<?xml version="1.0" encoding="UTF-8"?><rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	xmlns:media="http://search.yahoo.com/mrss/" >

<channel>
	<title>Figurative Art &#8211; ELPEDIA</title>
	<atom:link href="https://www.elpedia.gr/category/western-european-art/figurative-art/feed/" rel="self" type="application/rss+xml" />
	<link>https://www.elpedia.gr</link>
	<description>Encyclopedia of Byzantine &#38; Western Art</description>
	<lastBuildDate>Tue, 01 Sep 2026 09:38:02 +0000</lastBuildDate>
	<language>en-US</language>
	<sy:updatePeriod>
	hourly	</sy:updatePeriod>
	<sy:updateFrequency>
	1	</sy:updateFrequency>
	<generator>https://wordpress.org/?v=7.1.2</generator>

<image>
	<url>https://www.elpedia.gr/wp-content/uploads/2026/08/cropped-FAV-32x32.webp</url>
	<title>Figurative Art &#8211; ELPEDIA</title>
	<link>https://www.elpedia.gr</link>
	<width>32</width>
	<height>32</height>
</image> 
	<item>
		<title>Pieter Aertsen: The Cook</title>
		<link>https://www.elpedia.gr/pieter-aertsen-the-cook-1559-genoa/</link>
		
		<dc:creator><![CDATA[T. M. Pafilis]]></dc:creator>
		<pubDate>Tue, 01 Sep 2026 10:58:22 +0000</pubDate>
				<category><![CDATA[Figurative Art]]></category>
		<category><![CDATA[Still Life]]></category>
		<category><![CDATA[Genre Painting]]></category>
		<category><![CDATA[Kitchen Scenes]]></category>
		<category><![CDATA[Musei di Strada Nuova]]></category>
		<category><![CDATA[Northern Renaissance]]></category>
		<category><![CDATA[Pieter Aertsen]]></category>
		<category><![CDATA[Sixteenth-Century Art]]></category>
		<guid isPermaLink="false">https://www.elpedia.gr/?p=37451</guid>

					<description><![CDATA[Painted in 1559, Pieter Aertsen’s The Cook gives an anonymous kitchen worker an unusually imposing pictorial presence. Nearly life-size within the tall, narrow field, she stands before an elaborate fireplace, her body turned towards the work while her face turns back towards the spectator. In her right hand she holds the long iron spit from which prepared poultry hangs; the other hand steadies the heavy cluster below. Her work clothes receive the same concentration that Aertsen brings to flesh and [&#8230;]]]></description>
		
		
		
			</item>
		<item>
		<title>Pieter Aertsen: Cook in front of the Stove</title>
		<link>https://www.elpedia.gr/pieter-aertsen-cook-in-front-of-the-stove/</link>
		
		<dc:creator><![CDATA[T. M. Pafilis]]></dc:creator>
		<pubDate>Tue, 01 Sep 2026 09:24:46 +0000</pubDate>
				<category><![CDATA[Figurative Art]]></category>
		<category><![CDATA[Still Life]]></category>
		<category><![CDATA[Food in Art]]></category>
		<category><![CDATA[Genre Painting]]></category>
		<category><![CDATA[Kitchen Scenes]]></category>
		<category><![CDATA[Northern Renaissance]]></category>
		<category><![CDATA[Pieter Aertsen]]></category>
		<category><![CDATA[Sixteenth-Century Netherlandish Art]]></category>
		<guid isPermaLink="false">https://www.elpedia.gr/?p=37445</guid>

					<description><![CDATA[Pieter Aertsen’s Cook in front of the Stove, dated 1559, gives a kitchen worker the scale and pictorial authority that sixteenth-century painting more commonly reserved for elevated figures. The woman rises almost through the entire vertical field, pressed forward by the massive stone chimney behind her and by the dense accumulation of food and utensils below. Aertsen, Amsterdam-born and long active in Antwerp, had already made the kitchen and market scene one of the most experimental areas of Netherlandish painting. [&#8230;]]]></description>
		
