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138-543: The museum was founded in 1970, thanks to a donation by the local painter Giovanni Morscio of paintings of him and other Italian and French painters of his time. Morscio (1887-1972) was mainly devoted to still life and frescos ; he was active in Liguria and Nice , and he exhibited at the Salon des Indépendants in 1930 and practiced in France also as a gallery owner . The collection

276-533: A bodegón is a still-life painting depicting pantry items, such as victuals, game, and drink, often arranged on a simple stone slab, and also a painting with one or more figures, but significant still-life elements, typically set in a kitchen or tavern. Starting in the Baroque period, such paintings became popular in Spain in the second quarter of the 17th century. The tradition of still-life painting appears to have started and

414-556: A Stand by Gustave Caillebotte , a painting which was mocked at the time as a "display of fruit in a bird's-eye view." Vincent van Gogh 's "Sunflowers" paintings are some of the best-known 19th-century still-life paintings. Van Gogh uses mostly tones of yellow and rather flat rendering to make a memorable contribution to still-life history. His Still Life with Drawing Board (1889) is a self-portrait in still-life form, with Van Gogh depicting many items of his personal life, including his pipe, simple food (onions), an inspirational book, and

552-404: A bride and groom visiting a goldsmith is a typical example of a transitional still life depicting both religious and secular content. Though mostly allegorical in message, the figures of the couple are realistic and the objects shown (coins, vessels, etc.) are accurately painted but the goldsmith is actually a depiction of St. Eligius and the objects heavily symbolic. Another similar type of painting

690-676: A contrast. One change was a new enthusiasm among French painters, who now form a large proportion of the most notable artists, while the English remained content to import. Jean-Baptiste Chardin painted small and simple assemblies of food and objects in a most subtle style that both built on the Dutch Golden Age masters, and was to be very influential on 19th-century compositions. Dead game subjects continued to be popular, especially for hunting lodges; most specialists also painted live animal subjects. Jean-Baptiste Oudry combined superb renderings of

828-475: A crab, a lobster, shrimps, mushrooms, flowers, a stag and two cruciform designs surround the smaller of the two inscriptions, which reads: In fulfilment of the vow (prayer) of those whose names God knows. This anonymous dedicatory inscription is a public demonstration of the benefactors' humility and an acknowledgement of God's omniscience. The abundant variety of natural life depicted in the Butrint mosaics celebrates

966-549: A deer, four young men wrestling a wild bull to the ground, and a gladiator resting in a state of fatigue, staring at his slain opponent. The mosaics decorated the walls of a cold plunge pool in a bath house within a Roman villa. The gladiator mosaic is noted by scholars as one of the finest examples of mosaic art ever seen – a "masterpiece comparable in quality with the Alexander Mosaic in Pompeii ." A specific genre of Roman mosaic

1104-549: A diversity of objects, fruits, flowers and dead game, often together with living people and animals. The style was soon adopted by artists from the Dutch Republic . Especially popular in this period were vanitas paintings, in which sumptuous arrangements of fruit and flowers, books, statuettes, vases, coins, jewelry, paintings, musical and scientific instruments, military insignia, fine silver and crystal, were accompanied by symbolic reminders of life's impermanence. Additionally,

1242-502: A few objects of food and tableware laid on a table. Still-life painting in Spain, also called bodegones , was austere. It differed from Dutch still life, which often contained rich banquets surrounded by ornate and luxurious items of fabric or glass. The game in Spanish paintings is often plain dead animals still waiting to be skinned. The fruits and vegetables are uncooked. The backgrounds are bleak or plain wood geometric blocks, often creating

1380-725: A given profession, as with the Cornelis Norbertus Gysbrecht's painting "Painter's Easel with Fruit Piece", which displays all the tools of a painter's craft. Also popular in the first half of the 17th century was the painting of a large assortment of specimens in allegorical form, such as the "five senses", "four continents", or "the four seasons", showing a goddess or allegorical figure surrounded by appropriate natural and human-made objects. The popularity of vanitas paintings, and these other forms of still life, soon spread from Holland to Flanders and Germany, and also to Spain and France. The Netherlandish production of still lifes

1518-416: A golden background date back to the 5th and to the 8th century, although it was restored many times later. The baptistery of the basilica, which was demolished in the 15th century, had a vault covered with gold-leaf tesserae, large quantities of which were found when the site was excavated. In the small shrine of San Vittore in ciel d'oro, now a chapel of Sant'Ambrogio, every surface is covered with mosaics from

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1656-499: A letter from his brother, all laid out on his table, without his own image present. He also painted his own version of a vanitas painting Still Life with Open Bible, Candle, and Book (1885). In the United States during Revolutionary times, American artists trained abroad applied European styles to American portrait painting and still life. Charles Willson Peale founded a family of prominent American painters, and as major leader in

1794-594: A major form of artistic expression. The Roman church of Santa Costanza , which served as a mausoleum for one or more of the Imperial family, has both religious mosaic and decorative secular ceiling mosaics on a round vault, which probably represent the style of contemporary palace decoration. The mosaics of the Villa Romana del Casale near Piazza Armerina in Sicily are the largest collection of late Roman mosaics in situ in

1932-520: A more intimate and delicate style, of which The Angel before St Joachim — with its pastoral backdrop, harmonious gestures and pensive lyricism – is considered a superb example. The 9th- and 10th-century mosaics of the Hagia Sophia in Constantinople are truly classical Byzantine artworks. The north and south tympana beneath the dome was decorated with figures of prophets, saints and patriarchs. Above

2070-427: A multitude of still-life elements ostensibly to reproduce a 'slice of life ' ". The trompe-l'œil painting, which intends to deceive the viewer into thinking the scene is real, is a specialized type of still life, usually showing inanimate and relatively flat objects. Still-life paintings often adorn the interior of ancient Egyptian tombs. It was believed that food objects and other items depicted there would, in

2208-527: A painting's artistic merit was based primarily on its subject. In the Academic system, the highest form of painting consisted of images of historical , Biblical or mythological significance, with still-life subjects relegated to the very lowest order of artistic recognition. Instead of using still life to glorify nature, some artists, such as John Constable and Camille Corot , chose landscapes to serve that end. When Neoclassicism started to go into decline by

2346-516: A similar iconography. 6th-century pieces are rare in Rome but the mosaics inside the triumphal arch of the basilica of San Lorenzo fuori le mura belong to this era. The Chapel of Ss. Primo e Feliciano in Santo Stefano Rotondo has very interesting and rare mosaics from the 7th century. This chapel was built by Pope Theodore I as a family burial place. In the 7th–9th centuries Rome fell under

2484-419: A similar sympathetic female portrait with images of game birds. In Catholic Italy and Spain, the pure vanitas painting was rare, and there were far fewer still-life specialists. In Southern Europe there is more employment of the soft naturalism of Caravaggio and less emphasis on hyper-realism in comparison with Northern European styles. In France, painters of still lifes ( nature morte ) were influenced by both

