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Parable of the Faithful Steward | Art for Proper 14C

Art to illustrate the parable of Jesus found in Luke 12:35-37

Commentary by Hovak Najarian

As Jesus talked to his disciples, he spoke about values and how their lives should be conducted.  They were told to sell their possessions and instead, lay-up treasures in heaven where no thief comes near and no moth destroys.  It is here that we have Jesus’ much-quoted statement, “For where your treasure is, there your heart will be also.”

Jesus continued with a parable about waiting, watching, and being both patient and prepared.  [This is known as the Parable of the Faithful Servant or Parable of the Door Keeper.]  “Be prepared for action and have your lamps lit; be like those who are waiting for their master to return from the wedding banquet so they may open the door for him as soon as he comes and knocks.  Blessed are those…whom the master finds alert when he comes.”  Jesus ends the parable with, “You also must be ready, for the Son of Man is coming at an unexpected hour.”   

When Peter asked, “Lord are you telling this parable to us, or to everybody?”  Jesus continued with the need for responsibility and ended with another much-quoted statement, “To whomever much is given, of him will much be required, and to whom much was entrusted, of him more will be asked.”  This message was spoken to the disciples but also is a lesson for everyone in leadership roles.  It has been interpreted as being applicable particularly to religious leaders.

Dutch artist, Jan Luyken (also spelled, Luiken) was of the generation of artists that followed Rembrandt.  Early in his career, he became attracted to etching and engraving, and the making of prints occupied him throughout his life.  He wrote poetry as well and often they were published with his prints.  Among Luyken’s publications was Martyrs Mirror which included 104 engravings depicting religious persecution.  He was well aware of persecution even in his own time.  At the age of twenty-six, he had an “awakening” experience and accepted Anabaptist teachings.  Ana Baptists were regarded to be a threat to Catholics as well as Protestants and they were persecuted by both,

In Luyken’s The Faithful and Wise Steward, the master of the house – who was away attending a wedding banquet – has just arrived home by horseback.  Through the doorway,T a servant is seen tending the horse and the master is being greeted with a warm welcome as he comes through the door.  The steward gestures toward the other servants who are seated and standing around a dinner table awaiting their master’s return. The master is pleased as he smiles and places a hand on the shoulder of the steward who greeted him.   

Two dogs add a symbolic note to this etching.  Dogs have long been a symbol of loyal devotion and love.  Their presence gives a sense of warmth to the scene and re-enforces the theme of the parable.  The dog in the doorway seems happy to see his master again while the other one has found something to sniff.

Hovak Najarian © 2019

Image: Parable of the Faithful Steward on Wikipedia

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Allegory of Faith | Art for Proper 14C

Praying Saviour
DELL, Peter the Elder
(b. ca. 1490, Würzburg, d. 1552, Würzburg)
Allegory of Faith
1534
Limewood, 51 x 72 cm
Germanisches Nationalmuseum, Nuremberg
Click image for more information.

Commentary by Hovak Najarian

Allegory of Faith, limewood, 1534, Peter Dell the Elder, 1490-1552

The traditional materials used for sculpture are stone, wood, clay, and bronze. Of these four, stone and wood are sculpted by a subtractive process. When a marble block or a section of tree trunk is carved, chips are removed until a desired form – the sculpture – remains. Because carving wood or stone is time-consuming and sometimes physically demanding, sculptors today often prefer to work in materials that offer less resistance. In the time of Peter Dell the Elder, however, both wood and marble were still very much in use. Dell worked occasionally in stone and bronze but the area for which he is best known is the long standing German tradition of wood carving. After Dell’s death, his son, Peter Dell the Younger, continued the work of his father’s shop in Wurzburg.

Dell’s “Allegory of Faith” is a type of sculpture called bas relief. It is a carved surface that is shallow in depth and like a painting, is to be viewed from one side only. Instead of being created with colors and values as is a painting, however, the subject matter is defined with shapes, textures and depth levels. For this relief, Dell used an even-grained, easily carved, light-colored wood called limewood (neither the name nor the tree is related to citrus). Its pale brown patina is the result of the natural aging process.

