The rape of the Sabine women, c. 1640
Oil on canvas
Height: 180 cm, Width: 244 cm
Private collection
The Rape of the Sabine Women is an episode in the legendary history of Rome, traditionally dated to 750 BC, in which the first generation of Roman men acquired wives for themselves from the neighboring Sabine families. The English word rape is a conventional translation of the Latin raptio, which in this context means "abduction" rather than its prevalent modern meaning in English language of sexual violation. The story provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures, in intensely passionate struggle. More on the rape of the Sabine women
The work constitutes a very relevant testimony of Orazio De Ferrari's production, both for its undoubted executive quality, and for the presence of the painter's monogram combined with the date 1640, an element which allows us to have a precise chronological reference not only for the dating of the canvas itself, but more generally for the reconstruction of the artist's mature production. Recently considered "a masterpiece of great scenic impact and coloristic exuberance, reminiscent of Rubens and Van Dyck", the composition emerges, in the context of the "profane" production by Orazio De Ferrari, destined to embellish the paintings of the Genoese nobility, for its theatricality the layout of the episode, linked to the foundation of Rome. More on this painting
Orazio de Ferrari (1606–1657) was an Italian artist, active in the Baroque period, born in Voltri, a suburb of Genoa. de Ferrari was a pupil of Giovanni Andrea Ansaldo. He was a member of the family of Genoese artists, with surnames de Ferrari, which also included Giovanni Andrea de Ferrari and Gregorio De Ferrari. During the 17th century, he painted murals in the chapel and many of the state rooms of the Royal Palace in Monaco.
Orazio de Ferrari, 1605 - 1657
Susanna and the Elders
Oil on canvas
115 x 145 cm.
Private collectionA fair Hebrew wife named Susanna was falsely accused by lecherous voyeurs. As she bathes in her garden, having sent her attendants away, two lustful elders secretly observe the lovely Susanna. When she makes her way back to her house, they accost her, threatening to claim that she was meeting a young man in the garden unless she agrees to have sex with them.
She refuses to be blackmailed and is arrested and about to be put to death for promiscuity when a young man named Daniel interrupts the proceedings, shouting that the elders should be questioned to prevent the death of an innocent. After being separated, the two men are questioned about details of what they saw, but disagree about the tree under which Susanna supposedly met her lover. In the Greek text, the names of the trees cited by the elders form puns with the sentence given by Daniel. The first says they were under a mastic, and Daniel says that an angel stands ready to cuthim in two. The second says they were under an evergreen oak tree, and Daniel says that an angel stands ready to saw him in two. The great difference in size between a mastic and an oak makes the elders' lie plain to all the observers. The false accusers are put to death, and virtue triumphs. More about Susanna
Typical large format depiction of the student of Andrea Giovanni Ansaldo (1584-1638). Another scene with Susanna and the Elder by him, however in portrait format composition is held at the Museo Nacional de San Carlos in Mexico City (See below).
Orazio de Ferrari (1606–1657)
Susana and the Elders
Oil on canvas
Museo Nacional de San Carlos
Orazio de Ferrari (Voltri 1606-1657 Genoa)
Adam and Eve mourning the death of Abel,
Oil on canvas
56 7/8 x 75 5/8 in. (144.5 x 194.5 cm.)
Private collection
The mourning over the body of Abel appears in the several of the Biblical Apocrypha which were popularly widespread in the seventeenth century. Orazio de Ferrari, who spent the majority of his career in Genoa painted a number of versions of the subject. Two of these appear to be copies, with slight variations, of the present composition made in Ferrari’s studio. Another picture, with a slightly more complex arrangement of figures, presenting Adam no longer in prayer but with his arms outspread, leaning over the body of his son, is now preserved in a private collection in Milan.
The dark background of the scene with the figures illuminated in a strongly accented light, casting deep shadows in some areas. Likewise, the foreshortened body of Abel as a means of creating a greater depth within the composition, though, of course, Ferrari choses to present Abel with his head closest to the viewer, thus heightening the dramatic and emotional intensity of the scene. Though the life of Orazio de Ferrari is only intermittently documented, it is believed that he visited Naples sometime toward the end of the 1630s, after which his paintings begin to show a clear knowledge of the naturalist, Caravaggesque manner prevalent in the city. More on this painting
Orazio de Ferrari (Voltri 1605-1657 Genoa)
Capture of Samson
Oil on canvas
cm. 177 x 229
Ascoli Piceno, Civic Art Gallery of Palazzo dell'Arengo
According to the Bible, Samson, whose strength came from his hair, was shorn by his duplicitous lover, Delilah, and then set upon by the Philistines, who bound and blinded him.
Orazio de Ferrari (Voltri 1605-1657 Genoa)
David and Abigail
Oil on canvas
55 7/8 x 71½ in. (142 x 182.5 cm.)