2622-426: A skull, an hourglass or pocket watch, a candle burning down or a book with pages turning, would serve as a moralizing message on the ephemerality of sensory pleasures. Often some of the fruits and flowers themselves would be shown starting to spoil or fade to emphasize the same point. Another type of still life, known as ontbijtjes or "breakfast paintings", represent both a literal presentation of delicacies that

2760-502: A surrealist air. Even while both Dutch and Spanish still life often had an embedded moral purpose, the austerity, which some find akin to the bleakness of some of the Spanish plateaus, appears to reject the sensual pleasures, plenitude, and luxury of Dutch still-life paintings. Even though Italian still-life painting (in Italian referred to as natura morta , "dead nature") was gaining in popularity, it remained historically less respected than

2898-483: A temple building in Abra, Mesopotamia , and are dated to the second half of 3rd millennium BC. They consist of pieces of colored stones, shells and ivory. Excavations at Susa and Chogha Zanbil show evidence of the first glazed tiles, dating from around 1500 BC. However, mosaic patterns were not used until the times of Sassanid Empire and Roman influence. Bronze Age pebble mosaics have been found at Tiryns ; mosaics of

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3036-531: Is a work of art depicting mostly inanimate subject matter, typically commonplace objects which are either natural (food, flowers, dead animals, plants, rocks, shells, etc.) or human-made (drinking glasses, books, vases, jewelry, coins, pipes, etc.). With origins in the Middle Ages and Ancient Greco-Roman art, still-life painting emerged as a distinct genre and professional specialization in Western painting by

3174-535: Is a panel in Hagia Sophia depicting Emperor John II and Empress Eirene with the Theotokos (1122–34). The empress with her long braided hair and rosy cheeks is especially capturing. It must be a lifelike portrayal because Eirene was really a redhead as her original Hungarian name, Piroska shows. The adjacent portrait of Emperor Alexios I Komnenos on a pier (from 1122) is similarly personal. The imperial mausoleum of

3312-411: Is above another who only produces fruit, flowers or seafood. He who paints living animals is more estimable than those who only represent dead things without movement, and as man is the most perfect work of God on the earth, it is also certain that he who becomes an imitator of God in representing human figures, is much more excellent than all the others ...". Still life developed as a separate category in

3450-577: Is added to elevate the subject. This sort of large-scale still life continued to develop in Flemish painting after the separation of the North and South, but is rare in Dutch painting, although other works in this tradition anticipate the " merry company " type of genre painting . Gradually, religious content diminished in size and placement in this type of painting, though moral lessons continued as sub-contexts. One of

3588-522: Is an example for conscious archaization as contemporary Byzantine rulers were bearded. A mosaic panel on the gallery shows Christ with Constantine Monomachos and Empress Zoe (1042–1055). The emperor gives a bulging money sack to Christ as a donation for the church. The dome of the Hagia Sophia Church in Thessaloniki is decorated with an Ascension mosaic (c. 885). The composition resembles

3726-544: Is completely absent, as is meticulously detailed brushwork. Impressionists instead focused on experimentation in broad, dabbing brush strokes, tonal values, and colour placement. The Impressionists and Post-Impressionists were inspired by nature's colour schemes but reinterpreted nature with their own colour harmonies, which sometimes proved startlingly unnaturalistic. As Gauguin stated, "Colours have their own meanings." Variations in perspective are also tried, such as using tight cropping and high angles, as with Fruit Displayed on

3864-804: Is obvious in the apse mosaic of San Michele in Affricisco , executed in 545–547 (largely destroyed; the remains in Berlin ). The last example of Byzantine mosaics in Ravenna was commissioned by bishop Reparatus between 673 and 679 in the Basilica of Sant'Apollinare in Classe. The mosaic panel in the apse showing the bishop with Emperor Constantine IV is obviously an imitation of the Justinian panel in San Vitale. The mosaic pavement of

4002-432: Is one of the first examples of pure still life, precisely rendered and set at eye level. Though not overtly symbolic, this painting was owned by Cardinal Federico Borromeo and may have been appreciated for both religious and aesthetic reasons. Jan Bruegel painted his Large Milan Bouquet (1606) for the cardinal, as well, claiming that he painted it 'fatta tutti del natturel' (made all from nature) and he charged extra for

4140-463: Is one of the outstanding examples of this trend, with borders featuring an extraordinary range of objects, including coins and fishing-nets, chosen to complement the text or main image at that particular point. Flemish workshops later in the century took the naturalism of border elements even further. Gothic millefleur tapestries are another example of the general increasing interest in accurate depictions of plants and animals. The set of The Lady and

4278-508: Is partially preserved. The so-called Tomb of the Julii , near the crypt beneath St Peter's Basilica , is a 4th-century vaulted tomb with wall and ceiling mosaics that are given Christian interpretations. The Rotunda of Galerius in Thessaloniki , converted into a Christian church during the course of the 4th century, was embellished with very high artistic quality mosaics. Only fragments survive of

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4416-435: Is probably the most famous Byzantine mosaic in Constantinople. The Pammakaristos Monastery was restored by Michael Glabas , an imperial official, in the late 13th century. Only the mosaic decoration of the small burial chapel ( parekklesion ) of Glabas survived. This domed chapel was built by his widow, Martha around 1304–08. In the miniature dome the traditional Pantokrator can be seen with twelve prophets beneath. Unusually

4554-402: Is surpassed by only a very few...He painted barbershops and shoemakers' stalls, donkeys, vegetables, and such, and for that reason came to be called the 'painter of vulgar subjects'; yet these works are altogether delightful, and they were sold at higher prices than the greatest [paintings] of many other artists." By 1300, starting with Giotto and his pupils, still-life painting was revived in

4692-401: Is the family portrait combining figures with a well-set table of food, which symbolizes both the piety of the human subjects and their thanks for God's abundance. Around this time, simple still-life depictions divorced of figures (but not allegorical meaning) were beginning to be painted on the outside of shutters of private devotional paintings. Another step toward the autonomous still life was

4830-716: The Ancient Roman world. Mosaic today includes not just murals and pavements, but also artwork, hobby crafts, and industrial and construction forms. Mosaics have a long history, starting in Mesopotamia in the 3rd millennium BC. Pebble mosaics were made in Tiryns in Mycenean Greece; mosaics with patterns and pictures became widespread in classical times, both in Ancient Greece and Ancient Rome . Early Christian basilicas from

4968-585: The Basilica of San Lorenzo , mosaics executed in the late 4th and early 5th centuries depict Christ with the Apostles and the Abduction of Elijah ; these mosaics are outstanding for their bright colors, naturalism and adherence to the classical canons of order and proportion. The surviving apse mosaic of the Basilica of Sant'Ambrogio , which shows Christ enthroned between Saint Gervasius and Saint Protasius and angels before

