10 Works - RELIGIOUS ART - Paintings from Norse mythology, with footnotes, The Valkyries #8

In Norse mythology, a Valkyrie (from Old Norse valkyrja "chooser of the slain") is one of a host of female figures who choose those who may die in battle and those who may live. Selecting among half of those who die in battle (the other half go to the goddess Freyja's afterlife field Fólkvangr), the valkyries bring their chosen to the afterlife hall of the slain, Valhalla, ruled over by the god Odin.

William T. Maud

The Ride of the Valkyries, c. 1890
63.5″ x 79″ 

Oil on canvas

THE KNOHL COLLECTION

William T. Maud (British, 1865 – 1903), The Ride of the Valkyrie (1890),  is a virtually unknown nineteenth century British artist and The Ride of the Valkyrie is his only known painting. During the Boer War (1899-1902) Maud worked as a war artist for the news organization The Daily Graphic – a British illustrated news journal. With the massive growth in literacy throughout the British Empire, coupled with the development of the global telegraph network, the illustrated news weekly flourished. Newspapers sent special war artists to the battlefields to create pictorial records of specific battles, as well as to sketch images depicting everyday life for soldiers on the front line. Many artists of this era took this dangerous assignment for the simple reason that it was more lucrative than painting in a commercial studio. The war artists were untrained for the battlefield, but by virtue of their vocation they were placed in the middle of the action, exposing them to the risk of injury, capture and disease. With pencils, brushes and sketchbooks their job was to go wherever the winds of combat blew, to live under fire, to endure the deprivation, hardship and danger of the campaign, and to send to the illustrated newspapers that employed them rough and hasty sketches. William T. Maud died from enteric fever while covering the Second Boer War; he was only 38 years old. More on William T. Maud

Emil Doepler (1855–1922)

Einherjar are served by Valkyries

I have no further description, at this time

 Valhöll while Odin sits upon his throne, flanked by one of his wolves, c. ca. 1905

Emil Doepler "the Younger" (29 October 1855 in Munich – 21 December 1922 in Berlin) was a German Art Nouveau illustrator, decorative artist, and art teacher. Emil Doepler was son of Carl Emil Doepler, painter, artist, and costume designer. More

There, the deceased warriors become einherjar fighters. When the einherjar are not preparing for the events of Ragnarök, the valkyries bear them mead. Valkyries also appear as lovers of heroes and other mortals, where they are sometimes described as the daughters of royalty, sometimes accompanied by ravens and sometimes connected to swans or horses.

Peter Nicolai Arbo, (1831–1892)

Valkyrie, c. 1864

Oil on canvas

263 × 203 cm (103.5 × 79.9 in)

Nationalmuseum, national gallery of Sweden

Peter Nicolai Arbo (June 18, 1831 – October 14, 1892) was a Norwegian historical painter, who specialized in painting motifs from Norwegian history and images from Norse mythology. He is most noted for Asgårdsreien, a dramatic motif based on the Wild Hunt legend and Valkyrie, which depicts a female figure from Norse mythology. More on Peter Nicolai Arbo

The Valkyrie is, in the oldest strata of belief, a corpse goddess, represented by the carrion-eating raven. The name in Old Norse, valkyrja, as well as Old English wælcyrge means literally, "chooser of the slain." The word for valkyrie was used by Anglo-Saxon scholars to gloss the names of the Greco-Roman goddeses of vengeance and retribution, the Furies or Erinyes, as well as for the Roman goddess of war, Bellona.

Peter Nicolai Arbo (1831–1892)

Asgardsreien, c. 1872

Oil on canvas

Height: 165.5 cm (65.2 in). Width: 240.5 cm (94.7 in).

National Gallery, Norway

Peter Nicolai Arbo (1831–1892), see above

Johan Gustaf Sandberg (13 May 1782 – 26 June 1854)

"Valkyriornas Ride" (1818),

Oil on Canvas

I have no further description, at this time

Johan Gustaf Sandberg (13 May 1782 – 26 June 1854) was a Swedish painter from Stockholm. He was foremost a history painter and used settings from Norse mythology and Swedish history. His most widely known work in this area are his frescoes in Uppsala Cathedral that depict the Swedish king Gustav Vasa. In addition to his history paintings, Sandberg painted a number of portraits. More on Johan Gustaf Sandberg

The Valkyrie is related to the Celtic warrior-goddess, the Morrigan, who likewise may assume the form of the raven. The Irish badb is at one and the same time a seeress foretelling the fate of men upon the battlefield and is also the carrion-crow or raven.

