Art as Personal Branding in 18C England - Garden Conversation Pieces by William Hogarth (1697–1764)

1738 William Hogarth, (English artist, 1697-1764) The Hervey Conversation Piece The Holland House Group  Intellectual meeting in a garden with fine furniture & garden roller.

Pioneered by William Hogarth (1697–1764) & Philip Mercier (1689-1760) in the early 18C, & continued by Arthur Devis (1712-1787), George Stubbs (1724-1806), Johan Zoffany (1733–1810) & others, the Conversation Piece was a new form of portraiture, depicting groups of traditional & aspiring gentry (2-3 or more in this series) in country house garden landscape settings. A large newly affluent middle class emerged as Britain’s colonial empire prospered in the 18C, & its Industrial Revolution began. Often socially spurned by the established aristocracy, these newly wealthy merchants, industrialists, & colonial landowners developed more natural & casual manners enlivening both novels & group portraits. These new Conversation Pieces & novels, like Jane Austen’s Pride & Prejudice & Daniel Defoe’s Moll Flanders, attempted to portray a more relaxed, more humorous "real life" of the newly wealthy middle class rather than the stiff allegories & heroic epic poems preferred by earlier aristocrats. Painters were commissioned to hold a mirror to this emerging English society & its still sought-after environment of the proper activities expected of the "natural leaders" at their "country houses" & elegantly planned landscape gardens. No longer were families simply rather stiffly painted in gardens & personal landscapes, as they were in the 17C, when budding science was promoting man as the "interpreter of Nature." Now the newly-privileged yearned to appear in complex multi-figured compositions & intricate narratives, filling their paintings with more humorous & relaxed representations of socially precise proper customs. Paintings were commissioned by families or friends to portray them sharing common aristocratic activities. The vibrant (& at times wholly fabricated) settings in these works reflect the aspirations of the emerging material culture of Georgian Britain. Artists painting Conversation Pieces portrayed a group, often in their country house garden landscape, apparently engaged in some informal genteel conversation or some acceptable elite activity. Typically those depicted were members of a family, but friends & important colleagues could be included; & sometimes, important deceased relatives also appeared. Many groups in Conversation Pieces are united by connections spurred the marriage of members of 2 families. Occasionally, artists depicted organized groups of elite gentlemen discussing new science or scholarship. The settings of Conversation Pieces reflected the image the client wanted to portray, including the ideal landscape or garden, which he wanted to demonstrate as the upper-class setting of his everyday activities. And so, these Conversation Pieces are a great way to see what those in the early 18C aspired to have in their planned, personal landscapes. The subjects of Conversation Pieces were depicted in a variety of genteel pastimes, whether or not they really could do the activities, they were portrayed enjoying. Elites, aspiring or long-established, were painted sharing common activities such as hunting, fishing, or outdoor meals & musical parties. Dogs & horses were also frequently included as proper gentry accessories.

Madonnas attributed to the Workshop of Rogier van der Weyden

Workshop of Rogier van der Weyden, Diptych Madonna with St. Cathrine. Madonna and Child

Workshop of Rogier van der Weyden Madonna Enthroned

In this blog, I try to begin each day with a painting of the Madonna & Child. It centers me; connects me to the past; & encourages me to post some of the religious paintings which were a large part of the core of early Western art.  In the 4C, as the Christian population was rapidly growing & was now supported by the state, Christian art evolved & became grander to suit new, enlarged public spaces & the changing contemporary tastes of elite private clients.

20C SPRING Celebration in Central Park by Maurice Prendergast (1858-1924)

1901-03 Maurice Brazil Prendergast (American artist, 1858-1924) May Day in Central Park. Girls dance around colorful ribbon Maypole.  The artist sometimes includes babies in carriages in his Springtime images.

