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The Snite Museum of Art is pleased to announce an extraordinary long-term loan from the Cummins Family Collection of the painting St. Paul the Hermit by Jusepe de Ribera (b. 1588- d. 1656).

Author: Gina Costa

 

Ribera

NOTRE DAME, IN. -- The Snite Museum of Art is pleased to announce an extraordinary long-term loan from the Cummins Family Collection of the painting St. Paul the Hermit by Jusepe de Ribera (b. 1588- d. 1656).

On the occasion of announcing the loan, Dr. Joseph Antenucci Becherer, Director of the Museum, said, The significance of this long-term loan to the Museum cannot be overstated.”

Recognized as one of the greatest Baroque masters,  Ribera was born in Jativa, near Valencia, in Spain. He left Spain for Italy as a young man and was active there for most of his career. Known as "lo Spagnoletto" (The Little Spanish One), Ribera lived and worked in Parma, Rome, and Naples. He is recorded as living in Rome by 1612, and is viewed as one of the artists drawn to, and influenced by, Caravaggio and his followers. His extreme version of Caravaggio’s naturalism can be seen in his use of strongly contrasting light and shadows, his brooding figures depicted with raw realism.

Art historian Tomaso Montanari has described the softer and lighter style that emerged following Ribera’s activity in Parma around 1614—a style showing indebtedness to the work of Annibale Carracci and Guido Reni. It is this period around 1615, just before Ribera' s move to Naples, that Montanari dates St. Paul the Hermit. Montanari characterizes the painting as indicative of the artist's style in precisely those years after a sojourn to Emilia-Romagna and before the artist’s departure for Naples where his style became more strictly codified.

 

According to legend, St. Paul the First Hermit was born in Egypt. During the persecution of Decius (A.D. 250) he left for the desert where he remained a hermit for ninety years. After the saint had lived in solitude for twenty-one years, a raven began to bring him a half loaf of bread each day. The loaf and three dates, nourishment from the desert palm tree, are prominently displayed in the foreground of the painting. The saint grasps an upturned skull with his sunburned hands as he looks up and to the right, his gray beard and the tired skin of his torso indicative of his advanced age. These motifs—the haggard depiction of an elderly bearded ascetic, the remarkably natural portrayal of the skull, and the isolation and devotion of the subject—were to become hallmarks of Ribera's work. Here they are contrasted with a distant, almost romantic landscape of a dark blue sky looming over a rocky promontory.

 

“Ribera’s half-length portrait of a saint is a stunning example of Counter-Reformation devotional art popular in the seventeenth century, and it richly complements the University’s collection of Italian religious narratives,” said Cheryl Snay, Curator of European Art at the Snite Museum of Art. “Moreover, the artist’s emphatic naturalism and dramatic tension make it as compelling now as it was four centuries ago.”

 

MEDIA CONTACT: If you would like high-resolution images or in-depth information, please contact Gina Costa, Marketing and Public Relations Manager, (574) 631-4720, gcosta@nd.edu

 

About The Snite Museum of Art, University of Notre Dame

Considered one of the finest university art museums in America, the Snite Museum's permanent collection contains over 25,000 works that represent many cultures and periods of world art history. Exceptional holdings include the Jack and Alfrieda Feddersen Collection of Rembrandt Etchings, the Noah L. and Muriel S. Butkin Collection of 19th-Century French Art, the John D. Reilly Collection of Old Master and 19th-Century Drawings, the Janos Scholz Collection of 19th-Century European Photographs, the Mr. and Mrs. Russell G. Ashbaugh Jr., Collection of Meštrović Sculpture and Drawings, the George Rickey Sculpture Archive, and the Virginia A. Marten Collection of 18th-Century Decorative Arts. Other collection strengths include Olmec and Mesoamerican art, 20th-century art, and Native American art.

 

Sculpture is displayed in the Mary Loretto and Terrence J. Dillon Courtyard and in The Charles B. Hayes Family Sculpture Park.

 

Snite Museum of Art                         

The University of Notre Dame

100 Moose Krause Circle

Notre Dame, IN 46556

Phone: (574) 631-5466

Fax: (574) 631-8501

sniteart@nd.edu

sniteartmuseum.nd.edu

 

Directions: nd.edu/visitors/directions

Hours:

Tuesday–Friday, 10: a.m.–5:00 p.m.

Thursday evening until 7:30 p.m.

Saturday, noon–5:00 p.m.

