The Wounded Angel

Finding meaning in the carnage of terror and the belief in Guardian Angels.

Wounded Angel
The Wounded Angel by Hugo Simberg, 1903

The following meditation was originally posted by Teresa Berger on 2 October 2017 on Pray Tell: Worship, Wit & Wisdom (a blog maintained by Liturgical Press, the School of Theology, St. John’s in Collegeville, MN, and the St. John’s Seminary). It was posted on the morning of the mass shooting in Las Vegas, NV and the observance of the Feast of Guardian Angels by the Roman Catholic Church.

Begin quote

Like many of you, I woke up this morning having Guardian Angels on my mind, whose memorial the church sets before us today. Like most of you, I woke up this morning to news of the carnage in Las Vegas. It seems almost impossible to hold the two together – until, that is, I remembered the startling painting by Hugo Simberg, “The Wounded Angel” (1903), which I saw in the Finnish National Gallery a couple of years ago. The painting shows an angel on a stretcher carried by two boys. The angel’s wing is torn, the eyes are covered by a bandage, and the figure leans heavily on the stretcher.

This morning, I see many Guardian Angels like that, being carried away, wounded and exhausted, in Las Vegas.

Be well. Do good. Pay attention. Keep learning

The Angel of Death and the First Passover | Art for Proper 18A

The Angel of Death and the First Passover, was one of four hundred illustrations in Charles Foster’s book, Bible Pictures, and What They Teach Us (1914)

The Angel of Death and the First Passover

The Angel of Death and the First Passover,
engraving, c. 1897, C. Schonhew, 19th century

Commentary by Hovak Najarian

When the time came for the Israelites to leave Egypt and be free from slavery, Moses and Aaron were told about the Passover. God gave them specific instructions with regard to what the people of Israel were to do. A lamb was to be killed, prepared, and then eaten. Blood from the lamb was to be placed on the lintel and door posts of each home. If doors were not marked, the firstborn child and animal of the home would be struck down. C. Schonhew’s engraving depicts the angel of death casting an ominous shadow as it glances at a door to see if it has been marked. Within the home, a Hebrew family is preparing to partake of the Passover meal.

In this engraving, we are attracted first to the activity of an angel patterned after a classical goddess. If she were without wings, had a bow and quiver, and in a wooded area, she could pass easily for the Roman goddess, Diana. To the left, a sphinx seems to be observing the angel as it passes by with sword in hand. The dead figure near its base indicates the person’s doorway was not marked. In addition to the sphinx, references to Egypt are in the background. An obelisk and a wall with marks suggesting hieroglyphics inform us of the culture in which the Passover took place. The tip of a pyramid is beyond the wall.

To the right of the angel is a less active scene. Through an arched opening we see a family gathered solemnly around a table. A tray with a roasted lamb is in the center and the head of the family is leading them in their first Passover meal. They seem to be unaware that the angel of death is passing by their home at the very moment. In order to present separate activities simultaneously, Schonhew divided the engraving into two contrasting areas. On the left, the angel is in motion. There is a sense of urgency about her movements and she is surrounded by dramatic lighting. In contrast, figures on the right are standing still with heads bowed.

The architecture of the interior is in keeping with the exterior but in order to present a direct view of the family, Schonhew departed from two point perspective by aligning the arched wall with the picture plane. This frames the scene and separates it to focus attention on the family. At first glance it may seem we are viewing the interior through a “picture window” but plate glass was not available until the seventeenth century. During the time of Moses, windows would have been simple openings in the wall with no glass.

Note: The Angel of Death and the First Passover, was one of four hundred illustrations in Charles Foster’s book, Bible Pictures, and What They Teach Us (1914). Many of the artists responsible for the work published in Foster’s book were not identified. Schonhew’s name is known only because he signed the above work. Efforts to locate biographical information about Schonhew have not been successful.

Hovak Najarian © 2017

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

David Playing the Harp before Saul, 1530, Engraving, Lucas van Leyden (1494-1533). In a note attached to this post, Hovak describes the process of engraving.

15A: Christ and the Canaanite Woman

Art for Proper 15A in the RCL

Christ and the Canaanite Woman by Rembrandt

Begin quote

Dutch artist Rembrandt van Rijn, began his career in Amsterdam where a large merchant class appreciated art and had the means to support it.  He gained early success but money management was not a priority with him and during the latter years of his life he struggled financially.  He continued to work steadfastly, however, and produced art of the highest order.

