Leo’s Galery

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¡Leo’s Galery cumple 2 años hoy!

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Gerard van Honthorst (1592-1656) - El concierto, Gerard van Honthorst (1623). Oil on canvas. Dimensions: height: 123.5 cm x width: 205 cm. National Gallery of Art, Washington, DC.

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The Oyster Gatherers Of Cancale / Setting Out to Fish (1878) by John Singer Sargent (1856-1925). Oil on canvas. Dimensions: height 77 cm x width 121.6 cm. National Gallery of Art. Washington DC.

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Ignace-Henri Théodore Fantin-Latour (1836-1904) - A Basket of Roses (1890). Oil on canvas, dimensions: 48.0 X 60.3 cm. The National Gallery, London

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Sandro Boticelli (1445-1510) and Filippino Lippi (1457-1504) - Adoration of the King (c. 1470). Tempera on Wood, dimensions: 50.20 x 135.9 cm. National Gallery of Art, Washington

The vast entourage of the kings, including horses in decorated harnesses, is separated from the area occupied by the holy family (Christ, the Virgin Mary and Saint Joseph) by a wall with only a narrow opening. Two of the kings kneel in front of Christ; the one at the front is about to kiss his foot in homage.

Both Botticelli and Filippino worked on this picture. Botticelli was responsible for the large crowd to the left of the painting while Filippino’s starker, more elongated style of figure painting is seen in the group in the central foreground, which includes a kneeling man and the slightly bowing figure adjusting his right sleeve.

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Sandro Botticelli (1445-1510) - Mystic Nativity (1500). Oil on canvas, dimensions: 108.6 cm x 74.9 cm. National Gallery of Art, Washington.

Christ’s birth is celebrated as the glorious revelation of God on Earth in this unique and colourful image by Botticelli. No fewer than 20 angels – all carrying leafy olive branches, a symbol of peace – preside over the revelry.

The event takes place in a glade within a forest; the stable where, according to the Gospel writers, Christ was born, is represented imaginatively as a thatched roof pitched over the opening of a rocky cavern. The infant Christ reaches up towards the Virgin Mary, oblivious of his visitors – the Three Kings on the left and the shepherds on the right, who have been ushered towards him by angels. The golden dome of heaven has opened up and become visible from earth; it is circled by 12 angels holding olive branches entwined with scrolls and hung with crowns which swing as they dance.

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Jan Gossaert [Jean Gossart] (1508-1532) - The Adoration of the Kings (1510-1515). Oil on oak, dimensions: 179.8 cm x 163.2 cm. The National Gallery of Washington.

This large altarpiece is crammed with peasants, animals, angels and richly dressed kings and courtiers, come to worship the infant Christ, who sits on his mother’s lap in a palatial but ruined building.

Jean Gossart has signed the painting on the hat of Balthasar, the king on the left, and on the silver collar of his attendant. Technical analysis has revealed the skill, time and effort which the artist put into this picture. There are virtuoso passages of detail, especially in the foreground: the hairs sprouting from Caspar’s cheek and the decoration of his hat; the fringes of Balthasar’s stole.

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Gerard David (1484-1523) - Adoration of the Kings (c. 1515). Oil on oak, dimensions: 60 cm x 59.2 cm. The National Gallery of Washington.

The Three Kings – Caspar, Melchior and Balthasar – present gifts to the Christ Child in the ruins of a grand building. The Virgin Mary sits on the edge of the manger while Saint Joseph, her husband, comes down a staircase just visible to the left. A crowd of curious onlookers, some wearing turbans, peer through the arch on the right. In the field behind Caspar’s head we can see an ox and a donkey, while everyday life goes on in the street of the town behind.

This painting was perhaps once part of a polyptych (a multi-panelled altarpiece) showing the life of Christ painted by Gerard David in Antwerp after 1515.

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Jan Davidsz de Heem (1606 - 1684) - Vase of Flowers (c. 1660). Oil on canvas. Dimensions: w. 565 x h. 696 cm (overall). National Gallery of Art, Washington DC, United States of America.

