One of the many ornately decorated ceilings at the Vatican museum. The gold frames that hold masterpieces donated and commissioned by artists pave the way to the Sistine Chapel. Basically, it’s a prequel to the splendour that you are about to see - and what a build up! Were it not for social behaviour norms and the many tourists, I would have lay on the ground - what am I saying, it’s marble - just to look up and take it all in! #vaticanmuseum#goldencorridor#symmetry#travelthursday#seebeautyallaroundtheworld
St. Sebastian, c.1474. Tempera on panel. 195 x 75 cm. Gemäldegalerie, Berlin. Sandro Botticelli. The Italian executed this superb work for Santa Maria Maggiore, Florence where, on January 20 1474 was first exhibited on a column, being an utter success in front of the jaw-dropping viewers of the time; after all, it was the first large scale nude portrayed by Sandro Botticelli on such an special day. He was the protector against plagues.
At the height of its popularity, the image of St Sebastian was painted by many great artists; just to name a few: Antonello da Messina, Andrea Mantegna, Antonio Pollaiuolo, Titian, El Greco, Paolo Veroneso, Ribera, Anthony van Dyke, Perugino…. Scholars such as K. Clark spoke of the effect it caused as if it were a nude in repose, comparable to those often seen in Greco-Roman sculpture. However, the topic of St. Sebastian being pierced in his torture by the arrows had already found a plethora of followers, perhaps, because the artists themselves –generally pious or at least Christian believers– tried to imitate the life of a favourite saint so as to make them find their own innermost essence, as human beings; metaphorically speaking to help them in the “suffering” of their art, the violent death of Sebastian seen as the creation of the artist’s work itself.
The composition itself is not really complex –as they normally were in Florence at the time: it depicts a young St. Sebastian and a simple background landscape in which the torturers of the saint are seen hunting herons on the outskirts of a possibly Flemish town.
The story of the Christian martyr, born in Narbonne in the third century A.D. and executed by the Diocletian’s arrows because of his religious belief is, continued in Botticelli’s painting who re-took the old story when the soldiers had all left after thinking he was already dead; in point of fact, he was not and survived with the aid of Irene.
The serene, even peaceful face of Sebastian does not match with the suffering which he had undertaken. Sebastian has just a loincloth covering his nudeness; he is standing on the stumps of a tree that has been cut to the shape of a stake.
More #jamesleong#masterpieces#sg#artist . If you happen to be in sg or are from #singapore , do go check out the amazing stuff that @jamesleong007 is putting out at the illustrations Art Fest Event which will be on the held this weekend on the 22 Sept 2018 Sat and 23Sept 2018 Sunday from 10 am to about 6pm if I am not mistaken . Go show some love to the sifu
Our meticulous art handlers in action! Curious to see the final result?
‘Art Wonders of the XX Century’ is now open, come by our Gallery at 45 Dover Street, London, W1S 4FF.
The exhibition brings together an outstanding group of artists active in Italy following World War II, together with an historical corner of selected Masterpieces. Opening time Monday to Friday 10:00 - 18:00, Saturday 11:00 - 18:00.
(Sx to dx) Nicola De Maria, Regno dei Fiori, 1985, Mixed media on canvas, 100 x 80 cm; Enrico Castellani, Superficie Blu, 2006, Acrylic on shaped canvas, 80 x 70 cm; Paolo Scheggi, Zone Riflesse, 1963, Acrylic on three super imposed canvases, 60 x 50 x 5 cm; Carla Accardi, A Settori, 1957, Casein on canvas, 69 x 135.5 cm