Art history Jewels

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Oedipus and the Sphinx, by François-Émile Ehrmann

' In Greek mythology, the Sphinx haunted the road to Thebes, posing her famous riddle: "What walks on four legs in the morning, two at noon, and three in the evening?" Those who failed to answer were devoured. Oedipus, arriving at Thebes, solved it, “Man,” who crawls as a child, walks upright as an adult, and uses a cane in old age. This victory freed Thebes from the monster’s curse, though it also set in motion Oedipus’s tragic destiny. '

The Psychology of the Riddle: Oedipus and the Sphinx

Hardly painted before 1800, there has since been a succession of brilliant paintings of this story. Its focus has changed, from the tension

[arthistoryjewels]

'The Embrace' by Egon Schiele (1917), oil on canvas

'I’ve always thought of Schiele’s The Embrace as his true love painting. Even though it’s two nude figures entwined, there’s no eroticism in this piece. Instead of lust between the subjects, this portrays a tender union. It’s comfort they seek, rather than sex. Best of all, they seem to get it. This couple appear starving in body. They fill the frame with knobby knees, sharp elbows, and pelvic bones. So, it satisfies the viewer’s urge to feed them that they have at least found a way to fill their hearts.'

The Embrace, 1917 by Egon Schiele - LadyKflo

What's so special about Egon Schiele's 1917 painting, The Embrace? - Starving, clinging lovers entwined - When sick and twisted was hot - La

[granstromjulius]

Jacek Malczewski

[arthistoryjewels]

'Mrs. George Swinton (Elizabeth Ebsworth)' by John Singer Sargent, (1867)

'John Singer Sargent’s portrayal of musician Elizabeth “Elsie” Swinton epitomizes the painterly virtuosity that made the artist one of the most fashionable portraitists in late 19th-century Europe and America. Extravagant color and brushwork were central to Sargent’s success, as was his ability to present a refined and appealing likeness. Here, he accentuated the sitter’s regal bearing and elaborate dress. At the time, Swinton was a celebrated amateur singer, and the following decade she began performing professionally. Sargent harmonized the realism of her face and body with bursts of impressionistic brushstrokes describing the shimmering, translucent fabric descending from her shoulder.'

Mrs. George Swinton (Elizabeth Ebsworth) | The Art Institute of Chicago

John Singer Sargent, 1897

[arthistoryjewels]

'Modesty' by Antonio Corradini, (1752)

Modesty is one of two sculptures Corradini completed for the Sansevero Chapel, both a part of a ten-statue series of the Virtues. The veiled female figure embodies modesty but can also be considered a representation of wisdom. There is a clear reference to the veiled statue of Isis at Sais in Egypt. It is said that there is a quote on the ancient statue that reads "I am past, present, and future…". This allegory furthers Modesty's aspect of wisdom and the statue is often referred to as Veiled Truth. The symbols, such as the cracked plaque, illustrate her life being cut too short. 

[arthistoryjewels]

'Love's Shadow' by Frederick Sandys, (1867)

'It was modeled by actress Mary Emma Jones, Sandys' wife. The figure is richly adorned and biting the blooms from some blue violets, which are a symbol of love and devotion in Victorian floriography.'

[arthistoryjewels]

'Portrait of Juan de Pareja' by Diego Velázquez, (1650), oil on canvas.

As a virtuoso painter, Velázquez created countless portraits, depicting not only members of the Spanish royal family but also lower-ranking figures of the court, dwarfs, court jesters, children, and even Juan de Pareja himself.

During one of his journeys to Italy, Pope Innocent X commissioned Velázquez to paint his portrait, a significant challenge, as only world-renowned painters such as Raffaello and Tiziano had previously undertaken this task.