5106-806: The Byzantine Empire from the 6th to the 15th centuries. The majority of Byzantine mosaics were destroyed without trace during wars and conquests, but the surviving remains still form a fine collection. The great buildings of Emperor Justinian like the Hagia Sophia in Constantinople , the Nea Church in Jerusalem and the rebuilt Church of the Nativity in Bethlehem were certainly embellished with mosaics but none of these survived. Important fragments survived from

5244-515: The Emperor Rudolf II , and there were many engraved illustrations for books (often then hand-coloured), such as Hans Collaert 's Florilegium , published by Plantin in 1600. Around 1600 flower paintings in oils became something of a craze; Karel van Mander painted some works himself, and records that other Northern Mannerist artists such as Cornelis van Haarlem also did so. No surviving flower-pieces by them are known, but many survive by

5382-666: The Iconoclastic destruction of the 8th century. Among the rare examples are the 6th-century Christ in majesty (or Ezekiel's Vision ) mosaic in the apse of the Church of Hosios David in Thessaloniki that was hidden behind mortar during those dangerous times. Nine mosaic panels in the Hagios Demetrios Church , which were made between 634 and 730, also escaped destruction. Unusually almost all represent Saint Demetrius of Thessaloniki , often with suppliants before him. This iconoclasm

5520-584: The Komnenos dynasty, the Pantokrator Monastery was certainly decorated with great mosaics but these were later destroyed. The lack of Komnenian mosaics outside the capital is even more apparent. There is only a "Communion of the Apostles" in the apse of the cathedral of Serres . A striking technical innovation of the Komnenian period was the production of very precious, miniature mosaic icons. In these icons

5658-501: The Low Countries in the last quarter of the 16th century. The English term still life derives from the Dutch word stilleven while Romance languages (as well as Greek, Polish, Russian and Turkish) tend to use terms meaning dead nature . 15th-century Early Netherlandish painting had developed highly illusionistic techniques in both panel painting and illuminated manuscripts , where

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5796-505: The Roman wall paintings and floor mosaics unearthed at Pompeii, Herculaneum and the Villa Boscoreale , including the later familiar motif of a glass bowl of fruit. Decorative mosaics termed "emblema", found in the homes of rich Romans, demonstrated the range of food enjoyed by the upper classes, and also functioned as signs of hospitality and as celebrations of the seasons and of life. By

5934-617: The Surrealists placed recognizable still-life objects in their dreamscapes. In Joan Miró 's still-life paintings, objects appear weightless and float in lightly suggested two-dimensional space, and even mountains are drawn as simple lines. In Italy during this time, Giorgio Morandi was the foremost still-life painter, exploring a wide variety of approaches to depicting everyday bottles and kitchen implements. Dutch artist M. C. Escher , best known for his detailed yet ambiguous graphics, created Still life and Street (1937), his updated version of

6072-581: The tulip (imported to Europe from Turkey), were celebrated in still-life paintings. The horticultural explosion was of widespread interest in Europe and artist capitalized on that to produce thousands of still-life paintings. Some regions and courts had particular interests. The depiction of citrus, for example, was a particular passion of the Medici court in Florence, Italy. This great diffusion of natural specimens and

6210-609: The "grand manner" painting of historical, religious, and mythic subjects. On the other hand, successful Italian still-life artists found ample patronage in their day. Furthermore, women painters, few as they were, commonly chose or were restricted to painting still life; Giovanna Garzoni , Laura Bernasconi , Maria Theresa van Thielen , and Fede Galizia are notable examples. Many leading Italian artists in other genre, also produced some still-life paintings. In particular, Caravaggio applied his influential form of naturalism to still life. His Basket of Fruit ( c.  1595 –1600)

6348-445: The 12th century. The sack of Constantinople in 1204 caused the decline of mosaic art for the next five decades. After the reconquest of the city by Michael VIII Palaiologos in 1261 the Hagia Sophia was restored and a beautiful new Deesis was made on the south gallery. This huge mosaic panel with figures two and a half times lifesize is really overwhelming due to its grand scale and superlative craftsmanship. The Hagia Sophia Deesis

6486-525: The 16th century, food and flowers would again appear as symbols of the seasons and of the five senses. Also starting in Roman times is the tradition of the use of the skull in paintings as a symbol of mortality and earthly remains, often with the accompanying phrase Omnia mors aequat (Death makes all equal). These vanitas images have been re-interpreted through the last 400 years of art history, starting with Dutch painters around 1600. The popular appreciation of

6624-452: The 1830s, genre and portrait painting became the focus for the Realist and Romantic artistic revolutions. Many of the great artists of that period included still life in their body of work. The still-life paintings of Francisco Goya , Gustave Courbet , and Eugène Delacroix convey a strong emotional current, and are less concerned with exactitude and more interested in mood. Though patterned on

6762-596: The 4th century BC are found in the Macedonian palace-city of Aegae , and the 4th-century BC mosaic of The Beauty of Durrës discovered in Durrës , Albania in 1916, is an early figural example; the Greek figural style was mostly formed in the 3rd century BC. Mythological subjects, or scenes of hunting or other pursuits of the wealthy, were popular as the centrepieces of a larger geometric design, with strongly emphasized borders. Pliny

6900-561: The 4th century onwards were decorated with wall and ceiling mosaics. Mosaic art flourished in the Byzantine Empire from the 6th to the 15th centuries; that tradition was adopted by the Norman Kingdom of Sicily in the 12th century, by the eastern-influenced Republic of Venice , and among the Rus . Mosaic fell out of fashion in the Renaissance , though artists like Raphael continued to practice

7038-445: The 4th century, still exist. The winemaking putti in the ambulatory of Santa Constanza still follow the classical tradition in that they represent the feast of Bacchus , which symbolizes transformation or change, and are thus appropriate for a mausoleum, the original function of this building. In another great Constantinian basilica, the Church of the Nativity in Bethlehem the original mosaic floor with typical Roman geometric motifs

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7176-505: The 5th-century Ravenna , the capital of the Western Roman Empire , became the center of late Roman mosaic art. The Mausoleum of Galla Placidia was decorated with mosaics of high artistic quality in 425–430. The vaults of the small, cross-shaped structure are clad with mosaics on blue background. The central motif above the crossing is a golden cross in the middle of the starry sky. Another great building established by Galla Placidia

7314-766: The American art community, also founded a society for the training of artists and a famous museum of natural curiosities. His son Raphaelle Peale was one of a group of early American still-life artists, which also included John F. Francis , Charles Bird King , and John Johnston. By the second half of the 19th century, Martin Johnson Heade introduced the American version of the habitat or biotope picture, which placed flowers and birds in simulated outdoor environments. The American trompe-l'œil paintings also flourished during this period, created by John Haberle , William Michael Harnett , and John Frederick Peto . Peto specialized in