Like other art work of this period, Dell’s relief is intended to teach and inspire. The scene of this allegory depicts a young woman representing the human soul journeying through life. She is in a small ship and is being attacked by those who would distract her and set her off course. Death at the upper left side is on a horse; the devil at the upper right-middle is on a lion; and Frau Welt (an allegorical figure in German literature) is on a sea serpent. [From the twelfth century onward in German lore, the world has been represented as a seductress known as Frau Welt (Mrs. World). With her beauty and guile she tempts a person with promises of wealth, happiness, and fulfillment. Instead, if you follow her ways – the ways of the world – your journey is likely to result in sorrow, disease and decay.] Frau Welt is in the water at the right. Each of these adversaries is out to shake the faith of the young woman traveling through life and each has a bow with three arrows aimed toward her. The woman is steadfast, however, and her eyes are focused on the face of God above as she moves away from a city that is aflame. Christ is on the shore pointing the way. To assure that the symbols in this allegory are recognized, Dell has identified some of them; the ship is labeled, “Flesh and Blood.” “The Christian Life” is written on the ship’s rudder; this will keep her journey on course. While traveling the sea of life, her sail and rigging are, “Love and Patience.” She is guided by the “Word of God.” St. Paul, the Defender of the Faith, is standing at the lower left side of this scene holding a sword in his hand. When St. Paul was martyred he was beheaded with a sword and this (the sword) became one of his identifying symbols.

Hovak Najarian © 2013

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Still Life with Bouquet and Skull | Art for Proper 13C

Still Life with Bouquet and Skull
Adriaen van Utrecht: Vanitas –
Still Life with Bouquet and Skull
(c.1642, Oil on canvas, 67 x 86 cm;
formerly attributed to Pieter de Ring and Pieter Adrienszoon van der Venne)
Click image for more information.

Commentary by Hovak Najarian

Vanitas Still-Life with Bouquet and a Skull, oil on canvas, c.1642, Adriaen van Utrecht, 1599-1652

In a book titled, The Painted Word, Tom Wolf gives an account of a New York Times art critic who was unable to comment on a painting because he did not know the theory behind it. Instead of a picture being worth a thousand words, today it may take a thousand words to help us understand a painting. This often is true of abstract art but it may be true of “realistic” paintings as well. Art is created in an historical time period and understanding the context in which it was made is essential to its meaning. A person looking at Adriaen van Utrecht’s “Vanitas Still-Life with a Bouquet and a Skull,” without regard to the wealthy merchant class and the Protestant Reformation in The Netherlands during the seventeenth century, may think the skull is very much out of place and that it ruins an otherwise perfectly pleasant still-life.

In van Utrecht’s painting we see some of the recurring themes and objects of the vanitas genre (the term vanitas is Latin for “vanity”). Although these paintings were created more than four hundred years ago, they continue to have a message for us today. A bouquet of lovely flowers is featured in this still-life. If we were to be asked why flowers exist, it is likely we would agree with Ralph Waldo Emerson (said of a rhodora), “If eyes were made for seeing, then beauty is its own excuse for being.” Flowers bring pleasure but even while enjoying them, we are aware of their short “shelf life.” In a vanitas, flowers symbolize the cycle of life and often they will be shown in their various stages – bud, full bloom, and faded. They remind us that like flowers we too come forth, mature, blossom, and then fade. Contained in the painting also are objects that represent the passing of time; thus they are reminders of the transient nature of life and our mortality. On the table is a chronometer (a portable timekeeping instrument) and an hourglass in a wooden case (in the background). A smoking pipe and drinking glasses represent time spent in empty pleasures.

Items in the painting also represent treasures that were possessed typically by the wealthy Dutch merchants of Antwerp; a string of pearls, a gold chain, a ring, and money. The wealthy often displayed items such as rare sea shells; a nautilus is on the far right. A decorative pedestal serving dish above the nautilus denotes luxury.

As a reminder of the folly of acquiring treasures, vanitas often contained a skull; the universal symbol of death. In van Utrecht’s still life it is placed prominently atop a book that represents the limits of human knowledge. The skull’s presence among earthly treasures serves as a message, “As I am, so too you will be.” A crown of laurel leaves is placed over the skull to remind viewers that for the Christian there is victory over death.

There is irony in the fact that vanitas were expensive works of fine art and like other objects they too became commodities possessed by the wealthy.

Hovak Najarian © 2013

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Praying Saviour | Art for Proper 12C

Praying Saviour
CSONTVÁRY KOSZTKA, Tivadar
Praying Saviour
1903
Oil on canvas, 100 x 82 cm
 Janus Pannonius Múzeum, Pécs
Click image for more information.

