) oil on canvas painting by Peder Severin Krøyer, 134.5 × 165.5 cm (53 × 65.2 in), Gothenburg Museum of Art (Göteborgs konstmuseum), Sweden

The image above depicts the artists living and working in Skagen, Denmark, gathering in a garden for a celebration. The persons in the painting are (L-R) Martha Johansen, painter Viggo Johansen, Norwegian painter, writer and journalist Christian Krohg, Peder Severin Krøyer (P.S. Krøyer), Degn Brøndum (Anna Ancher's brother), Michael Ancher, Swedish painter Oscar Björck, Danish painter Thorvald Niss, teacher Helene Christensen, Danish painter Anna Ancher and Helga Ancher.

The Norwegian-Danish painter P.S. Krøyer (1851-1909) is one of the most celebrated of the Skagen Painters, a community of Danish and Nordic artists who had been working in Skagen, Denmark in the final decades of the 1800s.

Jean-Leon Gerome: Consummatum est

Photo: Oil on canvas painting titled Jerusalem or Consummatum est (1867) by Jean-Leon Gerome, 82 cm × 144.5 cm (32 in × 56.9 in), currently at Musée d’Orsay, Paris

Jerusalem, also called Golgotha, Consumatum Est or The Crucifixion (La Crucifixion), dated 1867, is an oil painting by the French sculptor and painter Jean-Léon Gérôme (1824-1904). When it was first exhibited at the Salon of 1868, the spectators were confused, and it attracted negative reviews because of the unconventional technique or unusual way he chose to depict the subject.

Gerome was one of the best among scholastic lot of the artistic circles of his time, well-travelled, and was ahead of his times in depicting artistic subjects.

The actual scene of the crucifixion is not there in the picture, but there is more than that. As an immediate answer to what most of the people returning to their homes are looking at and pointing to, including the soldiers, there is the shadow of three men on the foreground, Mount Golgotha, where Jesus was crucified positioning him between two thieves. In the background is the city of Jerusalem under a clouded sky, where the crowd of people is returning to.

The painting Consumatum Est marked Gerome’s return to history painting after he travelled much through some of the countries of the Middle East and North Africa and explored Orientalism. His travels and works of the period gave the actual pictures to the art world which used to depict what was traditionally and academically shown rather than what was real. For instance, his depiction of the real lives of the people of the Muslim countries he travelled, can be seen several of his works.

The choice of the title too is out of the ordinary, as Consummatum est refers to Christ's last words (John 19:30), “It is completed”, or “It is all over”.

Artemisia Gentileschi: Suffer the little children to come unto me

Photo: Suffer the little children to come unto me (1624-25), oil on canvas painting by Artemisia Gentileschi, 134.6 cm x 97.7 cm, currently at San Carlo al Corso, Rome

The images of this painting are sometimes titled ‘Sinite Parvulos’, which refers to "Sinite parvulos venire ad me", citing Jesus from the Gospel (Mk 10: 14): “When Jesus saw this, he was indignant. He said to them, ‘Let the little children come to me, and do not hinder them, for the kingdom of God belongs to such as these.’”

But this painting by Artemisia Gentileschi, historically titled ‘Suffer the little children to come unto me’ (or ‘Christ blessing the children’) was untraceable for some time, and was also believed to be lost. And some art historians had wrongly attributed the work to some other artists.

The painting was originally listed in the worldly possessions of Fernando Enriquez Afán de Ribera, the 3rd Duke of Alcalà, who also is believed to be its first owner. In 1898, it was in the collection of the Duke of Sutherland. In July 1913, it was put on sale at Christie’s in London. And in 1927, it was in the collection of E. Boross at Larchmont, New York, from whom it was acquired by the Metropolitan Museum of Art, New York, in the same year.

On 30 May 1979, the Metropolitan Museum sent it for sale to Sotheby’s New York, wrongly attributing the authorship to the Italian Painter Carlo Rosa (1613-1678). After that and notably by 2001 the whereabouts of the painting became unknown.

