Lots going on with the Band, but a recent technical hiccup made it clear that posting the SG paintings is still important. Nothing serious - everything is as it was. But it underlined the point that the more places that we can make the union of beauty and truth visible, the better. It's also become clear that people respond to these paintings in all kinds of ways and interests. People who never gave Art! a second thought find connections to their own lives. Since the Band is empirical in orientation, this is a rewarding proof of concept. The beast system has deliberately stood between us and the Good, the Beautiful, and the True because they objectively enrich our lives and bring us closer to God in countless ways. We've seen this now.
William Holman-Hunt, The Light of the World, 1900-1904
So we'll keep them coming.
This collection brings together old and newer. It's a way to think about the continuity of beauty before and after Modernity. Not just in theory - actual chronology too. The stained glass carries us well into that assault on humanity even on beast timelines. So we start there, move to some medieval art, and wrap with some truly stunning British paintings.
Stained Glass
Start with the stained glass because it's glorious. It isn't hard to see why medievals saw colored light as a sign of God's presence. Others too - temples and mosques will use stained glass for that very reason. We keep to the arts of the West, but the point stands - look at the abstract windows of the Sagrada Familia to see the effect even with out pictures. When you add the logos and techne of a Tiffany, you get figures and stories that look divinely inspired. Like prophecy or scripture made visible.
The techne is partly in the innovations in glassmaking. Louis Comfort Tiffany and John La Farge were pioneers in opalescent glass - colored glass that was more textures and opaque. It let less light through, but permitted more effects. Bright electric light made it practical for lamps, and Tiffany's studio developed different types of opalescent glass. His favrile glass was the first opalescent glass to have the color ingrained in it rather than applied to the surface.
Here’s a reminder Chicago wasn’t always just murders & corruption.
The Tiffany Dome Ceiling at the Chicago Cultural Center from 1897 is 38’ diameter with 30,000 panes.
And devolution still isn’t proof of TENS.
The brilliance of opalescent glass on Sunday morning.
This & others like it were donated as memorials. Intergenerational ties that you can see between church and community.
Tiffany Studios, Angel of the Resurrection, 1920s
21st-century windows in Barcelona’s La Sagrada Familia. There can be beauty in abstraction when it serves logos.
They’re part of a larger experience – what architect Gaudi called a “church of harmonious light”.
Sunday morning with a glorious stained-glass vision.
Tiffany’s favrile glass controls opacity to highlight important areas. The distant sunrise & far more majestic rise of the Son.
Louis Tiffany, Ascension Window, 1911
Sunday stained glass reminds that God protects against the fallen world.
Fear falls away like the bent world from Tolkien’s straight road.
The painting with glass is masterful.
Tiffany Studios, Guiding Angel, 1890
Sunday morning stained glass vision balances glory & truth. Chromatic brilliance without losing clarity.
How? Controlling brightness like a highlighter.
Tiffany Studios, I am the Resurrection and the Life, around 1905
Medieval Art
Unfortunately we didn't have any medieval stained glass in this collection - sort of irritating if sensitive to harmony. But linear styles do predominate in medieval art - not having stained glass makes it easier to see that underlying similarity with the Tiffany windows. Linearity - and it's opposite painterliness - are not good or bad like value judgments. They're just ways to talk about artworks - descriptive vocabulary for approaches picture-making. Are strong lines favored or a rougher look with brushstrokes showing or blurry edges?
There's an assortment here - lots of International Gothic illumination with courtly refinement and linear grace. This is a especially elegantly beautiful style with bold pleasing colors and bright golds. If there's a drawback it's that the elegance comes at the cost of drama. There's something almost ornamental about it. Next to that are a couple of earlier Romanesque pieces. They bring a rougher but more expressive style. You can see different possibilities being worked out. The German wood sculpture is an artform of its own that flourished in the late Middle Ages and Renaissance.
Late Gothic courtly elegance. Medieval blue came from lapis lazuli & cost more than the gold.
The message remains timely.
Limbourg brothers, Fall of the Rebel Angels, Très Riches Heures du duc de Berry, 1411-1416
Corruptibility is inherent in all human organizations. It’s why hoping institutions can counter immorality is backward.
Illumination of a father’s bribe to advance his son’s career in the Church, Douai Decretum, 1175-1200
1/3 Came across this late German medieval limewood tradition that is simply incredible craftwork.
They appear to have been popular in the 14 & 1500s, with this guy the best.
Tilman Riemenschneider, Marienaltar, 1505-1508
2/3 The scale is too big to do justice to the detail. It’s more intricate than Flamboyant Gothic stonework.
The perspective is a bit skewed, but this really gets it
3/3 It’s beautiful, but light and shadow make it visionary.
…something, something, the dark ages…
Depressions in the surface are enameled & fired to bond bright glassy colors to the metal. This one is banged up so you can see it better.
Sunday night going way back to the Middle Ages.
The peaceful mood of this nocturnal manuscript illumination is timeless.
Limbourg Brothers, Christ in Gethsemane, from Très Riches Heures du Duc de Berry, 1412-1416
International Gothic is the last stage of Gothic art - a court style known for graceful elegance & fine detail – like this letter from an antiphony or choir book.
