Unknown artist
Detail; St. Reverend Onufrey Vel, c. date 18-early 19's
Russian miraculous icon of Onuphrius
The Great Transfiguration Convent, the village of Golovchintsy, Khmelnitsky and Starokonstantinovskaya dioceses of the Russian Orthodox Church.
Onuphrius or Onoufrios lived as a hermit in the desert of Upper Egypt in (Upper Thebaid) the 4th or 5th centuries.
Francisco Collantes (1599–1656)
Saint Onofre, Around 1645
Oil on unlined canvas
170 x 108 cm.
Museo Nacional del Prado, Madrid
Francisco Collantes (1599–1656) was a Spanish Baroque era painter.
Collantes was born in Madrid but sought influence from Jusepe de Ribera and the Neapolitan School. He was also influenced by 16th century Venetian painters and was renowned for his landscapes and biblical scenes.[1]
His works included The Burning Bush (c. 1634) which is now at the Louvre, Agar and Ishmael which is now at the Museum of Art, Rhode Island School of Design, in Providence, and The Vision of Ezekiel, Saint Arnulph and The Fall of Troy (about 1634), all three now at the Museo del Prado in Madrid. More on Francisco Collantes
According to Saint Paphnutius the Ascetic' account, he met Onuphrius when he undertook a pilgrimage to study the hermit way of life and to determine whether it was for him. Wandering in the Egyptian desert for 16 days, on the 17th day Paphnutius came across a wild figure covered in hair, wearing a loincloth of leaves. Frightened, Paphnutius ran away, up a mountain, but the figure called him back, shouting, “Come down to me, man of God, for I am a man also, dwelling in the desert for the love of God"
Cuzco School, 18th Century
Saint Onuphrius
Oil on canvas
53.3x64.4 cm
Private collection
The Cuzco School (Escuela Cuzquena) was a Roman Catholic artistic tradition which originated following the 1534 Spanish Conquest of the Inca Empire and continued during the Colonial Period in the sixteenth, seventeenth, and eighteenth centuries. Though based in Cusco, Peru (the former capital of the Inca Empire), the Cuzco School extended to other cities of the Andes, present day Bolivia, and Ecuador. Today it is regarded as the first artistic center that taught European visual art techniques in the Americas. The primary intention of Cuzco School paintings was to be didactic. Hoping to convert the Incas to Catholicism, the Spanish sent religious artists to Cusco who created a school for the Quechua peoples and mestizos. Interestingly, Cusquena art was created by the indigenous as well as Spanish creoles. In addition to religious subjects, the Cuzco School expressed their cultural pride with paintings of Inca monarchs. Despite the fact that Cuzco School painters had studied prints of Flemish, Byzantine, and Italian Renaissance art, these artists' style and techniques were generally freer than that of their European models. More on The Cuzco School
His hair and beard reached to the ground. This does not normally happen – the beard reaches a certain length and grows no further. His beard, related the Saint, grew to his feet in one day to cover his nakedness when the clothes with which he had come to the desert fell away. All the hairs on him were as white as snow and his entire appearance glowed, sublime and
awesome.
Fra Angelico, (circa 1395 –1455)
A large monastery in the Thebaid
Scenes from the Lives of the Desert Fathers (Thebaid), c. 1420
Tempera on poplar wood
Height: 738 mm (29.05 in); Width: 1,050 mm (41.33 in)
Museum of Fine Arts, Budapest
Fra Angelico (born Guido di Pietro; c. 1395 – February 18, 1455) was an Italian painter of the Early Renaissance, described by Vasari in his Lives of the Artists as having "a rare and perfect talent".
He was known to contemporaries as Fra Giovanni da Fiesole and Fra Giovanni Angelico . In modern Italian he is called Beato Angelico; the common English name Fra Angelico means the "Angelic friar".
In 1982, Pope John Paul II proclaimed his beatificatio in recognition of the holiness of his life, thereby making the title of "Blessed" official. Fiesole is sometimes misinterpreted as being part of his formal name, but it was merely the name of the town where he took his vows as a Dominican friar, and was used by contemporaries to separate him from others who were also known as Fra Giovanni.