The biblical setting for the drawingChrist and the Canaanite Woman, is in the region of Tyre and Sidon; two ancient cities of Canaan on the Mediterranean Sea.  When Christ was there he was approached by a woman of Syrophoenician origin (far left in the drawing) who begged him to heal her daughter.  It was suggested by the disciples that she be turned away but Christ made it known that his ministry was for everyone and the woman was granted her request.

Read the entire post here: 15A: Christ and the Canaanite Woman – St. Margaret’s News

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

 

Moses

More than one way to view Moses with horns.

Moses by Michaelangelo

Moses, marble, c. 1513-1515, Michelangelo, 1475-1564

Commentary by Hovak Najarian

After Moses talked with God on Mt. Sinai, he returned to his people but was not aware that his face was glowing. Because of his radiance, people were reluctant to approach him, but when he called they came closer to hear what the Lord had commanded. Moses placed a veil on his face but removed it while in the presence of God. The veil was placed on his face again when he returned to the Israelites.

While he was still a young man, Michelangelo’s stone carving skills were recognized and he was invited to study at the Medici workshop in Florence under the patronage of Lorenzo the Magnificent. Commissions followed and at age twenty-four, the well-known Pieta (now in St. Peter’s Basilica) was carved. His next major commission would be a statue of David for the City of Florence.

Pope Julius II was impressed with David and invited Michelangelo to Rome to design what would be, in effect, a grandiose monument, a tomb that he envisioned for himself. After Michelangelo began carving figures for the tomb, he was not pleased when he was redirected to paint frescos on the ceiling of the Sistine Chapel. Michelangelo was working again on the tomb when Julius II died (a year after the ceiling was completed). By then funds had depleted and the size of the tomb was scaled back. It was during this period that the Moses was carved.

Giorgio Vasari, Michelangelo’s biographer, described the sculpture of Moses to be “…unequalled by any modern or ancient work. Seated in a serious attitude, he rests with one arm on the tablets, and with the other holds his long glossy beard, so difficult to render in sculpture, being soft … that it seems the iron chisel must have become a brush.” Although Michelangelo’s Moses displays remarkable carving skills, is engaging in its formal relationships, and is of psychological interest, tourists tend to be unduly preoccupied with the horns on his head.

Errors sometimes occur when languages are translated, and at times they lead to unusual descriptions (e.g. Cinderella’s “glass” slippers). In the fourth century, Jerome translated the Bible from Hebrew to Latin, and found that the word, keren had various meanings. One meaning was, “horn.” In translation, Jerome described Moses’ face as being, “horned,” which was to say it was “glorified” or “radiant.” At the time of translation, Jerome was well aware of the multiple meanings of, keren, but elected to use “horn” as a metaphor for strength and power. Medieval artists took the words of the Latin Bible literally and depicted Moses with actual horns. Michelangelo knew, of course, that Jerome’s use of “horned” had been misinterpreted but he chose, nevertheless, to place horns on Moses’ head to impart a sense of strength and authority. Other historical figures have been given horns to suggest strength. Alexander the Great and Attila the Hun have been depicted with horns, and images of warriors with horned helmets are very familiar to us.

Depictions of a “horned” Moses decreased during the Renaissance and was seldom seen beyond the sixteenth century.

Hovak Najarian © 2017

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

Image: Pvasiliadis at Greek Wikipedia via Wikimedia Commons

The Man with a Hoe

Matthew 13:1-9. Pause. Look. Listen. Let the parable take you where it will.

Millet,_Jean-François_-_Man_with_a_Hoe_-_Google_Art_Project

As the Sunday Morning Forum at St. Margaret’s Episcopal Church prepares to meet, Hovak Najarian and Kathleen Kelly shared observations, poetry, and questions to lead into the Gospel parable (Matthew 13:1-9, 18-23) and to inspire your learning.

From Hovak:

Sunday’s Gospel gives us the parable of the sower and Jean Francois Millet’s painting,The Sower, came to mind immediately.  This popular painting has been reproduced many times and it is likely you are familiar with it.  [it is available on T-shirts.]  There is a great deal that could be written about Millet’s Sower, but the focus of Christ’s parable was on what happens when seeds fall onto various surfaces … the message is not about the sower himself.