Lorenzo Monaco, Last Judgment in a C , 1406–7
Close-up shows the International Gothic refinement. The scene was outlined first, then the gold was applied, then inks & paint.
Several artists could be involved. The detail is so fine – even the gold gilding is tooled
Not surprising the Holy Face plays a big part in Christian history. Imagine God loving us so much he let us see Him face-to-face.
Kind of puts the masks in perspective.
Book of hours by the Master of Zweder van Culemborg, circa 1430
The Black Hours was made in Bruges around 1480 & is one of several late Gothic manuscripts on vellum dyed black. The silver & gold lettering is really striking.
This page shows the Flight into Egypt.
British
This tradition reflects its culture by being part of European art and apart from it at once. It's closer than the Russian or American styles we share, but still distinct in notable ways. They balance painterly effects of light, color, and atmosphere over linear substructures. Leaning neither to the classical or romantic pole but combining the order and rhetoric of the two. Strong picturesque qualities, some Romantic grandeur and mystery, extraordinarily refined technical skill levels - the best way to get a feel for British painting is to have a look.
The strength in nautical art shouldn't surprise. And note how Hunt continues the same nocturnal tradition of the Limbourgs. The arts of the West.
Sometimes the master of moonlight goes for subtle tones & other times he lets it blaze.
A silvery cast to this Victorian night means the fog & soot were light
John Atkinson Grimshaw, Moonlight Scene near Leeds, 19th century
Rolling into summer with the bright flowers and rugged hills of the Highlands.
The rough surface of the paint simulates textures and the mist is refreshing.
Alfred de Breanski, Summer In the West Highlands, 19th century
British nautical painter puts us in the middle of things.
The warm lights stand out a turbulent blue-gray world, showing a close-up can capture the sublime power of nature.
Montague Dawson, A Night at Sea, mid-20th century
English painter with a spectacular moonlit view of an historic medieval abbey & holy island.
The contrast of the firelight hints at a spiritual meaning.
John Moore of Ipswich, Lindisfarne Castle & Abbey by Moonlight, 1877
English landscape is gentler – more picturesque, with rolling hills & pastoral settings.
Here, a sudden drop-off combines a panoramic view with an intimate scene.
Sidney Richard Percy, Cattle in the Vale, 19th century
Breathtaking sky & shimmering water from the master of moonlight.
It’s easy to miss the tiny gaslights, but they show Grimshaw’s genius with light.
John Atkinson Grimshaw, The Thames By Moonlight With Southwark Bridge, 1884
Twilight in the distinct Scottish Highland landscape. Note the warm light on the hillside.
The land is rugged - stark even - but alive & the water is crystal clear.
Alfred de Bréanski, When the Trout Rise, 19th century
Sunday night with the 3rd & most mystical version of Hunt’s masterpiece.
The certainty is reassuring. He lights the path for us all. You just have to answer the door.
#art #beauty
William Holman-Hunt, The Light of the World, 1900-1904
British painter brings the fresh sea air to a summer morning.
Delicate foam & contrast with the darker distant sea are familiar if you’ve spent any time around the ocean. And the color…
David James, A Cornish Roller, 1898
Sunday night balance between faith, work, and family. Technically it’s the day of rest but the messaging is perfect.
And look at the sky.
Benjamin Williams Leader, Evening the Ploughman Homeward Plods his Weary Way, 1860
Atmosphere picture by a master marine painter.
There’s something dreamlike in the contrast between sharply-drawn ship & green lantern with the sky & water.
Montague Dawson, The Rising Moon – The Golden Fleece, 20th century
Master of moonlight shows the subtlety of his genius.
Look at the shades of sunset rose in the sky & the light on the ground. The aura around the moon. The gaslight.
John Atkinson Grimshaw, Moonlight and Shadow, 1886
English mountain painter with a breathtaking view that borders on the edge of fantasy.
Another technical ace I’d never heard of. The modern history of art is worthless.
Edward Compton, A View of Mount Sassolungo, 1914
British painter with a sunset after some rough weather.
He uses different styles for textures - thick strokes of paint for the waves & a lighter smoother touch for the sky.
Henry Moore, Calming Down, late 19th century
English painter with the dramatic start to the workday.
Productive labor is too often overlooked. By giving the subject a Romantic flourish, Cole honors its real importance.
George Cole, Early Morning on the Tamar, 1872
Turns out the master of moonlight had a son.
Sunday evening reminder that cities are viable if the scale is manageable & the culture organic & logos-facing.
If.
Louis H. Grimshaw, Evensong, St. Peter’s Church, Leeds, 1895
English nautical painter brings us to a place between reality & fantasy.
Detailed ships & shimmering setting are the kind of contrast between reality & unreality found in dreams.
Montague Dawson, Night Mists, 20th century
British painter’s long eloquent title means we can sit back and enjoy the sky.
Benjamin Williams Leader, A Summer’s Day, when the South Wind Congregates in Crowds, the Floating Mountains of the Silver Clouds, 19th century
Another living artist. To answer a question - they’re out there hidden under the nonsense.
Quicksilver water & misty moonlight add magic but the deck lights bring it to life.
James Brereton, The Evening Calm, 20th century
Montague Dawson, Gleaming Foam ‘Chariot of Fame’
Brereton consciously painting in the style of Dawson who was around 60 years older.
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