Madonnas attributed to Stefan Lochner 1400-1451

Stefan Lochner (German artist, 1400-1451) Adoration of the Christ child by the Virgin Mary

Stefan Lochner (German artist, 1400-1451) Madonna of the Rose Bush, ca 1440, Wallraf-Richartz Museum, Cologne

Stefan Lochner (German artist, 1400-1451) Adoration of the Magi 1440s

Stefan Lochner (German artist, 1400-1451) Madonna and Child in Garden

Stefan Lochner (German artist, 1400-1451) Presentation of Christ Child at the Temple 1447

Stefan Lochner (German artist, 1400-1451) Presentation at the Temple

Stefan Lochner (German artist, 1400-1451) Adoration of the Christ Child

Stefan Lochner (German artist, 1400-1451) Madonna mit dem Veilchen 1450

In this blog, I try to begin each day with a painting of the Madonna & Child. It centers me; connects me to the past; & encourages me to post some of the religious paintings which were a large part of the core of early Western art.  In the 4C, as the Christian population was rapidly growing & was now supported by the state, Christian art evolved & became grander to suit new, enlarged public spaces & the changing contemporary tastes of elite private clients.

20C SPRING MAYPOLES on Magazine Covers

Madonnas attributed to Italian artist Giotto (Ambrogio Bondone) 1267-1337

Attributed to Giotto (Ambrogio Bondone) (Italian artist, 1267-337) Adoration of the Magi Arena Chapel

Attributed to Giotto (Ambrogio Bondone) ((Italian artist, 1267-1337) Madonna and Child

Attributed to Giotto (Ambrogio Bondone) (Giotto (Ambrogio Bondone) (Italian artist, 1267-1337) Nativity

Attributed to Giotto (Ambrogio Bondone) (Giotto (Ambrogio Bondone) (Italian artist, 1267-1337) Nativity

Attributed to Giotto (Ambrogio Bondone) (Giotto (Ambrogio Bondone) (Italian artist, 1267-1337) Madonna and Child

Attributed to Giotto (Ambrogio Bondone) (Giotto (Ambrogio Bondone) (Italian artist, 1267-1337) The Flight into Eypgt, a fresco in the Scrovegni Chapel Chapel in Padua, Italy, painted c. 1304-06

In this blog, I try to begin each day with a painting of the Madonna & Child. It centers me; connects me to the past; & encourages me to post some of the religious paintings which were a large part of the core of early Western art.  In the 4C, as the Christian population was rapidly growing & was now supported by the state, Christian art evolved & became grander to suit new, enlarged public spaces & the changing contemporary tastes of elite private clients.

20C SPRING Central Park by Maurice Prendergast 9858-1924)

1901-03 Maurice Brazil Prendergast (American artist, 1858-1924) May Day in Central Park. The artist sometimes includes babies in carriages in his Springtime images.

Madonna attr to Italian artist Simone Martini (c 1280-85-1344)

Attributed to Simone Martini (Italian artist, 1280-85-1344)  Maestà

In this blog, I try to begin each day with a painting of the Madonna & Child. It centers me; connects me to the past; & encourages me to post some of the religious paintings which were a large part of the core of early Western art.  In the 4C, as the Christian population was rapidly growing & was now supported by the state, Christian art evolved & became grander to suit new, enlarged public spaces & the changing contemporary tastes of elite private clients.

1905 SPRING in Central Park William Glackens (American, 1870-1938)

1905 William Glackens (American, 1870-1938) Spring in Central Park

Morning Madonna

Andrea del Verrocchio (Italian Early Renaissance artist, c 1435-1488) Madonna and Child 1470

In this blog, I try to begin each day with a painting of the Madonna & Child. It centers me; connects me to the past; & encourages me to post some of the religious paintings which were a large part of the core of early Western art.  In the 4C, as the Christian population was rapidly growing & was now supported by the state, Christian art evolved & became grander to suit new, enlarged public spaces & the changing contemporary tastes of elite private clients.

20C SPRING in Central Park by Maurice Prendergast (1858-1924)

1901 Maurice Brazil Prendergast (American artist, 1858-1924) May Day in Central Park with Blue & White Ribbon Maypole

Morning Maonna - The Presentation of Jesus at the Temple from Illuminated Manuscripts

 15C Presentation of Jesus at the temple

The Presentation of Jesus at the Temple or Candlemas is described in the Gospel of Luke (Luke 2:22–40). According to the gospel, Mary and Joseph took the baby Jesus to the Temple in Jerusalem 40 days  after his birth to complete Mary's ritual purification after childbirth, and to perform the redemption of the firstborn, in obedience to the Law of Moses (Leviticus 12, Exodus 13:12-15, etc.). Luke explicitly says that Joseph and Mary take the option provided for poor people (those who could not afford a lamb) (Leviticus 12:8), sacrificing "a pair of turtledoves, or two young pigeons." (Leviticus 12:1-4 indicates that this event should take place forty days after birth for a male child, hence the Presentation is celebrated 40 days after Christmas.)