7452-520: The Anastasis above the doors, while in the church the Theotokos (apse), Pentecost, scenes from Christ's life and ermit St Loukas (all executed before 1048). The scenes are treated with a minimum of detail and the panels are dominated with the gold setting. The Nea Moni Monastery on Chios was established by Constantine Monomachos in 1043–1056. The exceptional mosaic decoration of the dome showing probably

7590-550: The Apostles. The surviving remains are somewhat fragmented. Massilia remained a thriving port and a Christian spiritual center in Southern Gaul where favourable societal and economic conditions ensured the survival of mosaic art in the 5th and 6th centuries. The large baptistery, once the grandest building of its kind in Western Europe, had a geometric floor mosaic which is only known from 19th century descriptions. Other parts of

7728-534: The Catholic Southern Netherlands the genre of garland paintings was developed. Around 1607–1608, Antwerp artists Jan Brueghel the Elder and Hendrick van Balen started creating these pictures which consist of an image (usually devotional) which is encircled by a lush still life wreath. The paintings were collaborations between two specialists: a still life and a figure painter. Daniel Seghers developed

7866-562: The Dormition in Nicaea . The crosses were substituted with the image of the Theotokos in both churches after the victory of the Iconodules (787–797 and in 8th–9th centuries respectively, the Dormition church was totally destroyed in 1922). A similar Theotokos image flanked by two archangels were made for the Hagia Sophia in Constantinople in 867. The dedication inscription says: "The images which

8004-457: The Elder mentions the artist Sosus of Pergamon by name, describing his mosaics of the food left on a floor after a feast and of a group of doves drinking from a bowl. Both of these themes were widely copied. Greek figural mosaics could have been copied or adapted paintings, a far more prestigious artform, and the style was enthusiastically adopted by the Romans so that large floor mosaics enriched

8142-671: The Great's Hunt and the Four Seasons . In 1913 the Zliten mosaic , a Roman mosaic famous for its many scenes from gladiatorial contests, hunting and everyday life, was discovered in the Libyan town of Zliten . In 2000 archaeologists working in Leptis Magna , Libya , uncovered a 30 ft length of five colorful mosaics created during the 1st or 2nd century AD. The mosaics show a warrior in combat with

8280-612: The Islamic world after the 8th century, except for geometrical patterns in techniques such as zellij , which remain popular in many areas. Modern mosaics are made by artists and craftspeople around the world. Many materials other than traditional stone, ceramic tesserae, enameled and stained glass may be employed, including shells, beads, charms, chains, gears, coins, and pieces of costume jewelry. Traditional mosaics are made of small cubes of roughly square pieces of stone or hand made glass enamel of different colours, known as tesserae . Some of

8418-587: The Northern and Southern schools, borrowing from the vanitas paintings of the Netherlands and the spare arrangements of Spain. The 18th century to a large extent continued to refine 17th-century formulae, and levels of production decreased. In the Rococo style floral decoration became far more common on porcelain , wallpaper , fabrics and carved wood furnishings, so that buyers preferred their paintings to have figures for

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8556-647: The Unicorn is the best-known example, designed in Paris around 1500 and then woven in Flanders . The development of oil painting technique by Jan van Eyck and other Northern European artists made it possible to paint everyday objects in this hyper-realistic fashion, owing to the slow drying, mixing, and layering qualities of oil colours. Among the first to break free of religious meaning were Leonardo da Vinci , who created watercolour studies of fruit (around 1495) as part of his restless examination of nature, and Albrecht Dürer who also made precise coloured drawings of flora and fauna. Petrus Christus ' portrait of

8694-493: The Vrina Plain basilica of Butrint , Albania appear to pre-date that of the Baptistery by almost a generation, dating to the last quarter of the 5th or the first years of the 6th century. The mosaic displays a variety of motifs including sea-creatures, birds, terrestrial beasts, fruits, flowers, trees and abstracts – designed to depict a terrestrial paradise of God's creation. Superimposed on this scheme are two large tablets, tabulae ansatae, carrying inscriptions. A variety of fish,

8832-518: The afterlife, become real and available for use by the deceased. Ancient Greek vase paintings also demonstrate great skill in depicting everyday objects and animals. Peiraikos is mentioned by Pliny the Elder as a panel painter of "low" subjects, such as survive in mosaic versions and provincial wall-paintings at Pompeii : "barbers' shops, cobblers' stalls, asses, eatables and similar subjects". Similar still life, more simply decorative in intent, but with realistic perspective, have also been found in

8970-407: The attention of the Royal Académie and the numerous collectors who purchased her paintings. This interaction between art and nature was quite common in Dutch , Flemish and French still lifes. Her work reveals the clear influence of Jean-Baptiste-Siméon Chardin , as well as 17th-century Dutch masters, whose work has been far more highly valued, but what made Vallayer-Coster's style stand out against

9108-470: The basilica of Santa Maria Maggiore . The 27 surviving panels of the nave are the most important mosaic cycle in Rome of this period. Two other important 5th century mosaics are lost but we know them from 17th-century drawings. In the apse mosaic of Sant'Agata dei Goti (462–472, destroyed in 1589) Christ was seated on a globe with the twelve Apostles flanking him, six on either side. At Sant'Andrea in Catabarbara (468–483, destroyed in 1686) Christ appeared in

9246-499: The borders often featured elaborate displays of flowers, insects and, in a work like the Hours of Catherine of Cleves , a great variety of objects. When the illuminated manuscript was displaced by the printed book, the same skills were later deployed in scientific botanical illustration; the Low Countries led Europe in both botany and its depiction in art. The Flemish artist Joris Hoefnagel (1542–1601) made watercolour and gouache paintings of flowers and other still-life subjects for

9384-434: The burgeoning interest in natural illustration throughout Europe, resulted in the nearly simultaneous creation of modern still-life paintings around 1600. At the turn of the century the Spanish painter Juan Sánchez Cotán pioneered the Spanish still life with austerely tranquil paintings of vegetables, before entering a monastery in his forties in 1603, after which he painted religious subjects. Prominent Academicians of

9522-600: The butterfly represents transformation and resurrection while the dragonfly symbolizes transience and the ant hard work and attention to the harvest. Flemish and Dutch artists also branched out and revived the ancient Greek still life tradition of trompe-l'œil , particularly the imitation of nature or mimesis , which they termed bedriegertje ("little deception"). In addition to these types of still life, Dutch artists identified and separately developed "kitchen and market" paintings, breakfast and food table still life, vanitas paintings, and allegorical collection paintings. In

9660-417: The center, flanked on either side by three Apostles. Four streams flowed from the little mountain supporting Christ. The original 5th-century apse mosaic of the Santa Sabina was replaced by a very similar fresco by Taddeo Zuccari in 1559. The composition probably remained unchanged: Christ flanked by male and female saints, seated on a hill while lambs drinking from a stream at its feet. All three mosaics had

