Earthly and Sacred Realms

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This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.

Welcome to The London National Gallery. Please join me as we survey the Earthly and Sacred Realms, as represented by eight individual artists’ works in this public collection. The works we will be discussing have been set within the Earthly and Sacred Realms theme because of either their reverence to the earthly realm as it pertains to all things sacred, or to their sacred realm as it pertains to things here on earth. The London National Gallery, founded in 1824, has moved twice since its origin and is currently located in Trafalgar Square, here in London, UK. We house over 2,300 Western European paintings from the thirteenth to nineteenth centuries. All major traditions of Western European painting are represented here, from the artists of late medieval and Renaissance Italy, to the French Impressionists.1 One of the many things that individualizes the London Nationally Gallery, along with it’s rich history and devotion to maintaining such a large collection, is the fact that it is owned by the public of the United Kingdom.2 As such, admittance is always free, making the gallery accessible to all art lovers, from the seasoned critic to the young admirer.

Bathers (Les Grandes Baigneuses), Paul Cézanne, about 1894-1905, From the collection of: The National Gallery, London
The first work we see on our tour is The Bathers, an oil painting created by Paul Cezanne in 1906. The women depicted have no faces; they are unknown. The background is vague, but the people are bold. The background is light and dark, but the color of the women balance it out. This is why your eyes are drawn to them. The women's legs lead you ** her body to the middle of the painting. Even the women on the left and right sides of the painting lead you towards the middle (even the tree branches do). There is a triangular shape to the layout of the painting, but instead leading your eyes towards the point, your eyes are drawn to the bottom of it.  This painting fits into the theme of Earthly because of how to women are interacting with nature. The women are ***** and extremely comfortable with the world around them. They are one with nature, and are connected spiritually with it. In this painting, the women are vague as well as the background. I feel that this blends the nature with the women are shows how they are mentally, spiritually, and physically one with each other.
Summer, Hans Wertinger, about 1525, From the collection of: The National Gallery, London
Continuing on, we come to Summer, an oil painting by the artist Hans Wertinger, circa 1525. The painting depicts the daily life of people, from many different social classes, during the summer months. The theme of Summer is a mix between art and nature and the stories and histories theme. It depicts a beautiful, earthy landscape, but also a glimpse into the daily lives of people in history. Summer doesn't have much vertically to it, it is mostly horizontal. However, the large dark tree on the left and the rock formation on the very right give it some vertically. It serves to draw the eye to those features and once that happens, you can look at the picture horizontally to see all the different summer oriented jobs the people are doing. The colors are very earthy, mostly green and brown with pops of red and blue to draw your attention to the people even more. The painting gives off a sense of unity among the people. They are of different social class, but they are all working together.
The Ambassadors, Hans Holbein the Younger, 1533, From the collection of: The National Gallery, London
Our third piece, The Ambassadors, was created by Hans Holbein in 1533. This painting is considered to be a double portrait. This is a well known oil painting of still life and also anamorphosis painting (the distorted skull). The figure on the left is Jean De Dinteville, Seigneur of Polisy (1504- 1555) a french ambassador to the court of Henry the VIII. The man on the right is Georges De Selve (1508-1541) Bishop of Lavaur. The painting of the two men was commissioned by the man on the left when his childhood friend on the right came for a visit. The table between them was set up to display all their life achievements, and also have symbolic meanings. There is a vibrant green drape in the background that makes the two figures stand out. The tiles on the floor have leading lines that focus the men in. The floor is an intricate mosaic pattern based on a medieval floor of the Westminster Abbey. The Globe on the lower table was a placed to a focus on Rome. The music that was also placed on the lower table was a lute, lutes were a symbol of harmony and the broken cord was symbolized as distress in harmony. The distorted skull is a technique in painting called anamorphosis. There is also a crucifix on the top left corner. If you look at the painting from the right looking upwards you will see the crucifix, this was symbolized the offer of God's redemption. If you look downwards you will see the skull which symbolized the reality of our morality.
The Four Elements: Earth, Joachim Beuckelaer, 1569, From the collection of: The National Gallery, London
Moving forward, we come to The Four Elements: Earth, by the artist Joachim Beuckelaer. Beuckelaer painted four paintings, titled The Four Elements, during his stay in Antwerp from 1569 to 1570. In this painting Beuckelaer painted the natural world. Earth is done like a farmers market. Beuckelaer painted about 12 different vegetables. This painting starts with the woman selling the vegetables, to the left. The next thing that catches your eye is the woman that is reaching out to the other woman.The painting is done in the Renaissance period to the late, Mannerism.
Respect, Paolo Veronese, about 1575, From the collection of: The National Gallery, London
