The Triumph of San Ignacio





Andrea Pozzo . ( Trento1642- Viena ( 1709 ) :



His real name was Andreas puteus, although it is known as “The Father” Pozzo therefore belonged to the Jesuit Order. Received their first lessons in his hometown. Once he joined the Jesuit Order, was commissioned pictorial decorations of many of their churches. His art work and development in many cities of Italy as Milan, Genoa, Modena, and Venice, and performed the decoration of churches in Bologna, Turin and other Arezzo.

On the recommendation of the painter Carlo Maratta, Jesuit Father Oliva call to Rome in 1685 to decorate the Church of San Ignacio in that city, the second largest of the Order in Rome. Alli paint frescoes in the apse and a fresh large in the barrel vault of the nave, 17 meters wide and 36 long. In the apse represented scenes from the life of the saint, and ceiling dedicate it to the apotheosis of it.

He continued to paint throughout Italy, with its illusionist technique in which architecture and painting so it is difficult to delineate the border between the two merge. In 1702, invited by the Austrian Emperor Leopold I, he moved to Vienna, where he worked until his death. His most important in that city works are the altarpiece of the church of the Jesuits, and cool with “The admission of Hercules on Olympus” in the Liechtenstein Palace .-


The Table :



In the cool of the vault Father Pozzo shows the Triumph of San Ignacio. The center of the composition is occupied by a performance of La Santisima Trinidad, from which emerges a ray of light that illuminates the saint, which in turn reflects it to the allegories of the four continents then known, and that meant the evangelizing work of the Jesuit Order founded by St. Ignatius .- It should be noted that this fresco was painted between 1691 and 1694, when in 1651 Gianlorenzo Bernini had carved for the Piazza Navona in Rome’s famous Fountain of the Four Rivers, with similar symbols.

The virtuosity of the artist makes on a flat surface it may seem that what we are seeing is a dome of great height, and architectures and painted walls, columns and architraves remain above the springing of the vault. It is an imaginary building that rises and seems more real than below which was built in stone. The perspective effect is magnificent.

The entire surface is occupied by angels, saints, priests and devotees, in long extremist attitudes, violent and dramatic foreshortening. The same Holy rises to heaven in a cloud pushing a group of angels. In the Jesuit ideology, San Ignacio advised to study the sciences and the perspective being a consequence of optics and geometry, some historians say that the intention of Father Pozzo was his work in addition to aesthetic value, have a scientific interest .


I hope you like it.

A greeting.

the Limping


José_de_Ribera_.-El patizambo



Jose de Ribera. (Xativa 1591 – Naples 1652):



Spanish Ribera is the great chiaroscuro of the first half of the seventeenth century. His first training appears that took place in Valencia, and although an old tradition indicates him as a pupil of Ribalta in that city, there is not a single documentary evidence of this relationship is more many authors cast doubt on the style Ribalta brought on his return to Madrid, where he spent 20 years and was marked mannerist style.

In 1611 Ribera was already in Italy, spending the first year in Parma, moving to Rome where he was between 1613 and 1616, where he spent the years of irregular way, as it seems that their economic situation was not very buoyant, and also had problems with Church (he forgot confession and communion at Easter), and the Secular Justice debts. His style evolved influenced by Correggio, Carracci and other baroque classicists. But the fundamental fact that marked his painting was the knowledge of the work of Caravaggio.

In 1616 Ribera comes to Naples, where he spent the rest of his career. In this city developed his style, essentially naturalistic, and a marked chiaroscuro derived from Caravaggio. It is a great artist, of which more than one hundred drawings are preserved. Its theme was largely religious, painting for many orders. His strokes were agile and pasty, and although it was a good colorist, his paintings tend to brown and ocher tones.


The table:


It is one of the few paintings by Ribera could be considered “gender”, although portray deformed characters or decreased if you have a great tradition in our baroque painting, no more than remind the jesters of Velazquez.

The disabled beggar painted Ribera, it has obvious defects in his hands and feet, but it has a grotesque image because, as one author called Pagano “Ribera rigor and clarity expresses solidarity with a world of outcasts and ragged, which restores dignity and character. ” The model is represented natural size with a low viewpoint that highlights your figure of monumental way on a blue sky with clouds silver.