However, it was rediscovered in the collection of San Carlo al Corso. Comparison of the known photographs of the painting with the 1979 Sotheby’s catalogue show the painting in the church is the same work, but with slight changes caused due to restoration, probably carried out after the sale in 1979.

At the area, close to the bottom edge, where restoration was done, something like the woolly back of a lamb is now visible which was not there earlier. And mysteriously, the right hand of one of the boys is missing.

This painting is one of the most beautiful works of Artemisia Gentileschi, and historians suggest that ‘it can be numbered among her masterpieces’.

Taj Mahal by Moonlight, painting by Charles William Bartlett

Photo: The Taj Mahal by Moonlight (1923), oil on canvas painting by Charles William Bartlett, now located in Honolulu Museum of Art, Hawaii, USA

Charles William Bartlett was an English artist who settled in Hawaii, USA. In 1913, Bartlett along with his wife traveled to South Asia and the Far East during which he visited the Taj Mahal. The painting of the monument depicts it when it was in a state of disrepair and lack of proper maintenance. However, it had enough splendor to inspire him to paint the monument of love.

Ever since the Taj Mahal was built, it has been able to instill in the visitors a sense of emotional attachment with it. Incidentally, it creates different emotions in different people. This painting invokes a sense of lost grandeur as well as a majestic invincibility. Also there is a mystic, eerie atmosphere surrounding it. As it is the view of the monument lit by moonlight, which is a romantic experience to most visitors, the painting also makes the viewer remember her/his loved ones.

The Taj Mahal is a Mughal period mausoleum, constructed mainly with translucent Makrana marble and decorated with inlays of precious and semiprecious gemstones. It is situated on the south bank of the Yamuna River in the Indian city of Agra.

Commissioned by the Mughal Emperor Shah Jahan in 1631 in memory of his favorite wife Mumtaz Mahal who died giving birth to their 14th child, construction of the monument began in 1632. The main mausoleum was completed in 1643, work continuing for another ten years till the rest of the complex was completed.

The monument incorporates the architectural and art traditions of earlier Mughal and Persian buildings. It is considered the best example of Mughal Architecture.

The Taj Mahal complex, which has many other buildings, has esthetically landscaped lawns and magnificent gardens. There are several other mausoleums, including those of Jahan's other wives, and a larger tomb near the mausoleum for the favorite servant of Mumtaz.

This UNESCO World Heritage Site is one of the seven wonders of the modern world, and one of the New Seven Wonders of the World. Rabindranath Tagore described it as ‘the tear-drop on the cheek of time’. For many others it is the monument of love. The imperial court documents describe Jahan's inconsolable grief on the death of Mumtaz as the inspiration for the monument.

Soon after the completion of the monument, his son Aurangzeb deposed Shah Jahan and placed him under house arrest at Agra Fort. On his death, Aurangzeb buried in the mausoleum Jahan next to his beloved wife.

Annunciation, painting by Leonardo da Vinci and Andrea del Verrocchio

Photo: The Annunciation, oil on panel painting by Italian artists Leonardo da Vinci and Andrea del Verrocchio, 1472-1475, 38.6 x 85.4 in (98 × 217 cm), now in Uffizi Gallery, Florence, Italy

The subject of the painting is based on a narrative by Luke according to whom during her betrothal the angel Gabriel sent by God announced to her that she would miraculously conceive through the Holy Spirit and give birth to a son. He told her that the baby was to be named Jesus. The subject has been very popular in Christian Art.

The Annunciation is widely considered the first work of the young Leonardo da Vinci completed in collaboration with his master Andrea del Verrocchio.

Following the established tradition of the times, the painting depicts Gabriel on the left and Virgin Mary on the right with a lectern in between. The architectural setting that opens out onto a landscape does not look to belong to the period when Mary lived. But it was born out of da Vinci’s fantasies of modern architecture, not even of his times, but much ahead.