Vasari wrote of Fra Angelico that "it is impossible to bestow too much praise on this holy father, who was so humble and modest in all that he did and said and whose pictures were painted with such facility and piety." More on Fra Angelico
Unknown artist
Onuphrius is in the middle band on the right shown talking to Paphnutius
The Thebaid fresco in the Pisan Camposanto
Unknown artist
Detail; Onuphrius is in the middle band on the right shown talking to Paphnutius
The Thebaid fresco in the Pisan CamposantoTurning back, Paphnutius talked to the wild figure, who introduced himself as Onuphrius and explained that he had once been a monk at a large monastery in the Thebaid, but he wanted to live alone. He left his monastery and went to live near a city, sustaining himself by the work of his own hands (he was a weaver). Once a woman came to him with an order and he fell into sin with her. Having come to his senses, the fallen monk went far into the desert, where he patiently endured tribulation and sickness. When he was at the point of dying from hunger, he received healing in a miraculous manner.
In the orthodox rite, Onofre would have been a virtuous young woman who, in order to preserve her virginity from a ferocious persecutor, prayed that God would transform her into a man , which was granted to her. Then he went to live as a hermit in the desert of Egypt, living naked and having only his long beard covering his parts.
Battistello Caracciolo, (–1635)
St Onophrius, circa 1625
Oil on canvas
Height: 180 cm (70.8 in); Width: 116 cm (45.6 in)
Galleria Nazionale d'Arte Antica, Rome, Italy
Giovanni Battista Caracciolo (also called Battistello) (1578–1635) was an Italian artist and important Neapolitan follower of Caravaggio.
His initial training was said to be with Francesco Imparato and Fabrizio Santafede, but the first impulse that directed his art came from Caravaggio's sudden presence in Naples in late 1606. Caravaggio had fled there after killing a man in a brawl in Rome. His stay in the city lasted only about eight months, with another brief visit in 1609/1610, yet his impact on artistic life there was profound.
Caracciolo, only five years younger than Caravaggio, was among the first there to adopt the startling new style with its sombre palette. He is considered to be the solitary founder of the Neapolitan school of Caravaggism.
In 1607, he painted the Immaculate Conception for the Santa Maria della Stella in Naples. It is considered to be his first documented Caravaggesque painting.
In 1612, he made a trip to Rome. A work showing the influence of this visit, and especially that of Orazio Gentileschi, is the Liberation of Saint Peter (1615), painted for the Pio Monte della Misericordia, to hang next to Caravaggio's Seven Works of Mercy painted for the same church. By this time he had become the leader of the new Neapolitan school, dividing his time between religious subjects (altarpieces and, unusually for a Caravaggist, frescos) and paintings for private patrons.
He died in Naples, in the few days between creating his last will, on 19 December 1635, and 24 December 1635, when it was opened and read. More on Giovanni Battista Caracciolo
but who had now lived as a hermit for 70 years, enduring extreme thirst, hunger, and discomforts. He said that it was his guardian angel who had brought him to this desolate place and delivered him a Host every Sunday." Onuphrius took Paphnutius to his cell, and they spoke until sunset, when bread and water miraculously appeared outside of the hermit's cell.
They spent the night in the prayer, and in the morning Paphnutius discovered that Onuphrius was near death. Paphnutius, distressed, asked the hermit if he should occupy Onuphrius’ cell after the hermit’s death, but Onuphrius told him, "That may not be, thy work is in Egypt with thy brethren." Onuphrius asked Paphnutius for there to be a memorial with incense in Egypt in remembrance of the hermit. He then blessed the traveler and died.
Unknown artist
St. Reverend Onufrey Vel, c. date 18-early 19's
Russian miraculous icon of Onuphrius
The Great Transfiguration Convent, the village of Golovchintsy, Khmelnitsky and Starokonstantinovskaya dioceses of the Russian Orthodox Church.
Due to the hard and rocky ground, Paphnutius could not dig a hole for a grave, and therefore covered Onuphrius’ body in a cloak, leaving the hermit’s body in a cleft of the rocks. After the burial, Onuphrius’ cell crumbled, which Paphnutius took to be a sign that he should not stay. More on Saint Onuphrius
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