A visual Journey into the Bible The Book of Genesis

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A Visual Journey into the Bible Page: 36 Other Paintings: Adam and Eve with Cain and Abel. Frans Floris I (1519/1520-1570). Koninklijk museum voor Schone Kunsten. Antwerp. Abel mourned. Frans Floris I (1519/1520-1570). Koninklijk museum voor Schone Kunsten. Antwerp. Cain. Fernand Cormon (1845-1924). Le Musée d’Orsay. 1880. Abel mourned by his Parents. Johann Liss (Ca. 1597-1631). Galleria dell’Accademia. Venice. The Lamentation over Abel. Johann Michael Rottmayer (1654-1730). Österreichische Galerie im Belvedere. Vienna. 1692. Cain and Abel. Pietro Novelli called Il Monrealese (1603-1647). The National Gallery of Art in the Palazzo Barberini. Rome. Cain and Abel. Nicolò Tornioli (1598-1651). The Gallery at Palazzo Spada. Rome. Cain and Abel. Gioacchino Assereto (1600-1649). Herzog Anton Ulrich Museum. Braunschweig. Adam and Eve with Abel’s Corpse. Michelangelo Cerquozzi (1602-1660). Galleria Corsini. Rome. Cain fleeing after the Murder on Abel. Jean-Victor Schnetz (1787-1870). Accademia Nazionale di San Luca. Rome. 1817. The Remorse of Cain. Giovanni Battista Biscarra (1790-1851). Pinacoteca Nazionale. Bologna. 1817. Cain kills Abel. Boccaccio Boccaccino (ca. 1465-1524). Academia Carrara. Bergamo. Cain kills Abel. Mariotto Albertinelli (1474-1515). Accademia Carrara. Bergamo. Copyright ©: René Dewil Date: October, 24 2000
A Visual Journey into the Bible Page: 37 The Ark of Noah The stories of the flood and the ark of Noah are known by everyone. We show a picture of the theme of the ark by Jacopo Bassano. The Animals enter the Ark of Noah Jacopo Bassano (1510-1592). Museo del Prado – Madrid. 1590. Cardinal Federico Borromeo of Milan was a Maecenas of Jan Brueghel the Elder. He also bought pictures of a Venetian artist Jacopo da Ponte, whom he knew as a good animal painter. Jacopo da Ponte was called Bassano after the town where he was born. Jacopo Bassano had first learned his art with his father, Francesco the Elder who had a workshop in Bassano. Jacopo further trained in Venice with Bonifacio Veronese, but he did not stay in Venice. He returned to Bassano so that the workshop founded by his father continued in a school. After Jacopo, his own sons Francesco the Younger and Leandro maintained the workshop so that like the Brueghel family in Flanders a family tradition lasted for three generations in Bassano. Bassano lies close to Venice. The Venetian sixteenth century was the era of the great master Titian, but Jacopo Bassano was with Jacopo Tintoretto (1518-1594) and Paolo Veronese (ca. 1528-1588) one of Venice’s major painters. Titian was the artist of Emperors and Popes, Tintoretto and Veronese were decorating the Venetian palaces. Jacopo da Ponte stayed in more rural Bassano. Like Pieter Bruegel the Elder he first sought his subjects among peasants, nature and animals and his sons perpetuated this genre. Tintoretto and Veronese emphasised the splendid monumentality of Venetian grandeur; Bassano painted people with not less refinement. He put shepherds in the foreground and even the Kings of his religious scenes have the earthiness of the Venetian countryside. Bassano used fewer figures, centred more on the aspect of human feelings and felt nearer to the actors of his themes. Bassano used the red ochre of the soil and the soft greens of the pastures. He started in an own style, then turned Mannerist and painted elongated figures in harsher colours, in redder ochre and more acid green. Then after 1560 he succumbed to the fashion of the grand Venetian scenes of Tintoretto and Veronese. ‘The Animals entering the Ark’ is a good example of Jacopo Bassano’s mature art. Noah and his helpers are leading pairs of animals into the boat. The ark is painted in the darkness of the first heavy clouds that God is sending for the Deluge. Only a long entry to the door is seen, over which the animals go into the Ark. Jacopo Bassano studied these animals closely so that all are depicted in a very lively and detailed way. Noah is shown as the great wizard that manages and conjures all the animals in. The ark’s entry plank forms an oblique line to the higher left of the painting, whereas the animals form a line that equally obliquely starts down on the left and then rises to the right. Slanting lines always induce a sense of movement. Bassano uses this style element here also, long before Caravaggio would exploit it to its fullest. In the darkness of the coming disaster fly the frantic birds that sense the bad weather. The leaves of the trees move in the first winds. Noah has to hurry, so he is all action and Copyright ©: René Dewil Date: October, 24 2000
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