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Venus and Mars
about 1485 BOTTICELLI, Sandro about 1445 - 1510
Mars, god of war, was one of the lovers of Venus, goddess of love.
Here Mars is asleep and unarmed, while Venus is awake and alert!!!.
The meaning of the picture is that love conquers war, or love conquers all.
This work was probably a piece of bedroom furniture,
perhaps a bedhead or piece of wainscoting,
most probably the 'spalliera' or backboard from a chest or day bed.
The wasps ('vespe' in Italian) at the top right suggest a link with the
Vespucci family,
though they may be no more than a symbol of the stings of love.
c. 1470
Panel, 124,5 x 123 cm
National Gallery, London
TIZIANO Vecellio Noli me tangere c. 1512 Oil on canvas,
109 x 91 cm National Gallery, London
EYCK, Jan van of Giovanni Arnolfini and his Wife
1434
Oil on oak, 82 x 60 cm National Gallery, London
RUBENS, Pieter Pauwel Samson and Delilah
c. 1609 Oil on wood, 185 x 205 cm
Samson, the Jewish hero, fell in love with Delilah.
She was bribed by the Philistines,
and discovered that his strength came from
his hair which had never been cut.
While he was asleep it was cut,
Samson was drained of his strength and
the Philistines were able to capture him.
Old Testament (Judges 16: 17-20).
Rubens depicts a candlelit interior
the Philistines wait at the door,
one of their number cuts Samson's hair,
while an elderly woman provides
extra light. In a niche behind is a statue
of the goddess of love, Venus, with Cupid
a reference to the cause of Samson's fate.
Seaport with the Embarkation of the Queen of Sheba
1648 CLAUDE 1604/5? - 1682
The Bible relates how the Queen of Sheba visited King Solomon
in Jerusalem
(1 Kings 10).Their meeting was often painted, but it was unusual
to depict the
Queen's embarkation. Many of Claude's paintings are concerned
with the
theme of journeying; here he creates an imaginary seaport.
This painting and 'Landscape with the Marriage of Isaac and
Rebecca', also
in the Gallery,were sold by Claude as a pair to the Duc de Bouillon
(1605 - 1652),
general of the Papal army. The pair complement each other
depicting joyful occasions in the Old Testament.
The Queen of Sheba is set down at dawn by the sea,
and the Marriage of Isaac and Rebecca takes place in the
afternoon, inland.
Seaport with the Embarkation of Saint Ursula
1641 CLAUDE 1604/5? - 1682
According to legend Saint Ursula was a British princess
who made a pilgrimage to Rome with 11,000 virgin
companions.
She returned with them to Cologne, where they were all
martyred.
Saint Ursula is shown here, in yellow and holding a flag
with her emblem,
watching her companions embark on the return voyage.
The girls carry bows and arrows, the instruments of their
martyrdom.
The building at the left is based on the Tempietto di San
Pietro in Montorio,
Rome.The canvas was painted in 1641 for Fausto Poli,
who was made a cardinal by Pope Urban VIII in 1643
Robert Venturi and Denise Scott Brown
Sainsbury Wing, National Gallery, London, England
1985-91 interior view, photo Matt Wargo
The National Gallery, East Wing Project
Watteau_"The Love Song"
Rembrandt, "Saskia as Flora"
REMBRANDT Harmenszoon van Rijn<
Hendrickje Bathing in a Rive
1654
Oil on panel, 61.8 x 47 cm
National Gallery, London
Jones by Renaldi
Anne, Lady Pope with her children
by Marcus Gheeraerts the Younger
The Rokeby Venus VELAZQUEZ, Diego
1599 - 1660
This is the only surviving example of a female nude by
Velazquez.
The subject was rare in Spain because it met with the
disapproval of the
Venus, the goddess of love, was the most beautiful of the
goddesses,
and was regarded as a personification of female beauty.
She is shown here with her son Cupid, who holds
up a mirror
for her to look both at herself and at the viewer.
Waterlilies - Monet
The Virgin on the Rocks - Leonardo da Vinci
The Virgin of the Rocks' seems not to refer to the mystery of the
Immaculate
Conception, but depicts the type of subject that Leonardo
might have painted
in his native Florence where legends concerning the young
Saint John the
Baptist were popular.It was twenty five years until a painting
of this subject
was finally placed in the chapel.
In the interim, Leonardo had painted two versions of the
composition:
the first (in the Louvre) probably sold in the 1490s to a private
client after a
financial wrangle with the Confraternity; and a replacement,
- the painting that
now hangs in the National Gallery - that was never finished
despite some help
from his studio, but was installed in the chapel in 1508.
by Vincent van Gogh 1889
The Battle of San Roman UCCELLO, Paolo
about 1397 - 1475
This brilliantly structured and colourful painting depicts part of the
battle of San Romano
that was fought between Florence and Siena in 1432.
The central figure is Niccolo da Mauruzi da Tolentino on his
white charger,the leader of the victorious Florentine forces,
who is identifiable by the motif of 'Knot of Solomon' on his
banner.
This panel is one of a set of three showing incidents from the
same battle.
The other two are in the Louvre, Paris, and the Uffizi, Florence.
This painting and its two companion panels were commissioned
by the Bartolini Salimbeni family in Florence sometime
between 1435 and 1460, only the Uffizi panel is signed.
Lorenzo de' Medici so coveted them that he had them forcibly
removed to the Medici palace.
The Adoration of the Kings 1510-15
GOSSAERT, Jan Died: 1532
This large picture was probably painted as the altarpiece
of the Lady Chapel at St Adrian's Grammont, near
Brussels. The kneeling King, Caspar, is probably a portrait of
Johannes de Broeder, who became abbot there in 1506 and may
have commissioned the picture.Behind him stands Melchior with
a retinue of attendants. Balthazar is on the left.Further back an
onlooker, seen through a doorway, may be a self portrait of the artist.
The dove, symbol of the Holy Spirit, descends to the infant Christ
from the brilliant star in the sky, and angels approach from
a great distance through a series of arches,
giving the scene a spectacular sense of space and depth.
Madonna of the Pinks - Raphael
This small devotional picture was painted for Christian contemplation
its original owner would have held the painting in his or her hand.
It shows the
Virgin
and Child seated in a bedchamber (the bed-curtain is looped
behind the Virgin's head) with a view of a sunny landscape seen
through a window. They hand flowers between them - pinks which
are symbols of marriage - depicting the Virgin Mary as not only the
Mother but the Bride of
Christ
The Entombment
about 1500-1 MICHELANGELO 1475 - 1564 This unfinished painting
shows Christ's body being carried to his tomb.