 

Closed Sunday, Monday, and major holidays. Admission is free

 

Caption for image of painting:

Jusepe de Ribera (called “lo Spagnoletto”), Spanish, 1591-1652

St. Paul the Hermit, ca. 1614-1615

Oil on canvas

34 ¾ x 29 inches (87.5 x 73.5 cm)

Image courtesy of the Cummins Family Collection

St. Paul the Hermit by Jusepe Ribera

 

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New 18th and 19th century acquisitions

Author: Gina Costa

 

Small Laocoon


 Notre Dame, IN The Snite Museum of Art at the University of Notre Dame announces the acquisition of several important works which enrich the Museum’s eighteenth- and nineteenth-century permanent collections. “Our holdings in this period are among the many strengths of the permanent collection of the Museum,” said Joseph Antenucci Becherer, Director of the Snite Museum of Art. “Such carefully selected acquisitions will make a further and lasting contribution, individually and collectively.”

Chief among them is the life-size marble sculpture Laocoön and His Sons that depicts a scene from the Roman poet Virgil's Aeneid (29-19 BCE) in which Laocoön, the Trojan priest of Apollo, and his two sons are killed.

 

Dated to between 1650 and 1780, the Snite Museum’s version is modeled after the ancient sculpture on view at the Vatican Museums in Italy. The slightly smaller replica was most likely made for a wealthy collector's private home, signaling the owner's superior taste and classical education. 

 

University of Notre Dame benefactors Michael and Susie McLoughlin donated the sculpture after having lent it to the Snite Museum in 2016. “The Laocoön group is the centerpiece of our eighteenth-century gallery where it draws historical, philosophical, and stylistic connections among many of the other paintings and decorative arts on display there,” said Cheryl Snay, Curator of European Art at the Museum. “Visitors are riveted by the scale, technique, story, and the ideas about virtue, violence, and heroism that the sculpture embodies,” she continued.

 

The Museum is also pleased to announce a major addition to its celebrated collection of 19th-century photography. Portrait of Ella Monier-Williams was created by the artist and writer the Reverend Charles Lutwidge Dodgson, widely known as Lewis Carroll. “Dodgson was perhaps the most prolific amateur English portrait photographer of his day," observes David Acton, Curator of Photography. "Best remembered, however, as Lewis Carroll, author of Alice’s Adventures in Wonderland. He grew up in a large family, which nurtured a penchant for storytelling, and an enduring sympathy for children. Both traits contributed to his skill behind the camera.” In the summer of 1866 he made this portrait of Ella Monier-Williams, an albumen print which suggests the sitter’s awakening love of literature.


 

 

Notable among other acquisitions to the Museum’s renowned collection of prints and drawings, Edmond de Goncourt by the artist Félix Bracquemond , is a remarkable example of the etcher’s art, incorporating different techniques, invention, and skillsets. Bracquemond’s subject is Edmond de Goncourt, a prominent writer and trendsetter in the second half of the nineteenth century.

 

Finally, new to the Museum’s important collection of decorative arts is an exquisite, black-ground coffee pot from the late eighteenth century. Dated to around 1795, it is from a service demonstrating a departure from the more common neoclassical style with reserves depicting regional costumes of the Kingdom of Naples and Sicily. The coffee pot is from the Real Fabbrica Ferdinandea, a porcelain manufactory in Naples, best known for its table settings decorated with neoclassical motifs.

 

“Félix Bracquemond’s 1882 print, Portrait of Edmond de Goncourt—and the black-ground coffee pot, the first of its kind in the Virginia A. Marten Collection—each represents a technical tour-de-force in their respective areas,” states Cheryl Snay, Curator of European Art at the Museum. “Both works add considerably to our understanding of the tastes, intellectual interests, and entrepreneurial motivations that inspired artists and their clients during the nineteenth century.”

 

These four important acquisitions will enrich the Museum’s eighteenth- and nineteenth-century permanent collections, among the many strengths of the permanent collection of the Museum. They will play a major role in the new Raclin Murphy Museum of Art scheduled to open late in 2022.

 

 

MEDIA CONTACT: If you would like high-resolution images or in-depth information, please contact Gina Costa, Marketing and Public Relations Program  Manager, (574) 631-4720, gcosta@nd.edu

 


The Snite Museum of Art at the University of Notre Dame 

Considered one of the finest university art museums in America, the Snite Museum's permanent collection contains over 25,000 works that represent many cultures and periods. Notable are the Museum's holdings in Mesoamerican and Olmec art, African art, European art from 1400 to 1900, Decorative Arts, Prints, Drawings, Photography, the George Rickey Sculpture Archive, and Ivan Meštrović Collection. Sculpture is displayed in the Mary Loretto and Terrence J. Dillon Courtyard, and in The Charles B. Hayes Family Sculpture Park.

 

 

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