The Parting of Lot and Abraham is one in a series of mosaic scenes, probably dating to the 430s, that decorate the nave wall of Santa Maria Maggiore, one of the most prominent basilican churches in Rome. The mosaic shows the story in the biblical Book of Genesis of the parting of Abraham from his nephew, Lot, as they choose opposing paths. Abraham (on the left) with Isaac and the rest of his family, chooses the road to Canaan, as God intends him to, and Lot chooses to take his followers to Sodom. [1]
The work is a tessera mosaic, tessera describing the material making up the surface of the work. Most tessera works during this time would be made up of small pieces of limestone or marble, cut to shape, and arranged by the artist. [2] The artist uses several conventions of the time. The grouping of the characters is varied, meant to create the illusion of space. This "shorthand" way of depicting a crowd is sometimes called a "head cluster". There is a hieratic abandonment of consistent and realistic proportions, booty, and scale, allowing the artist to put emphasis on the characters of his choosing using attributes like size. The main characters we are intended to focus on are made extremely clear through this method, and the picture itself becomes less illustrative and more symbolic. Eventually, this style comes to refined maturity during the Middle Ages. The move towards completely two-dimensional representative images has already started, and although this mosaic implements the use of lights and darks, with shadows corresponding to the figures, there is a good indication as to what direction religious art is heading. [3]
Cimabue, also known as Cenni di Pepo or Cenni di Pepi, was an Italian painter and designer of mosaics from Florence.
Liang Kai was a Chinese painter of the Southern Song Dynasty. He was also known as Madman Liang because of his very informal pictures. He was born in Shandong and worked in Lin An. He is known to have studied with the master Jia Shigu. He was awarded the rank of Painter-in-Attendance at the court of Jia Tai where he was known for mastery in painting figures, landscapes, and other minor subjects. He was also awarded the Golden Belt, however he left it behind when he left his position at court to practise Chan Buddhism.
Vulca was an Etruscan artist from the town of Veii. The only Etruscan artist mentioned by ancient writers, he worked for the last of the Roman kings, Tarquinius Superbus. He is responsible for creating a terracotta statue of Jupiter that was inside the Temple of Jupiter Optimus Maximus on the Capitoline Hill, and possibly the Apollo of Veii. His statue of Jupiter, which being made of terracotta had a red face, was so famous that victorious Roman generals would paint their faces red during their triumphal marches through Rome. Pliny the Elder wrote that his works were "the finest images of deities of that era...more admired than gold."
In architecture, a hypostyle hall has a roof which is supported by columns.
Shitao or Shi Tao, born into the Ming dynasty imperial clan as Zhu Ruoji (朱若極), was a Chinese Buddhist monk, calligrapher, and landscape painter during the early Qing dynasty.
The Virgin of Paris or Notre-Dame de Paris is a near life-size stone statue, 1.8 metres tall, of the Virgin and Child created in the early 14th century. The statue was commissioned for, and remains in the Cathedral of Notre-Dame in Paris, where it survived the 2019 Notre-Dame fire. It is an example of the court style in Late Gothic sculpture.
In 1671 an argument broke out in the French Royal Academy of Painting and Sculpture in Paris about whether drawing or color was more important in painting. On one side stood the Poussinists who were a group of French artists, named after the painter Nicolas Poussin, who believed that drawing was the most important thing. On the other side were the Rubenists, named after Peter Paul Rubens, who prioritized color. There was a strong nationalistic flavour to the debate as Poussin was French but Rubens was Flemish, though neither was alive at the time. After over forty years the final resolution of the matter in favor of the Rubenists was signalled when Antoine Watteau's The Embarkation for Cythera was accepted as his reception piece by the French Academy in 1717. By that time the French Rococo was in full swing.
The Basilica of San Vitale is a late antique church in Ravenna, Italy. The sixth-century church is an important surviving example of early Christian Byzantine art and architecture. It is one of eight structures in Ravenna inscribed on the UNESCO World Heritage List. Its foundational inscription describes the church as a basilica, though its centrally-planned design is not typical of the basilica form. Within the Roman Catholic Church it holds the honorific title of basilica for its historic and ecclesial importance.