		
		
			</item>
		<item>
		<title>Pieter Aertsen: Christ in the House of Martha and Mary</title>
		<link>https://www.elpedia.gr/christ-in-the-house-of-martha-and-mary/</link>
		
		<dc:creator><![CDATA[T. M. Pafilis]]></dc:creator>
		<pubDate>Tue, 01 Sep 2026 08:54:50 +0000</pubDate>
				<category><![CDATA[Figurative Art]]></category>
		<category><![CDATA[Still Life]]></category>
		<category><![CDATA[Biblical Painting]]></category>
		<category><![CDATA[Christ and Martha and Mary]]></category>
		<category><![CDATA[Inverted Still Life]]></category>
		<category><![CDATA[kitchen scenes in art]]></category>
		<category><![CDATA[Northern Renaissance]]></category>
		<category><![CDATA[Pieter Aertsen]]></category>
		<guid isPermaLink="false">https://www.elpedia.gr/?p=37436</guid>

					<description><![CDATA[Pieter Aertsen’s Christ in the House of Martha and Mary makes the biblical narrative compete for attention with the physical abundance of ordinary life. Dated 27 July 1553, the large oil-on-panel painting measures 126 × 200 cm and is preserved in the Museum Boijmans Van Beuningen in Rotterdam. The museum’s collection record documents both the unusually precise date and the work’s material details. Aertsen, who was born in Amsterdam around 1508, spent an important part of his career in Antwerp [&#8230;]]]></description>
		
		
		
			</item>
		<item>
		<title>Pieter Aertsen: Market Scene with Christ and the Adulteress</title>
		<link>https://www.elpedia.gr/market-scene-with-christ-and-the-adulteress/</link>
		
		<dc:creator><![CDATA[T. M. Pafilis]]></dc:creator>
		<pubDate>Sat, 29 Aug 2026 01:23:04 +0000</pubDate>
				<category><![CDATA[Figurative Art]]></category>
		<category><![CDATA[Still Life]]></category>
		<category><![CDATA[Biblical Painting]]></category>
		<category><![CDATA[market painting]]></category>
		<category><![CDATA[Netherlandish art]]></category>
		<category><![CDATA[Northern Renaissance]]></category>
		<category><![CDATA[Pieter Aertsen]]></category>
		<category><![CDATA[Renaissance still life]]></category>
		<guid isPermaLink="false">https://www.elpedia.gr/?p=37272</guid>

					<description><![CDATA[Pieter Aertsen’s Market Scene with Christ and the Adulteress, when the eye first encounters it, unsettles the expected order of a religious picture almost immediately. The biblical episode of Christ and the woman accused of adultery (John 8:3–11) is present, yet it is pushed into the middle distance, while the foreground belongs to market women, poultry, fruit, vegetables, bread, eggs, pottery and baskets packed so densely that the picture first appears to proclaim the abundance of ordinary life. Aertsen, an [&#8230;]]]></description>
		
		
		
			</item>
		<item>
		<title>Aert van Ort: Susanna and the Elders</title>
		<link>https://www.elpedia.gr/aert-van-ort-susanna-and-the-elders/</link>
		
		<dc:creator><![CDATA[T. M. Pafilis]]></dc:creator>
		<pubDate>Mon, 24 Aug 2026 01:26:07 +0000</pubDate>
				<category><![CDATA[Figurative Art]]></category>
		<category><![CDATA[Aert van Ort artworks]]></category>
		<category><![CDATA[Metropolitan Museum roundels]]></category>
		<category><![CDATA[Netherlandish glass painting]]></category>
		<category><![CDATA[Renaissance stained glass]]></category>
		<category><![CDATA[silver stain roundels]]></category>
		<category><![CDATA[Susanna and the elders art]]></category>
		<guid isPermaLink="false">https://www.elpedia.gr/?p=37141</guid>

