Unknown artist
Prophet Elijah Holding Greek Scroll
Byzantine Icon
Tempera, gold leaf, solid wood, varnish
28cm x 20cm x 2cm (11.02″ x 7.87″ x 0.79″)
I have no further description of this artwork at this time
Elijah was a prophet and a miracle worker who lived in the northern kingdom of Israel during the reign of King Ahab (9th century BC). At his birth, his father Sabah saw angels of God surrounding the Prophet, clothing him in fire and feeding him flames. Elijah defended the worship of the Hebrew God over that of the Canaanite deity Baal. God also performed many miracles through Elijah, including resurrection the dead, bringing fire down from the sky, and entering Heaven alive "by fire". He is also portrayed as leading a school of prophets known as "the sons of the prophets". Following his ascension, Elisha, his disciple and most devoted assistant took over his role as leader of this school. The Book of Malachi prophesies Elijah's return "before the coming of the great and terrible day of the LORD",[making him a harbinger of the Messiah and of the eschaton in various faiths that revere the Hebrew Bible.
Thomas Matthews Rooke (1842–1942)
Elijah Prophesises to Ahab and Jezebel Their End, c. 1879
Oil on canvas
H 34.5 x W 43.5 cm
Russell-Cotes Art Gallery & Museum, Dorset, England
Thomas Matthews Rooke (1842–1942) is best
known as Burne-Jones' studio assistant who worked for 'the master' for almost
thirty years, and made an invaluable record of Burne-Jones's conversations in
the last years of his life. He was also an interesting painter in his own
right, producing imaginative and religious subjects in oils together with
watercolours, mostly of old buildings.
He
received his artistic education at the South Kensington and the Royal Academy
Schools and in 1869 applied to work for Morris and Company. He was deputed to
Burne-Jones' studio where he remained until the end of Burne-Jones' life. His
own religious subjects had some success, for instance The Story of Ruth was
bought for the Chantrey Bequest in 1877 (Tate Gallery). In 1878 Burne-Jones
recommended him to Ruskin who was looking for artists to record old buildings
threatened with demolition or restoration. Until 1893, Rooke spent half his
time working for Ruskin; these watercolours are now in the Ruskin Museum,
Sheffield. He produced a further series for the Society for the Preservation of
Pictorial Records of Ancient Works of Art. These are in the Birmingham City
Museum and Art Gallery.
Rooke had a gentle unassuming personality; Burne-Jones
wrote of him to Ruskin: "Also there is a very high place in Heaven waiting
for him and He Doesn't Know It." He died in his hundredth year in his home
in the "aesthetic" suburb of Bedford Park. More
on Thomas Matthews Rooke
Prophet Elias was wise and faithful to the true God. God sent Prophet Elias to speak to King Ahab and his evil wife Jezebel. But to no avail. King Ahab threatened to kill him.
Lynda Miller Baker, France
Elijah
Fine Art Paper
Elias fled to a mountain. There he stayed and hid in a cave. Every day, God sent a crow with meat and bread to feed him. He would drink from a nearby stream. But there was a drought in the land. Elias had prophesied that it would last for 3 years as a punishment for the faithlessness of King Ahab and Queen Jezebel. So in time, the stream dried up.
Dieric the Elder Bouts
Prophet Elijah in the Desert 1464-68
Lower Right Panel Of The Altarpiece Of The Holy Sacrament
Oil on canvas
71 cm x 88 cm
Sint-Pieterskerk, Leuven
"Prophet Elijah in the Desert" is a panel painting created by Dieric Bouts the Elder between 1464 and 1468. It is part of the larger Altarpiece of the Holy Sacrament, located in St. Peter's Church in Leuven. The painting depicts the biblical prophet Elijah in a wilderness setting, with scenes from his life depicted around the central image.
Dieric Bouts, (born c. 1415, Haarlem, Holland—died May 6, 1475, Louvain, Belgium), was a northern Netherlandish painter who, was an accomplished master.
In 1448 Bouts visited Louvain in the southern Netherlands. After 1457 his name appeared almost every year in the archives of Louvain. Bouts’s earlier works are strongly Rogierian in their expression of intense emotion through symbolic gestures. Passionate subjects were appropriate vehicles for this expression. Bouts’s lack of realism in anatomy, however, and his stiff and angular compositions may well reflect the sober religious intensity of the northern Netherlands.
In the paintings ascribed to Bouts’s mature period gives way to a greater severity and dignity in the treatment of figures. Bouts’s two best-known works belong to the last 20 years of his life. More on Dieric Bouts
With no water, Prophet Elias had no choice but to leave his mountain hideout. On his way, he met a poor widow with her only son, who gave Elias a place to stay, despite her poverty. She had only a little flour and oil with which to make all their food.
Louis Hersent (1777–1860)
Elijah Resuscitating the Son of the Widow of Zarephath, between 1777 and 1860
Oil on canvas
34.7 x 41.3 cm | 13.7 x 16.3 inches
Musée des Beaux-Arts d'Angers wikidata:Q3277885
Louis Hersent (1777–1860) painted "Elijah Resuscitating the Son of the Widow of Zarephath". The painting depicts the biblical story from 1 Kings 17:8-24, where the prophet Elijah brings the widow's son back to life. The artwork emphasizes themes of divine intervention, faith, and the power of prayer
Louis Hersent (10 March 1777 – 2 October 1860) was a French painter. He was born in Paris. He became a pupil of Jacques-Louis David, and obtained the Prix de Rome in 1797. He continued to exhibit with rare interruptions up to 1831.
