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The Italian artist, Domenichino (Domenico Zampieri), was trained in Bologna, where he joined the academy founded by the Carracci. Domenichino, a student of Carracci, was a key figure in the foundation of a classical style of painting in Europe. His landscapes transfer observations of nature to a timeless realm. He moved to Rome in 1602 to assist Annibale Carracci in the completion of the gallery of Palazzo Farnese—a formative experience. Domenichino was a brilliant draftsman and always began his work with a careful study from posed models. He strongly believed that nature was only the starting point for art and needed to be transformed into a higher realm. A realm that would not be subject to the imperfections and transience of everyday life. Domenichino was an accomplished musician and a skilled architect, and his art aspires to a kind of elevated poetry. Domenichino fully supported the idea that painting was like “silent poetry and required a stylized expressive vocabulary to be properly understood and deciphered.” Domenichino carried out a number of important fresco cycles in Rome as well as in Naples. He died in naples while working in the Chapel of San Gennaro in the cathedral of the city. At the time of his death, Domenichino’s chief assistant was an obscure painter from Assisi, Francesco Raspantino, who inherited his master’s studio.
“Landscape with Moses and Burning Bush”

Made during 1610-16 in Italy. Media consists of a painting of oil on copper. Size being 17 3/4 x 13 3/8 in.

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Moses was on Horeb, the mountain of God but in the imagine, Moses is portrayed to be on more of a flat land near water. Behind Moses you can see a city, which I believe to be Egypt, because God is coming to Moses in the first Human to God interaction in over 400 years to guide him to go back to Egypt and the Pharaoh and to deliver God’s people from their oppression and bondage. The sheep are similar to the Israelites that Moses has to “rescue” because Moses is called to be a leader and watch over the Israelites, connecting to the idea of being a Shepard. The sheep also look to be contained in a pen, similar to the Israelites being trapped in the walls by the Pharaoh. The subject of this picture is one of three miracles that God shows to Moses to confirm his divine mission to lead the people of Israel out of Egypt. Exodus chapter 3 introduces a significant change in the drama of the deliverance of God’s people from Egypt. From God’s providential dealings in the life of the nation of Israel, we move to God’s direct intervention through Moses and the miracles performed by Him. The bush itself does not seem to be presented in too bright of colors yet Moses is looking towards the bush in amazement, this works with Exodus 3: 2-4 “There the angel of the LORD appeared to him in aflame of fire out of a bush; yet it was not consumed. Then Moses said, ‘I must turn aside and look at this great sight, and see why the bush is not burned up.'” This is showing us that the imagery of the burning bush is one of mercy. The consuming fire engulfs the bush, but the bush is not consumed. The judgment is brought, but mercy is shown.

Burns, Rita J. Exodus, Leviticus Numbers: With Excursuses on Feasts, Ritual and Typology. Wilmington, DE: M. Glazier, 1983.

Christiansen, Author: Keith. “Domenichino (Domenico Zampieri) (1581–1641) | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art.” The Met’s Heilbrunn Timeline of Art History. Accessed December 11, 2016. http://www.metmuseum.org/toah/hd/domn/hd_domn.htm.

“Domenichino (Domenico Zampieri) | Landscape with Moses and the Burning Bush | The Met.” The Metropolitan Museum of Art, I.e. The Met Museum. Accessed December 11, 2016. http://www.metmuseum.org/art/collection/search/436205.

The Holy Bible: New International Version, Containing the Old Testament and the New Testament. Grand Rapids: Zondervan Bible Publishers, 1978.

“3. The Burning Bush (Exodus 3:1-15).” Bible.org. Accessed December 11, 2016. https://bible.org/seriespage/3-burning-bush-exodus-31-15.

Troy Diggins Jr