Zapraszamy do obejrzenia galerii sztuki karmienia na Instagramie.
Detail of "Madonna and Child" by Artemisia Gentileschi, 1609. Oil on canvas, Galleria Palatina, Palazzo Pitti, Florence/National Museum of Women in the Arts. "In the 17th century, Artemisia Gentileschi broke from traditions that kept women painting still lifes and portraits, to show a theological topic in a way no man had done — Mary nursing her child. Female artists portrayed Mary in a very different light... 'The idea here is that it's quite forthright,' says Wat. 'She's revealed her breast, the baby's getting ready to nurse. .... It's very frank, and this is not the way male artists typically treated the subject. They were a little more roundabout, and things were sort of more unnatural-looking or shaded somehow with fabric, or the position was a little different. This is just all right there.' Gentileschi's Mary is monumental — she fills the canvas. An earthy, natural woman, she holds her breast to her eager child with no trace of false modesty or shame." -- Excerpt from an NPR segment by Susan Stamberg, entitled "Mother, Empress, Virgin, Faith: 'Picturing Mary' And Her Many Meanings." Here's the full piece: http://www.npr.org/2014/12/24/372731460/mother-empress-virgin-faith-picturing-mary-and-her-many-meanings
"La paye des moissonneurs [Paying the Harvesters]" "Léon Lhermitte was born in the Aisne and lived there until he was about twenty, which explains his deep attachment to rural life and the focus of his prolific production on the work and daily life in the countryside of his time. He came from a humble family and for many years earned his living with minor engraving work in France and England, before winning recognition at the Salon from 1874. Fame came after 1880, when the artist successively entered several large paintings depicting the life and people of his native village of Mont-Saint-Père. The Cabaret in 1881, this Paying the Harvesters in 1882 and The Harvest in 1883 used the same figures which can be identified from one painting to another. It is easy to recognise, on the left of the scene, the reaper Casimir Dehan, sitting absent-mindedly or resignedly on the bench, after the work is done. The subject and technique of Paying the Harvester belong to the Naturalist movement. However Lhermitte did not make this painting into a manifesto against the grinding toil of agricultural labourers as Jules Bastien-Lepage did in his painting Haymaking in 1877, also in the Musee d'Orsay. He was content with a bald statement devoid of polemics in which he uses his great artistic skill, from the remarkably balanced overall composition to the extremely precise rendering of the tiniest details." Via Musée D'Orsay website. Scroll down to next image for detail of this piece. #breastfeeding #breastfeedingart #leonlhermitte