Sacred & Profane Love (1514) by Titian

Description: Art critics have made several analyses and interpretations, among them are: Ingenious Love and Satisfied Love; Prudery and Love; the wise and foolish virgins; the dressedAphrodite Pandemos (left) opposite the nude Aphrodite Urania. or that it contains a coded message about Bagarotto’s father’s innocence. Nadia Gaus notes that while the title might at first lead one to view the left hand woman as the sacred one, further thought leads to the opposite interpretation: the well dressed woman is Profane Love while the nude woman is Sacred Love. The title itself of the painting is uncertain: in 1693 it was listed asAmor Divino e Amor Profano (Divine love and Profane love). (Source: Wikipedia.)

Discussion

Micah:

Boad:

Belisarius (c. 1785) by Jean-Baptiste Stouf

Museum description: This aged and emaciated figure is the blind general Belisarius. Heavy eyelids almost completely cover his eyes, which register nothing of the outside world. Deeply set eye sockets, encircled by wrinkles, also draw attention to Belisarius’s blindness. His veined and wrinkled forehead, tilted head, and open mouth, emphasize his vulnerable state. (More here.)

Boad:  What moves me about his piece comes from knowing a little history of the great Roman general, Flavius Belisarius.  As a long time loyal general, confidant, adviser and strategist for the Emperor Justinian, he had, through the course of time, become entangled in political intrigues which eventually rendered him an enemy to the Emperor, who as legend has it had his eyes put out as punishment.  He was left to beg for his food during the remaining years of his life.  What he did during that time is instructional.  Saddled with a burden of guilt, which he felt came as a result of his sins and subsequent offense to God, he spent the remainder of his life begging, perhaps, but possibly not for food.  More likely it was for the funds needed to build a church East of Trevi Fountain in Rome, and two hospices, through which he provided comfort for the sick and suffering.

As men, civilization teaches us to be strong and ambitious.  Certainly, the great general reached the pinnacle of his career.  But as is so often the case with greatness, it is precarious and ephemeral.  Jean-Baptiste Stouf captures Belisarius just when he’s becoming interesting.  When he has nothing left to lose.  At that point he turns his heart and mind to God and his fellow man.  No longer caught up in the callow pursuit of power, glory or money, our subject is blind, bald, scarred, wrinkled, old and alone.  When there is nothing left to lose a common theme runs through the annals of history.  Men turn to God.  God, in turn, swift to forgive, uses men to provide relief, comfort, kindness and charity to humanity.

Our hero was not immortalized because he was a great general.  We know his name today because he was a great general who became a great and humble man.  Civilization does teach us to be strong and ambitious.  Cheers to the fathers, the mentors and communities who teach men to be charitable.

Micah:

Noli me Tangere (a. 1514) Titian

Museum description: Christ appears to the Magdalen after the Resurrection to comfort her. At first she thinks he is a gardener; when she recognises him he tells her not to touch him – ‘noli me tangere’ (let no one touch me) – as told in the Gospels (John 20: 14-18). Elsewhere, the Bible records that Christ will soon ascend to heaven and send the Holy Spirit down to his followers: he does not want them to cling to his physical presence.

Micah

Boad:

Saint Joseph and the Infant Christ (c. 1670) by Baciccio

Museum description: “Saint Joseph and the Infant Christ” provides a characteristic example of Baciccio’s style of easel painting, which is vigorously Baroque in design and conception. The dynamic folds of drapery which envelop the figures are profoundly influenced by the sculptor Gian Lorenzo Bernini. Baciccio’s native Genoese traditions are evident in the dark background, the use of highly saturated, warm colors and the broad, painterly handling. (More here).

Micah:

Boad:

Aeneas, Anchises, and Ascanius (1618-19) by Giovanni Bernini

Museum description: Bernini’s inspiration for the work was the Aeneid, an epic Latin poem which told the life of Aeneas, a Trojan who left his home city and eventually ended up in Italy, where he was a progenitor of Rome. The precise scene depicts the moment that Aeneas carries his father, the elderly Anchises, and his son Ascancius from Troy, after it has been sacked by the Greek army.[3] In his hand, Anchises carries a vessel with his ancestors’ ashes, on the top of which are two tiny statues of Di Penates, Roman household gods.

Micah:

Boad:

The Voyage of Life (1842) by Thomas Cole

Museum Label: Nature’s fury, evil demons, and self-doubt threaten the voyager in the next painting, “Manhood.” As Cole said, “The helm of the boat is gone”; the voyager has lost control of his life. The angel looks down from the clouds as he is whirled toward violent rapids and bare, fractured rocks. Only divine intervention, Cole suggests, can save the voyager from a tragic fate. (More here.)

Micah:

Boad: