Category: Paintings

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Ten Paintings from History utilising Lapis Lazuli

Lapis lazuli, with its captivating blue hue, has been used in various artworks throughout history. Here, in no particular order, are ten notable artworks that have made exceptional use of lapis lazuli:

“The Last Judgment” by Giotto di Bondone: Giotto’s fresco in the Scrovegni Chapel, Padua, Italy, showcases the vibrancy of lapis lazuli in its depiction of the heavenly realm. The deep blue background, created using lapis lazuli, emphasizes the celestial atmosphere and heightens the divine presence.

“The Annunciation” by Jan van Eyck: In this masterpiece, housed in the National Gallery of Art, Washington, D.C., van Eyck used lapis lazuli to enhance the robes of the Virgin Mary and the angel. The radiant blue provides a striking contrast against the warm tones of the rest of the painting.

The Wilton Diptych”: As previously mentioned, this small diptych, currently housed in the National Gallery, London, incorporates lapis lazuli extensively. The celestial blue background and the clothing of the figures, including the Virgin Mary and angels, showcase the rich and intense blue pigments derived from lapis lazuli

“Book of Kells”: This illuminated manuscript, housed in the Trinity College Library, Dublin, features intricate illustrations adorned with lapis lazuli pigments. The brilliant blue hues lend an ethereal quality to the religious scenes, ornate initials, and elaborate borders.

“The Ghent Altarpiece” by Jan van Eyck: Within this monumental altarpiece, located in St. Bavo’s Cathedral, Ghent, Belgium, lapis lazuli was employed to depict the robes of several figures, including the enthroned Christ and the Virgin Mary. The deep blue conveys their divine status and adds to the overall splendor of the work.

“The Rucellai Madonna” by Duccio di Buoninsegna: This iconic panel painting, found in the Uffizi Gallery, Florence, showcases lapis lazuli in the background, creating a celestial atmosphere. The use of the blue pigment highlights the Madonna and Child, drawing attention to their sacred presence.

“The Coronation of the Virgin” by Fra Angelico: Housed in the Louvre Museum, Paris, this altarpiece incorporates lapis lazuli to evoke a sense of heavenly transcendence. The blue background and the angelic figures, embellished with lapis lazuli, create a sublime aura surrounding the central scene.

“The Adoration of the Magi” by Gentile da Fabriano: In this magnificent altarpiece, located in the Uffizi Gallery, lapis lazuli is used generously, particularly in the clothing and lavish details. The rich blue pigments heighten the opulence of the scene and symbolize the divine nature of the event.

“The Madonna of Humility” by Masaccio: Within this panel painting, found in the Uffizi Gallery, lapis lazuli is employed to create a radiant blue background, highlighting the Madonna and Child. The blue hue adds depth to the composition and accentuates the contemplative atmosphe

“The Portinari Triptych” by Hugo van der Goes: This altarpiece, housed in the Uffizi Gallery, features lapis lazuli in the background of the central panel and throughout the work. The deep blue hues heighten the spiritual quality of the scene and enhance the overall visual impact

These ten artworks represent a fraction of the rich heritage of lapis lazuli in art history. They demonstrate the exceptional beauty and significance of this precious gemstone, which has played a vital role in conveying

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Georges Serault’s Contribution to Impressionism: The Master of Pointillism

Introduction: The Impressionist movement in art revolutionized the way we perceive and represent the world around us. Among the notable figures of this movement, Georges Seurat stands out as a pioneer who pushed the boundaries of impressionism with his unique technique of pointillism. Through his innovative use of dots and meticulous attention to color and light, Seurat made a significant impact on the art world and solidified his place in the Impressionist movement.

Study for A Sunday Afternoon on the Island of La Grande Jatte, 1884–85, Metropolitan Museum of Art, New York

Early Life and Influences: Georges Seurat was born on December 2, 1859, in Paris, France. Growing up in a post-impressionist era, he was influenced by the works of renowned painters such as Claude Monet and Camille Pissarro. These artists inspired Seurat to experiment with the depiction of light, capturing fleeting moments and the ephemeral nature of reality. However, Seurat sought to develop his own distinct style, one that would leave an indelible mark on the art world.

The Technique of Pointillism: Seurat’s most significant contribution to impressionism was the development and refinement of the pointillist technique. Rather than applying brushstrokes in a conventional manner, Seurat used small dots of pure color, which, when viewed from a distance, blended together to create vibrant and harmonious compositions. This meticulous and labor-intensive technique required patience and precision, as each dot played a crucial role in the overall visual effect. Through pointillism, Seurat sought to achieve a sense of luminosity and enhance the brilliance of color in his paintings.

“A Sunday on La Grande Jatte”: Seurat’s most celebrated work, “A Sunday on La Grande Jatte” (1884-1886), exemplifies his mastery of pointillism and its impact on impressionism. The painting depicts a peaceful scene along the Seine River, where individuals from different social backgrounds gather to enjoy their leisure time. Seurat meticulously applied thousands of dots of paint to create the composition, paying particular attention to the interplay of light and color. The result is a captivating and harmonious visual experience, where the colors seem to vibrate and blend seamlessly. “A Sunday on La Grande Jatte” showcases Seurat’s ability to capture the essence of a moment while conveying a sense of timelessness.

