The Wild Hunt (Die Wilde Jagd) - Franz von Stuck (1889)
It is said that Hitler was so fascinated by this painting that he based his public image on it. Franz Von Stuck was one of the favorite artist of the regime, sadly this meant that his art has mostly been forgotten after WWII because it represented "bad things" that the West wanted to forget.
A few more paintings by Franz Von Stuck
The one below I find particularly beautiful, it is called "once upon a time" - if you look closely, the lady is looking at a frog in the grass. The frog is wearing a little crown:
A rider in the autumn sunset
This one Sonnenuntergang I find hauntingly beautiful because of how little space is given to the light and yet how bright and glorious it seems.
(Sonnenuntergang 1891)
This one is also one of my favourite. A couple looking at a forest.
Piero della Francesca was born in Borgo San Sepolchro, a city in central Italy, in the upper Tiber valley. He studied under a not-so-skilled painter, but nevertheless, he became an excellent painter, as well as a mathematician.
I'd like to talk about some of his later work, as I find it the most interesting. I'll be talking about commissions in his later career, the ones he made under the Montefeltro duke of Urbino. First, his very famous portraits of the duke and duchess of Urbino:
Diptych of Federico da Montefeltro and Battista Sforza; circa 1473–1475
-This is a typical early Renaissance portrait, being in profile; Leonardo da Vinci would later break with this tradition with his portrait of Ginevra de' Benci in three-quarter view
Ginevra de' Benci, c. 1474–1480, National Gallery of Art, Washington D.C.
We see Duke Frederico da Montefeltro of Urbino also on:
-The Brera Madonna or the Montefeltro Altarpiece; 1472 -First and foremost, this is a sacra conversazione (holy conversation), we see the Virgin with baby Christ in her lap surrounded by saints and importantly, with the patron- Duke Frederico da Montefeltro kneeling in his armour in profile (like in his portrait)
-Most impressive (at least to me) in this painting is the architecture. It's visible that he is very well acquainted with classical orders of architecture, with his use of cassette barrel vaults, pilasters bearing the entablature, cornices, the apse, the unconventional upside-down shell in the apse...
-This is an up-close shot of the baby Christ sleeping, with a coral necklace around his neck (a symbol of protection, as well as a foreshadowing of his Passion)
We can see Piero's knowledge of classical architecture in his other work as well:
-Virgin and Child Enthroned With Four Angels; circa 1460–70
-We can see that he's well informed about the classical architectural canon; we see classical columns bearing a trabeation, not an arch so typical for the time. Also, the corner column is square, likely inspired by the courtyard done by Luciano Laurana in the Ducal palace of Urbino (which the Montefeltro dukes ruled over)
-We can also see that the Christ child is reaching for the rose in the Virgin's hand, again, symbolising his coming Passion.
Look at Luciano's use of pilasters in the corner of the courtyard, to circumvent the "renaissance corner problem"
Elisabetta Sirani was an Italian artist from the baroque period. She was trained by her father, Giovanni Andrea Sirani, who was a pupil to Guido Reni. Sirani was very erudite and did extensive research about her subjects before she touched a canvas by utilising her father's library. She often selected lesser-known subjects for her paintings.
Allegory of Music (c.1659)
The Allegory of Music is a painting by Elisabetta Sirani that uses an element of historical narrative within portraiture. As Sirani depicts herself in this painting, she emphasizes performance through the instrument, an open mouth, and a visual representation of music, theory and practice.
There is a presence of both aspects of music: sheet music, which stands for textual, and the open mouth, showing the practice of singing. As the Renaissance period denoted the importance of an artist’s formation, training, or theory, Sirani captures this philosophy through this artwork. Some of Sirani's specialties in her work is the use of a mystical dark background with the soothing harmonies of the color scheme.
Portia Wounding Her Thigh Original Title: Porcia ferendo la coscia (c.1664)
Porcia, being addicted to philosophy, a great lover of her husband, and full of an understanding courage, resolved not to inquire into Brutus’s secrets before she had made this trial of herself. She turned all her attendants out of her chamber, and taking a little knife, such as they use to cut nails with, she gave herself a deep gash in the thigh; upon which followed a great flow of blood, and soon after, violent pains and a shivering fever, occasioned by the wound.
Now when Brutus was extremely anxious and afflicted for her, she, in the height of all her pain, spoke thus to him: “I, Brutus, being the daughter of Cato, was given to you in marriage, not like a concubine, to partake only in the common intercourse of bed and board, but to bear a part in all your good and all your evil fortunes; and for your part, as regards your care for me, I find no reason to complain; but from me, what evidence of my love, what satisfaction can you receive, if I may not share with you in bearing your hidden griefs, nor to be admitted to any of your counsels that require secrecy and trust? I know very well that women seem to be of too weak a nature to be trusted with secrets; but certainly, Brutus, a virtuous birth and education, and the company of the good and honourable, are of some force to the forming our manners; and I can boast that I am the daughter of Cato, and the wife of Brutus, in which two titles though before I put less confidence, yet now I have tried myself, and find that I can bid defiance to pain.”
Which words having spoken, she showed him her wound, and related to him the trial that she had made of her constancy; at which he being astonished, lifted up his hands to heaven, and begged the assistance of the gods in his enterprise, that he might show himself a husband worthy of such a wife as Porcia. So then he comforted his wife.
