Paolo Caliari, known as Paolo Veronese (1528 – 19
April 1588) was an Italian Renaissance painter based in Venice,
most famous for large history paintings of both religious and mythological
subjects, such as The Wedding at Cana and The Feast in the House of Levi. With
Titian, who was at least a generation older, and Tintoretto, ten years older,
he was one of the "great trio that dominated Venetian painting of the
cinquecento" or 16th-century late Renaissance. Veronese is known as a
supreme colorist, and after an early period with Mannerist influence turned to
a more naturalist style influenced by Titian.
His most
famous works are elaborate narrative cycles, executed in a dramatic and
colorful style, full of majestic architectural settings and glittering
pageantry. His large paintings of biblical feasts, crowded with figures,
painted for the refectories of monasteries in Venice and Verona are especially
famous, and he was also the leading Venetian painter of ceilings. Most of these
works remain in situ, or at least in Venice, and his representation in most
museums is mainly composed of smaller works such as portraits that do not
always show him at his best or most typical.
He has always been appreciated for "the chromatic
brilliance of his palette, the splendor and sensibility of his brushwork, the
aristocratic elegance of his figures, and the magnificence of his
spectacle", but his work has been felt "not to permit expression of
the profound, the human, or the sublime", and of the "great
trio" he has often been the least appreciated by modern criticism.
Nonetheless, "many of the greatest artists ... may be counted among his
admirers, including Rubens, Watteau, Tiepolo, Delacroix and Renoir". More on Paolo Caliari
Although many different accounts of her life exist, the most widely known is The Acts of St. Afra, which dates from the 8th century AD.
Nikolaus Bertschi
Arms of Bishop Christoph von Stadion of Augsburg; with Virgin and Child, St Afra and St. Hilaria separated by an arcade of columns, to the right St Ulrich, St Narcissus and St Dionysius, c. 1517-1541
Coloured woodcut
Height: 78 millimetres, Width: 299 millimetres
British Museum
Nikolaus Bertschi was born between 1470 and 1480. Because of his nickname "de Roschach", research associates him with the Bertschi family, who can be found in Rorschach.
Although Nikolaus Bertschi is a citizen of the city, he is not a member of the painters' guild. This precludes the regularly accepted apprenticeship with guild masters Jörg Breu the Elder or Hans Burkmair the Elder. The collaboration with Leonhard Wagner and the Convent of St. Ulrich characterizes him as an artist who works closely with church workshops. Independence from the guild enables outside activities with a longer absence from the city. This allowed work for the monasteries of St. Gallen, Kaisheim and Lorch.
In Bertschi's works for the St. Gallen Monastery, elements of style from Swabian and especially Augsburg's book illumination can be seen. Bertschi's paintings are characterized by high quality craftsmanship. The most striking feature is the color. It shows itself in the tendril paintings of the border decorations and in the voluminous-naturalistic flowers and fruit heads. The golden and silver suns with short rays as well as the shape-accompanying, numerous feather flourishes are seen as personal handwriting. The recurring motifs seem to be based in part on templates from the surroundings of the Ortisei monastery, such as the “wild men”, the hunt for deer or bears, the putti, which move playfully in the vegetative tendrils and the face masks developed from the plants. The "Welschen Kindlein" (Putti painted in Italian style) was used by the illuminator Conrad Wagner in the St. Ulrich Monastery as early as 1490 in a gradual. The receivedLorch choir books reflect Bertschi's wide-ranging oeuvre, which, with the mostly closed frame designs, also shows Dutch influences. More on Nikolaus Bertschi
Unknown artist
Temple sex in the service of Venus
Tribes from Sicily to Thebes are believed to have indulged in religious customs
Fresco painting
Pompeii
In the late 3rd century, Afra's family journeyed from Cyprus to Augsburg. Afra was dedicated to the service of the goddess, Venus, by her mother, Hilaria. She was originally a prostitute in Augsburg, having gone there from Cyprus, maybe as the daughter of the King of Cyprus. She is reputed either to have run a brothel in that town or worked as a sacred prostitution in the Temple of Venus.
Spanish Colonial School, 18th Century
Saint Narcissus
Oil on canvas
20-3/4 x 15-1/4 in
Private collection
As the persecution of Christians during the reign of Roman Emperor Diocletian began, Bishop Narcissus of Girona, in Spain, sought refuge in Augsburg and lodged with Afra and her mother, Hilaria. Through his teachings, Bishop Narcissus converted Afra and her family to Christianity.
Afra hid the bishop from the authorities. When it was learned that Afra was a Christian, she was brought before Diocletian and ordered to sacrifice to the pagan gods. She refused, and was condemned to death by fire on a small island in the Lech River, with her remains being buried at a distance from the place of her martyrdom.
Manfred A. Schmid
St. Afra
St. Afra church, Mühlenbach, Baden-Württemberg
Manfred A Schmid was a German Postwar & Contemporary artist who was born in 1911.
Her three servants, Eunomia, Digna, and Eutropia, were standing on the banks of the river winessing her martyrdom. As they had been partners in her vice, they had also imitated her in her conversion, and had been baptized by the holy Bishop St. Narcissus. Knowing that their mistress was now dead, they crossed over to the island; and the news having reached Hilaria, the saint’s mother, she also came, accompanied by some priests; they took the saint’s body and carried it to the family burying-place, two miles distant from Augsburg. Gaius, having been informed of this, sent a troop of soldiers with orders to arrest all who were at the burying-place, and, in case they refused to sacrifice, to shut them up in the sepulcher, and burn them there. This barbarous order was cruelly executed, and thus all these holy women received the crown of martyrdom in the year 304.
Master of the Augsburg Legend of Ulrich
Legend of Saint Ulrich, c. early 1450's
a part of two panel with each three scenes from the life of St. Ulrich
Oil on panel
Height: 115 cm (45.2 in); Width: 190 cm (74.8 in)
Basilica of St. Ulrich and Afra, Augsburg
The left panel shows Saint Afra appearing to Saint Ulrich in a dream:
Master of the Augsburg Legend of Ulrich
Detail; Legend of Saint Ulrich, c. early 1450's
a part of two panel with each three scenes from the life of St. Ulrich
Oil on panel
Height: 115 cm (45.2 in); Width: 190 cm (74.8 in)
Basilica of St. Ulrich and Afra, Augsburg
The master of Ulrich Legend is Gothic artist, who is not known by name. His is named after two pictures he created with representations from the legend of St. Ulrich , patron saint of Augsburg. The works painted on wooden panels can be found there on the north transept wall in the Basilica of St. Ulrich and Afra.
The composition of the scenes and, for example, the clothing of the figures in the pictures of the Ulrich legend indicate the influence of Burgundian illuminators . But contemporary painting from Flanders were also familiar to the master of the Ulrich legend . Until the middle of the 15th century, the influence of Bohemian painting had largely determined the development of this art movement in Augsburg. However, after 1455 works by Dutch painters could be found in Augsburg, and Dutch painters settled in the city at this time.
Ulrich of Augsburg (893 – 4 July 973) was Bishop of Augsburg in Germany. He was canonized by Pope John XV on 4 July 993. Ulrich built churches in honor of St. Afra and St. John, and founded the monastery of St. Stephen for Benedictine nuns. For purposes of obtaining relics he went on two journeys to Rome, in 910 and 952.
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