Before accepting the commission, Velázquez decided to create a test portrait, of none other than Juan de Pareja, a Moorish-born enslaved man who had accompanied him to Italy. Pareja had been by Velázquez’s side for years, not only as a servant but also as a close friend. The painting was met with great success, and following this achievement, Velázquez issued a manumission letter, granting Juan de Pareja his freedom. Later, as a free man, Juan pursued a career as a painter himself.

[ochretreemoss]

The Two Crowns, by Sir Franck Dicksee (1853-1928), 1900.

Look at this one guys!! A King (first crown) comes back from war, everybody's reaction indicate that he won, a glorious victory. His people are happy, throwing flowers, running around, admiring the King, but one person isn't happy, the King himself. He's fearfull, looking at the statue of Jesus (second crown, amplified by the golden sun on the flag behind him), because he knows he sined by killing people in the battle. Absolutly wonderful and gorgeous.

[arthistoryjewels]

'Old Woman and Boy with Candles' by Peter Paul Rubens, (1616-1617), oil on canvas

'An old woman gazes ahead, shielding her eyes from the candlelight, while the boy behind her holds his candle, ready to be lit. The panel is painted in the style of Caravaggio, whose work Rubens had seen in Italy. This style is characterized by its exciting effects of light and unpolished naturalism.'

The woman holds her hand uncomfortably close to the flame. Rubens initially painted the hand a little further away from the candle, at a more natural distance. But he rubbed that hand out and painted a new one a little lower. He probably did this because it creates a stronger and more compact composition. But the first version of the hand is still visible.

[arthistoryjewels]

'The Triumphant Matthias' by Gyula Benczur, (1919), oil on canvas

The painting celebrates the triumph of Matthias, the Hungarian king, honoring his political and military successes, thus evoking one of the most glorious eras in Hungarian history. The composition is bathed in shades of gold and red, symbolizing the splendor of the king and the Renaissance period. It is brought to life through meticulous details, contrasting lighting, and a majestic composition.

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'Getting ready for Daddy's birthday' by Mihaly Munkacsy, (1882), oil on canvas

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'The Death of Marat' by Jacques-Louis David, (1793), oil on canvas.

The painting is one of the most well-known political and revolutionary artworks, depicting Jean-Paul Marat, one of the leading figures of the French Revolution, at the moment of his death. It not only captures a historical event but also serves as a tool of martyrdom and political propaganda.

With its refined, neoclassical composition and emotional power, the painting stands as one of the most significant examples of how art can be used to convey political ideas. Its composition is remarkably simple and restrained.

The entire scene unfolds in an almost completely empty space, further emphasizing the figure of the deceased Marat. The confined space and minimalist composition enhance the scene’s intimacy and dramatic intensity.

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Depictions of Biblical Judith (1, 'Judith' by Jules Joseph Lefebvre; 2, 'Judith Beheading Holofernes' by Caravaggio; 3, 'Judith with the Head of Holofernes' by Cristofano Allori; 4, 'Judith I.' by Gustav Klimt')

But who is Judith?

Judith’s story is one of the most well-known tales of a female figure in the Bible. She was a beautiful, intelligent, and courageous Jewish widow who lived in the city of Bethulia during the Assyrian siege, led by the ruthless General Holofernes. Through her cunning and bravery, Judith was able to infiltrate the enemy camp, where she ultimately beheaded the drunken Holofernes, securing a decisive victory for Bethulia.

Judith is an art historical icon whose story has captivated painters and artists for centuries. She represents an independent, strong female hero— a biblical figure who was the first to take up the knife, the first to stain herself with the burden of murder, thus elevating herself to an eternal symbol and legend.

[arthistoryjewels]

'The Baptism of Vajk' by Gyula Benczur, 1875, oil on canvas The painting shows the moment when Vajk, the future King Stephen I of Hungary, is baptized into Christianity, meaning the transition of Hungary into a Christian kingdom. The artwork was created in a detailed, academic style, strongly highlighting the solemnity and significance of the event, whilst the composition is rich in symbolism, including folk historical motifs as well.