El Greco, (1541–1614)
Saint Dominic in Prayer, c. between 1605 and 1610
Oil on canvas
Height: 104.7 cm (41.2 in); Width: 82.9 cm (32.6 in)
Museum of Fine Arts, Boston, Massachusetts
Doménikos Theotokópoulos (1541 – 7 April 1614), most widely known as El Greco; Spanish for "The Greek", was a painter, sculptor and architect of the Spanish Renaissance. The nickname "El Greco" refers both to his Greek origin and Spanish citizenship. The artist normally signed his paintings with his full birth name in Greek letters.
El Greco was born in Crete, which was at that time part of the Republic of Venice, and the center of Post-Byzantine art. He trained and became a master within that tradition before traveling at age 26 to Venice, as other Greek artists had done. In 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance. In 1577, he moved to Toledo, Spain, where he lived and worked until his death. In Toledo, El Greco received several major commissions and produced his best-known paintings.
El Greco's dramatic and expressionistic style was met with puzzlement by his contemporaries but found appreciation in the 20th century. El Greco is regarded as a precursor of both Expressionism and Cubism, while his personality and works were a source of inspiration for poets and writers. El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, marrying Byzantine traditions with those of Western painting. More on El Greco
Dominic was born in Caleruega, in Old Castile, Spain. He was named after Saint Dominic of Silos. The Benedictine abbey of Santo Domingo de Silos lies a few miles north of Caleruega.
Unknown artist
Bl. Juana, mother of Saint Dominic and Bl. MannesI have no further description, at this time
The story is told that before his birth his barren mother made a pilgrimage to the Abbey at Silos, and dreamt that a dog leapt from her womb carrying a flaming torch in its mouth, and seemed to set the earth on fire.
Miracle of Saint Doménec de Silos
88 x 65 cm
City Museum, Valencia.
Pere Nunyes ( Portugal, 15th century - Barcelona, d. 1554 ), born Pedro Nunhes, was a Portuguese painter who arrived in Barcelona in 1513.
Nunyes was one of the many foreign artists who, in the absence of competent local artists, went to Catalonia. The presence of foreigners and the mobility of artists are consubstantial in the Spanish art of the 15th and 16th centuries.
Some say that Pere Nunyes could be Michelangelo's "Portuguese servant" than Francisco de Holandaquotes in his biography of the Italian artist.
Just when he arrived in Barcelona, Nunyes collaborated with Joan de Borgunya , the most requested artist in the city at the time. When he died in 1525, he inherited all the pending orders and work and became its successor.
He also collaborated with other members of the guild. At an early date, he sought to establish relations with the Neapolitan painter Nicolau de Credença, established in Barcelona since the end of the 15th century; later he will do so with Pere Serafí.
Pere Nunyes, with his partners, became the great dominator of the Barcelona art scene in the first half of the 16th century. The totality of their work is religious; only in some works does it incorporate any historical theme.
As the respect and prestige of the clients was gained, Nunyes obtained a good part of the orders, as Joan de Borgunya had done in her time. They both did "Roman-style" painting but still flamenco-based. More on Pere Nunyes
Dominic was brought up by his parents and a maternal uncle who was an archbishop. Dominic's father belonged to the family de Guzmán, and that his mother belonged to the Aça or Aza family. Dominic's mother, Jane of Aza, was beatified by Pope Leo XII in 1829.
At fourteen years of age, Dominic was sent to the Premonstratensian monastery of Santa María de La Vid and subsequently transferred for further studies in the schools of Palencia. In Palencia, he devoted six years to the arts and four to theology. At some point in time he also joined Santa María de La Vid as a canon.
Pedro Berruguete (c. 1450 – 1504)
The Miracle of the Cloud, c. 1493 - 1499
Oil on Panel
Height: 132 cm.; Width: 84 cm.
Museo del Prado, Madrid
The scene takes place during a trial presided by Saint Dominic in Milan against a heretic bishop, identified by his mitre. Seated next to the portable pulpit set up in a square, the prelate promises to abjure his errors if the intense heat to which the accused and the witnesses are subjected ceases. A cloud miraculously hides the sun. More on this work
For info on Pedro Berruguete (c. 1450 – 1504) please see below
In 1191, when Spain was desolated by famine, young Dominic gave away his money and sold his clothes, furniture, and even precious manuscripts to feed the hungry.
At the age of 24, Dominic was ordained as a priest, and subsequently joined the canonry of the Cathedral of Osma. In 1198, Diego de Acebo, the Bishop of Osma, having reformed the chapter and assigned himself as prior, made Dominic the subprior of the chapter.