Howard David Johnson (born 2 September 1954)

Valkyrie Maiden

Oil on canvas

16 x 20 inches [40.64 x 50.80 cm]

Private collection

Howard David Johnson (born 2 September 1954) is an American photorealist Illustrator and painter most noted for historical, religious and mythological art. He works in a wide variety of mixed media ranging from oil on canvas to digital media. Though he paints in a realistic vein, he creates a world of folklore and mythical characters combining his traditional style and methods with contemporary digital techniques. Specializing in archetypal and idealized iconic imagery, he is a classically trained artist who is particularly influenced by the great illustrators of the late 19th century and the artists of the pre-Raphaelite period. More

Ferdinand Leeke (April 7, 1859 - 1923)
The Last Farewell of Wotan and Brunhilde (1875)

Oil on canvas

146 x 107 cm

Private collection

Ferdinand Leeke (April 7, 1859 - 1923) See Below

Howard David Johnson (born 2 September 1954), see above

The Coming of Brunhilde

Oil on canvas

16 x 20 inches [40.64 x 50.80 cm]

I have no further description, at this time

Howard David Johnson (born 2 September 1954), see above

Howard David Johnson (born 2 September 1954)

Viking War Goddess

Oil on canvas

16 x 20 inches [40.64 x 50.80 cm]

I have no further description, at this time

Howard David Johnson (born 2 September 1954), see above

Ferdinand Leeke (1859 - 1923)

Wagner, Valkyrie

I have no further description, at this time

Ferdinand Leeke (April 7, 1859 - 1923) was a German Painter, famous for his depictions of scenes from Wagnerian Operas. A native of Burg bei Magdeburg, Germany, he studied at the Munich Academy under Johann Herterich (1843-1905), a genre and historical painter, and with Alexander von Wagner (1838-1919), a Hungarian genre and landscape painter.

Around 1889, Siegfried Wagner, the son of the composer Richard Wagner, commissioned Leeke to paint a series of paintings showing scenes from ten operas by Wagner. More

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Acknowledgement: Wikipedia, The Viking Answer Lady, Timeless Myths, 

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11 Paintings, Olympian deities in classical Greek and Roman religions

Baldassare Franceschini, AKA Volterrano, 1611 - 1689 Florence
BACCHUS AND PUTTI
OIL ON CANVAS
144 x 231 cm; 56 5/8 by 100 in

Dionysus is the god of the grape harvest, winemaking and wine, of ritual madness, fertility, theatre and religious ecstasy in Greek mythology. Alcohol, especially wine, played an important role in Greek culture with Dionysus being an important reason for this life style. His name shows that he may have been worshipped as early as c. 1500–1100 BC by Mycenean Greeks. His origins are uncertain, and his cults took many forms; some are described by ancient sources as Thracian, others as Greek. In some cults, he arrives from the east, as an Asiatic foreigner; in others, from Ethiopia in the South. He is a major, popular figure of Greek mythology and religion, and is included in some lists of the twelve Olympians. Dionysus was the last god to be accepted into Mt. Olympus. He was the youngest and the only one to have a mortal mother. 

Also known as Bacchus, the name adopted by the Romans and the frenzy he induces, bakkheia. His wand is sometimes wound with ivy and dripping with honey. It is a beneficent wand but also a weapon, and can be used to destroy those who oppose his cult and the freedoms he represents. More

A putto (plural putti) is a figure in a work of art depicted as a chubby male child, usually nude and sometimes winged. Putti are commonly confused with, yet are completely unrelated to, cherubim. In the plural, "the Cherubim" refers to the biblical angels, which have four faces of different species and several pairs of wings; they are traditionally the second order of angels. Putti are secular and represent a non-religious passion. However, in the Baroque period of art, the putto came to represent the omnipresence of God. More

Baldassare Franceschini (1611 – 6 January 1689) was an Italian late Baroque painter active mainly around Florence. He was named, from Volterra the place of his birth, and was the son of a sculptor in alabaster.

At an early age, he worked as an assistant to his father, and then studied with the Volterran artist Cosimo Daddi. This employment did not make full use of his talents, so the Marquese Inghirami placed him, at the age of sixteen, under the Florentine painter Matteo Rosselli. Both Francesco Furini and Lorenzo Lippi also trained with Rosselli. Within a year, he had advanced sufficiently to execute frescoes in Volterra with skilled foreshortening, followed by work for the Medici family in the Villa Petraia.

In 1652, the Marchese Filippo Niccolini, planning to employ Franceschini on the frescoes for the cupola and back-wall of his chapel in Santa Croce, Florence, dispatched him to various parts of Italy to improve his style. The painter, in a tour that lasted some months, took a serious interest in the schools of Parma and Bologna, and, to some extent, in the Romano-Tuscan style of Pietro da Cortona.

Franceschini died of apoplexy at Volterra on 6 January 1689. More

Attributed to Alessandro Gherardini, FLORENCE 1655 - 1723 LIVORNO
JUPITER AND ANTIOPE
oil on canvas
59 by 76 in.; 149.9 by 193 cm.