Portia Wounding Her Thigh by Elisabetta Sirani depicts a historical event from Roman times. According to Greek historian Plutarch’s account, she found her husband, Brutus contemplating the execution of Caesar but refused to tell her about it for fear that she would expose the plot if she was put to death. While stricken with a high fever Portia sliced her leg to prove she could endure physical discomfort for a day. Brutus’ wife Portia Catonis was the only woman who knew about the conspiracy to assassinate Julius Caesar.
This is one of my favorite works by Sirani because of its historical origin as well as overall presentation, Sirani's choice of colors in this painting enhances its emotional depth. The rich reds and soft skin tones create a contrast, drawing the viewer's eye to Portia's thigh. The use of warm hues evokes feelings of passion and intensity. This color palette contributes to the overall narrative, inviting viewers to connect with Portia's emotional journey.
Sirani pays homage to the work’s intended owner (a successful fabric merchant) through the luxurious, jewel-toned fabrics used in the subject’s expensive gown, the mound of silk on which she sits, and the furnishings in her room.
The reason works of art depicting Roman and Greek stories are portrayed in a classical setting is simply an aesthetic choice by baroque artists at the time because it maintains a realistic appearance without becoming fantasy.
Judith with the Head of Holofernes (c.1650 - 1665)
In the Book of Judith, the Jewish widow Judith saved the Israelites from the Assyrians by decapitating their general Holofernes, whose army had besieged her city. She did this after having made him drunk at a banquet. Judith is commonly depicted as being assisted by an older maidservant in placing the head in a sack. The contrast between Holofernes's crude features and the heroine's beauty underlines the moral message of the eventual triumph of virtue over evil.
Sirani based her style on that of Guido Reni, who was admired for his idealized depictions of women, as in his Penitent Magdalene. This painting is close to her style but it also appears to owe something to that of her father Giovanni Andrea Sirani.
The Penitent Magdalene by Guido Reni (c. 1635)
Judith Triumphant (F. 1658)
Her own and more original treatment is shown in this Judith with the Head of Holofernes, set outside in the night, Judith stands bright and bold, staring with a look of slight disdain towards the viewer. Elisabetta Sirani has paid great attention to the details of Judith’s clothing, as would be appropriate to the story. Her fine clothes are used to lure Holofernes and make him see her as a desirable and alluring woman, which is crucial for her plan to deceive him.
This was a companion piece with Timoclea Kills Alexander the Great's Captain painted for the banker Andrea Cattalani, one of Elisabetta’s most committed patrons, for whom she produced at least five works.
Timoclea Kills Alexander the Great's Captain (F. 1659)
In Plutarch's biography of Alexander the Great, when his forces took Thebes during Alexander's Balkan campaign of 335 BC, Thracian forces pillaged the city, and a Thracian captain raped Timocleia. After raping her, the captain asked if she knew of any hidden money. She told him that she did, and led him into her garden, and told him there was money hidden in her well. When the Thracian captain stooped to look into the well, Timocleia pushed him down into it, and then hurled heavy stones down until the captain died.
She was then seized by the Thracian soldiers and brought before Alexander. She comported herself with great dignity and told him that her brother was Theagenes, the last commander of the Sacred Band of Thebes, who died "for the liberty of Greece" at the Battle of Chaeronea in 338 BC, defeated by Alexander's father Philip of Macedon. Alexander, filled with admiration for her courage over her "daring deed" ordered her and her children be released and was not punished for killing the Thracian captain, as he had judged that justice had already been served.
Sirani used as her source for this work a 1629-30 illustration by Matthäus Merian from a history by Johann Ludwig Gottfried. Sirani solidifies her name by carving it into the stone next to the water pitcher: "ELISAB. SIRANI. F." At this time, even among Bolognese male artists, not many signed their works.
Finding of Moses (c.1665)
The Finding of Moses draws from the biblical story found in the Book of Exodus. This narrative tells of the Pharaoh's daughter discovering the infant Moses in a basket along the Nile River. The painting captures this pivotal moment, symbolizing hope and divine intervention. Sirani's interpretation adds depth to the story, highlighting themes of compassion and maternal instinct.
In Finding of Moses, Sirani weaves rich symbolism throughout the composition. The act of rescuing Moses represents innocence and the power of love. The painting also reflects themes of divine intervention, suggesting that fate plays a crucial role in shaping destinies. Sirani's use of light and shadow enhances these themes, creating a dramatic and emotional scene.
The Madonna Contemplating the Baby Jesus (c.1664)
What I like about this painting is the use of light that creates a subtle halo over the Madonna signifying her divinity and the way her hands are positioned, her left hand is delicately holding on to the fabric with love and care while her head is resting on her right hand, in a moment of personal reflection, where Mary, as the mother of Christ, contemplates the sacred significance of her son’s life and the divine mission he is destined to fulfill.
In 1660 Elisabetta Sirani began focusing extensively on small-scale devotional images, particularly the Virgin and Child and Holy Family, which were enormously popular with private collectors. Her patrons ranged from cardinals to kings, princes, dukes, merchants, and academics from Bologna and across Europe. Sirani became a celebrity in her city as visitors, such as diplomats, political leaders, and noblemen, would come to her studio to watch her work.
If you haven't watched Simon Schama's The Power of Art, the whole thing is on the Internet Archive. His Caravaggio and Picasso episodes convinced me to spend a few extra days in Madrid during a business trip to see some of both artists' work in the Prado and Reina Sofia.
I wrote a paper in college on trench art. 10/10 will always crywank to WW1 misery porn.
Fun fact: Of the belligerents, the British tended to view trench art at kitschy souvenirs, the Germans as grotesquery that they were embarrassed of, and the French as legitimate high art (showcasing some during the War as a point of national pride).
