Friday, April 3, 2026

Red Hair in Art: Teodor Axentowicz

Teodor Axentowicz (13 May 1859 – 26 August 1938) was a Polish-Armenian painter and university professor. He was also the rector of the Academy of Fine Arts in Kraków.

Axentowicz was born in Brassó, Hungary (now Brașov, Romania), to a family of Polish-Armenian ancestry. Between 1879 and 1882 he studied at the Academy of Fine Arts in Munich. From there he moved to Paris, where he started a long cooperation with various journals and started his career as a copyist. He also made numerous travels to London and Rome. In 1893, while he was in London, he married Iza Henrietta Gielgud, daughter of politician Adam Giełgud as well as aunt of Val and John Gielgud of the theatrical dynasty.

In 1895 Axentowicz moved to Kraków, where he became a professor at the local Academy of Fine Arts. He was also active in the local society and cooperated with various societies devoted to propagation of arts and crafts. In 1897 he founded an artistic conservatory for women and soon afterwards became one of the founders of the Sztuka, the Society of Polish Artists.

Throughout his life he had numerous exhibitions, both in Poland and abroad and was awarded many gold medals at both national and international exhibitions.

The red-haired model we see in many of his paintings is Ata Zakrzewska.

Poster for the 2nd exhibition of the Society of Polish Artists "Sztuka" (Ata Zakrzewska)

"Secession" postcard

Wiosna (The Spring, Ata Zakrzewska)

Jesien (Autumn)

Przed lustrem (In front of a Mirror)

Portrait of a Young Woman in Krakòw Costume

Young Lady with Pearls

Rudowlosa (The Redhead)

Portrait of a Lady with a Fur

Rudowłosa 1 (The Redhead, Ata Zakrzewska)

Rudowlosa 2  (The Redhead, Ata Zakrzewska)


Portrait of Sarah Bernhardt in the third act of Tosca

Portrait of Ata Zakrzewska With A Fan


Wednesday, April 1, 2026

Red Hair in Art: Helene Schjerfbeck

Helena (Helene) Sofia Schjerfbeck (July 10, 1862 – January 23, 1946) was a Finnish modernist painter known for her realist works and self-portraits, and also for her landscapes and still lifes. Throughout her long life her work changed dramatically, beginning with French-influenced realism and plein air painting. It gradually evolved towards portraits and still life paintings. At the beginning of her career she often produced historical paintings.

Schjerbeck's birthday, July 10, is Finland's national day for the painted arts.

Redhaired Girl

Girl Against a Green Background

Fragment

Figure Study



Tuesday, March 31, 2026

Red Hair in Art: Marianne Stokes

 Marianne Stokes (née Preindlsberger; 1855–1927) was an Austrian painter.

She was born in Graz, Styria and first studied in Munich. Then, having been awarded a scholarship for her first picture, she moved to France. In 1883 she visited Pont-Aven (Brittany, France), where she met the landscape painter Adrian Scott Stokes (1854–1935), whom she married a year later.

The two lived in St Ives (Cornwall) and regularly travelled abroad, frequently to the Tyrol, and in 1905 to Hungary and the High Tatra. Here they spent about half a year sketching and painting in the villages of Važec, Mengusovce and Ždiar. Adrian Stokes concentrated on landscapes, with images of hay-harvesting and picturesque cottages, while Marianne Stokes painted portraits showing the fine detail of the garments. These paintings provide a valuable record of the Slovak culture.

Marianne Stokes was an Associate of the Royal Society of Painters in Water Colours.

The Passing Train

The Garlic Seller

An Angel

A Tearful Child

The Frog Prince

Madonna and Child


Saturday, March 28, 2026

Red Hair in Art: Phoebe Anna Traquair

Phoebe Anna Traquair (24 May 1852 – 4 August 1936) was an Irish-born artist, who achieved international recognition for her role in the Arts and Crafts movement in Scotland as an illustrator, painter and embroiderer. Her works included large-scale murals, embroidery, enamel jewellery and book illuminations. In 1920, she was elected as an honorary member of the Royal Scottish Academy.