Some immature visualization can be noticed, for instance, with poplars and pines and the mountains at a distance that seem to be full of greenery which defies logic as the geographical setting of Mary is in the Middle East where such vegetation is unusual.

However, da Vinci’s Annunciation is known for the perfection of linear geometric perspective in art, which later was widely followed by other artists.

In the picture, angel Gabriel is kneeling before Mary while delivering God’s message. He is depicted as draped in rich clothing and holds a Madonna lily. Mary, dressed in equally rich, supple drapery, is shown as was reading, and raises her eyes towards the angel and raises her hand in a gesture of surprise, or rather fear.

When The Annunciation was brought to the Uffizi Gallery from a convent near Florence in 1867, it was credited to Domenico Ghirlandaio, who was also an apprentice of Verrocchio. But later it was established by art experts to be the work of da Vinci in collaboration with Verrocchio.

The painting, as many other paintings depicting Annunciation, shows the angel appearing before Mary at her residence. But some other narratives say that the angel appeared before her when she went to the well to draw water. This well, known as Mary’s Well, is located in an area in Nazareth where there are several other churches and pilgrimage attractions in Nazareth. The well is said to have been a popular watering hole for Arabs for several centuries.

Frederic Leighton: Flaming June

The oil-on-canvas painting, “Flaming June” of size 47x47 inch (1200 mm × 1200 mm), is created by the English artist Sir Frederic Leighton (3 December 1830 - 25 January 1896) in 1895. The art world considers this as Leighton's magnum opus.

Though art critics and historians credit the actresses Dorothy Dene and Marie Lloyd for having modeled for Flaming June, it was most likely the Dorothy Dene, whom Leighton met in her teens. On close examination, it seems some other female figures in his other works also resemble Dene.

According to art historians the Victorian artist was inspired immensely by Michelangelo’s monumental sculpture titled “Night”, which is located in the Medici Tombs in Florence, Italy. Even the pose and posture of the figure seems to have been adapted from the Night.

The painting has been thought as lost forever as it was not seen after 1930 until it was found again in 1962. It was auctioned thereafter, and soon after it was purchased by the Museo de Arte de Ponce in Ponce, Puerto Rico, where it continues to belong to. It is one of the sought after attractions of the museum in Puerto Rico.

The setting for the painting is Mediterranean, with the sun brightly reflecting from the waves of the seawater. It provides the realism of natural light for the figure of the sleeping woman. The transparent clothing in flaming, intense colors and the marble setting around are typical of Leighton's style. Thanks to the light from sunset reflecting, her cheeks appear to blush, even though she is depicted as sleeping.

Though Leighton painted several single female figures in the period just before, Flaming June is outstanding from all others as regards use of rioting colors to explore beauty, imagination, emotions, sleep and dreams. Perhaps this departure from his earlier styles makes Flaming June a timeless piece of art and the most recognizable work of Frederic Leighton.

Some art historians associate a symbolism of the highly poisonous oleander plant’s branch at the top with sleep, dreams and possibly death. It may be recalled that Leighton passed away in 1896, not too distant from the time of painting Flaming June (1895).

Flaming June is one of the most reproduced paintings. The dress and posture of the female figure has been imitated for modeling for magazine covers by famous models and actresses, and it has been endlessly copied on every possible surface of consumer interest.

William Daniell: Gates of the palace at Lucknow

This oil on canvas work, “Gates of the palace at Lucknow” dimensions 89cm x 135cm, was painted in 1801 by the English landscape painter William Daniell (1769–1837).

During that period, the artist, along with his uncle Thomas Daniell, was travelling around India and collaborating for their illustrated work called Oriental Scenery.

The year of the painting “Gates of the palace at Lucknow” relates to the period when Awadh, an independent kingdom with its capital at Lucknow, was ruled by Saadat Ali Khan II (1752-1814). Khan, who was installed by the British as Nawab, signed a treaty with them in 1801, and surrendered a huge chunk of Awadh territory to them.

William Daniell later painted a series of watercolors of many sceneries of the coastline of Britain for the book A Voyage Round Great Britain.