Jupiter and Antiope . The painting comes out of the story of the seduction of Antiope by the god Zeus in Greek mythology, later imported into Roman mythology and told of the god Jupiter. According to this myth, Antiope, the beautiful daughter of King Nycteus of Thebes, was surprised and seduced by Zeus in the form of a satyr. She became pregnant and bore the twins Amphion and Zethus, who later killed Nycteus' brother Lycus in revenge for his treatment of Antiope and took over the city of Thebes. More

Alessandro Gherardini (16 November 1655 – 1726) was an Italian painter of the Baroque period, active mainly in Florence. He was the pupil of the painter Alessandro Rosi. Among his pupils was Sebastiano Galeotti. In Florence, he painted a Crucifixion for the Monastery of the Augustines adjacent to Santa Maria dei Candeli; and frescoes from the Life of St. Anthony for the Convent of San Marco. More

Jan Miel, BEVEREN-WAES NEAR ANTWERP 1599 - 1664 TURIN
CERES, BACCHUS AND VENUS ('SINE CERERE ET BACCHO FRIGET VENUS')
signed and dated lower right: J: de Miel / peint. / 1645
oil on canvas
56 1/8  by 64 1/8  in; 142.5 cm by 162.7 cm

Sine Cerere et Baccho friget Venus, Latin for Without Ceres and Bacchus, Venus freezes, or Sine Cerere et Libero friget Venus, is a quotation from the Roman comedian Terence (c. 195/185 – c. 159 BC) that became a proverb in the Early Modern period. Its simplest level of meaning is that love needs food and wine to thrive. It was sometimes shown in art, especially in the period 1550–1630, in Northern Mannerism in Prague and the Low Countries, as well as by Rubens. More

The painting illustrates the popular adage that without food (Ceres, the Roman god of agriculture) and wine (Bacchus), love (Venus) is left cold. Venus's need for the assistance of food and drink for invigoration.

Jan Miel (1599 in Beveren-Waas – 1663 in Turin) was a Flemish painter and engraver who was active in Italy. He initially formed part of the circle of Dutch and Flemish genre painters in Rome who are referred to as the 'Bamboccianti'. He later developed away from the Bamboccianti style and painted history subjects in a classicising style. More

Alessandro Turchi, called l'Orbetto, VERONA 1578 - 1649 ROME
BELLONA WITH ROMULUS AND REMUS
oil on canvas
77 by 57 in.; 195.6 by 144.8 cm

Bellona was an Ancient Roman goddess of war. Her main attribute is the military helmet worn on her head; she often holds a sword, spear or shield, and brandishes a torch or whip as she rides into battle in a four-horse chariot. Her iconography was further extended by painters and sculptors following the Renaissance. She is also the mother of Romulus and Remus, The legendary founders of Rome. More

Once Romulus and Remus, the twins were born, a she-wolf found and suckled them, and a woodpecker fed them. A shepherd and his wife found them and fostered them to manhood as simple shepherds.

Alessandro Turchi (1578 – 22 January 1649) was an Italian painter of the early Baroque, born and active mainly in Verona, and moving late in life to Rome. He also went by the name Alessandro Veronese or the nickname L'Orbetto. More

Jacopo Ligozzi, VERONA 1547 - 1627 FLORENCE
THE ABDUCTION OF THE SABINE WOMEN
oil on canvas
52 1/8  by 73 3/8  in.; 132.3 by 186.4 cm

The Rape of the Sabine Women is an episode in the legendary history of Rome, traditionally dated to 750 BC, in which the first generation of Roman men acquired wives for themselves from the neighboring Sabine families. The English word rape is a conventional translation of the Latin raptio, which in this context means "abduction" rather than its prevalent modern meaning in English language of sexual violation. The story provided a subject for Renaissance and post-Renaissance works of art that combined a suitably inspiring example of the hardihood and courage of ancient Romans with the opportunity to depict multiple figures, including heroically semi-nude figures, in intensely passionate struggle. More

Jacopo Ligozzi (1547–1627) was an Italian painter, illustrator, designer, and miniaturist. His art can be categorized as late-Renaissance and Mannerist styles. Born in Verona, he was the son of the artist Giovanni Ermano Ligozzi, and part of a large family of painters and artisans. After a time in the Habsburg court in Vienna, where he displayed drawings of animal and botanical specimens, he was invited to come to Florence and became one of the court artists for the Medici.

In 1574 he became head of the Accademia e Compagnia delle Arti del Disegno, the officially patronized guild of artists, which was often called to advise on diverse projects. He served Francesco I, Ferdinando I, Cosimo II and Ferdinando II, Grand Dukes of Tuscany. Late in life, he was named director of the grand-ducal Galleria dei Lavori, a workshop providing designs for artworks made mainly for export: embroidered textiles and for the newly popular medium of pietre dure, mosaics of semiprecious stones and colored marbles. He died in Florence. More

Attributed to Pierre-Michel Bourdon, Paris 1778 - 1841 Paris
Abduction of the Sabine, c. 1829
Watercolor on paper 
12.7 x 23 cm; 5 by 9 in

BOURDON, Pierre Michel (1778 - 1841), was a French Painter of Religious and mythological subjects. A pupil of Regnault, Pierre Bourdon exhibited Heloise and Abelard at the 1806 Salon, gaining a second-class medal. For many years he was assistant lecturer at the Louis the Great school of drawing. Bourdon also painted Christ on the Cross, kept at Pau Cathedral. More

This watercolor is a copy after  The Rape of the Sabines , famous composition painted by Jacques-Louis David in 1799 and kept in Louvre museum.