Predominantly earthy and warm colors of brown, accented by the blue cold sky. The baroque diagonal how crutch that leads to shoulder. The expression of the disabled, with a smile that lights up his face expresses a joy of living which does not correspond with your condition, but it may be for their trust in God, he expressed in the role she carries in her left hand and says: “Da mihi ELIMOSINAM propter AMOREN DEI” (Give me alms for the love of God) .-


I hope you like it.

A greeting.

the Descent




Roger van der Weyden (1400 Tournai – Brussels 1464?):


– I want to introduce a personal note in this commentary, although not my usual position. When I visit the Museo del Prado in Madrid, this picture is “always” going to see and admire, whatever the reason for my visita.-

-made Except, Van der Weyden is considered by much of critics and historians as the most important and influential of the “Flemish Primitives” called, even above Jan Van Eyck. What is indisputable is that both are top of that school of painting. The difference has been noted that would focus on the art of Van Eyck is more objective and detached, while van der Weyden gives his paintings emotional expressiveness and great drama.

– In his first was signed as Roger de la Pasture, and does not change his flamenco sense until he moved to Brussels in 1435. Prior to study as an apprentice in the workshop of the most important painter in his hometown Robert Campin, called “Master of flemalle “. In Brussels was named Artist of the Villa, and his influence and fame was enormous, not only in Flanders but throughout Europe. In 1450 he traveled to Rome, but the Italian painting influenced very little in his art, he always remained faithful to the thoroughness and naturalism of Northern European painting


The table:


Towards 1432 the Great Guild of Ballesteros de Louvain, which had its own chapel, we request that would be his masterpiece and one of the world painting “The Descent”. In the upper corners alluded to principals, when the delicate gothic tracery who occupy them are shaped leaf springs. By 1548 the Regent of the Netherlands, Maria of Hungary to the brotherhood acquired in exchange for a copy of Michel Coxcie and an organ valued at 1500 florins. It seems possible that the Regent give it to him his nephew Philip II, and since then is in Spain.

I’m not going to dwell too much on the analysis of the table, only such indication that the figures are almost life-size, the bodies of San Juan and La Magdalena do almost parentheses to close the dialog, the bodies of the dead Christ and his mother form two parallel diagonal articulate and join the frieze that make up the figures in the background, the colors, the detail in the representation of fabrics and their qualities and drawings, the drama of attitudes.

Sorry to have written more than announced, but this picture entusiasma.- me and I leave with him, to marvel and serene your spirit


I hope you like it.

A greeting.

Colonel George K.H.Coussmaker

Sir_Joshua_Reynolds_Coronel George K.H. Coussmaker



Sir Joshua Reynolds ( Plympton 1723- Londres 1792 ) :


English painter markedly neoclassical style. It was the seventh son of clergyman Samuel Reynolds, and at seventeen he went to London to study with a portrait painter Thomas Hudson, gifted artist, who overcame Reynolds rápidamente.- Although at the time the most valued painting was called ” History “, Reynolds came to fame as a painter of portraits, still the favorite of high society and nobility.

Gotta give their portraits a poetic air, and nobility of heroic painting, combined with a certain natural grace. It was a great scholar of classical methods imitating their pigments and their means, to the point that his paintings desconchaban before its rivals as Gainsborough. But this envied and wrote of his painting that defining it as “that great idea that gives the paint its true dignity to speak to the heart”.

His influence and teaching among English painters was great and received numerous awards for his work. He was the first President of the Royal Academy in 1768, and the following year he was knighted. In 1769 and 1770 I speak in the Academy his famous 15 “Discourses on Art”, which have been considered as the most poignant and coherent ideals based on the British contribution Italian Renaissance art.


The table :


The painting was exhibited at the Metropolitan Museum of New York, and next to the portrait of Captain Robert Orme of the National Gallery in London, are two of the great military portraits of Romanticism. The portrayed though I entered the army in 1776 was never actually on active duty, retiring in 1795. Among others I am part of the First Regiment of Guards Infantry Regiment and the Grenadier Guards .-

The painting, in its classical and reminiscent of Dick Van portraits that caused school in England, is of great boldness in composition, with the official support your back on the tree, while the foreshortening of the horse with its neck seems enclose and protect the figure of Colonel .- The attitude portrayed staring at the viewer, and his relaxed pose, his hat in his hand, and his sword hung at his side, but studied denote casual negligence. It portrays a knight.