 After an icon by Theophanes the Cretan, 1535, Great Lavra Monastery on Mount Athos

Upon bringing Jesus into the temple, they encountered Simeon. The Gospel records that Simeon had been promised that "he should not see death before he had seen the Lord's Christ" (Luke 2:26). Simeon prayed the prayer that would become known as the Nunc Dimittis, or Canticle of Simeon, which prophesied the redemption of the world by Jesus: "Lord, now lettest Thou Thy servant depart in peace; according to Thy word: for mine eyes have seen Thy salvation, which Thou hast prepared before the face of all people: to be a light to lighten the gentiles and to be the glory of Thy people Israel." (Luke 2:29-32).

 Book of Hours. Netherlands c1460 The Presentation at the Temple

Simeon then prophesied to Mary: "Behold, this child is set for the falling and the rising of many in Israel, and for a sign which is spoken against. Yes, a sword will pierce through your own soul, that the thoughts of many hearts may be revealed" (Luke 2:34-35). The elderly prophetess Anna was also in the Temple, and offered prayers and praise to God for Jesus, and spoke to everyone there about Jesus and his role in the redemption of Israel (Luke 2:36-38).

Folio 24 verso from Walther, Ingo F. and Norbert Wolf. Codices Illustres Cologne, TASCHEN, 2005, p. 127.

 The Presentation at the Temple, Greek, c 1800

 Ingeborg Psalter c. 1195 Manuscript (Ms. 9) Musée Condé, Chantilly

 LTPSC Book of Hours.. Presentation of Jesus at the Temple

Presentation of Christ in the Temple, ms of Carmelite Friars in London c 1375

Menologion of Basil II, 11C illuminated manuscript.

Presentation in the Temple from a Book of Hours in Latin. Central or Northern France, probably Bourges, early, 16th century).

 Presentation in the Temple in a benedictional, Ottonian, about 1030–40

 Presentation of Jesus at the Temple 1270s.

The Sforza Book of Hours Presentation in the Temple, from the prayers at None, British Library Add MS 34294, f. 104v

The St Albans Psalter, owned by St Godehard's Church, Hildesheim now at University of Aberdeen, Scotland Presentation in the Temple.

20C - Still Dancing around the MAYPOLE

The best known Maypole dance is called The Flower

The dance takes place in two opposing directions , the women rotate counter-clockwise, while men in the clockwise direction. Each time a man and a woman meet by dancing, exchange roles; the woman goes outside and inside the man and so on. In this way, we simulate the courtship ritual among the dancers. It's important to maintain a steady pace so that the distance between the dancers remains uniform.

An elementary Maypole dance is called Simple Figure

Another Maypole dance one exists in a more simple in which the group of women form a smaller circle, in the vicinity of the pole, while the group of men form an outer circle (the distance between the two groups is about 3 steps). As the diagram men turn clockwise and women perform a tighter turning counter-clockwise so that their tapes are wrapped first in a spiral, above which is going to tighten the spiral of men.

A more complicated dance is called The Spider

ONE WAY - The two groups of dancers remain at a certain distance (about two steps) with the innermost circle of women, while dancing They stay with their backs to the pole and taking the tape taut with both hands folded in chest, but men are the ones that perform the dance starting vaulted frontal with respect to the pole and coupled with his lady. The man takes a first rotary motion, turning away from his left side around the woman, and then continuing clockwise to the next woman to perform the same movement.

TWO-WAY Men and women alternate in the rotational movement of the FIRST WAY: When men (and women who remain stationary) and once women (with men who are at a standstill). The arrangement of the pairs to see all the dancers start with the right side facing towards the pole in order to make a clockwise rotation and arranged for couples with women slightly away a little 'more in and ahead of the companion.

There are many variations of these Maypole dances depending on the location in which these dances are practiced. The number of participants varies depending on the size which should not fall below 8 ribbons or tapes.