Phoebe's elder brother was William Richardson Moss, a keen art collector who owned a number of works by Dante Gabriel Rossetti. Traquair shared with her brother this love of art, including a particular fascination with the work of Rossetti and that of William Blake, and her style and choice of subject matter remained deeply influenced by Blake and Rossetti's art and poetry throughout her life.

Phoebe Anna Traquair, Self-portrait

During 1885 and 1886, Traquair created a series of murals for the Mortuary Chapel of the Royal Hospital for Sick Children, Edinburgh. The mural is of Three Maidens (Divine Powers) which is bordered by images within lunettes of writers, artists and critics, such as Edward Burne-Jones, William Bell Scott, Noel Paton and John Ruskin. This was her first work as a professional artist. The work was completed in 1886 and before the building was further developed in 1894, the murals were transferred to a new site and Traquair restored and installed them, albeit in a simpler composition, between 1896 and 1898.






Her murals of the song school of St Mary's Cathedral (1888–92) won Traquair national recognition. Within a tunnel-vaulted interior, the east wall depicts the cathedral clergy and choir. The south wall depicts Traquair's admired contemporaries such as Dante Gabriel Rossetti, William Holman Hunt, and George Frederic Watts. 

Salvation of Mankind (detail)



Traquair's best-known work is in the vast former Catholic Apostolic Church (1893–1901) on Mansfield Place (now called the Mansfield Traquair Centre) at the foot of Broughton Street, which has been called "Edinburgh’s Sistine Chapel", and "a jewelled crown". It was this work which "helped to confirm her international recognition."






Traquair was a prolific artist who, as well as her murals and embroidery, produced hundreds of pieces of jewellery. She was invited to exhibit at the World's Fair in Chicago in 1893, and her four silk-embroidered panels The Progress of the Soul were displayed in St. Louis in 1904.

The Red Cross Knight



St. George slaying the dragon (detail)


The four panels of The Progression of the Soul



Thursday, March 19, 2026

Red-haired Trinities

The Trifacial Trinity (also known as the tricephalous Trinity or vultus trifrons) is a distinct iconography in Christian art depicting the Holy Trinity. It typically presents God as a single body with three heads or, more commonly, a single head with three fused faces. Emerging in the 12th century, this imagery attempted to visually represent the Christian dogma of one God in three persons (Father, Son, and Holy Spirit), but was eventually condemned by the Catholic Church for being "monstrous" and prone to pagan or diabolical misinterpretation.

Trifacial Trinity   The Trinity in Art


Here are some examples of red-haired Trinities.


Church of Santa Maria Assunta in the town of Armeno (province of Novara, Piedmont, near the Lake Orta). Here we have one body and three separate heads.





Church of San Michele in San Salvi (Florence). Detail of a fresco of the Last Supper (1519) by Andrea del Sarto. Here the whole fresco.





Basilica of San Pietro in Perugia

The author of the fresco is unknown (it is probably after the school of Giotto). This is sometimes considered to be a “feminine” Trinity, since the features of the three heads are very delicate and it looks like the beard has been added afterwards.





Church of Santa Maria della Colombata in Perugia





Rocca di Vignola (province of Modena, Emilia-Romagna). Frescoes by Maestro di Vignola .




Church of San Pietro in Benna (province of Biella, Piedmont).

In the chapel that closes the left nave, beneath a terracotta frieze, we find a (rather rare) depiction of the Trinity in the form of a triple figure of Christ blessing. Flanking it are figures of saints (Saint Anthony Abbot and Saint Peter) and female saints (Saint Lucy and Saint Apollonia). These are frescoes by the school of Defendente Ferrari, dating to around 1535.





Monastery of St Peter and Paul, Castelletto Cervo (province of Biella, Piedmont).

Again the triple figure of Christ blessing.



Tuesday, March 10, 2026

Red hair in the visions of Maria Valtorta

On this blog we have two articles about Catholic mystics Therese Neumann and Anne Catherine Emmerich who, in their visions, saw Jesus and other Biblical characters as having red/auburn hair.

I recently found out that another mystic, the Italian Maria Valtorta, had similar visions.