Table dominated by warm, red tones uniform, brown horse and also of the tree and earth, only some bits of blue sky set the tone cold color. In this case, the brushstrokes of Reynolds are not as detailed as in most of his portraits, especially when it has to represent the tactile qualities of dresses in closest portraits, here your brush strokes are more daring and spontaneous .-


I hope you like it.-

A greeting.-


Women in the Church

-Wilhelm_Maria_Hubertus_Leibl- Mujeres en la Iglesia.



Wilhelm Leibl (Cologne 1844 Würzburg 1900):



German painter attached to the realistic or naturalistic currents. He entered the Munich Academy in 1864. In 1869 he founded a collective painting workshop with other artists. That same year he held a major exhibition in Munich in which was a great success his “Portrait of Madame Gedon” box. There he met the prophet of Realism, French Gustave Courbet who persuaded him to go to Paris. He could only be in the French capital nine months because of the Franco-prusiana.-

Leibl‘s painting is characterized by a great firmness and rigor in the drawing, a certain coldness and detachment in the treatment of subjects, great detail, and a calm and tranquility that seems to derive from nature. Also masterfully exploits chiaroscuro and flat juxtaposition of objects or people depicted. No previous drawing used directly applying the color, maybe influenced by the Impressionists who met in Paris.

Except for the last nine months in Paris, his entire career development in Germany, although abandonment Munich in 1873 to live in small communities in the Bavaro area. His philosophy of art can be summarized in these words of his: “Human beings are represented exactly as they are, in which case the soul would be present anyway.-


The table:


Leibl painted this picture in the small town of Berbling where he lived in 1881, and perhaps the best work where the philosophy of art that express prior condenses. It is of great realistic intensity, almost photographic in their design, and recalls in part the idea of so-called “primitive Germans” and the Nazarenes who have spoken on another occasion .-

Of note is the firmness of drawing with crisp, highly contoured, and the juxtaposition of the characters, very original, placing them in successive planes. Raise the profile of women belonging to finish last, that seems cut on the light background, with black head scarf, and toasted brown the face of a woman campo.-

The muted colors, the coldness that seems to pervade the picture, which only highlights the white of the dress of women in the first place, and the almost total lack of straight lines, only the window frame, and everything else are curves and intersections, make it work great technique and originality, while a true misticismo.-


I hope you like it.

A greeting.

Venus, Mars and Cupid

871px-Paris_Bordone,Venus,Marte y Cupido.



Paris Bordone ( 1500- 1571 ) :


Venetian painter, he was included because of its style, both in the Late Renaissance Venice, and mannerism, but has pictures that can be ascribed to both the first and second. His father, wealthy saddler, sent him only eight years Venice (I was born in Treviso) for their education. The first thing I learned was Gramatica, who in his time was as much as to say that he taught a bit of everything, and music, which came to be pretty good. 

Soon he preferred painting, and entered as an apprentice in the workshop of the great Titian, but it seems that was recently in TIME as Tizano not appreciate its qualities and, according to Vasari, Titian had little patience with his disciples. Still, he always had as a model the Venetian genius, as well as to Giorgione and Lorenzo Lotto, and his painting always recognized as a debtor of the models and COLORFUL PAINTING Veneto.

It was much appreciated as portraitist, receiving NUMEROSOSencargos both Italy and abroad. Working for the Court of France, and which perhaps was the main European banking family, the Fuggers of Augsburg. I also painted religious and mythological scenes, both in tables and fresh.

The table :

enus, goddess of love, is next to Mars, the god of war, and between them is Cupid, son, and representing amorous desire. It seems that following the wishes of Mars Venus and Cupid are picking a fruit from which Venus already have one in hand. Bordone you might want to show how love can temper the violent desires of the god of war.

The physical types of the players are very representative of his time painting, Mars is a dark, strong, muscular man, looks like a Putti Cupid by Michelangelo, although its expression is more lively and mischievous than the angels of that, and Venus it is totally a Venetian courtesan of the time, blond, wealthy and well-known attitude to attract customers, teaches both breasts. Apparently in Venice had thousands of prostitutes in the sixteenth century.