9798-599: The classification of specimens. Natural objects began to be appreciated as individual objects of study apart from any religious or mythological associations. The early science of herbal remedies began at this time as well, which was a practical extension of this new knowledge. In addition, wealthy patrons began to underwrite the collection of animal and mineral specimens, creating extensive cabinets of curiosities . These specimens served as models for painters who sought realism and novelty. Shells, insects, exotic fruits and flowers began to be collected and traded, and new plants such as

9936-467: The course of the seventeenth and eighteenth centuries. During these centuries, the genre of still life was placed lowest on the hierarchical ladder. Vallayer-Coster had a way about her paintings that resulted in their attractiveness. It was the "bold, decorative lines of her compositions, the richness of her colours and simulated textures, and the feats of illusionism she achieved in depicting wide variety of objects, both natural and artificial" which drew in

10074-636: The decoration scheme first used in Emperor Basil I 's Nea Ekklesia . Not only this prototype was later totally destroyed but each surviving composition is battered so it is necessary to move from church to church to reconstruct the system. An interesting set of Macedonian-era mosaics make up the decoration of the Hosios Loukas Monastery. In the narthex there is the Crucifixion, the Pantokrator and

10212-412: The earlier still-life subjects of Chardin , Édouard Manet 's still-life paintings are strongly tonal and clearly headed toward Impressionism. Henri Fantin-Latour , using a more traditional technique, was famous for his exquisite flower paintings and made his living almost exclusively painting still life for collectors. However, it was not until the final decline of the Academic hierarchy in Europe, and

10350-400: The earliest mosaics were made of natural pebbles, originally used to reinforce floors. Mosaic skinning (covering objects with mosaic glass) is done with thin enameled glass and opaque stained glass. Modern mosaic art is made from any material in any size ranging from carved stone, bottle caps, and found objects. The earliest known examples of mosaics made of different materials were found at

10488-908: The early 17th century, such as Andrea Sacchi , felt that genre and still-life painting did not carry the "gravitas" merited for painting to be considered great. An influential formulation of 1667 by André Félibien , a historiographer, architect and theoretician of French classicism became the classic statement of the theory of the hierarchy of genres for the 18th century: Celui qui fait parfaitement des païsages est au-dessus d'un autre qui ne fait que des fruits, des fleurs ou des coquilles. Celui qui peint des animaux vivants est plus estimable que ceux qui ne représentent que des choses mortes & sans mouvement ; & comme la figure de l'homme est le plus parfait ouvrage de Dieu sur la Terre, il est certain aussi que celui qui se rend l'imitateur de Dieu en peignant des figures humaines, est beaucoup plus excellent que tous les autres ... He who produces perfect landscapes

10626-505: The early 20th century. Adapting Cézanne's shifting of planes and axes, the Cubists subdued the colour palette of the Fauves and focused instead on deconstructing objects into pure geometrical forms and planes. Between 1910 and 1920, Cubist artists like Pablo Picasso , Georges Braque , and Juan Gris painted many still-life compositions, often including musical instruments, bringing still life to

10764-423: The episcopal complex were also decorated with mosaics as new finds, that were unearthed in the 2000s, attest. The funerary basilica of Saint Victor , built in a quarry outside the walls, was decorated with mosaics but only a small fragment with blue and green scrolls survived on the intrados of an arch (the basilica was later buried under a medieval abbey). A mosaic pavement depicting humans, animals and plants from

10902-435: The extra effort. These were among many still-life paintings in the cardinal's collection, in addition to his large collection of curios. Among other Italian still life, Bernardo Strozzi 's The Cook is a "kitchen scene" in the Dutch manner, which is both a detailed portrait of a cook and the game birds she is preparing. In a similar manner, one of Rembrandt's rare still-life paintings, Little Girl with Dead Peacocks combines

11040-630: The famous Bikini Girls , showing women undertaking a range of sporting activities in garments that resemble 20th Century bikinis . The peristyle , the imperial apartments and the thermae were also decorated with ornamental and mythological mosaics. Other important examples of Roman mosaic art in Sicily were unearthed on the Piazza Vittoria in Palermo where two houses were discovered. The most important scenes there depicted are an Orpheus mosaic , Alexander

11178-753: The floors of Hellenistic villas and Roman dwellings from Britain to Dura-Europos . Most recorded names of Roman mosaic workers are Greek, suggesting they dominated high quality work across the empire; no doubt most ordinary craftsmen were slaves. Splendid mosaic floors are found in Roman villas across North Africa , in places such as Carthage , and can still be seen in the extensive collection in Bardo Museum in Tunis , Tunisia . There were two main techniques in Greco-Roman mosaic: opus vermiculatum used tiny tesserae , typically cubes of 4 millimeters or less, and

11316-579: The flower paintings were futile to her career. Nevertheless, this collection contained floral studies in oil, watercolour and gouache . With the rise of the European Academies, most notably the Académie française which held a central role in Academic art , still life began to fall from favor. The Academies taught the doctrine of the " Hierarchy of genres " (or "Hierarchy of Subject Matter"), which held that

11454-503: The forefront of artistic innovation, almost for the first time. Still life was also the subject matter in the first Synthetic Cubist collage works, such as Picasso's oval "Still Life with Chair Caning" (1912). In these works, still-life objects overlap and intermingle, barely maintaining identifiable two-dimensional forms, losing individual surface texture, and merging into the background—achieving goals nearly opposite to those of traditional still life. Fernand Léger 's still life introduced

11592-401: The foreground, while a background scene conveys the dangers of drunkenness and lechery. The type of very large kitchen or market scene developed by Pieter Aertsen and his nephew Joachim Beuckelaer typically depicts an abundance of food with a kitchenware still life and burly Flemish kitchen-maids. A small religious scene can often be made out in the distance, or a theme such as the Four Seasons

11730-641: The form of fictional niches on religious wall paintings which depicted everyday objects. Through the Middle Ages and the Renaissance , still life in Western art remained primarily an adjunct to Christian religious subjects, and convened religious and allegorical meaning. This was particularly true in the work of Northern European artists, whose fascination with highly detailed optical realism and symbolism led them to lavish great attention on their paintings' overall message. Painters like Jan van Eyck often used still-life elements as part of an iconographic program. In

11868-520: The genre further. Originally serving a devotional function, garland paintings became extremely popular and were widely used as decoration of homes. A special genre of still life was the so-called pronkstilleven (Dutch for 'ostentatious still life'). This style of ornate still-life painting was developed in the 1640s in Antwerp by Flemish artists such as Frans Snyders and Adriaen van Utrecht . They painted still lifes that emphasized abundance by depicting

12006-585: The genre was the tradition, mostly centred on Antwerp , of the "monumental still life", which were large paintings that included great spreads of still-life material with figures and often animals. This was a development by Pieter Aertsen , whose A Meat Stall with the Holy Family Giving Alms (1551, now Uppsala ) introduced the type with a painting that still startles. Another example is "The Butcher Shop" by Aertsen's nephew Joachim Beuckelaer (1568), with its realistic depiction of raw meats dominating