					<description><![CDATA[Executed with meticulous linear precision and luminous tonal modulations, the stained-glass roundel depicting the biblical narrative of Susanna and the elders embodies the refined aesthetic of early sixteenth-century Netherlandish glass painting. Produced between 1520 and 1525 and currently held in the Metropolitan Museum of Art, this intricately detailed window, measuring 24 centimetres in diameter, is attributed to Aert van Ort. The attribution places the work within a tradition in which silver stain and vitreous paint were used with exceptional control [&#8230;]]]></description>
		
		
		
			</item>
		<item>
		<title>Pieter Aertsen: Christ and the Adulteress</title>
		<link>https://www.elpedia.gr/pieter-aertsen-christ-and-the-adulteress/</link>
		
		<dc:creator><![CDATA[T. M. Pafilis]]></dc:creator>
		<pubDate>Sun, 23 Aug 2026 22:40:44 +0000</pubDate>
				<category><![CDATA[Figurative Art]]></category>
		<category><![CDATA[Still Life]]></category>
		<category><![CDATA[Flemish painting]]></category>
		<category><![CDATA[Inverted Still Life]]></category>
		<category><![CDATA[Nationalmuseum Stockholm]]></category>
		<category><![CDATA[Northern Renaissance]]></category>
		<category><![CDATA[Pieter Aertsen]]></category>
		<category><![CDATA[Religious Allegory]]></category>
		<guid isPermaLink="false">https://www.elpedia.gr/?p=37152</guid>

					<description><![CDATA[Overwhelming the visual field before any narrative context can be established, a chaotic accumulation of harvest produce demands immediate attention. In Pieter Aertsen&#8217;s Christ and the Adulteress, executed in 1557–58 and currently housed in the Nationalmuseum in Stockholm, the conventional hierarchy of Northern Renaissance painting is deliberately overturned. The panel, measuring a substantial 122 by 178 centimetres, belongs to a radical pictorial tradition pioneered by Aertsen, commonly referred to as the inverted still life. Here, the ostensible biblical subject is [&#8230;]]]></description>
		
		
		
			</item>
		<item>
		<title>Pieter Aertsen: Apostles Peter and John</title>
		<link>https://www.elpedia.gr/pieter-aertsen-apostles-peter-and-john/</link>
		
		<dc:creator><![CDATA[T. M. Pafilis]]></dc:creator>
		<pubDate>Sun, 23 Aug 2026 18:17:50 +0000</pubDate>
				<category><![CDATA[Figurative Art]]></category>
		<category><![CDATA[16th Century Art]]></category>
		<category><![CDATA[Flemish Mannerism]]></category>
		<category><![CDATA[Hermitage Museum]]></category>
		<category><![CDATA[Northern Renaissance]]></category>
		<category><![CDATA[Pieter Aertsen]]></category>
		<category><![CDATA[religious genre painting]]></category>
		<guid isPermaLink="false">https://www.elpedia.gr/?p=37148</guid>

					<description><![CDATA[Executed in the final year of his life, Pieter Aertsen Apostles Peter and John (1575) stands as a complex late example of the shifting priorities of sixteenth-century painting in the Low Countries. Measuring 55.5 by 76 centimetres, this densely populated oil-on-panel painting, currently housed in the Hermitage in St Petersburg, represents the biblical healing at the Beautiful Gate (Acts 3:1–10). The scriptural episode recounts the miraculous recovery of a man lame from birth. Aertsen, when he situates this sacred encounter [&#8230;]]]></description>
		
		
		
			</item>
		<item>
		<title>Giuseppe Abbati: Oration (The prayer)</title>
		<link>https://www.elpedia.gr/giuseppe-abbati-oration-the-prayer/</link>
		