Strong colors are typically Venetian, also the tactile representation of the cloth. The three bodies are placed on a diagonal to the left, they are almost parallel. Bordone lights balances the original provision, the right side is a darkness on the bodies are trimmed, while on the left the forest opens and lets light showing us the white body of Venus .-


I hope you like.

A greeting.


The Academy with candles


Joseph Wright of Derby ( 1734-1797 ) :

English painter, whose nickname of Derby”, is motivated by his birthplace. Chronologically his activity as an artist is part of the Neo, but a painter who was the recurring themes of this movement was not limited, as in addition to paint pictures of history and medieval themes, was a skilled portraitist, a good landscaper, and a skilled watercolorist.

But his most famous and celebrated pictures are reflecting interiors with figures, which showed the first experiments in physics and chemistry that developed in England at the time, coinciding with the Industrial Revolution. These scenes are original and unique in Europe at the time, so they have a great interest as documents of modernization that would change society in Europe.


Good painter, endowed with excellent technique and imagination, his painting, which until then had been more academic, after a two-year trip to Italy between 1773-1775, suffered the influence of Caravaggio, and to derive a chiaroscuro painting, very rich in contrasts.

The Table :


In it a group of young, a statue that looks very classic cut, two of them are drawing on their notebooks, and the largest of them, with several folders in hands seems to be explaining to the group shown the characteristics of the statue.


We can reasonably assume that this is a group of students of an Academy of Arts. The aspect neoclassical statues present in both the brightly lit, as in the torso of the man who is in darkness right woman. Also the subject of study of classical art refers to the period. But there is a principle of romantic feeling in the air of melancholy that pervades the actors.


The strong light falling on the scene from the upper left, the box full of contrasts of light and dark, giving an aspect of unreality to the scene. There are touches of warm, red, yellow and brown, that although dull in the dim light animate the surface. The drawing is firm and precise, and the composition is articulated in two parallel diagonal from left to right, crossed by a counterclockwise just in the head of the statue.

 I hope you like it.
A greeting

Mausoleum of Louis XII and Anne of Brittany, in Saint Denis




Emile Pierre Joseph Cauwer  ( Gante 1828- Berlin 1873 ) :


Painter born in Belgium, learning took him out with his father Joseph of Cauwer, and majored in painting architectures, especially for churches, both interiors and exteriors. It was a great continuation of the tradition of painting architectures Dutch Golden Age, with large Emmanuel de Witt, Pieter Saenredam or Gerrit Berckheide.-

De Cauwer painting was highly appreciated in his time, and was characterized mainly by a previous study of the issues with surveying scale that served him so that his painting was very rich in detail, yet very careful with all architectural elements correspond to reality. Will I call real painting” in relation to buildings pintaba.-

Working in several countries, mainly in his native Belgium, Holland and Germany, where his painting was highly valued, and where he died. For the chronology of his time, his painting has both neoclassical influence, in its final part, as full romance


The table :


It shows a beautiful interior view of the Basilica of Saint Denis Cathedral, near Paris, built in the middle of the twelfth century, by Abbot Suger, and it was the first church to be raised entirely in the Gothic style, thus serving model for all buildings that followed in that style throughout Europe, although its logical temporal evolution and characteristics nacionales.-

The view shown is of enormous topographical precision and technique of the painter is evident from the representation of architectural elements stone and white marble mausoleum of King Louis XII and his wife Anne of Brittany. The scene is bathed in golden light from the sun that enters from the right, and highlighting the gothic tracery, arches and stained glass.

The picture is an amazing detail, the statues surrounding the mausoleum, the confessional wooden carved gothic full details and stained glass, to give some examples. The touches of red in the flag and coat prelate encouraged the set and put the note of warmth. The perspective taken in this ship Cathedral seems to be a little forced, perhaps to accentuate the view and take the viewer into this view, which is a bit oblicua.-


I hope you like it.

A greeting.

Way of Golghota

Arent de Gelder.-Camino al Golgota



Arent de Gelder (1645-1727):


Dutch painter born in Dordrech where he began his training with the local painter Samuel Van Hoogstraten. In 1661 he was sent to Amsterdam to join the workshop of Rembrandt, one of his later disciples. His early works are clearly based on paintings of the master, and also witnesses of the time commented that even adopt the same habits that had nothing to do with his art, like collecting all kinds curios then used to paint in his paintings.