GENOA, 1ST HALF OF THE 17TH CENTURY 
Perseus and Andromeda
Tempera on parchment. 
21.7 x 16.9 cm.

In Greek mythology, Andromeda is the daughter of the Aethiopian king Cepheus and his wife Cassiopeia. When Cassiopeia's hubris leads her to boast that Andromeda is more beautiful than the Nereids, Poseidon sends a sea monster, Cetus, to ravage Aethiopia as divine punishment. Andromeda is stripped and chained naked to a rock as a sacrifice to sate the monster, but is saved from death by Perseus. More

TRÜBNER, WILHELM, (Heidelberg 1851 - 1917 Karlsruhe) Satyr and centaurs
Oil on panel. 
36.3 x 28.2 cm

Satyr and centaurs are nomadic, herd creatures that prefer to live in forests. They have the body of a horse or a goat, their bodies then becoming human where a normal animal neck would be. 

Wilhelm Trübner (February 3, 1851 – December 21, 1917) was a German realist painter of the circle of Wilhelm Leibl. He was born in Heidelberg and had early training as a goldsmith. In 1867 he met classicist painter Anselm Feuerbach who encouraged him to study painting, and he began studies in Karlsruhe under Fedor Dietz. The next year saw him studying at the Kunstacademie in Munich, where he was to be greatly impressed by an international exhibition of paintings by Leibl and Gustave Courbet. Courbet visited Munich in 1869, not only exhibiting his work but demonstrating his alla prima method of working quickly from nature in public performances. This had an immediate impact on many of the city's young artists, who found Courbet's approach an invigorating alternative to the shopworn academic tradition.

The early 1870s were a period of discovery for Trübner. He travelled to Italy, Holland and Belgium, and in Paris encountered the art of Manet, whose influence can be seen in the spontaneous yet restrained style of Trübner's portraits and landscapes. During this period he also made the acquaintance of Carl Schuch, Albert Lang and Hans Thoma, German painters who, like Trübner, greatly admired the unsentimental realism of Wilhelm Leibl. This group of artists came to be known as the "Leibl circle".

He published writings on art theory in 1892 and 1898, which express above all the idea that "beauty must lie in the painting itself, not in the subject". By urging the viewer to discover beauty in a painting's formal values, its colors, proportions, and surface, Trübner advanced a philosophy of "art for art's sake". In 1901 he joined the recently formed Berlin Secession, at the time Germany's most important forum for the exhibition of avant-garde art. From 1903 until his death in 1917 he was a professor at the Academy of Arts in Karlsruhe, also serving as director from 1904 to 1910. More

FRANCK, PAUWELS called PAOLO FIAMMINGO, (Antwerp c. 1540 - 1596 Venice) 
Assembly of the Gods: The Loves of the Gods. c. 1585. 
Oil on canvas. 
119.6 x 166.7 cm

In the ancient Greek religion and Greek mythology, the Twelve Olympians are the major deities of the Greek pantheon, commonly considered to be Zeus, Hera, Poseidon, Demeter, Athena, Apollo, Artemis, Ares, Aphrodite, Hephaestus, Hermes and either Hestia, or Dionysus.[1] Hades and Persephone were sometimes included as part of the twelve Olympians (primarily due to the influence of the Eleusinian Mysteries), although in general Hades was excluded, because he resided permanently in the underworld and never visited Olympus. More

Pauwels Franck known in Italy as Paolo Fiammingo and Paolo dei Franceschi (c. 1540 - 1596), was a Flemish painter, mainly of landscapes with mythological and religious scenes, who was active in Venice for most of his life.

He was likely born c. 1540 but his birthplace is not known. He became a member of the Antwerp Guild of Saint Luke in 1561. He is recorded in Venice from 1573 but was likely an assistant in Tintoretto’s workshop there already in the 1560s. He worked in Venice for the rest of his career.[1] He opened a successful studio in Venice, which received commissions from all over Europe. More

Ecole Romaine du XVIIIe siècle
LA SYBILLE DE TIBUR
ROMAN SCHOOL, 18TH CENTURY ; THE TIBURTINE SYBIL; OIL ON CANVAS
Huile sur toile
97 x 73 cm ; 38 1/8 by 28 3/4 in

The sibyls were women that the ancient Greeks believed were oracles. The earliest sibyls, according to legend, prophesied at holy sites. Their prophecies were influenced by divine inspiration from a deity; originally at Delphi and Pessinos, the deities were chthonic deities. In later antiquity, various writers attested to the existence of sibyls in Greece, Italy, the Levant, and Asia Minor. More

The Tiburtine Sibyl, or Albunea, was a Roman sibyl, whose seat was the ancient Etruscan town of Tibur (modern Tivoli).

