The Pope Is Sexy As Fuck

17 - Italy None of these pictures are mine unless i state so

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“Young Lady In a Boat”, 1870, James Tissot. (via)

Large (Wikimedia)
Caspar David Friedrich is known for depicting what the Metropolitan Museum of Art calls “communion with nature, which the Romantics saw as a manifestation of the Sublime.”
Unlike many landscape artists, however, his paintings were often overtly religious.
After one of his early paintings, the Getty tells us, “[s]hocked by his use of secular genre for a religious purpose, critics accused Friedrich of sacrilege. Friedrich’s oeuvre encompasses scenes of ruined Gothic churches, cemeteries, desolate landscapes, and silent figures in vast spaces, all deeply spiritual and often melancholy.”
There is indeed something wonderfully chilling in the peculiar geometric composition in Cross and Cathedral in the Mountains, from 1812, with the spires of the church continuing the line of the crucifix while the trees balance each other on either side.
The National Gallery in London writes of a work rather like this one that “[t]he rocks and evergreen trees may be interpreted as symbols of faith, and the visionary Gothic cathedral emerging from the mist evokes the promise of life after death.”
Here the sanguine-red glow of the mist-scattered sun reads more as a threat than a promise.


Giorgio Vasari c. 1555-1565

Palazzo Vecchio




Baldacchino at St. Peter’s Basilica by Bernini (1633)

Jan Gossaert c. 1510
Agony in the Garden (detail)

The Virgin in Majesty with Four Saints copy

Hugo van der Goes 

circa 1440 to 1483

Oil on wood

“Mythological Scene" (detail), c.1524, Dosso Dossi.


I love art - no.16

Sandro Botticelli, Italian  (1445—1510).

Raphael - Pope Leo X (detail)

(Source: marcuscrassus)


Unknown English Lady

Scholarly Resource Alert! A freely available resource, Italian Renaissance Learning Resources features eight units, each of which explores a different theme in Italian Renaissance art.

Picturing Family and Friends: In this unit we look at works of art that reveal some of the dynamics of personal relationships in Renaissance Italy. The first section of the essay explores husbands and wives, while the second discusses children. The third section takes a peek at lovers of various sorts, and the fourth considers friends (and a few celebrated enemies). Throughout the unit we examine marriage customs, family structure, and the humanist idea of platonic love (as well as the more earthly sort of love), and we learn more about the objects—paintings, sculpture, commemorative medals, and domestic articles—through which these complex and overlapping connections were expressed.

This project is a collaboration between the National Gallery of Art and OUP’s Grove Art Online. It was made possible through the support of the Samuel H. Kress Foundation.
Image credit: Titian, Ranuccio Farnese, Samuel H. Kress Collection. Image courtesy of the Board of Trustees, National Gallery of Art.

Flora, Titian 


Details from Giorgione’s “Judith with the Head of Holofernes”, c.1505.

"Giorgione shows the heroic instance, the triumph of victory by Judith stepping on Holofernes’s severed, decaying head. But the emblem of Virtue is flawed, for the one bare leg appearing through a special slit in the dress evokes eroticism, indicates ambiguity and is thus a first allusion to Judith’s future reversals from Mary to Eve, from warrior to femme fatale." (Renate Peters, "The Metamorphoses of Judith in Literature and Art: War by Other Means"



Botticelli c. 1481-1485
Madonna of the Magnificat (detail)