Commentary by Hovak Najarian

Praying Saviour, oil on canvas, 1903, Tivadar Csontváry Kosztka, 1853-1919

During the lifetime of Hungarian artist, Tivadar Csontváry Kosztka, great changes were taking place in European art. During the first two-thirds of his life – a time when he was not painting at all – the Impressionists and Post-impressionists in France already had changed conventional thinking about art and were opening the way for developments that would take place during the twentieth century. Csontváry, as he was known in Hungary, was forty-one years old at the time he began studying art and his major works were not painted until after the turn of the century. By this time, Les Fauves (“The Wild Beasts”) in Paris were revolutionizing the way color was being used and shortly after that the Cubists would be challenging the concept of pictorial space. Instead of following areas being explored by the avant-garde however, Csontváry, after a brief time in Paris, chose to follow his personal vision. The result is an art that does not fit easily into a specific category; it tends to be an “outsider art” with elements of fantasy.

It is difficult to discern the full meaning of paintings that are based on personal visions. An interpretation is often speculative and even when artists offer explanations their paintings may not support what they say. In the “Praying Saviour,” Csontváry places an elongated Christ with lengthy hands and upraised arms close to the center of the painting; his white robe stands out against the dark foreground. To the upper far left and on a higher level is Moses with stone tablets and to his right the city of Jerusalem is glowing in the distance. In the bottom foreground are mask-like faces; they have been interpreted as disciples, yet we cannot be sure. Their expressions seem to indicate something foreboding is near. They appear to be alarmed. Perhaps they have just learned that Christ will be put to death.

Painters often utilize well known symbols but artists also are known to employ personal signs. Among Christian symbols, a cedar of Lebanon represents Christ and Csontváry visited Lebanon to make paintings of them. In “Praying Saviour,” a tall cedar tree is included with two figures clad in dark clothes at its base kneeling over a slab on top of a tomb-like rectangular stone. It would be reasonable to assume the tree represents Christ and the stone represents Christ’s tomb. Csontváry, however, sometimes used a tree as his own personal symbol; the tree may have been his way of placing himself symbolically in the painting. [It is of course also possible this tree is only meant to be a tree representing nothing more than itself.] At an upper level behind the tree is a modern day church with its lights on and the sky glowing as it would at dawn. The church lights seem to be a beacon and people are being drawn toward it. Taken together, these images may be interpreted as representing the journey of Christianity. Moses with the tablets represents the Old Testament, Christ represents the New Testament, and the light from the church and sky represents the dawning of hope and enlightenment that was brought by Christ’s word.

Hovak Najarian © 2013

The Prodigal Son | Art for Lent 4C

The Prodigal Son, oil on canvas, 1949, Max Beckmann, 1884-1950

At the time artist, Max Beckmann volunteered to serve in the German army’s medical corps during World War I (1914-1818), the nations of Europe had not been in an all-encompassing conflict for almost a century. During those years the industrial revolution changed not only the way people lived but it changed the way wars would be fought. Humans were up against tanks, machine guns, mortar shells, and airplanes. As a member of the medical corps, Beckmann was unnerved completely by the carnage he saw. This led to a breakdown and subsequent discharge from the military.

After its defeat, Germany was in disarray and the aftermath of war left people without direction or purpose. An uncertain future and relaxed social values during the Weimar Republic aided the onset of moral decay, and many Germans were living for the moment. Entertainment and self-indulgence was available in popular cabarets that offered escape into a world of drinking, dancing and shows featuring lewd performances, nudity and bawdy songs. Prostitution was commonplace and to Beckman, this was all a continuation of an abhorrent world.

Despite social conditions, Beckmann’s reputation in the art world grew immensely during the 1920s and many awards were received. He also was awarded a teaching position at the Frankfort School of Art. With the rise of Nazism in the 1930s, however, Hitler determined that modern trends in art and music were unacceptable and Beckmann was dismissed from his teaching assignment. In his youth, Hitler himself sought a career in art and believed he was an excellent judge of value.   Beckmann’s art was among works that he called, “degenerate.” When World War II appeared to be inevitable, Beckmann left Germany to live in Amsterdam. A degree of peace finally came to him when he arrived in America in 1947 and taught at George Washington University in St. Louis, Missouri.

The parable of The Prodigal Son was given by Jesus and recorded in the Gospel of Luke but when Beckmann depicted a portion of the story, his imagery was based on conditions he witnessed in Weimar during the 1920s. The parable’s older son’s complaint that his wastrel brother had been living among harlots was a description that brought up images of a seamy reality that Beckmann knew.