Iaia of Cyzicus, sometimes (incorrectly) called Lala or Lalla, or rendered as Laia or Maia, was a Roman painter, born in Greece, and relatively exceptional for being a woman artist. She was alive during the time of Marcus Terentius Varro. In De Mulieribus Claris, his book of women's biographies, Boccaccio refers to her as "Marcia", possibly confusing her with the Vestal Virgin of that name.
Wiligelmo was an Italian sculptor active between c. 1099 and 1120. He was the first sculptor in Italy to produce large-format sculptures and sign his work.
Old St. Peter's Basilica was the building that stood, from the 4th to 16th centuries, where the new St. Peter's Basilica stands today in Vatican City. Construction of the basilica, built over the historical site of the Circus of Nero, began during the reign of Emperor Constantine I. The name "old St. Peter's Basilica" has been used since the construction of the current basilica to distinguish the two buildings.
The Night is an oil on canvas painting by German artist Max Beckmann, created between 1918 and 1919. It is an icon of the post-World War I movement Neue Sachlichkeit, or New Objectivity. It is located at the Kunstsammlung Nordrhein-Westfalen, Düsseldorf.
The Equestrian Statue of Gattamelata is an Italian Renaissance sculpture by Donatello, dating from 1453, today in the Piazza del Santo in Padua, Italy. It portrays the condottiero Erasmo da Narni, known as "Gattamelata", who served mostly under the Republic of Venice, which ruled Padua at the time. It is the first full-size equestrian statue of the Italian Renaissance.
The Laocoön is an oil painting created between 1610 and 1614 by Greek painter El Greco. It is part of a collection at the National Gallery of Art in Washington, D.C.
Saint Michael Fighting the Dragon is a woodcut of 1498 by Albrecht Dürer, part of his Apocalypse series, illustrating the Book of Apocalypse or Revelation of St. John.
The Three Revelers Vase, also known as simply the Revelers Vase, is a Greek vase originating from the Archaic Period. Painted around 510 BCE in the red figure pottery style, the Revelers vase was found in an Etruscan tomb in Vulci, Italy. The painting is attributed to Euthymides. Although the vase is in the amphora shape, its purpose is more decorative than functional. The painting itself shows three nude partygoers and Hector arming on the reverse. The work is remarkable because of the early use of foreshortening as opposed to conventional profile and frontal views. The Revelers Vase currently resides in the Staatliche Antikensammlungen in Münich, Germany.
The Stag Hunt mosaic is a mosaic from a wealthy home of the late 4th century BC, the so-called "House of the Abduction of Helen", in Pella, the capital of the Macedonian Kingdom. It bears the signature of the Ancient Greek artist Gnosis, of whom very little is known. It is now located in the Archaeological Museum of Pella, Central Macedonia, Greece.
Self-Portrait as the Allegory of Painting, also known as Autoritratto in veste di Pittura or simply La Pittura, was painted by the Italian Baroque artist Artemisia Gentileschi. The oil-on-canvas painting measures 98.6 by 75.2 centimetres and was probably produced during Gentileschi's stay in England between 1638 and 1639. It was in the collection of Charles I and was returned to the Royal Collection at the Restoration (1660) and remains there. In 2015 it was put on display in the "Cumberland Gallery" in Hampton Court Palace.
Artists' charcoal is charcoal used as a dry art medium. Both compressed charcoal and charcoal sticks are used. The marks it leaves behind on paper are much less permanent that with other media such as graphite, and so lines can easily be erased and blended. Charcoal can produce lines that are very light or intensely black. The dry medium can be applied to almost any surface from smooth to very coarse. Fixatives are used with charcoal drawings to solidify the position to prevent erasing or rubbing off of charcoal dusts.
Entry of Christ into Jerusalem or Veoforos is a tempera painting created by Efstathios Karousos. He was a Greek painter. He was a prominent member of the Heptanese School. He was from Kefalonia. He was active in Kefalonia, Naples, Triste and Venice. He is the second Greek painter associated with Naples the other was Belisario Corenzio. Both painters were affiliated with Santi Pietro e Paolo dei Greci. Karouso's artistic period was from 1750 to 1818. Thirty-eight of his works survived. Most of his works are in the church Santi Pietro e Paolo dei Greci.