The mythic meeting of Cæsar Augustus with the Sibyl, of whom he inquired whether he should be worshiped as a god, was a favored motif of Christian artists. Whether the sibyl in question was the Etruscan Sibyl of Tibur or the Greek Sibyl of Cumæ is not always clear. The Christian author Lactantius identified the sibyl in question as the Tiburtine sibyl. He gave a circumstantial account of the pagan sibyls that is useful mostly as a guide to their identifications, as seen by 4th century Christians. More

Alice Lenkiewicz

The Judgement of Paris, 2013

39 Old Masters Artist Embedded with Helen of Troy, with Footnotes

Alice Lenkiewicz, (British (b. 1964) - lives in Liverpool, Merseyside, UK) was born in 1964 in Tavistock, Devon and brought up in Plymouth. Her parents are the Plymouth artist, Robert Lenkiewicz and her mother is Celia. Alice has always been creative and painted and written from an early age. She has exhibited in the UK and internationally, and has work in a growing number of public and private collections.

Alice's love of beautiful objects, historical artifacts and pattern combined with her interest in fairy tales and the more reflective nature of otherworldly deities has led her to cover a range of themes that touch on a number of genres and issues. 

Alice completed her degree in Fine Art and English at Edge Hill University in 1998, obtaining a 1st class honours degree, continuing on to a Masters in 'Writing Studies', During this time she edited, published and wrote poetry and short fiction. More

Images are copyright of their respective owners, assignees or others

Saint Elizabeth of Hungary, 33 Works - RELIGIOUS ART - Paintings from the Bible by the Old Masters, with footnotes, 18

Simone Martini (1285–1344)

St. Elizabeth of Hungary, c. 1322-1326

Frescoes with scenes from the life of St. Martin of Tours

Fresco

San Francesco, Lower Church

Simone Martini (1285–1344), See below

Elizabeth of Hungary, T.O.S.F., (7 July 1207 – 17 November 1231). Elizabeth was the daughter of King Andrew II of Hungary and Gertrude of Merania. Her mother's sister was St. Hedwig of Andechs, wife of Duke Heinrich I of Silesia. Her ancestry included many notable figures of European royalty, going back as far as Vladimir the Great of Kievan Rus. According to tradition, she was born in Kingdom of Hungary, on 7 July 1207.

Andrew II (1177 – 21 September 1235), also known as Andrew of Jerusalem, was King of Hungary and Croatia between 1205 and 1235. 

Heroes' Square, Budapest, Hungary

Gertrude of Merania (1185 – 28 September 1213) was Queen of Hungary as the first wife of Andrew II from 1205 until her assassination. 

She was regent during her husband's absence.

Muzeum Narodowe we Wrocławiu — Wrocław Workshop of the Master of the Annunciation Polyptych: Triptych of St. Hedwig, from St. Elizabeth’s Church Wrocław ~1470-1480

Through her sister Gertrude, she was the aunt of Saint Elizabeth of Hungary

Elizabeth was brought to the court of the rulers of Thuringia, in central Germany, to become betrothed to Louis IV, Landgrave of Thuringia (also known as Ludwig IV), a future union which would reinforce political alliances between the families. She was raised by the Thuringian court, so she would be familiar with the local language and culture. In 1221, at the age of fourteen, Elizabeth married Louis; the same year he was enthroned as Landgrave Louis IV. More

Piero della Francesca

St. Francis And St. Elizabeth, c. 1460

Polyptych of St. Anthony

64 x 124 cm

Galleria Nazionale dell'Umbria, Perugia

Piero della Francesca (c. 1415 – 12 October 1492) was an Italian painter of the Early Renaissance. He was also known as a mathematician and geometer. Nowadays Piero della Francesca is chiefly appreciated for his art. His painting was characterized by its serene humanism, its use of geometric forms and perspective. His most famous work is the cycle of frescoes The History of the True Cross in the church of San Francesco in the Tuscan town of Arezzo. More

In 1223, Franciscan friars arrived, and the teenage Elizabeth not only learned about the ideals of Francis of Assisi, but started to live them. Louis was not upset by his wife's charitable efforts, believing that the distribution of his wealth to the poor would bring eternal reward; he is venerated in Thuringia as a saint, though he was never canonized by the Church.

Edmund Leighton (1853–1922)

The Charity of St. Elizabeth of Hungary, c. 1895

Oil on canvas

Edmund Blair Leighton (21 September 1852 – 1 September 1922) was an English painter of historical genre scenes, specializing in Regency and medieval subjects. He was the son of the artist Charles Blair Leighton. He was educated at University College School, before becoming a student at the Royal Academy Schools. He married Katherine Nash in 1885 and they went on to have a son and daughter. He exhibited annually at the Royal Academy from 1878 to 1920.