Seurat, 1879–80, Landscape at Saint-Ouen, oil on panel, Metropolitan Museum of Art

Scientific Approach and Color Theory: Seurat’s approach to painting was deeply influenced by scientific principles and color theory. He studied the science of optics, particularly the theories of Eugene Chevreul and Michel-Eugène Chevreul, which explored the interaction of colors and the impact of juxtaposition. Seurat’s meticulous use of color was informed by these scientific findings, enabling him to create optical mixtures and achieve a heightened sense of luminosity. By carefully selecting and arranging colors, Seurat was able to produce remarkable visual effects and evoke different moods within his works.

Seurat, 1881, Overgrown slope, oil on canvas, Dallas Museum of Art

Legacy and Influence: Georges Seurat’s groundbreaking technique of pointillism had a profound influence on the development of modern art. His meticulous attention to detail, scientific approach to color, and dedication to capturing light set him apart from his contemporaries. Seurat’s unique style paved the way for Neo-Impressionism, inspiring artists such as Paul Signac and Henri-Edmond Cross. Furthermore, his emphasis on the scientific aspects of color influenced the emergence of movements such as Fauvism and Cubism, where artists explored the subjectivity of color perception.

Fishing in The Seine, 1883, Musée d’art moderne de Troyes

Conclusion: Georges Seurat’s contribution to the Impressionist movement cannot be overstated. Through his mastery of pointillism and dedication to the scientific aspects of color, he created a unique visual language that transformed the art world.

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Piet Modrian and his Philosophy of Modern Art

Tableau I, 1921, Kunstmuseum Den Haag

Piet Mondrian, a Dutch painter and one of the pioneers of abstract art, developed a distinctive philosophy on art that is often referred to as neoplasticism or the “De Stijl” movement. Mondrian’s philosophy was deeply rooted in his belief in the spiritual and transformative power of art. His ideas not only influenced his own work but also had a significant impact on the development of modern art as a whole.

Central to Mondrian’s philosophy was the idea that art should strive to achieve a universal harmony and order. He believed that through the use of abstract forms, colors, and lines, artists could express the fundamental principles of the universe and create a sense of balance and tranquility. Mondrian sought to distill the essence of reality into its purest form, removing any unnecessary elements and reducing everything to its essential geometric components.

For Mondrian, art was a means to transcend the physical world and access a higher spiritual realm. He believed that by simplifying and organizing the visual elements, artists could tap into a universal energy or truth that lay beneath the surface of appearances. He aimed to create a sense of dynamic equilibrium, where the tensions between opposing elements—such as horizontal and vertical lines, primary colors and neutrals—could be resolved.

New York City (1942), Paris, Centre Pompidou.

Mondrian’s artistic philosophy also emphasized the concept of “plasticity,” which referred to the dynamic relationship between elements within a composition. He believed that the interplay between positive and negative space, color contrasts, and the rhythmic arrangement of lines could generate a sense of movement and energy. This idea of plasticity reflected his belief in the interconnectedness and interdependence of all things.

In practice, Mondrian’s philosophy manifested in his iconic paintings featuring grids of black lines intersecting with blocks of primary colors. These compositions, often referred to as his “grid paintings” or “Compositions,” aimed to evoke a sense of harmony and equilibrium through the careful placement and balance of geometric forms. Mondrian’s use of primary colors—red, blue, and yellow—symbolized the fundamental elements of the universe, while the black lines represented the dynamic tension and structure.

Victory Boogie Woogie (1942–1944), Kunstmuseum Den Haag

Mondrian’s philosophy had a profound influence on the development of modern art and design. His ideas resonated with artists and designers who sought to break away from traditional representational forms and explore the potential of abstraction. The principles of neoplasticism and Mondrian’s emphasis on simplicity, balance, and harmony continue to inspire artists, architects, and designers to this day.

Overall, Piet Mondrian’s philosophy on art emphasized the pursuit of universal harmony, spiritual expression, and the reduction of visual elements to their essential forms. His work and ideas played a pivotal role in shaping the trajectory of modern art, and his legacy continues to be celebrated and studied by artists and art enthusiasts worldwide.

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Top Ten Madonna and Child artworks to see around the globe

*The choice is of course subjective, as there are many depictions of the Virgin and Child.