Morning Madonna - The Presentation of Jesus at the Temple in early paintings

Andrea Mantegna (Italian painter, c 1431–1506) Presentation at the Temple

The Presentation of Jesus at the Temple or Candlemas is described in the Gospel of Luke (Luke 2:22–40). According to the gospel, Mary and Joseph took the baby Jesus to the Temple in Jerusalem 40 days  after his birth to complete Mary's ritual purification after childbirth, and to perform the redemption of the firstborn, in obedience to the Law of Moses (Leviticus 12, Exodus 13:12-15, etc.). Luke explicitly says that Joseph and Mary take the option provided for poor people (those who could not afford a lamb) (Leviticus 12:8), sacrificing "a pair of turtledoves, or two young pigeons." (Leviticus 12:1-4 indicates that this event should take place forty days after birth for a male child, hence the Presentation is celebrated 40 days after Christmas.)

 Andrea Mantegna (Italian painter, c 1431–1506) Presentation of Christ in the temple 1465-66

Upon bringing Jesus into the temple, they encountered Simeon. The Gospel records that Simeon had been promised that "he should not see death before he had seen the Lord's Christ" (Luke 2:26). Simeon prayed the prayer that would become known as the Nunc Dimittis, or Canticle of Simeon, which prophesied the redemption of the world by Jesus: "Lord, now lettest Thou Thy servant depart in peace; according to Thy word: for mine eyes have seen Thy salvation, which Thou hast prepared before the face of all people: to be a light to lighten the gentiles and to be the glory of Thy people Israel." (Luke 2:29-32).

 Andrei Rublev, (Russian artist, c.1360 - c 1430) 1408 Presentation of Jesus at the Temple

Simeon then prophesied to Mary: "Behold, this child is set for the falling and the rising of many in Israel, and for a sign which is spoken against. Yes, a sword will pierce through your own soul, that the thoughts of many hearts may be revealed" (Luke 2:34-35). The elderly prophetess Anna was also in the Temple, and offered prayers and praise to God for Jesus, and spoke to everyone there about Jesus and his role in the redemption of Israel (Luke 2:36-38).

 Fra Angelico (Italian artist, 1387-1455)  The Presentation in the Temple, from the predella of the Annunciation Altarpiece

 Fra Angelico (Italian artist, 1387-1455) Presentation at the Temple 1433-34

 Fra Angelico (Italian artist, 1387-1455) Presentation of Jesus in the Temple. 1440

Fra Bartolommeo (Italian High Renaissance painter, 1472-1517) Presentation of Christ in the Temple

Giotto di Bondone (Florentine painter, c 1267-1337).  Presentation of Christ in the Temple

Giotto di Bondone (Florentine painter, c 1267-1337).  The Presentation of Jesus in the Temple. 1304-1306

Giotto di Bondone (Florentine painter, c 1267-1337). The Presentation of the Infant Jesus in the Temple c 1320

1460-64 Giovanni Bellini (Italian Early Renaissance Painter 1430-1516) Presentation at the Temple 

Giovanni Bellini, (Venice painter, c 1430-1516),  Presentation of Jesus in the Temple From the circle of Giovanni Bellini 1493.

Giovanni di Paolo (Giovanni di Paolo di Grazia) (Italian artist, 1398–1482). The Presentation of Christ in Temple

Hans Holbein the Elder (German painter, c 1465-1524)  1500–01 Presentation of Christ at the Temple

Jan van Scorel (Dutch painter, 1495–1552)  Presentation of Jesus in the Temple

Francesco Bassano the Younger (1563-1570) The Presentation of Christ at the Temple

 Lodovico Carracci, (Italian painter 1555-1619), Presentation in the Temple 1605

 Lorenzo Lotto (Italian artist, c.1480-1556) The Presentation of Christ in the Temple 1556

Melchior Broederlam (Belgian artist, c 1350-c 1409) 1399 The Presentation of Christ (from Altar of Philip the Bold)

Romanino Girolamo (Italian artist, c 1484-ca 1559). Presentation of Jesus in the Temple - 1529.

 Stefan Lochner (1400-1451) Presentation of Christ Child at the Temple 1447

 Stefan Lochner (German artist, 1400-1451) Presentation of Christ Child at the Temple 1447.

Vittore Carpaccio (Venetian artist, c.1460–15256), Presentation of Jesus in the Temple 1510