In Beckmann’s painting, the prodigal son is in a brothel surrounded by three coarse, tawdry and partially clad women with claw-like hands; all are under the watchful eye of a Madam. The unsmiling bare-breasted blonde has wrapped her arms around the prodigal son while the woman wearing a blue hat and blue-corset is holding a drink and looking on with a vacant smile. None of the figures seem to be enjoying themselves and the young man looks “wasted.” His hands prop up his head as he remains without expression. Perhaps he is realizing the attractive fantasies of his youth were not based on reality.

The Prodigal Son is not painted in a “realistic” style but it reflects a reality that Beckmann observed. The painting’s style, like its subject matter is raw, harsh, and visually abrupt. It is not “pretty.” The black smudges throughout its surface add to an effect of something unclean. Though some would prefer art to be an escape to a lovely place, this painting’s subject matter and style reflects Beckmann’s thoughts and experiences during difficult times.

Hovak Najarian © 2019

The Vision of the Lord directing Abraham to Count the Stars

Envisioning a turning point in Salvation History.

The Vision of the Lord Directing Abraham to Count the Stars, wood engraving, 1860, Julius Schnorr von Carolsfeld, 1794-1872

Commentary by Hovak Najarian

The Book of Genesis gives an account of Abram being visited by God. Abram was notified of God’s covenant and that he (Abram) would be the ancestor of a multitude of nations. Abram was told, “Look toward heaven, and number the stars, if you are able to number them” and God said, “So shall your descendants be.” Abram was ninety-nine years old when his name was changed to Abraham (“father of many” in Hebrew) and a covenant with God was made.

In nineteenth-century Europe during the lifetime of German artist, Julius Schnorr von Carolsfeld, there was renewed interest in classicism. This interest in Greek and Roman art was due partly to the discovery of the Roman cities, Pompeii and Herculaneum during the eighteenth century. In AD 79, these two cities were buried by the volcanic ash of Mt. Vesuvius. Cultural changes also brought conditions that favored a return to classicism. Artists who worked in this “neoclassic” style tended to take a formal and intellectual approach to art. Their contemporaries, the Romanticists led by Eugene Delacroix, however, believed art should come from the heart and reflect emotions. When Schnorr first studied in Rome, he admired the art of the late middle ages and Early Renaissance. Later, he was influenced by artists of the High Renaissance, but by mid-nineteenth century, at the time he engraved, The Vision of the Lord Directing Abraham to Count the Stars, there was dramatic action (a characteristic of Romanticism) in his work.

Schnorr first studied engraving with his father and then attended the Vienna Academy in Austria. From there he went to Rome and joined a brotherhood of likeminded artist who sought a return of spiritual content in art. The artists that were part of this fervent group affected biblical manners in their clothes and hair and were soon called, “The Nazarenes.” After ten years in Rome, Schnorr returned to Germany and settled in Munich where he established a successful career painting frescos and designing windows for churches.

While on a visit to London in 1851, Schnorr was commissioned to create a Picture Bible. During the next eight years, he completed more than two hundred wood engravings in which he interpreted biblical stories and events. Schnorr’s Bible contains the dramatic engraving that depicts God calling Abraham’s attention to the heavens. When Abraham looked at the stars, he was awed and fell to kneel on one knee. God is there before him pointing to the stars. As in Michelangelo’s Creation of Adam in the Sistine Chapel, God is shown surrounded by figures symbolizing unborn generations that are to come to earth when it is their time.

Hovak Najarian © 2018

Be well. Do good. Pay attention. Keep learning.

Image: Wikimedia Commons

The Flood

Imagining the moment before the covenant with Noah is made.

 

God said to Noah and to his sons with him, “I am now setting up my covenant with you, with your descendants, and with every living being with you-with the birds, with the large animals, and with all the animals of the earth, leaving the ark with you.” ~Genesis 9:8-10 CEB

The Flood by Abaquesne

The Flood, ceramic tile, 1550, Masséot Abaquesne, c.1500-1564

Commentary by Hovak Najarian

Clay often is regarded to be a lowly substance. It is formed by decomposed rock and organic matter and is used to make bricks and drainpipes. It is underfoot as pavers, and in art it is a material associated with pottery and the crafts. It is not used regularly by artists as a surface on which to paint. Masséot Abaquesne’s “The Flood,” depicting the landing of the ark, is an example of the problem with categories when art is shoe-horned into being either “fine arts” or “crafts.” Abaquesne used tiles, glaze, and metal oxides to create a painting on clay; not on wood panels or canvas.