From, The Sower, my mind shifted to Millet’s, The Man With The Hoe, and a poem by Edwin Markham.  Instead of writing a commentary this week, I would like to share this painting and poem with you.  It is not related to either of the readings for Sunday but the painting is worth seeing and the poem worth reading.

From Kathleen:
In one sense, it could be said that the parable IS about the sower —  a farmer who is willing to “squander” seed by tossing it in all directions  (without regard for the conditions) as though there is no limit to the abundance of this resource.

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

Image: Jean-François Millet [Public domain], via Wikimedia Commons (Link)

Rebekah watering the camels

A discussion snippet: art and the meeting of Eliezer and Rebecca.

Rebekah watering the camels.

In the Sunday Morning Forum at St. Margaret’s Episcopal Church in Palm Desert, a discussion arose about the Poussin art (see our post) depicting the encounter of Eliezer and Rebecca at the well (see Genesis Genesis 24). Hovak Najarian later sent this note to the group:

Camels were not to be seen In the painting discussed at the Forum last Sunday.  “Those bizarre objects” (camels) had no place in the ordered classical setting of Poussin’s, Eliezer and Rebecca.
I thought you might enjoy seeing another artist’s depiction of Rebecca at the well.  The artist of the attached painting did not shun camels!  I could not find the name of the artist….
Do you know the name of the artist? Let us know.

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

Eliezer and Rebecca | Art for Proper 9A

“Portray ‘several women’ in which you can see different beauties.”

eliezer-and-rebecca-at-the-well-1648

Eliezer and Rebecca, oil on canvas, 1648, Nicolas Poussin, 1594-1665

Commentary by Hovak Najarian

When Abraham decided it was time for his son, Isaac, to be married, he wanted the bride to be from the land of his origin, Mesopotamia. He sent his servant, Eliezer, on a journey to select an eligible bride. When Eliezer reached the City of Nahor in Chaldea, he prayed that water from a well would be provided by the woman that was meant to be Isaac’s bride. Rebecca was at the well when Eliezer arrived and she gave water to him and his camels. After hearing the purpose of the journey, Rebecca received her family’s approval and agreed to marry Isaac. Nicolas Poussin’s painting depicts the meeting of Eliezer and Rebecca.

In the sixteenth century, an artwork’s complexity and its intellectual endeavor led to a hierarchy based on genre. The highest praise was given to history paintings. This genre included classical themes and biblical subjects, as well as historical events. A typical history painting was not only highly accomplished technically, it included numerous people in an architectural and/or landscape setting. In composition, there would be continuity through gestures, body language, facial expressions, and eye contacts. The recognized master of history painting during the seventeenth century was Nicolas Poussin, a Frenchman, who lived and worked in Rome. At a time when seventeenth century art was often overabundant and unrestrained, Poussin was a classicist. His work was controlled and organized intellectually; he noted, “I am forced by my nature towards the orderly.”

While technical problems in painting were being resolved, the use of oil paints and great artistic skills brought about an appreciation that went beyond subject matter. The manner in which a work was painted – the accepted sense of “beauty” at the time it was made – appealed aesthetically to the senses and led to connoisseurship. Jean Pointel, a wealthy French banker and silk merchant was among the collectors of Poussin’s work. Without suggesting subject matter, Pointel commissioned Poussin to create a painting that, “would portray ‘several women’ in which you can see different beauties.” Poussin used this commission as an opportunity to depict the meeting of Eliezer and Rebecca at the well of Nahor.

In Eliezer and Rebecca, Poussin made no attempt to depict a Near Eastern setting. Even Eliezer’s camels – those “bizarre objects” – that would be included surely by a romanticist, were eliminated. At the left side of the painting, a group of Pointel’s “different beauties,” are posed like Roman statues. Except for the woman pouring water and glancing at Rebecca, they seem hardly aware of Eliezer’s presence (in the center wearing a turban). The three women to the right of Rebecca, however, are observing the proposal and reacting with facial expressions and body language. Every aspect of Eliezer and Rebecca is planned, ordered, and controlled. Poussin’s figures exist in the realm of an idealized classical world.

Hovak Najarian © 2017