The Isenheim Altarpiece, Matthias Grünewald, August 5


 GRÜNEWALD, Matthias
(b. 1470/80, Würzburg, d. 1528, Halle)
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The Resurrection (detail) Isenheim Altarpiece
c. 1515
Oil on wood
Musée d’Unterlinden, Colmar
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This work of the Resurrection is my personal favorite but it is part of an intricate assembly in The Isenheim Altarpiece. Click here for several pages exploring the entire work.

Martin Luther, Lucas Cranach the Elder, August 5


 CRANACH, Lucas the Elder
(b. 1472, Kronach, d. 1553, Weimar)
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Martin Luther as an Augustinian Monk
1520
Copperplate engraving, 141 x 97 mm
Städelsches Kunstinstitut, Frankfurt
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A Proper 14 Art for Readings August 7, 2011


 BORRASSA, Lluis
(b. ca. 1360, Gerona, d. 1425, Barcelona)
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St Peter is Walking on the Water
1411-13
Tempera on wood, 102 x 65 cm
Sant Pere, Terrasa
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The Yaakov Cycle

I quite like scholar’s section introductions. Unlike issues, arguments and conclusions which I may or may not welcome, follow or share, good introductions are forward looking – full of hope. The writer seems freer, almost stating the obvious while pulling us onward.

I find Everett Fox’s following introduction to the Yaakov  Cycle most helpful as our lectionary reads highlights of  the Jacob Cycle through these last and coming few weeks. It is taken from his  excellent English translation and commentary “The Five Books Of Moses”

I especially like his last paragraph reminder of “the two levels of biblical reality.”

Last week our discussion ranged from “reads like a novel” to “dysfunctional family” to other literature e.g. “The Red Tent” and I would hope these and Fox’s thoughts below would lead us to read beyond our lectionary samplings and encounter the whole story.

YAAKOV (Jacob)

Genesis
25:19-36:43

BEFORE  COMMENTING ON THE YAAKOV CYCLE, IT IS APPROPRIATE TO CONSIDER WHY HIS father  Yitzhak (Isaac), the second of the Patriarchs, receives no true separate group  of stories on his own.

Yitzhak functions in Genesis as a classic  second generation-that is, as a transmitter and stabilizing force, rather than  as an active participant in the process of building the people. There hardly  exists a story about him in which he is anything but a son and heir, a husband,  or a father. His main task in life seems to be to take roots in the land of  Canaan, an admittedly important task in the larger context of God’s promises in  Genesis. What this means, unfortunately, is that he has almost no personality  of his own. By Chapter 27, a scant two chapters after his father dies, he  appears as (prematurely?) old, blind in both a literal and figurative sense, and as we will see, he fades out of the text entirely, only to die several
chapters, and many years, later.

The true dynamic figure of the second  generation here is Rivka (Rebeccah). It is she to whom God reveals his plan,  and she who puts into motion the mechanism for seeeing that it is properly  carried out. She is ultimately the one responsible for bridging the gap between the dream, as typified by Avraham (Abraham), and the hard-won reality, as  realized by Yaakov.

Avraham is a towering figure, almost  unapproachable as a model in his intiimacy with God and his ability to hurdle nearly every obstacle. Adding to this the fact that Yitzhak is practically a noncharacter, and that Yosef (Joseph), once his rise begins, also lacks dimension as a personality, it becomes increasingly clear that it is Yaakov who emerges as the most dynamic and most human personality in the book. The stories about him cover fully half of Genesis, and reveal a man who is both troubled and triumphant. Most interestingly, he, and not Avraham, gives his name to the people of Israel.

Distinctive themes of the cycle include physical struggle, deception, and confrontation. These are expressed through the key words of Yaakov’s name (“HeellHolder” and “Heel-Sneak,” then Yisrael (Israel), “God-Fighter”), “deceive” and similar words, and “face.” Also recurring are the terms “love,” ‘bless,” “firstborn-right,” and “wages/hire” (one word in Hebrew). The cycle is structured partly around etiologies (folk explanations of place-names and personal names) and also around Yaakov’s use of stones in several of the stories.

Continuing from the Avraham cycle are such earlier themes as wandering, sibbling rivalry, the barren wife, wives in conflict, the renaming of the protagonist, God perceived in dreams and visions; and particular geographical locations such as Bet-EI, Shekhem, and the Negev (Cassuto 1974).

Finally, it should be mentioned that the Yaakov stories are notable in the manner in which they portray the two levels of biblical reality: divine and human. Throughout the stories human beings act according to normal (though often strong) emotions, which God then uses to carry out his master plan. In this cycle one comes to feel the interpretive force of the biblical mind at work, understanding human events in the context of what God wills. It is a fascinating play between the ideas of fate and free will, destiny and choice – a paradox which nevertheless lies at the heart of the biblical conception of God and humankind.

Everett Fox,
The Five Books of Moses: A New English Translation with Commentary and Notes
(New York: Schocken Books, 1995).

http://www.clarku.edu/departments/foreign/facultybio.cfm?id=365

A Proper 13 Art for Readings July 31, 2011


 SOGLIANI, Giovanni Antonio
(b. 1492, Firenze, d. 1544, Firenze)
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Multiplication of the Loaves and Fishes
1536
Drawing, black chalk and white on prepared paper, 217 x 335 mm
Galleria degli Uffizi, Florence
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Design rejected for the Convent of San Marco, Florence. Click to see the finished work accepted by the order.
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Click here and scroll down to the 9th paragraph For Vasari’s account of the painting of the fresco for the Convent of San Marco, Florence.

A Proper 12 Art for Readings July 24, 2011


 MICHELANGELO Buonarroti
(b. 1475, Caprese, d. 1564, Roma)
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Rachel and Leah
1545
Marble
San Pietro in Vincoli, Rome
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Art for Feast of Mary of Magdala July 22, 2011


 ANGELICO, Fra
(b. ca. 1400, Vicchio nell Mugello, d. 1455, Roma)
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Noli Me Tangere (Cell 1)
1440-42
Fresco, 166 x 125 cm
Convento di San Marco, Florence
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A Proper 11 Art for Readings 7/17/2011

VAN GOGH, Vincent
Click to open The Vincent van Gogh Gallery Artist Biography

The Sower
Oil on canvas
32.0 x 40.0 cm.
Arles: November, 1888
Click here to open The Vincent van Gogh Gallery display page. Click Next Painting to see seven additional Van Gogh treatments of the Sower.

Click here and scroll down for thumbnails of all eight Van Gogh Sowers.

A Proper 10 Art for Readings 7/10/2011

VAN GOGH, Vincent
Click to open The Vincent van Gogh Gallery Artist Biography

Sower, The (after Millet)
Oil on canvas
80.8 x 66.0 cm.
Saint-Rémy: Late October, 1889
Click here to open The Vincent van Gogh Gallery display page. Click Next Painting to see seven additional Van Gogh treatments of the Sower.

Click here and scroll down for thumbnails of all eight Van Gogh Sowers.

A Proper 9 Art for Readings 7/3/2011

POUSSIN, Nicolas
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Rebecca at the Well
c. 1648
Oil on canvas, 118 x 199 cm
Musée du Louvre, Paris
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