Abaquesne had a successful ceramics business in Rouen, France. His studio specialized in majolica (muh-JAHL-i-kuh) and faience (pronounced fay-AHNS – French for Faenza, a major ceramic center in Italy), and he was influenced generally by Italian art. For The Flood, Abaquesne used a tiled surface instead of a large single flat piece because clay shrinks when it is fired and in the process, large pieces tend to warp and not remain flat.

To make “The Flood,” a majolica technique was used. The earthenware tiles were fired at a low temperature then covered entirely with a white glaze but not fired again until after Abaquesne created his painting (on the unfired white surface) using coloring pastes made with oxides: cobalt for blue, iron for dark reddish brown and antimony for yellow. It was then fired in the kiln a second time. The work shown here is one of three created by Abaquesne on the subject of the flood. [Building the ark and boarding it are the subjects of the other two works.] This scene depicts the flood after the water has subsided and the ark has landed. In a dramatic depiction of the aftermath of the event, drowned figures are strewn about and a carrion-eating bird is dining on a dead horse. On the right side of the sky, a dove is returning to the ark with an olive branch and God is in a cloud on the left side observing everything below.

Note:

Majolica ware originated in Spain and during the Renaissance it became very popular throughout Europe. The name is believed to be derived from the Spanish island, Majorca.

In addition to a glazing technique,” faïence,” is a term given to a low fired non-clay material used in ancient Egypt for crafting objects such as small blue scarabs and hippopotami. When archeologists discovered these objects, the color reminded them of the blue glaze that was made famous in the town of Faenza, Italy. They referred to the material as “faience.” Although Egyptian faience is not glazed clay, the term has remained in use.

Hovak Najarian © 2013

Be well. Do good. Pay attention. Keep learning.

Image: “The Flood” on the Web Gallery of Art

The Race Track | Epiphany 5B

Light and life confronts darkness and death.

And [Jesus] cured many who were sick with various diseases, and cast out many demons; and he would not permit the demons to speak, because they knew him.  ~Mark 1:34

https://upload.wikimedia.org/wikipedia/commons/5/5f/Albert_Pinkham_Ryder_-_The_Race_Track_%28c.1896-1908%29.jpg

The Race Track (Death on a Pale Horse)
oil on canvas, c.1886-1908
Albert Pinkham Ryder, 1847-1917

Commentary by Hovak Najarian

During the latter part of the nineteenth century, America was engaged in rapid growth in the areas of manufacturing, commerce, and the building of railroads. The arts were not a priority. Serious artists were likely to go to Paris to absorb the culture and milieu during an era that brought great changes in the arts of Europe. Artists who remained in America often studied in New York City and then lived there, or nearby, as they built careers and established reputations.

Like the bohemian life in Paris, artists in New York’s Greenwich Village lived in a place where they could work, socialize, and be unencumbered by the expectations and values of society at large. For most of his adult life, Albert Pinkham Ryder, lived in The Village and was dedicated to painting. He had no desire to pursue fame, or accumulate material wealth. While his contemporaries in France, the Impressionists, were going outside to paint the effects of sunlight, Ryder stayed indoors and most of his images developed from within himself. An exception was The Race Track that he painted as the result of a direct experience.

Ryder often dined at a hotel in The Village where his brother was the proprietor. In a conversation one evening, he learned that his waiter gambled on horses and was excited about a much publicized race that would be held the following day. The waiter was going to place his entire savings on a horse that he believed would win. On the day after the race, Ryder returned to the hotel but the waiter was not there. When he inquired, he was told the favored horse came in third and the man lost his entire savings. He was unable to cope with his loss and took his own life.

Ryder’s painting, The Race Track, also known as, Death on a Pale Horse, depicts a lone skeleton-like figure on horseback carrying a scythe and circling the race track in a reverse direction. The track’s fence is broken in two places and the landscape is barren except for a lone dead tree. The race track, a metaphor for life, circles endlessly. In the foreground, a snake represents symbolically Satan, temptation, and betrayal. The man that took his life was possessed with gambling and to Ryder, the race track was, in effect, his death. As in the four horsemen of the Apocalypse, Ryder has placed the figure of death on a pale horse.

Hovak Najarian © 2018

Be well. Do good. Pay attention. Keep learning.