12144-599: The great baptistries in Ravenna , with apostles standing between palms and Christ in the middle. The scheme is somewhat unusual as the standard post-Iconoclastic formula for domes contained only the image of the Pantokrator . There are very few existing mosaics from the Komnenian period but this paucity must be due to accidents of survival and gives a misleading impression. The only surviving 12th-century mosaic work in Constantinople

12282-519: The growing Dutch middle classes, who were replacing Church and State as the principal patrons of art in the Netherlands. Added to this was the Dutch mania for horticulture, particularly the tulip . These two views of flowers—as aesthetic objects and as religious symbols— merged to create a very strong market for this type of still life. Still life, like most Dutch art work, was generally sold in open markets or by dealers, or by artists at their studios, and rarely commissioned; therefore, artists usually chose

12420-518: The hart panteth after the water brooks, so panteth my soul after thee, O God." Water-birds and fish and other sea-creatures can indicate baptism as well as the members of the Church who are christened. Christian mosaic art also flourished in Rome, gradually declining as conditions became more difficult in the Early Middle Ages . 5th century mosaics can be found over the triumphal arch and in the nave of

12558-593: The impostors had cast down here pious emperors have again set up." In the 870s the so-called large sekreton of the Great Palace of Constantinople was decorated with the images of the four great iconodule patriarchs. The post-Iconoclastic era was the heyday of Byzantine art with the most beautiful mosaics executed. The mosaics of the Macedonian Renaissance (867–1056) carefully mingled traditionalism with innovation. Constantinopolitan mosaics of this age followed

12696-664: The influence of Byzantine art, noticeable on the mosaics of Santa Prassede , Santa Maria in Domnica , Sant'Agnese fuori le Mura , Santa Cecilia in Trastevere , Santi Nereo e Achilleo and the San Venanzio chapel of San Giovanni in Laterano . The great dining hall of Pope Leo III in the Lateran Palace was also decorated with mosaics. They were all destroyed later except for one example,

12834-524: The late 16th century, and has remained significant since then. One advantage of the still-life artform is that it allows an artist much freedom to experiment with the arrangement of elements within a composition of a painting. Still life, as a particular genre, began with Netherlandish painting of the 16th and 17th centuries, and the English term still life derives from the Dutch word stilleven . Early still-life paintings, particularly before 1700, often contained religious and allegorical symbolism relating to

12972-619: The late Middle Ages, still-life elements, mostly flowers but also animals and sometimes inanimate objects, were painted with increasing realism in the borders of illuminated manuscripts , developing models and technical advances that were used by painters of larger images. There was considerable overlap between the artists making miniatures for manuscripts and those painting panels, especially in Early Netherlandish painting . The Hours of Catherine of Cleves , probably made in Utrecht around 1440,

13110-552: The leading specialists, Jan Brueghel the Elder and Ambrosius Bosschaert , both active in the Southern Netherlands. While artists in the North found limited opportunity to produce the religious iconography which had long been their staple—images of religious subjects were forbidden in the Dutch Reformed Protestant Church —the continuing Northern tradition of detailed realism and hidden symbols appealed to

13248-425: The moralistic vanitas message of their Dutch predecessors. The Rococo love of artifice led to a rise in appreciation in France for trompe-l'œil (French: "trick the eye") painting. Jean-Baptiste Chardin 's still-life paintings employ a variety of techniques from Dutch-style realism to softer harmonies. The bulk of Anne Vallayer-Coster 's work was devoted to the language of still life as it had been developed in

13386-577: The mosaic floor of the Great Palace of Constantinople which was commissioned during Justinian 's reign. The figures, animals, plants all are entirely classical but they are scattered before a plain background. The portrait of a moustached man, probably a Gothic chieftain, is considered the most important surviving mosaic of the Justinianian age. The so-called small sekreton of the palace was built during Justin II 's reign around 565–577. Some fragments survive from

13524-525: The mosaic of the Exaltation of Adam. In the apse the Ascension of Christ. The Annunciation occupies the two pillars next to the altar." The Daphni Monastery houses the best preserved complex of mosaics from the early Comnenan period (ca. 1100) when the austere and hieratic manner typical for the Macedonian epoch and represented by the awesome Christ Pantocrator image inside the dome, was metamorphosing into

13662-695: The mosaics of this vaulted room. The vine scroll motifs are very similar to those in the Santa Constanza and they still closely follow the Classical tradition. There are remains of floral decoration in the Church of the Acheiropoietos in Thessaloniki (5th–6th centuries). In the 6th century, Ravenna , the capital of Byzantine Italy, became the center of mosaic making. Istria also boasts some important examples from this era. The Euphrasian Basilica in Parentium

13800-415: The nine orders of the angels was destroyed in 1822 but other panels survived (Theotokos with raised hands, four evangelists with seraphim, scenes from Christ's life and an interesting Anastasis where King Salomon bears resemblance to Constantine Monomachos). In comparison with Osios Loukas Nea Moni mosaics contain more figures, detail, landscape and setting. Another great undertaking by Constantine Monomachos

13938-1106: The nostalgic wall-rack painting while Harnett achieved the highest level of hyper-realism in his pictorial celebrations of American life through familiar objects. The first four decades of the 20th century formed an exceptional artistic ferment and revolution period. Avant-garde movements rapidly evolved and overlapped in a march towards nonfigurative, total abstraction. The still life and other representational art continued to evolve and adjust until mid-century when total abstraction, as exemplified by Jackson Pollock 's drip paintings, eliminated all recognizable content. The century began with several trends taking hold in art. In 1901, Paul Gauguin painted Still Life with Sunflowers , his homage to his friend Van Gogh who had died eleven years earlier. The group known as Les Nabis , including Pierre Bonnard and Édouard Vuillard , took up Gauguin's harmonic theories and added elements inspired by Japanese woodcuts to their still-life paintings. French artist Odilon Redon also painted notable still life during this period, especially flowers. Henri Matisse reduced

14076-406: The objects depicted. Later still-life works are produced with a variety of media and technology, such as found objects, photography, computer graphics , as well as video and sound. The term includes the painting of dead animals, especially game. Live ones are considered animal art , although in practice they were often painted from dead models. Because of the use of plants and animals as a subject,

14214-699: The old technique. Roman and Byzantine influence led Jewish artists to decorate 5th and 6th century synagogues in the Middle East with floor mosaics. Figurative mosaic, but mostly without human figures, was widely used on religious buildings and palaces in early Islamic art , including Islam's first great religious building, the Dome of the Rock in Jerusalem , and the Umayyad Mosque in Damascus . Such mosaics went out of fashion in