Madonna and child artworks have been a popular theme in Christian art throughout history, and many famous artists have created their own interpretations of this subject. Here are 10 notable Madonna and child artworks, along with their locations, sizes, and materials:

1 “The Sistine Madonna” by Raphael Location: Gemäldegalerie Alte Meister, Dresden, Germany Size: 265 cm × 196 cm (104 in × 77 in) Materials: Oil on canvas

2 “Madonna and Child with Two Angels” by Filippo Lippi Location: Uffizi Gallery, Florence, Italy Size: 92 cm × 63 cm (36 in × 25 in) Materials: Tempera on wood panel

3 “The Madonna of the Rocks” by Leonardo da Vinci Location: Louvre Museum, Paris, France Size: 199 cm × 122 cm (78 in × 48 in) Materials: Oil on wood panel

4 “Madonna with the Long Neck” by Parmigianino Location: Uffizi Gallery, Florence, Italy Size: 216 cm × 132 cm (85 in × 52 in) Materials: Oil on wood panel

5 “Madonna del Prato” by Raphael Location: Kunsthistorisches Museum, Vienna, Austria Size: 113 cm × 88 cm (44 in × 35 in) Materials: Oil on wood panel

6 “The Madonna of the Chair” by Raphael Location: Palazzo Pitti, Florence, Italy Size: 71 cm × 71 cm (28 in × 28 in) Materials: Oil on wood panel

7 “Madonna and Child with Saints” by Andrea Mantegna Location: San Zeno Basilica, Verona, Italy Size: 386 cm × 285 cm (152 in × 112 in) Materials: Tempera on canvas

8 “Madonna and Child Enthroned with Saints” by Duccio di Buoninsegna Location: Museo dell’Opera Metropolitana del Duomo, Siena, Italy Size: 450 cm × 290 cm (177 in × 114 in) Materials: Tempera on wood panel

9 “Madonna and Child” by Giotto located National Gsllery, Washington DC. Tempera on Poplar Panel, circa 1310 – 1315

painted surface: 85.4 × 61.8 cm (33 5/8 × 24 5/16 in.) overall (including added strips): 87.7 × 63.2 × 1.3 cm (34 1/2 × 24 7/8 × 1/2 in.) framed: 128.3 x 72.1 x 5.1 cm (50 1/2 x 28 3/8 x 2 in.)

10 “The Virgin and Child with Saint Anne” by Leonardo da Vinci Location: Louvre Museum, Paris, France Size: 168 cm × 130 cm (66 in × 51 in) Materials: Oil on wood panel

*All images public domain

There is a second Leonardo version “of the rocks” located at the National Gallery, London.

“The Virgin of the Rocks” (National Gallery version)
Location: The National Gallery, London, United Kingdom
Size: Approximately 189.5 cm × 120 cm (74.6 in × 47.2 in)
Materials: Oil on wood panel

The National Gallery version of “The Virgin of the Rocks” is the second rendition painted by Leonardo da Vinci. It was commissioned for the chapel of the Confraternity of the Immaculate Conception in Milan but later acquired by the National Gallery.

The above artworks represent a range of styles and periods in art history, showcasing the enduring popularity of the Madonna and child motif.

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Bartholomew Fair Watercolour by Charles Green R.I. (1840 – 1898)

Saint Bartholomew Fair, watercolour, Charles Green, circa 1870

Whilst researching for volume two of the George Wombwell biography, I discovered a November 1949 article in the popular newsapaper The Sphere concerning Charles Green’s depiction of Bartholomew Fair in central London. It referred to its place in a collection under the aegis of The National Gallery of British Sports and Pastimes, which had been founded by Walter Hutchinson (1887 – 1950) during 1949. It consisted of over 3600 paintings, prints and other works, which belonged to Hutchinson and adorned his house in London: Hutchinson House. Formerly known as Derby House, Stratford Place, the house was originally built for Edward Stratford, the Second Earl of Aldborough in 1776 – 1777. The current occupants are the Orient Club which have maintained residence since 1962.

There is a catalogue of items from the collection.

National Gallery of British Sports & Pastimes (LONDON) – The First 600 Selected Pictures. National Gallery of British Sports and Pastimes … List of sports and pastimes, etc. (London, c.1950)

Following Hutchinson’s death, and the breakup of the Sports and Pastimes Gallery, all works were offered up for auction. The current whereabouts of Green’s painting is not known and there is no record of its existence in the Courtauld’s Witt Archives (as of summer 2017). The Sphere article is quite sparce, but describes a busy scene, full of incidents after the manner of Frith. The entertinments include Wombwell’s Menagerie (rear left), swings, roundabouts and all the fun of the fair. In the background is the entrance to Bartholomew’s Hospital. It is probably the most representative of all views of Bartholomew Fair, although it must have been painted after 1855, the closing date of the fair.

Green was a well known illustrator for the works of Charles Dickens and other examples of his work can be found in collections such as those of the Victoria and Albert museum in central London.

This painting was excluded from the biography due to insumountable, multiple copyright issues, and is published here for the purposes of non-commercial research or private study, reference, criticism or review or news reporting, of not more than one item (article or page) from any one issue of a newspaper of periodical. Copyright issues should not be allowed to interfere with the discovery of hitherto unknown artworks from being researched and presented for public display.

Any information concering the current location of the watercolour would be gratefully received.