		<dc:creator><![CDATA[T. M. Pafilis]]></dc:creator>
		<pubDate>Sun, 23 Aug 2026 15:26:41 +0000</pubDate>
				<category><![CDATA[Modern Artworks]]></category>
		<category><![CDATA[Figurative Art]]></category>
		<category><![CDATA[19th-century Italian art]]></category>
		<category><![CDATA[figurative painting]]></category>
		<category><![CDATA[Giuseppe Abbati]]></category>
		<category><![CDATA[Macchiaioli painting]]></category>
		<category><![CDATA[Palazzo Pitti]]></category>
		<category><![CDATA[prayer in art]]></category>
		<guid isPermaLink="false">https://www.elpedia.gr/?p=28791</guid>

					<description><![CDATA[Giuseppe Abbati painted Oration (The prayer) in 1866, at a moment when his association with the Macchiaioli had already transformed the academic foundations of his earlier training into a more immediate study of light, tonal contrast and ordinary experience. The small oil on canvas, measuring 57 × 42 centimetres and now in the Gallery of Modern Art at Palazzo Pitti in Florence, presents a young woman seated inside a church, absorbed in prayer over a small open book. Her identity [&#8230;]]]></description>
		
		
		
			</item>
		<item>
		<title>Adriaen van Utrecht: Fishmonger&#8217;s Stall</title>
		<link>https://www.elpedia.gr/adriaen-van-utrecht-fishmongers-stall/</link>
		
		<dc:creator><![CDATA[T. M. Pafilis]]></dc:creator>
		<pubDate>Wed, 19 Aug 2026 10:20:09 +0000</pubDate>
				<category><![CDATA[Still Life]]></category>
		<category><![CDATA[Figurative Art]]></category>
		<category><![CDATA[Adriaen van Utrecht]]></category>
		<category><![CDATA[Fish Market Scene]]></category>
		<category><![CDATA[Flemish Baroque]]></category>
		<category><![CDATA[Museum of Fine Arts Ghent]]></category>
		<category><![CDATA[Seventeenth-Century Painting]]></category>
		<category><![CDATA[still life]]></category>
		<guid isPermaLink="false">https://www.elpedia.gr/?p=36981</guid>

					<description><![CDATA[Adriaen van Utrecht&#8217;s Fishmonger&#8217;s Stall, painted around 1640, turns an ordinary commercial setting into an immense display of marine abundance. Executed in oil on canvas and measuring approximately 216 by 301 centimetres, the work belongs to the collection of the Museum of Fine Arts in Ghent. Its scale is immediately significant: this is not a small cabinet still life intended for close, private inspection, but a broad theatrical arrangement in which fish, crustaceans, shells, vessels and human figures occupy nearly [&#8230;]]]></description>
		
		
		
			</item>
		<item>
		<title>Niccolò dell&#8217;Abate: Meeting of Charles V and the Bey of Tunis</title>
		<link>https://www.elpedia.gr/meeting-of-charles-v-and-bey-of-tunis/</link>
		
		<dc:creator><![CDATA[T. M. Pafilis]]></dc:creator>
		<pubDate>Wed, 19 Aug 2026 08:11:46 +0000</pubDate>
				<category><![CDATA[Figurative Art]]></category>
		<category><![CDATA[Charles V]]></category>
		<category><![CDATA[Courtauld Gallery]]></category>
		<category><![CDATA[Mannerist painting]]></category>
		<category><![CDATA[Niccolò dell'Abate]]></category>
		<category><![CDATA[Renaissance history painting]]></category>
		<category><![CDATA[Tunis campaign]]></category>
		<guid isPermaLink="false">https://www.elpedia.gr/?p=33128</guid>

					<description><![CDATA[Across a field crowded with tents, soldiers, horses and distant ships, the painting traditionally known as Meeting of Charles V and the Bey of Tunis turns a political encounter into an expansive theatre of military occupation. Long attributed to Niccolò dell&#8217;Abate and often dated to about 1545–50, the large oil painting on canvas measures approximately 175.5 × 211 cm and belongs to The Courtauld in London. The museum’s current catalogue has revised both attribution and dating, recording the work as [&#8230;]]]></description>
		
		
		
			</item>
	</channel>
</rss>