Leighton was a fastidious craftsman, producing highly finished, decorative pictures, displaying romanticized scenes with a popular appeal. It would appear that he left no diaries, and though he exhibited at the Royal Academy for over forty years, he was never an Academician or an Associate. More

Marcos da Cruz,  (1610-1683)

St. Elizabeth of Hungary

St Elisabeht washing a beggar, a scene from the main altar of St Elisabeth Cathedral in Košice, Slovakia, 2nd half of the 15th century

Elizabeth bathing the leper

Artist unknown

St. Elizabeth of Thuringia Bathes the Lepers, ca. 1480–1500

Oil painting

Another story about St. Elizabeth, also found in Dietrich of Apolda's Vita, relates how she laid the leper Helias of Eisenach in the bed she shared with her husband. Her mother-in-law, who was horrified, told this immediately to Ludwig on his return. When Ludwig removed the bedclothes in great indignation, at that instant "Almighty God opened the eyes of his soul, and instead of a leper he saw the figure of Christ crucified stretched upon the bed." This story appears in Franz Liszt's oratorio about Elizabeth.

The Holy Spirit Altarpiece, detail with the leprous Christ

In the spring of 1226, when floods, famine, and plague wrought havoc in Thuringia, Elizabeth assumed control of affairs at home and distributed alms in all parts of their territory, even giving away state robes and ornaments to the poor. Below Wartburg Castle, she built a hospital with twenty-eight beds and visited the inmates daily to attend to them.

Vincent de Groot

Elisabeth of Hungary, wearing the crown

St. Elisabeth church,  Grave - Netherlands

Elizabeth's life changed irrevocably on 11 September 1227 when Louis, en route to join the Sixth Crusade, died of a fever in Otranto, Italy. On hearing the news of her husband's death, Elizabeth is reported to have said, "He is dead. He is dead. It is to me as if the whole world died today." His remains were returned to Elizabeth in 1228 and entombed at the Abbey of Reinhardsbrunn.

Marianne Stokes (1855–1927)

St Elizabeth of Hungary Spinning for the Poor, c. 1895

Oil on canvas

96.5 × 61 cm (38 × 24 in)

Marianne Stokes (1855–1927), born Marianne Preindlsberger, was an Austrian painter. She settled in England after her marriage to Adrian Scott Stokes (1854–1935), the landscape painter, whom she had met in Pont-Aven. Stokes was considered one of the leading artists in Victorian England.

Preindlsberger was born in Graz, Styria. She first studied in Munich under Lindenschmidt and having been awarded a scholarship for her first picture, Muttergluck, she worked in France under Pascal Adolphe Jean Dagnan-Bouveret (1852–1929), Colin and Gustave Courtois (1853–1923). She painted in the countryside and Paris, and, as with many other young painters, fell under the spell of the rustic naturalist Jules Bastien-Lepage. Her style continued to show his influence even when her subject matter changed from rustic to medieval romantic and biblical themes.

Her first salon painting, Reflection, which had been painted in Brittany, was exhibited in 1885 at the Royal Academy. Her work was also shown at the Grosvenor Gallery, New Gallery, and the Society of British Artists and in 1885, a year after her marriage, she took to using the name 'Mrs. Adrian Stokes'.

Together with her husband, she spent the summers of 1885 and 1886 at Skagen in the far north of Denmark where there was an artists' colony which became known as the Skagen Painters.


After abandoning oils, and inspired by the Pre-Raphaelite movement, she painted flat compositions in tempera and gesso, her paintings giving the impression of being frescoes on plaster surfaces. She was an Associate of the Royal Society of Painters in Water Colours. She died in London in August 1927. More

Sándor Liezen-Mayer (1839–1898)

Saint Elizabeth of Hungary, c. 1882

Oil on canvas, 262 x 186 cm

Magyar Nemzeti Galéria, Budapest

Sándor Liezen-Mayer (1839–1898), See below

Philip Hermogenes Calderon RA (Poitiers 3 May 1833 – 30 April 1898 London) was an English painter of French birth (mother) and Spanish (father) ancestry who initially worked in the Pre-Raphaelite style before moving towards historical genre. He was Keeper of the Royal Academy in London.  More

James Collinson, British, 1825 - 1881

The Renunciation of Queen Elizabeth of Hungary, c. 1848-1850

Queen Elizabeth of Hungary was married to King Louis IV of Thuringia in 1221. After King Louis IV, her husband, died on a crusade she was deposed as regent on the grounds that she had wasted the national revenues on charity. She therefore renouced her throne and her rank, and retired to the convent of Kitzingen, where she died. Later she was canonized, and Charles Kingsley told her story in The Saint's Tragedy (1848). More

James Collinson (9 May 1825 – 24 January 1881) was a Victorian painter who was a member of the Pre-Raphaelite Brotherhood from 1848 to 1850. e was born at Mansfield, Nottinghamshire and was the son of a bookseller. He entered the Royal Academy School, and was also a fellow-student with Holman Hunt, and Dante Gabriel Rossetti.

Collinson was a devout Christian who was attracted to the devotional and high church aspects of Pre-Raphaelitism. A convert to Catholicism, Collinson reverted to high Anglicanism in order to marry Christina Rossetti, but his conscience forced his return to Catholicism and the break-up of the engagement. When Millais' painting Christ in the House of his Parents was accused of blasphemy, Collinson resigned from the Brotherhood in the belief that it was bringing the Christian religion into disrepute.