14352-509: The original 4th-century cathedral of Aquileia has survived in the later medieval church. This mosaic adopts pagan motifs such as the Nilotic scene, but behind the traditional naturalistic content is Christian symbolism such as the ichthys . The 6th-century early Christian basilicas of Sant' Eufemia it:Basilica di Sant'Eufemia (Grado) and Santa Maria delle Grazie in Grado also have mosaic floors. In

14490-461: The original decoration, especially a band depicting saints with hands raised in prayer, in front of complex architectural fantasies. In the following century Ravenna , the capital of the Western Roman Empire , became the center of late Roman mosaic art (see details in Ravenna section). Milan also served as the capital of the western empire in the 4th century. In the St Aquilinus Chapel of

14628-489: The other still-life painters was her unique way of coalescing representational illusionism with decorative compositional structures. The end of the eighteenth century and the fall of the French monarchy closed the doors on Vallayer-Coster's still-life 'era' and opened them to her new style of florals. It has been argued that this was the highlight of her career and what she is best known for. However, it has also been argued that

14766-414: The painting of symbolic flowers in vases on the back of secular portraits around 1475. Jacopo de' Barbari went a step further with his Still Life with Partridge and Gauntlets (1504), among the earliest signed and dated trompe-l'œil still-life paintings, which contains minimal religious content. Though most still lifes after 1600 were relatively small paintings, a crucial stage in the development of

14904-423: The perfect vehicle for his revolutionary explorations in geometric spatial organization. For Cézanne, still life was a primary means of taking painting away from an illustrative or mimetic function to one demonstrating independently the elements of colour, form, and line, a major step towards Abstract art . Additionally, Cézanne's experiments can be seen as leading directly to the development of Cubist still life in

15042-676: The pope with a model of the church (destroyed in 1607). The fragment of an 8th-century mosaic, the Epiphany is one of the very rare remaining pieces of the medieval decoration of Old St. Peter's Basilica , demolished in the late 16th century. The precious fragment is kept in the sacristy of Santa Maria in Cosmedin . It proves the high artistic quality of the destroyed St. Peter's mosaics. Mosaics were more central to Byzantine culture than to that of Western Europe. Byzantine church interiors were generally covered with golden mosaics. Mosaic art flourished in

15180-401: The principal door from the narthex we can see an Emperor kneeling before Christ (late 9th or early 10th century). Above the door from the southwest vestibule to the narthex another mosaic shows the Theotokos with Justinian and Constantine . Justinian I is offering the model of the church to Mary while Constantine is holding a model of the city in his hand. Both emperors are beardless – this

15318-461: The realism of still-life painting is related in the ancient Greek legend of Zeuxis and Parrhasius , who are said to have once competed to create the most lifelike objects, history's earliest descriptions of trompe-l'œil painting. As Pliny the Elder recorded in ancient Roman times, Greek artists centuries earlier were already advanced in the arts of portrait painting , genre painting and still life. He singled out Peiraikos , "whose artistry

15456-469: The relatively few Italian works in the style, Annibale Carracci 's treatment of the same subject in 1583, Butcher's Shop , begins to remove the moral messages, as did other "kitchen and market" still-life paintings of this period. Vincenzo Campi probably introduced the Antwerp style to Italy in the 1570s. The tradition continued into the next century, with several works by Rubens , who mostly sub-contracted

15594-550: The rendering of still-life objects even further to little more than bold, flat outlines filled with bright colours. He also simplified perspective and introduced multi-colour backgrounds. In some of his still-life paintings, such as Still Life with Eggplants , his table of objects is nearly lost amidst the other colourful patterns filling the rest of the room. Other exponents of Fauvism , such as Maurice de Vlaminck and André Derain , further explored pure colour and abstraction in their still life. Paul Cézanne found in still life

15732-408: The richness of God's creation; some elements also have specific connotations. The kantharos vase and vine refer to the eucharist , the symbol of the sacrifice of Christ leading to salvation. Peacocks are symbols of paradise and resurrection; shown eating or drinking from the vase they indicate the route to eternal life. Deer or stags were commonly used as images of the faithful aspiring to Christ: "As

15870-643: The rise of the Impressionist and Post-Impressionist painters, that technique and colour harmony triumphed over subject matter, and that still life was once again avidly practiced by artists. In his early still life, Claude Monet shows the influence of Fantin-Latour, but is one of the first to break the tradition of the dark background, which Pierre-Auguste Renoir also discards in Still Life with Bouquet and Fan (1871), with its bright orange background. With Impressionist still life, allegorical and mythological content

16008-415: The second half of the 5th century. Saint Victor is depicted in the center of the golden dome, while figures of saints are shown on the walls before a blue background. The low spandrels give space for the symbols of the four Evangelists. Albingaunum was the main Roman port of Liguria . The octagonal baptistery of the town was decorated in the 5th century with high quality blue and white mosaics representing

16146-485: The second half of the 6th century. Outstanding examples of Byzantine mosaic art are the later phase mosaics in the Basilica of San Vitale and Basilica of Sant'Apollinare Nuovo. The mosaic depicting Emperor Saint Justinian I and Empress Theodora in the Basilica of San Vitale were executed shortly after the Byzantine conquest. The mosaics of the Basilica of Sant'Apollinare in Classe were made around 549. The anti-Arian theme

16284-462: The small tesserae (with sides of 1 mm or less) were set on wax or resin on a wooden panel. These products of extraordinary craftmanship were intended for private devotion. The Louvre Transfiguration is a very fine example from the late 12th century. The miniature mosaic of Christ in the Museo Nazionale at Florence illustrates the more gentle, humanistic conception of Christ which appeared in

16422-467: The so-called Triclinio Leoniano of which a copy was made in the 18th century. Another great work of Pope Leo, the apse mosaic of Santa Susanna , depicted Christ with the Pope and Charlemagne on one side, and SS. Susanna and Felicity on the other. It was plastered over during a renovation in 1585. Pope Paschal I (817–824) embellished the church of Santo Stefano del Cacco with an apsidal mosaic which depicted

16560-475: The still-life and animal elements to specialist masters such as Frans Snyders and his pupil Jan Fyt . By the second half of the 16th century, the autonomous still life evolved. The 16th century witnessed an explosion of interest in the natural world and the creation of lavish botanical encyclopædias recording the discoveries of the New World and Asia. It also prompted the beginning of scientific illustration and

16698-504: The still-life category also shares commonalities with zoological and especially botanical illustration . However, with visual or fine art, the work is not intended merely to illustrate the subject correctly. Still life occupied the lowest rung of the hierarchy of genres , but has been extremely popular with buyers. As well as the independent still-life subject, still-life painting encompasses other types of painting with prominent still-life elements, usually symbolic, and "images that rely on