Maria Valtorta at age 15, 1912 


Maria Valtorta (14 March 1897 – 12 October 1961) was a Franciscan tertiary and a lay member of the Servants of Mary who lived much of her life bedridden in Viareggio, Tuscany.

She is best known for her 5,000 page book The Poem of the Man-God, first published in 1956 and later titled The Gospel as Revealed to Me. The book was mostly written from 1944-1947 and was later translated into many languages.

Valtorta was born in Caserta, just north of Naples. Her parents were from Lombady, northern Italy. Her father, Giuseppe, was in the Italian cavalry; her mother, Iside, was a teacher of French. Following her father’s regiment, the family moved first to Faenza and then to Milan. In 1913, after Giuseppe’s retirement, the family settled in Florence.

In 1917 Valtorta volunteered as a Samaritan nurse and for 18 months worked at a military hospital set up in Florence to care for the wounded soldiers who had returned from the war.


In 1918, at age 21, in the uniform of a Samaritan nurse, during the First World War

In March 1920, when she was 23 years old, Maria was walking on a street in Florence with her mother, when the young son of her mother's dressmaker struck her in the back with an iron bar and shouted a slogan against the wealthy and the bourgeoisie. As a result of that injury, she was confined to bed for a few months and although she seemed to have recovered, the complications from that incident eventually confined her to bed for 28 years, from April 1934 to the end of her life.

In October 1924, when Maria was 27 years old, the Valtorta family moved from Florence to the nearby city of Viareggio.

In 1942, Valtorta was visited by Romualdo Migliorini, then a priest of the Servants of Mary and later a bishop. He became her spiritual director and suggested she write her autobiography, which she completed in 1943.

After completing her autobiography, in Valtorta began writing a series of what she claimed were messages from Jesus. From 1943 to 1947 Valtorta wrote about 15,000 pages in her notebooks, 10,000 of which were later selected as the basis of her main book The Poem of the Man-God, and the rest were gradually organized and published after her death. Valtorta was initially reluctant to have any of her handwritten notes published, but in 1947 her priest convinced her to agree to their publication.

Maria Valtorta died in 1961, at age 64, and was buried in the town cemetery in Viareggio. Later, in 1973, her remains were moved to the chapel of the great cloister of the Basilica della Santissima Annunziata in Florence.

Valtorta's work has continued to remain controversial and various Biblical experts, historians and scientists support and criticize it to this day, and yearly conferences on the scientific and theological aspects of her writings are held in Italy. Cardinal Joseph Ratzinger (later Pope Benedict XVI) and Archbishop Dionigi Tettamanzi have written letters stating that the material in the book is just literary and has no supernatural origin.

Tomb of Maria Valtorta at the Basilica of Santissima Annunziata in Florence



Here are some excerpts from Valtorta’s notebooks.


29 December 1943 

Capelli più chiari nella Madre, più accesi nel Figlio, ma sempre d’un biondo tendente al color rame e ugualmente fini, morbidi e mossi in onde…

Hair fairer than his Mother’s, more vibrant in the Son, but always of a coppery blond, equally fine, soft and wavy...


7 April 1944 

Capelli divisi alla metà del capo e ricadenti in lunghe ciocche sino alle spalle. Ondulati per un buon palmo, poi terminanti in vero ricciolo. Lucidi, sottili, ben ravviati, di un colore biondo acceso che specie nel ricciolo finale ha decise tonalità di rame... Essa [la barba] è, dove è folta, di un color rame scuro: un biondo-rosso scuro. E così sono i baffi...

Hair parted in the middle and falling in long strands to the shoulders. Wavy for a good hand's breadth, ending in a true curl. Shiny, fine, well-styled, a bright blonde colour that, especially in the final curl, has bold copper tones… It [the beard] is, where it is thick, a dark copper colour: a dark red-blond. And the moustache is the same...


7 June 1944

folte ciglia di un castano scintillante di biondo-rosso ... bei capelli lunghi e morbidi, dal biondo rosso più vivo nei punti in luce e più cupo nel fondo delle pieghe.

thick lashes of a shimmering red-blond brown... beautiful long, soft hair, with a brighter red-blond in the highlights and darker at the bottom of the folds.