Our fifth work is another piece chosen from a series of four. Respect, by Paolo Veronese, is the third painting in the series, Allegories of Love. It was painted in 1570, and was originally intended as a ceiling painting, giving the first of many impressions as to the Sacred Realm theme of this work. The focus is on a man in a green cape, that is being restrained by another man. The lines created by the deep green cape and by the arms jutting from it draw a distinct line toward the scarlet drapes that juxtapose the pale skin of the woman lying upon the crimson fabric. The woman is ***** and her face emotionless, almost as if she had been just awoken. Beneath the man, a cherub-like character stands. In one hand, the plump figure is grabbing the man's sword as if to urge him to from remove it from its sheath, and in the other hand, wielding an arrow as if he has just pierced the man with it. The man in the background, who appears to be restraining the main character from the ***** woman, is colored in pale shades as if to blend him into the environment, as a thought more than an actuality. The folds and movement of the crimson drapes draw the eye directly towards the ***** woman, as does the line created by the mans’ pointed arm. The woman is undoubtedly the true focus; but the rotund little being, whose arms point toward both figures, in conjunction with the title of the series, Allegory of Love, substantiates the importance of both figures and the relationship between them. Next, we come to Respect by Paolo Veronese once more. As previously stated, it is one of a series of four oil paintings created in 1570's titled "The Allegories of Love", created on a ceiling but now hanging in the National Gallery in London. This series deals with 'Unfaithfulness', 'Scorn', 'Respect' and 'Happy Union'. The colors are very bold and rich there seems to be a lot of pain and hurt in the picture. The woman seems to have a cut on her arm as she was stricken by her lover. The man in yellow and green seems to be angry by something this woman has done. If you look to the bottom a short man is there almost as cupid trying to save what love they have and a man in the back faded out is pulling the man's arm back trying to get him away. The curtain and the man's arm are a good form of lines and draw your eyes to the person in the middle which is in all the paintings which I believe is to be cupid. This painting leaves you wanting to know more and yet there is hardly any information on this painting. The painting fits into Sacred Realm because of when the painting was done and also by the looks of the building and how the people in the painting are dressed. Also the color choice seems to fit the category with the reds, yellows almost gold like color.
The Good Samaritan, Jacopo Bassano, about 1562-3, From the collection of: The National Gallery, London
Moving on, we come to The Good Samaritan, an oil on canvas painting by Jacopo Bassano. The painting is from the Late Renaissance at approximately 1562. Artwork from this time was known as Mannerism because it had a style of sophistication. Bassano built on the skills achieved by artists in the High Renaissance. At the time, Mannerism also stood for ideas and concepts. The colors are saturated and the shape of the subjects is triangular. As an Italian artist, Bassano left his poor community to study in Venice. He was inspired by the parables and may have connected this story with his own upbringing. With this message in mind, his painting falls under the Sacred Realm theme. The movement between the Good Samaritan and the wounded traveler centers them in the paining. The work is balanced with landscapes, animals and bottles of oil and wine around the men. It is also an example of time and motion in art, because it still applies over 400 later than Bassano made it.  
Saint Jerome, Giovanni Girolamo Savoldo, about 1525-30, From the collection of: The National Gallery, London
Next, we come to Saint Jerome, done by Giovanni Girolamo Savoldo, that was completed C. 1532. The piece contains Saint Jerome before a crucifix, (an alter used for prayer/etc. with a strong connection to Christ,) supposedly either praying, or translating the "Vulgate Bible". The piece is covered with either dark or cool colors, and often has both. Most of St. Jeromes' figure is human shaped, but the odd position of the arm, and parts of his twisted torso, are almost abstract in shape; this was done to provide the viewer with "apparent" movement. The piece is unique, because of all the pieces of Saint Jerome, it may be the only one where he is depicted as actively translating part of the Bible, and where Saint Jerome looks weak and tired. Giovanni Savoldo did around 40 works, most of which being Christian based, or having some religious influence. Influential painters for Savoldo were Cima da Conegliano and Titian, but much of this is just speculation; Savoldos' early life has very little recorded history, and much of his styling may have came from early-career influences. He was fond of using lighting techniques that Conegliano used, as well as using deep, rich colors to bring "dramatic tonal values". He joined the Florentine painting guild in 1508, and that is where he began to become recognized. It was there that he was thought of as both eclectic and aloof to choose a style/movement, as well as having much enthusiasm in the Arts. The piece fits into a sacred realms theme nicely, as well as having some earthly aspects and meanings hidden throughout the piece. The rock, book, and the dark "city" in the background are all very important points, and draw your attention away from Jerome; he is still the most important part of the piece, but it is all the other things that draw your eyes; the book is plainly a book of great importance, and is probably some part of the Bible, since he was translator, and the rock could mean many different things, to any number of people. Some meanings could be strength, (despite what the painting shows,) pain, punishment, or even a belief. The darkened city or town also have an importance within the piece, but the viewer feels uncertain as to what its intention, or reason for being there, is.
An Adoring Angel, Moretto da Brescia, about 1540, From the collection of: The National Gallery, London
Lastly, we arrive at An Adoring Angel, by Moretto da Brescia. Made around 1540, An Adoring Angel is an oil painting that is very elegant and beautiful. The angel looks to be on a ledge and lost. Maybe lost in thought or lost in general. The words below the angel on the edge read "ave rigina coelorvm" which translates to Hail Queen of Heaven. The colors of the piece are very beautiful and bright. With just colors in a piece it can affect your mood. You feel pleasant and see the beauty in the piece. It is friendly, non-judgmental, and inclusive. This is a religious piece but it doesn't shove the thought of religion down people’s throats and is simply an angel that you can form your own thoughts on. Moretto’s paintings are all very large-scale and painted for religious foundations around Brescia. Moretto was influenced by Giorgione and Titian.  Morettos works are based on naturalism associated with painting in the 16th century. He was leading painter of Brescia in the early 16th century.
Credits: All media
This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.
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