Private collection
The subject of the painting is taken from the Old Testament (I Samuel 25), which recounts an episode during David's exile in the Judean desert. When a rich local farmer refused to give sustenance to David and his band of outlaws, they threatened to punish him. However, the farmer's wife, Abigail, took to David a peace offering of food and drink which was graciously received. When Abigail's husband found out about this, he suffered a stroke and died, after which David took the widow as his wife. More on this painting
Orazio de Ferrari (Voltri 1605-1657 Genoa)
Esther and Ahasveros
Oil on canvas
90.5x103 cm
Private collection
Esther is described in all versions of the Book of Esther as the Jewish queen of a Persian king Ahasuerus. In the narrative, Ahasuerus seeks a new wife after his queen, Vashti, refuses to obey him, and Esther is chosen for her beauty. The king's chief adviser, Haman, is offended by Esther's cousin and guardian, Mordecai, and gets permission from the king to have all the Jews in the kingdom killed. Esther foils the plan, and wins permission from the king for the Jews to kill their enemies, and they do so. Her story provides a traditional background for Purim, which is celebrated on the date given in the story for when Haman's order was to go into effect, which is the same day that the Jews killed their enemies after the plan was reversed. More on Esther
Orazio de Ferrari (Voltri 1605-1657 Genoa)
Esther before Ahasuerus
Oil on canvas
cm 167 x 200
Private collection
Esther, appears before her husband, King Ahasuerus of Persia, in order to stave off a massacre of the Jewish people, breaking with court protocol and thereby risking death. Rather than turn to historical recreation, contemporary theater informed how Ferrari conceived this dramatic scene, in which Esther faints before the king grants her request. More on Esther
Orazio de Ferrari (Voltri 1605-1657 Genoa)
The adoration of the shepherds
oil on canvas
67.5 by 92.5 cm .; 26 5/8 by 36 1/2 in.
Private collection
The Adoration of the Shepherds, in the Nativity of Jesus in art, is a scene in which shepherds are near witnesses to the birth of Jesus in Bethlehem, arriving soon after the actual birth. It is often combined in art with the Adoration of the Magi, in which case it is typically just referred to by the latter title. The Annunciation to the Shepherds, when they are summoned by an angel to the scene, is a distinct subject. More on The Adoration of the Shepherds
Orazio de Ferrari (Voltri 1605-1657 Genoa)
Adoration of the shepherds
Oil on canvas
cm 125x155
Private collection
Attributed to Orazio de Ferrari (1606–1657)
Christ and the Adulteress, c. late 1650s
Oil on canvas
46 x 55.5 in
McMullen Museum of Art, Boston College
Jesus and the woman taken in adultery is a passage found in the Gospel of John.
In the passage, Jesus was teaching in the temple after coming from the Mount of Olives. A group of scribes and Pharisees confronts Jesus, interrupting his teaching. They bring in a woman, accusing her of committing adultery, claiming she was caught in the very act. They tell Jesus that the punishment for someone like her should be stoning, as prescribed by Mosaic Law. Jesus begins to write something on the ground using his finger. But when the woman's accusers continue their challenge, he states that the one who is without sin is the one who should cast the first stone at her. The accusers and congregants depart realizing not one of them is without sin either, leaving Jesus alone with the woman. Jesus asks the woman if anyone has condemned her and she answers no. Jesus says that he, too, does not condemn her, and tells her to go and sin no more. Jesus and the woman taken in adultery
Orazio de FERRARI (Voltri 1606 - Genoa 1657)
The Assembly of the Gods
Oil on canvas
269 x 249 cm
Private collection
The Assembly of Gods is a fifteenth-century dream vision poem by an unknown author.
The scene shows Olympus overhung by Apollo in his chariot. Among the main gods represented, from left to right, we can discover Mars with his shield, Mercury holding his caduceus, Bacchus crowned with a vine, Venus and Cupid, Juno and Jupiter seated, behind them, then at the right end, Helmeted Minerva with the owl. Below, Neptune, with his trident, is shown in the left corner and Hercules holding his club on the opposite side.
By her insistent gesture Venus implores Jupiter to help her son Aeneas and the Trojans whose fleet is in danger near Carthage, and we can clearly see a sailboat lost in the storm at the bottom of our composition. More on this painting
Orazio de Ferrari (Voltri 1605-1657 Genoa)
Latona Turning the Lycian Peasants into Frogs, c. 1642
Oil on canvas
Private collection
The painting represents an episode from Ovid's Metamorphoses (VI, 337-381), according to which Latona, with the divine twins Apollo and Diana, the fruit of her relationship with Jupiter, fleeing from Juno's wrath, arrives after a long pilgrimage to Licia and, exhausted by the heat, approaches a lake with little water in order to drink the fresh water; but some peasants who were picking wickers prevent it by muddying the water. Then Latona, who had begged them in vain to let her drink, to punish them for their arrogance and insolence turns them into frogs. More on this painting
Please visit my other blogs: Art
Collector, Mythology, Marine
Art, Portrait of a Lady, The
Orientalist, Art of the Nude and The
Canals of Venice, Middle
East Artists, 365
Saints and 365 Days, also visit my Boards on Pinterest
Images are copyright of their respective owners, assignees or others.
Some Images may be subject to copyright
I don't own any of these images - credit is always given when due unless
it is unknown to me. if I post your images without your permission, please tell
me.
I do not sell art, art prints, framed posters or reproductions. Ads are
shown only to compensate the hosting expenses.
If you enjoyed this post, please share with friends and family.
Thank you for visiting my blog and also for liking its posts and pages.
Please note that the content of this post primarily consists of articles
available from Wikipedia or other free sources online.
No comments:
Post a Comment