Daniel van den Dyck, (1610–1670)
St Dominic accompanied by Simon de Montfort raising the crucifix against the Albigensians/ Cathars, c. 1650s
Oil on canvas
San Nicolò Church, Treviso
Daniel van den Dyck, known in Italy as Daniel Vandich (baptized on 3 December 1614, Antwerp – 1663, Mantua) was a Flemish painter, printmaker, architect and engineer. After training in Antwerp he left for Italy where he first worked in Venice and later became a court painter in Mantua. He was a versatile artist who created mythological and religious scenes, as well as portraits and flower-pieces.
He was registered as a pupil of Peter Verhaeght in the Antwerp Guild of Saint Luke in 1631-1632. He was registered as a master of the Antwerp Guild of Saint Luke in 1633-1634. Shortly after becoming a master he left Antwerp.
The artist passed first through Bergamo . He was in Venice next, likely from 1634 onwards. Here he married Lucrezia Renieri, the eldest daughter of Nicolas Régnier, a Flemish painter active in Venice who was herself a painter.[2] The couple had three sons. His father-in-law had been active in Venice since 1626. These family ties meant that van den Dyck could rely on a network of Flemish and Italian artists in Venice. This allowed him to gain many commissions for religious paintings in churches as well as for portraits. More on Daniel van den Dyck
In 1203 or 1204 he accompanied Diego de Acebo on a diplomatic mission for Alfonso VIII, King of Castile. During their return journey, they met with Cistercian monks who had been sent by Pope Innocent III to preach against the Cathars, a Christian religious sect with gnostic and dualistic beliefs which the Catholic Church deemed heretical. Dominic and Diego de Acebo attributed the Cistercians' lack of success to their extravagance and pomp compared to the asceticism of the Cathars. They decided to adopt a more ascetic way of life and began a program in the south of France to convert the Cathars. Diego de Acebo later died, leaving Dominic alone in his mission.
Pedro Berruguete (c. 1450 – 1504)
Saint Dominic, c. 1493 - 1499
Oil on panel.
Museo del Prado, Madrid
Saint Dominic is shown holding a book and a fleur-de-lis. With his cross, he crushes a demon dog surrounded by flames, a symbol of evil. This image -reflecting the particular-interest of the Inquisitor General, Torquemada, who commissioned the work- identifies Saint Dominic as an inquisitor, which he never was. More on this work
Pedro Berruguete (c. 1450 – 1504) was a Spanish painter; his art is regarded as a transitional style in Spain between Gothic and Renaissance. Berruguete most famously created paintings of the first few years of the Inquisition and of religious imagery for Castilian retablos. He is considered by some as the first Renaissance painter in Spain.
It is speculated that he travelled to Italy in 1480 and worked in Federico III da Montefeltro's court in Urbino.
He returned to Spain in 1482 and painted in several cities, such as Toledo and Ávila. His exact date of death is unknown and often approximated around the years 1503-04, but it is also speculated that he might have died in Madrid, though no real documentation has been found for this claim. More on Pedro Berruguete
In 1215, Dominic saw the need for a new type of organization to address the spiritual needs of the growing cities of the era, one that would combine dedication and systematic education, with more organizational flexibility than either monastic orders or the secular clergy. He subjected himself and his companions to the monastic rules of prayer and penance. Bishop Foulques gave them written authority to preach throughout the territory of Toulouse.
Also in 1215, the year of the Fourth Lateran Council, Dominic and Foulques went to Rome to secure the approval of the Pope, Innocent III. Dominic returned to Rome a year later, and was finally granted written authority in December 1216 and January 1217 by the new pope, Honorius III for him to form the Ordo Praedicatorum ("Order of Preachers").
Pedro Berruguete, (1450–1504)
Saint Dominic Presiding over an Auto-da-fe, between circa 1493 and circa 1499
Oil on panel
Height: 154 cm (60.6 in); Width: 92 cm (36.2 in)
Museo del Prado, Madrid
Representations of an auto da fe often depict torture or someone being burnt at the stake. The two victims in the lower right, tied to the two posts meant to prolong their deaths by staving off suffocation by the ropes or garrotes wrapped around their necks. Another likely purpose of these stakes was possibly a means of further shaming and humiliating the victims The two victims on the posts await their deaths as the pile of ignited firewood before them is fed. The two victims standing in line await their own turns next on the posts. All of these victims are Cathars. More on this work
Pedro Berruguete (c. 1450 – 1504) was a Spanish painter; his art is regarded as a transitional style in Spain between Gothic and Renaissance. Berruguete most famously created paintings of the first few years of the Inquisition and of religious imagery for Castilian retablos. He is considered by some as the first Renaissance painter in Spain.