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Ambrosius Bosschaert (1573 - 1621) - Bouquet of Flowers in a Glass Vase (1621). Oil on copper. Dimensions: overall: 31.6 x 21.6 cm; framed: 53.3 x 43.8 x 5.7 cm. National Gallery of Art, Washington DC, United States of America.

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La Plaza del Campidoglio (Plaza del Capitolio) situada en la Colina Capitolina #Roma fue diseñada por Miguel Ángel que la remodeló entre 1534 y 1538.

(Vídeo ©️Valentino Ligori/Instagram)

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Bernard Van Orley (1488 -1541) - The Holy Family (1522). Oil on panel. Dimension: Height: 90 cm; Width: 74 cm. Used Nacional Del Prado. Madrid, Spain

The Holy Family is shown indoors, in front of a window thought which a costal landscape is visible. The Christ Child stands on a sumptuous c

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Raffaello Sanzio da Urbino,better known as Raphael (1483-1520) The Sistine Madonna, also called the Madonna di San Sisto (c. 1513–1514). Oil on canvas. Dimensions: 265 cm × 196 cm. Location: Gemäldegalerie Alte Meister, Dresden, Germany.

Sistine Madonna - Wikipedia

Sistine Madonna - Wikipedia

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Fra Angelico and Fra Filippo Lippi, “The Adoration of the Magi,” (1440-1460). Tempera on poplar panel. Diameter 137.3 cm. Samuel H. Kress Collection. National Gallery of Art, Washington DC. USA.

This brilliantly colored, richly decorated circular panel presents a splendid vision of the arrival of the Magi, accompanied by a courtly entourage.

The Adoration of the Magi actually appears to be the product of two artists; Fra Angelico may only have started the altarpiece, the greatest part of the work having been taken up by Fra Filippo Lippi.

The representation of the Virgin Mary here characterizes Fra Angelico's style in the pure, simple form of her head and the gentle refinement of her features. Fra Filippo's earthy style appeals to the viewer in the portrayal of massive forms and well–articulated figures.

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Cimabue, artistic pseudonym of Cenni (Bencivieni) di Pepo (1240-1302) - Madonna and Child Enthroned with Angels and Prophets, (c. 1290-1300). Tempera on wood, gold background; size: 384.00 cm x 223 cm. Coming from the church of Santa Trinità in Florence, it is currently kept in the Uffizi Gallery. Florence, Italy

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Joaquín Sorolla 1863 - 1923) - Repair of (Sewing) the sail, (1896). Oil on canvas, 222 x 302 cm. Galleria Internazionale d'Arte Moderna di Ca' Pesaro, Venice. Italy.

It is a very original work in terms of composition, the candle occupies most of the canvas and its whiteness blends with the green of the exuberant nature. The light filters through the leaves and flowers, great magnetic power of light. Long and vigorous brushstroke. Several young women, a man in a straw hat, a woman sitting in the back, and an old man examining the work sew the sail so that everything is ready for the sailors. At first, the public did not accept this painting since it was a great daring that the protagonist of the work was the candle. The topic discussed is not of great importance, it simply reflects the work of humble people on a Levantine beach.

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Nicolás Francés (1400-1468) - Altarpiece of the Lives of the Virgin and Saint Francis (1445 - 1460). Oil, Tempera on panel. Dimension: Height: 557 cm; Width: 558 cm. Museo Nacional del Prado, Madrid. Spain

This altarpiece consists of nine large panels plus the eighteen that make up the predella. The main scene is The Virgin with the Christ Child surrounded by Angel Musicians, which is completed with five scenes from the lives of Christ and the Virgin in the right and central areas, and three scenes from the life of Saint Francis, in the left area. All of them are framed with gothic ogee tracery. Stylistically, the panels correspond to the so-called International Gothic, which combines the Italian taste for narrative clarity with the northern attraction to naturalist details. The conception of this altarpiece is in keeping with the interest in representing reality that began in the Gothic era. It was painted for a chapel near the town of La Bañeza in León.