During his period as a Pre-Raphaelite, Collinson produced a number of religious works, most importantly The Renunciation of St. Elizabeth of Hungary (1850). After his resignation Collinson trained for the priesthood at a Jesuit college, but did not complete his studies.


He was secretary of the Society of British Artists from 1861 to 1870. In the latter part of his life he lived in Brittany, where he painted The Holy Family (1878). He died in April 1881. More

Following her husband's death, Elizabeth made solemn vows that included celibacy, as well as complete obedience to inquisitor Konrad von Marburg, her confessor and spiritual director. Konrad's treatment of Elizabeth was extremely harsh, and he held her to standards of behavior which were almost impossible to meet. 

Philip Hermogenes Calderon 1833–1898

St Elizabeth of Hungary’s Great Act of Renunciation, c. 1891

Oil paint on canvas

Support: 1530 x 2134 mm

Tate

Among the punishments he is alleged to have ordered were physical beatings; he also ordered her to send away her three children. Her pledge to celibacy proved a hindrance to her family's political ambitions. Elizabeth was more or less held hostage at Pottenstein, Bavaria, the castle of her uncle, Bishop Ekbert of Bamberg, in an effort to force her to remarry. Elizabeth, however, held fast to her vow, even threatening to cut off her own nose so that no man would find her attractive enough to marry.

Bartolome Esteban Murillo (1617-1682)

St. Elizabeth of Hungary Tending the Sick and Leprous, circa 1671-74

Oil on canvas

Height: 325 cm (128 in). Width: 245 cm (96.5 in).

Charity Hospital, Seville

Saint Elizabeth has been greatly honoured in Spain, since the thirteenth century. Her feast was celebrated with a festive liturgy at the Cathedral of Seville and in the Cistercian Monastery of Poblet. The Saint Elizabeth cult of the Spanish people was also supported by the dynastic relations between the royal families of Aragon and Hungary. Saint Elizabeth's sister, married Jacob, King of Aragon. Their granddaughter, named after Saint Elizabeth, lived a saintly life (1271-1336) as the wife of Denis, King of Portugal. She is honoured by the Church as Saint Elizabeth of Portugal. More

Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. His lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. More

Elizabeth built a hospital at Marburg for the poor and the sick with the money from her dowry, where she and her companions cared for them. Her official biography written as part of the canonization process describes how she ministered to the sick and continued to give money to the poor.

Gustave Moreau, French, 1826-1898

SAINTE ÉLISABETH DE HONGRIE OR LE MIRACLE DES ROSES, c. 1879

Rose Miracle of St. Elizabeth of Hungary

Watercolour on paper

27.5 by 19cm., 11 by 7 1/2 in.

Gustave Moreau (6 April 1826 – 18 April 1898) was a French Symbolist painter whose main emphasis was the illustration of biblical and mythological figures. As a painter, Moreau appealed to the imaginations of some Symbolist writers and artists. More

The present work encapsulates all the qualities that make Moreau’s watercolours so special: vibrant, sumptuous colours applied in an almost cloisonné technique, masterly use of the brush, delicacy of execution and fine detail. Moreau mainly used watercolour as a medium to explore the potential of colour. The stunning colour harmonies in Sainte Elisabeth de Hongrie lend this work a striking freshness. More

Rose Miracle of St. Elizabeth of Hungary

Panel painting

Elizabeth is perhaps best known for her miracle of the roses which says that whilst she was taking bread to the poor in secret, she met her husband Ludwig on a hunting party, who, in order to quell suspicions of the gentry that she was stealing treasure from the castle, asked her to reveal what was hidden under her cloak. In that moment, her cloak fell open and a vision of white and red roses could be seen, which proved to Ludwig that God's protecting hand was at work. Her husband, according to the vitae, was never troubled by her charity and always supported it. In some versions of this story, it is her brother in law, Heinrich Raspe, who questions her. Hers is the first of many miracles that associate Christian saints with roses, and is the most frequently depicted in the saint's iconography.

Sándor Liezen-Mayer (1839–1898)

Canonization of St Elisabeth of Hungary in 1235, c. 1863

Oil on canvas

Height: 62.7 cm (24.7 in). Width: 83.5 cm (32.9 in).

Hungarian National Gallery

Emperor Frederick barefoot, with the Archbishop. The emperor took off his crown and placed on Elizabeth, saing: "If I could not császárnévá crowned on the floor, take my respect as a sign that the crown who has been the kingdom of God or the Queen."


The House of Árpád fifth saint, St. Elizabeth cult rapidly spread around the world .

Sándor Liezen-Mayer (24. January 1839 in Győr ; 19th February 1898 in Munich ) was an Austrian-German painter. He attended the Academy of Fine Arts in Vienna and the Munich Academy. In 1867 he left the Academy in order to be a portrait painter. In 1870 he went to Vienna, where he painted the Emperor Franz Joseph I. and several members of the aristocracy.