Hersent's typical works belong to the period of the Restoration. He continued in favour under Charles X, for whom executed Monks of Mount St Gotthard, exhibited in 1824. In 1831, Hersent made his last appearance at the Salon with portraits of Louis Philippe, Marie Amélie and the duke of Montpensier; that of the king, though good, is not equal to the portrait of Spontini (Berlin), which is probably Hersent's chef-d'œuvre.
After this date, Hersent ceased to exhibit at the yearly salons. Although in 1846 he sent an excellent likeness of Delphine Gay and one or two other works to the rooms of the Société d'Artistes, he could not be tempted from his usual reserve even by the international contest of 1855. More on Louis Hersent
However, Prophet Elias miraculously increased the amount of flour and oil so that all three people had enough to eat for a long time. Then, when the widow’s son fell ill and died, Prophet Elias performed a second miracle and brought him back to life.
Cornelis Bisschop
Elijah and the Angel
Oil on canvas
68.7 x 81.8 cm (27 1/16 x 32 3/16 in)
Private collection
Sold for £10,625 in October 2014
Cornelis Bisschop (12 February 1630 – 21 January 1674), was a Dutch Golden Age painter.
In ca. 1650 he was a student of Ferdinand Bol in Amsterdam. In 1653 he was back in Dordrecht, where he got married. According to Houbraken he was the first to paint carved trompe l'oeil wooden panels in such an ingenious way that they became quite popular. He painted historical allegories, portraits, still lifes, and genre-works. He was asked to paint for the Danish court, but he died unexpectedly, leaving his wife and eleven children.
Of these children, two sons Abraham and Jacobus and three daughters became painters. These had been his students along with Margaretha van Godewijk who wrote an emblem about his self-portrait with a curtain, which illustrates the legend of Zeuxis. More on Cornelis Bisschop
Prophet Elias offered King Ahab a challenge. He told the King to gather his people and priests the next day. Elias and the priests would each make offerings to their own God. No one would have fire. Then they would let the true God send fire from the heavens to light the wood and make the burnt offering.
Domenico Fetti
he Sacrifice Of Elijah Before The Priests Of Baal
Oil on panel
61.2 x 70.5 cm
Royal Collection Trust
Domenico Fetti's "The Sacrifice of Elijah Before the Priests of Baal" depicts the biblical story of Elijah's challenge to the prophets of Baal on Mount Carmel. The painting, likely created around Fetti's move to Venice in 1622, shows Elijah kneeling and offering a sacrifice, while the priests of Baal recoil in terror as divine fire descends upon Elijah's altar. The artwork is part of the Royal Collection Trust and is located in Hampton Court Palace.
Domenico Fetti (c. 1589 – 1623) was an Italian Baroque painter who had been active mainly in Rome, Mantua and Venice.
Born in Rome to a little-known painter, Pietro Fetti, Domenico is said to have apprenticed initially under Ludovico Cigoli, or his pupil Andrea Commodi in Rome from circa 1604–1613. He then worked in Mantua from 1613 to 1622, patronized by the Cardinal, later Duke Ferdinando I Gonzaga. In the Ducal Palace, he painted the Miracle of the Loaves and Fishes. The series of representations of New Testament parables he carried out for his patron's studiolo gave rise to a popular specialty, and he and his studio often repeated his compositions.
In August or September 1622, his feuds with some prominent Mantuans led him to move to Venice, which for the first few decades of the seventeenth century had persisted in sponsoring Mannerist styles. Into this mix, in the 1620s–30s, three "foreigners"—Fetti and his younger contemporaries Bernardo Strozzi and Jan Lys—breathed the first influences of Roman Baroque style. They adapted some of the rich coloration of Venice but adapted it to Caravaggio-influenced realism and monumentality.
In Venice, where he remained despite pleas from the Duke to return to Mantua, Fetti changed his style: his formalized painting style became more colorful. In addition, he devoted attention to smaller cabinet pieces that adapt genre imaging to religious stories. His group of paintings entitled Parables, which represent New Testament scenes, are at the Dresden Gemäldegalerie.
His painting style appears to have been influenced by Rubens. He would likely have continued to find excellent patronage in Venice had he not died there in 1623 or 1624. More on Domenico Fetti
King Ahab accepted the challenge. The next day they all gathered on Mt. Carmel. The priests of King Ahab made their offerings upon their altar. They danced around their altar, pleading with Baal to send fire from the heavens. But nothing happened.
Then, Prophet Elias drew near to his altar and made his offering. Before the crowd, he knelt and prayed, Elias had barely finished his prayer when a great fire descended from the heavens and consumed the wood and the offering.
When the gathered crowds saw the miracle, they believed in the true God. Prophet Elias then prayed for rain, and a great rain fell. All the people glorified the true God.
Novgorod school, second half of the XIII century
The Prophet Elijah and the Fiery Chariot, 13th century
Tempera on wood panel
55 x 45 x 3,1 cm
Gallerie d'Italia - Vicenza
Unknown artist
Prophet Elias story
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I have no further description of this artwork at this time
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