16836-827: The subject matter and arrangement. So popular was this type of still-life painting, that much of the technique of Dutch flower painting was codified in the 1740 treatise Groot Schilderboeck by Gerard de Lairesse, which gave wide-ranging advice on colour, arranging, brushwork, preparation of specimens, harmony, composition, perspective, etc. The symbolism of flowers had evolved since early Christian days. The most common flowers and their symbolic meanings include: rose (Virgin Mary, transience, Venus, love); lily (Virgin Mary, virginity, female breast, purity of mind or justice); tulip (showiness, nobility); sunflower (faithfulness, divine love, devotion); violet (modesty, reserve, humility); columbine (melancholy); poppy (power, sleep, death). As for insects,

16974-534: The textures of fur and feather with simple backgrounds, often the plain white of a lime-washed larder wall, that showed them off to advantage. By the 18th century, in many cases, the religious and allegorical connotations of still-life paintings were dropped and kitchen table paintings evolved into calculated depictions of varied colour and form, displaying everyday foods. The French aristocracy employed artists to execute paintings of bounteous and extravagant still-life subjects that graced their dining table, also without

17112-620: The tradition in the 6th century, as the mosaics of the Arian Baptistry , Baptistry of Neon , Archbishop's Chapel , and the earlier phase mosaics in the Basilica of San Vitale and Basilica of Sant'Apollinare Nuovo testify. After 539, Ravenna was reconquered by the Romans in the form of the Eastern Roman Empire (Byzantine Empire) and became the seat of the Exarchate of Ravenna . The greatest development of Christian mosaics unfolded in

17250-414: The traditional Dutch table still life. In England Eliot Hodgkin was using tempera for his highly detailed still-life paintings. Mosaic A mosaic is a pattern or image made of small regular or irregular pieces of colored stone, glass or ceramic, held in place by plaster / mortar , and covering a surface. Mosaics are often used as floor and wall decoration, and were particularly popular in

17388-437: The upper class might enjoy and a religious reminder to avoid gluttony. Around 1650 Samuel van Hoogstraten painted one of the first wall-rack pictures, trompe-l'œil still-life paintings which feature objects tied, tacked or attached in some other fashion to a wall board, a type of still life very popular in the United States in the 19th century. Another variation was the trompe-l'œil still life depicted objects associated with

17526-503: The use of abundant white space and coloured, sharply defined, overlapping geometrical shapes to produce a more mechanical effect. Rejecting the flattening of space by Cubists, Marcel Duchamp and other members of the Dada movement, went in a radically different direction, creating 3-D "ready-made" still-life sculptures. As part of restoring some symbolic meaning to still life, the Futurists and

17664-578: The world, and are protected as a UNESCO World Heritage Site . The large villa rustica , which was probably owned by Emperor Maximian , was built largely in the early 4th century. The mosaics were covered and protected for 700 years by a landslide that occurred in the 12th Century. The most important pieces are the Circus Scene , the 64m long Great Hunting Scene , the Little Hunt , the Labours of Hercules and

17802-453: Was almost certainly because of nearby Muslims' beliefs. In the Iconoclastic era , figural mosaics were also condemned as idolatry. The Iconoclastic churches were embellished with plain gold mosaics with only one great cross in the apse like the Hagia Irene in Constantinople (after 740). There were similar crosses in the apses of the Hagia Sophia Church in Thessaloniki and in the Church of

17940-460: Was built in the middle of the 6th century and decorated with mosaics depicting the Theotokos flanked by angels and saints. Fragments remain from the mosaics of the Church of Santa Maria Formosa in Pola . These pieces were made during the 6th century by artists from Constantinople. Their pure Byzantine style is different from the contemporary Ravennate mosaics. Very few early Byzantine mosaics survived

18078-405: Was called asaroton (Greek for "unswept floor"). It depicted in trompe-l'œil style the feast leftovers on the floors of wealthy houses. With the building of Christian basilicas in the late 4th century, wall and ceiling mosaics were adopted for Christian uses. The earliest examples of Christian basilicas have not survived, but the mosaics of Santa Constanza and Santa Pudenziana , both from

18216-830: Was enlarged by the municipal administration in the eighties. After an initial location in the former town hall , the museum was transferred to the Palazzo Luigina Garoscio. The original collection is focused on a selection of works by Morscio and some Italian and French painters of his time: Eloi Noël Bouvard , Mario Ameglio, Eugenio Bonivento , Cyrano Castelfranchi, Georges Chappuis, Gaston Cirmeuse , Yves Diey, Robert Duflos, Charley Garry, Maurice Martin, Maurice Louis Monnot , Fernando Pelosini, Alberto Rossi , André Salomon Le Tropezien . After Morscio's death collection has been enlarged with paintings by Achille Cabiati, Marcello Cammi, Franco Giglio and Mario Raimondo. Still life A still life ( pl. : still lifes )

18354-410: Was enormous, and they were very widely exported, especially to northern Europe; Britain hardly produced any itself. German still life followed closely the Dutch models; Georg Flegel was a pioneer in pure still life without figures and created the compositional innovation of placing detailed objects in cabinets, cupboards, and display cases, and producing simultaneous multiple views. In Spanish art ,

18492-437: Was far more popular in the contemporary Low Countries , today Belgium and Netherlands (then Flemish and Dutch artists), than it ever was in southern Europe. Northern still lifes had many subgenres; the breakfast piece was augmented by the trompe-l'œil , the flower bouquet , and the vanitas . In Spain there were much fewer patrons for this sort of thing, but a type of breakfast piece did become popular, featuring

18630-543: Was laid on site. There was a distinct native Italian style using black on a white background, which was no doubt cheaper than fully coloured work. In Rome, Nero and his architects used mosaics to cover some surfaces of walls and ceilings in the Domus Aurea , built 64 AD, and wall mosaics are also found at Pompeii and neighbouring sites. However it seems that it was not until the Christian era that figural wall mosaics became

18768-417: Was produced in workshops in relatively small panels which were transported to the site glued to some temporary support. The tiny tesserae allowed very fine detail, and an approach to the illusionism of painting. Often small panels called emblemata were inserted into walls or as the highlights of larger floor-mosaics in coarser work. The normal technique was opus tessellatum , using larger tesserae, which

18906-449: Was the church of San Giovanni Evangelista . She erected it in fulfillment of a vow that she made having escaped from a deadly storm in 425 on the sea voyage from Constantinople to Ravenna. The mosaics depicted the storm, portraits of members of the western and eastern imperial family and the bishop of Ravenna, Peter Chrysologus . They are known only from Renaissance sources because almost all were destroyed in 1747. Ostrogoths kept alive

19044-532: Was the restoration of the Church of the Holy Sepulchre in Jerusalem between 1042 and 1048. Nothing survived of the mosaics which covered the walls and the dome of the edifice but the Russian abbot Daniel, who visited Jerusalem in 1106–1107 left a description: "Lively mosaics of the holy prophets are under the ceiling, over the tribune. The altar is surmounted by a mosaic image of Christ. In the main altar one can see

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