Collect: Andrei Rublev, Monk and Iconographer, 1430 (Jan 29)

Generally acknowledged as Russia’s greatest iconographer, Andrei Rublev was born around 1365 near Moscow. His “writing” persists to this day.

Holy Trinity. Icon. Andrei Rublev.

Generally acknowledged as Russia’s greatest iconographer, Andrei Rublev was born around 1365 near Moscow. While very young he entered the monastery of The Holy Trinity and in 1405, with the blessing of his igumen (the Orthodox equivalent of abbot), he transferred to the Spaso-Andronikov monastery where he received the tonsure and studied iconography with Theophanes the Greek and the monk Daniel. Among his most revered works are those in the Dormition Cathedral in Vladimir.

The icon (“image” in Greek) is central to Orthodox spirituality. It finds its place in liturgy and in personal devotion. An icon is two dimensional and despite being an image of someone it is not a physical portrait. Western art, especially since the Renaissance, has sought to represent figures or events so that the viewer  might better imagine them. A western crucifix seeks to enable us to imagine what Golgotha was like. Icons seek to  provide immediate access to the spiritual and the divine unmediated by the human, historical imagination. Read more

Holy Women, Holy Men

The Collect for the Commemoration

Holy God, we bless you for the gift of your monk and icon writer Andrei Rublev, who, inspired by the Holy Spirit, provided a window into heaven for generations to come, revealing the majesty and mystery of the holy and blessed Trinity; who lives and reigns through ages of ages. Amen.

Today’s Collect simply give thanks for “the gift of …monk and icon writer Andrei Rublev.” As we view his writing, and the writings of others in icons throughout the Church, let us always give thanks for the gift of individuals with a wonderful talent to open the heavens for us. ~Fr. Dan

Be well. Do good. Pay attention. Keep learning.

The Nativity

Our faith, our story, seen through the eyes of Duccio.

Duccio_di_Buoninsegna_-_The_Nativity_between_Prophets_Isaiah_and_EzekielThe Nativity (with the Prophets Isaiah and Ezekiel), 1308-1311, egg tempera, Duccio di Buoninsegna, c. 1255-1319

Commentary by Hovak Najarian

Duccio’s “Nativity” was once part of the Maesta (Majesty) which served as an altarpiece for the Cathedral of Siena, Italy. When the painting was completed in 1311, it was composed of a very large panel of the Madonna and Child surrounded by saints and angels. Its base – called a “predella” (Italian for “foot stool” which it resembled) – was below the main panel. It served physically to support the altarpiece and visually to depict seven scenes of the birth and early life of Christ. In its original form, an Old Testament prophet stood to the right of each event holding a scroll on which a passage written by him pertained to the scene.

Duccio’s “Nativity,” the second scene in the predella, takes place in a grotto with Mary reclining on a red cushion in a royal robe of blue. In keeping with the practice of increasing a person’s size in accordance with their importance, she is much larger than the other figures. In the manger, the baby Jesus is being watched over by an ox and an ass and many angels have gathered above them; some are looking heavenward in praise and others are leaning over for an adoring glance at the baby. A small star is at the peak of the cave entrance with its rays shining onto the face of Jesus. Below the figure of Mary are two related scenes. On the left, two midwives are bathing the newborn Jesus and on the right, angels are announcing Jesus’ birth to the shepherds as they stand with a sheepdog and their flock. On the left side, Joseph is sitting outside of the grotto in a pink robe, To the right of this scene is a painting of Ezekiel holding a scroll with his words; “This gate shall be kept shut: it shall not be opened, and no man may pass through it.”

In the early eighteenth century, the Maesta altarpiece was taken apart in order to divide it between the two altars of the Cathedral of Siena. During this process, damage was caused and some parts of the painting became separated and lost. Other sections were purchased and placed in museums. One of the results is Isaiah now is not with the scene to which he and his words belong. The scroll he is holding states; “Behold a young woman shall conceive and bear a son and shall call his name Immanuel” and he was placed originally at the immediate right of the “Annunciation,” (the first scene of the predella). He was separated from it and is now at the National Gallery of Art, Washington, DC standing next to the “Nativity.” Isaiah is not looking toward the birth of Jesus because in the original he was looking toward the Archangel Gabriel’s visit to Mary. The painting of the “Annunciation,” to which his words of prophecy apply is an ocean away in the National Gallery of London without its accompanying prophet, Isaiah.

Hovak Najarian © 2013

Be well. Do good. Pay attention. Keep learning.

Image: Web Gallery of Art