De Gelder is considered the most faithful follower of Rembrandt maturity of his time, as he was the only painter in the eighteenth century and was still painting in that style, rather than the more polished and elegant painters season, so it was considered as out of his time, and promptly forgotten until the nineteenth century, it was considered that the mature Rembrandt was the best, and De Gelder appreciated.

The truth is that your fleeting fame was extended only within their geographic boundaries, and his painting did not influence any or known disciples, to continue using colored stains, when the fashion of the time was that of the polished surfaces and themes elegant and sophisticated.


The table :


Represents the ascent to Golgotha ​​of Jesus Christ with the Cross, with his companions, soldiers, disciples, and curious. In the background is the city of Jerusalem, totally illusory as it is represented on a steep cliff, and a sky that following the tradition of Dutch painting of the Golden Age, occupies a large part of the picture surface. This painting was part of a series of “scenes of passion”, which was his best work, consisted of 22 frames that retain only 12.

The composition is also very Dutch. Apart from what has been said of heaven, the box is divided into two opposite diagonal, marked by the exit way from the city to the foreground, you have to look at the wood of the cross is parallel to the diagonal of the road out of the city, and that this is balanced by the “almost” horizontal of the walls and roofs of Jerusalem.

The picture is almost monochrome, muted colors predominate, reddish brown and brown, but the pair on the left gives a touch of color with a red more alive and warm costume and one red hat also another, and green cold latter layer. The color is applied to detail none stains without long broad strokes that give great strength and drama to the scene. It is the way of painting of Rembrandt mature elder De Gelder assimilated and continued growing until the en


Hope you like it

A greeting.

The Dutch people Sayings




Peter Brueghel the Elder (¿1525 1569?):



For many historians is the greatest Flemish painter of his time, and one of the most important of all time .- His apprenticeship took place in Antwerp in 1550 to enter the workshop of Pieter Van Aelst Coeck, taking one year in entering as Master of the Guild of Saint Luke in that city. By following year he traveled to Italy, where it seems that working in Rome with Giulio Clovio muniaturista.

Since his return to Flanders to 1562 lives in Antwerp, and in that year he moved to Brussels, where he married the daughter of his former teacher, Mayken Coeck. He was the initiator of a series of artists, his two sons Pieter Brueghel the Younger, also called “The Infernaland little Jan, nicknamed “velor” (velvet), for me it was the best, working in the workshop of Rubens .One of his granddaughters, Anna, married David Teniers the Younger, another great painter.

Pieter the Elder, it is said that he painted Peasants, demons and mad.- It was a great chronicler of the society of his time, but unlike others who focused their production on the powerful, Brueghel painted the everyday life of ordinary people until their biblical themes are located in recognizable people, and the characters are peasants and contemporary citizens .- his vision is always ironic and critical, whipping the vices and bad habits of the inhabitants of Flandes.- Lived in Full repression of the Duke of Alba Protestants, but not known to take sides clearly, though I paint some horrors of war.



The table:


Features over 100 sayings and idioms, many obsolete nowadays, and most immoral or blundering acts described. A great diagonal axis serves from the foreground to the left, to the high background to derecha.- The picture is variegated, full of people and color.-

I will try to describe some of these sayings and location: The roof of the Casagrande is covered with cakes (live in jauja) .- The Woman in White bottom left carries a torch in one hand and water in the other (not legit) .- the man leaning out a window urinating in that red flag with a moon (its purpose is failure) .- in the center a woman puts down a blue cloak to her husband (he deceives) .- a his right a man is throwing pearls before swine (needs no explanation) .- to the left of the adulteress two women seem to mumble (which one spins, the other twists. Spend gossip) .- on the right a little there are over half a man stuck in a river and in the center of a beam of light, which seems to blame the sun that reflection (sick of envidia.-

As I said they are more than a hundred, this is just a small sample, but if anyone is interested in it Taschen has a monograph on Pieter Brueghel the Elder historians Rose Marie and Rainer Hagen, where there is a scheme of table indicating all refranes.-


I hope you like it.-

A greeting.-


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