The first of two looking at the telling of English legends in paintings: Robin Hood and his ‘Merry Men’, popular for the last 500 years.
narrative
Six mythological works, which culminate in what is probably his finest of all: the Origin of the Milky Way, analysed in detail here.
The story of a Renaissance city-state on Sardinia, a good mother, and the state funeral of a great Greek general on Sicily – some of the paintings shown.
Major works for the ceiling of the Sala superiore in the Scuola Grande di San Rocco, centred on ‘The Brazen Serpent’, ‘Moses Striking the Rock’, and ‘Gathering of the Manna’.
In the nineteenth century, with the decline of patronage and changed art markets, fables become more popular among painter, at least before they gained patrons.
Never previously popular except as illustrations, paintings of fables became common in the Dutch Golden Age, and again in the work of a great animal painter around 1750.
Two more informal Last Suppers, a votive of the Doge who ruled Venice at the time, and the perils of black grounds.
He completes his work for the Albergo at San Rocco with three scenes from the Passion, and paints a votive showing the Madonna and Child with three contemporary fiscal administrators in Venice.
Even Poussin used this narrative form. Here are other example right up to 1947, including paintings by Corot, Munch, Corinth, and others.
Great paintings by Botticelli, Bosch, Titian, Tintoretto, the Carraccis, and others, showing multiplex narrative.
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