It is speculated that he travelled to Italy in 1480 and worked in Federico III da Montefeltro's court in Urbino.
He returned to Spain in 1482 and painted in several cities, such as Toledo and Ávila. His exact date of death is unknown and often approximated around the years 1503-04, but it is also speculated that he might have died in Madrid, though no real documentation has been found for this claim. More on Pedro Berruguete
Although he traveled extensively to maintain contact with his growing brotherhood of friars, Dominic made his headquarters in Rome. In 1219, Pope Honorius III invited Dominic and his companions to take up residence at the ancient Roman basilica of Santa Sabina, which they did by early 1220. Before that time the friars had only a temporary residence in Rome at the convent of San Sisto Vecchio. The official foundation of the Dominican convent at Santa Sabina with its studium conventuale, the first Dominican studium in Rome, occurred on 5 June 1222
Dominic arrived in Bologna on 21 December 1218. A convent was established at the Mascarella church by Reginald of Orleans. Soon afterwards they had to move to the church of San Nicolò of the Vineyards Dominic settled in this church and held here the first two General Chapters of the order.(
Dominic died at the age of fifty-one, according to Guiraud "exhausted with the austerities and labours of his career". More on Saint Dominic
Bernardo Cavallino, (1616–1656)
Bernardo Cavallino: The Vision of St. Dominic, circa 1640-1645
Oil on canvas
National Gallery of Canada
Bernardo Cavallino (1616–1656) was an Italian painter and draughtsman. He is regarded as one of the most original painters active in Naples during the first half of the 17th century.
Born in Naples, his paintings are some of the more stunningly expressive works emerging from the Neapolitan artists of his day. Little is known about his background or training. Of eighty attributed paintings, less than ten are signed. He worked through private dealers and collectors whose records are no longer available.
One of his masterpieces is the billowing proletarian Blessed Virgin at the Brera Gallery in Milan. Passive amid the swirling, muscular putti, this Neapolitan signorina delicately rises from the fog, the updated Catholic baroque equivalent of a Botticelli's Venus. His The Ecstasy of St Cecilia exists both as cartoon (Museo di Capodimonte, Naples)[2] and final copy in the Palazzo Vecchio of Florence. Finally, his Esther and Ahasuerus hangs in the Uffizi Gallery.
He is thought to have died during the plague epidemic in 1656. More on Bernardo Cavallino
It was widely believed that St. Dominic received the Rosary from the Blessed Virgin Mary herself. Although many present-day devotional paintings, pictures, calendars, and the altar pieces still attest to this belief, historians generally agree that the Rosary, as a form of prayer, was a product of centuries of evolution which began long before the time of St. Dominic.
Francisco de Zurbarán, (1598–1664)
Saint Dominic in Soriano, c. 1626
Catherine of Alexandria, Mary Magdalene, and the Virgin Mary
Oil on canvas
190 × 230 cm
Church of Santa María Magdalena, Seville
Francisco de Zurbarán (baptized November 7, 1598 – August 27, 1664) was a Spanish painter. He is known primarily for his religious paintings depicting monks, nuns, and martyrs, and for his still-lifes. Zurbarán gained the nickname Spanish Caravaggio, owing to the forceful, realistic use of chiaroscuro in which he excelled.
Zurbarán was born in Fuente de Cantos, near Badajoz. In 1617, after training in Seville, he returned to Llerena in his native province. By 1629 he was back in Seville, where he became the city's official painter.
In 1634 he was in Madrid painting mythologies for the Buen Retiro, Philip IV's new palace, perhaps through the intervention of his friend Velázquez. His last years were not so successful and he died in Madrid in poverty. More on Francisco de Zurbarán
In 1510, Fray Vicente de Catanzaro, city of the Calabria Ulterior, a Dominican of pious and austere life, under the inspiration of Santo Domingo -according to the ancient chronicles- came to Soriano to found a convent, although it was built with a lack of material means with the special help of Divine Providence. The small community of friars established in Soriano lived almost ignored until 1530.
That year, on the night of September 15, the Virgin appeared to Friar Lorenzo da Grotteria, brother sacristan, and gave him a canvas with the representation of Santo Domingo. Since then the miraculous image of Santo Domingo in Soriano has enjoyed great veneration and devotion.
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