In 1872 he returned to Munich. In October 1880 he accepted a position as director of the art school in Stuttgart , but returned in 1883 back to Munich, where he worked as a professor of history painting at the Art Academy until his death. More

Four scenes from the legend of St. Elizabeth of Hungary

Scenes of a farewell meeting or at a gate, a banquet with musicians, her marriage to Louis IV, Landgrave of Thuringia. Bottom right takes Saint Elisabeth farewell to a woman (her mother?) From the town of Pressburg, then they go into a chariot. At the bottom left a kneeling foundress with a rosary, c. 1500 More

Height: 82.8 cm (32.6 in) Width: 61 cm (24 in)

Rijksmuseum, Amsterdam

St. Elizabeth of Hungary

Patron Saint of Bakers, beggars; brides; charitable societies; charitable 

workers; charities; countesses; death of children; diocese of Erfurt, 

Germany; exiles; falsely accused people; hoboes; homeless people; 

hospitals; in-law problems; archdiocese of Jaro, Philippines lacemakers;

lace workers; nursing homes; nursing services; people in exile; people 

ridiculed for their piety; Sisters of Mercy; tertiaries; Teutonic Knights;

toothache; tramps; widows.

Representation, woman wearing a crown and tending

to beggars.

Opened same year as her canonization, St. Elisabeth's Church in Marburg,

the first pure Gothic edifice in Germany

Marburg was a center of the Teutonic Order, which adopted Elisabeth as its secondary patron

Workshop of Bernt Notke

Christ as the Man of Sorrows and St Elisabeth of Thüringia, 1483

Church of the Holy Spirit, Tallinn, Estonia 

Master of the View of Ste-Gudule

St Catherine of Alexandria (with sword) with Sts Elizabeth of Hungary (with crown) and Dorothy (with flowers), c. 1480

Oil on panel, 45 x 47 cm

Master of the View of Ste-Gudule, Detail

I have not been able to discover the origins for the person above, embedded in the painting

This panel, depicting St Catherine of Alexandria flanked by Saint Elizabeth of Hungary and Saint Dorothy within a hortus conclusus, was formerly attributed to Martin Schongauer since the drapery and figure types are reminiscent of Schongauer's engravings. More

Master of the View of Ste-Gudule (active 1480 – 1499), was an Early Netherlandish painter. He was born in Brussels and is known for portraits of prominent church patrons and other religious works. His work is sometimes confused with that of other Antwerp or Brussels painters of his day. More

He was named after a panel in the Louvre of St Géry Preaching, which depicts in the background the façade of the cathedral church of Sainte Gudule in Brussels (later re-dedicated to St Michael). 

Simone Martini (1285–1344)

St Elisabeth, St Margaret and Henry of Hungary, c. 1318

left, St. Elizabeth of Hungary, identified by her hair braid 

Fresco

Height: 120 cm (47.2 in). Width: 228 cm (89.8 in).

Lower Church, San Francesco

Simone Martini (c. 1284 – 1344) was an Italian painter born in Siena. He was a major figure in the development of early Italian painting and greatly influenced the development of the International Gothic style.

It is thought that Martini was a pupil of Duccio di Buoninsegna, the leading Sienese painter of his time. According to late Renaissance art biographer Giorgio Vasari, Simone was instead a pupil of Giotto di Bondone, with whom he went to Rome to paint at the Old St. Peter's Basilica, Giotto also executing a mosaic there. Martini's brother-in-law was the artist Lippo Memmi. Very little documentation of Simone's life survives, and many attributions are debated by art historians. More

Workshop Master of Elsloo; ca 1520-1530

Saint Elisabeth van Thüringen

Oak;

Height 100 cm 

Unknown Artist

St. Elizabeth; Clothes the Poor and Tends the Sick, c, 1390

Sebastiano Ricci

St. Elizabeth Of Hungary

Sebastiano Ricci (1 August 1659 – 15 May 1734) was an Italian painter of the late Baroque school of Venice. About the same age as Piazzetta, and an elder contemporary of Tiepolo, he represents a late version of the vigorous and luminous Cortonesque style of grand manner fresco painting. More

Barthel Bruyn the Elder

Saint Catherine

Bartholomäus Bruyn (1493–1555), usually called Barthel Bruyn or Barthel Bruyn the Elder, was a German Renaissance painter active in Cologne. He painted altarpieces and portraits, and was Cologne's foremost portrait painter in the sixteenth century. More

St. Catherine's Church in Hoogstraten: Tapestry of St. Elizabeth of Hungary: First carpet: Engagement, Wedding and Goodbye

St. Catherine's Church in Hoogstraten: Tapestry of St. Elizabeth of Hungary: Second carpet: Humility, Charity, Hospitality

St. Catherine's Church in Hoogstraten: Tapestry of St. Elizabeth of Hungary: Third carpet: Penance, Death and the visit to the grave

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