Art & Music – Page 11 – Hear what the Spirit is saying

The Delphic Sibyl | Art for Easter 7C

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Commentary by Hovak Najarian

The Delphic Sibyl (detail from the Sistine Chapel), fresco, 1509, Michelangelo, 1475-1564

In Greek mythology, Gaia (mother earth) assigned a very large serpent called Python to guard the shrine at Delphi; the shrine’s location was believed to be the navel of the earth. Apollo killed the serpent and claimed the shrine as his own. The serpent rotted and the place became known as Pytho (Greek: meaning “rot”). The prophetesses at Apollo’s shrine were called, “Pythia” and there was a prevalent belief that the spirit of the dead serpent, Python, was still there and spoke through them. In Acts (16:16), a fortune telling slave girl was described as having “…a spirit of Python.” This was to say she was like the prophetesses at Delphi.

In the ancient world, a sibyl (Greek: meaning “prophetess”) was a woman who was believed to have the ability to foretell the future. Sibyls were the subject of legends and myths, and stories about them varied. Their origins were obscure. The Delphic Sibyl was said to have been the daughter of an immortal nymph and a sea monster. Other sources say she was thought to be a sister or daughter of Apollo. She was known to make her prophecies in the precinct of Apollo but she was not the same as Pythia, the priestess at the oracle. Sibyls sometimes remained in a particular locale but others were known to wander from place to place and live in caves.

Among Christians, sibyls were regarded as pagans yet when their prophecies coincided with those of biblical prophets their words tended to be acknowledged. The belief that Jesus came for everyone – gentiles as well as Jews – led early Christians to interpret particular prophecies as signs, even when they were from non-Christian sources. Also, events that a non-believer might regard circumstantial were interpreted as part of God’s plan; e.g. Because Roman Emperor Augustus called for a census, Jesus was born in Bethlehem, as was prophesied. The Magi (pagan foreigners) brought gifts for the infant Jesus, thus supporting the belief that Christ came for everyone.

Among the sibyls, five of them made prophecies that were interpreted as having a connection to the coming of Christ. Michelangelo included these five among the prophets pictured on the ceiling of the Sistine Chapel. One of them, the youthful Delphic Sibyl, is holding the scroll on which her prophecy has been written and she has turned her head in what seems to be anticipation or expectation. Perhaps she is responding to a prophetic voice that will speak through her. Like the other sibyls, the Delphic Sibyl is placed in a painted architectural setting. Behind her on either side are caryatids; figures that serve as columns. A youth is directly behind her reading prophecies.

Sibyls may seem inappropriate among biblical images but their inclusion on the ceiling of the Sistine Chapel reflects the teaching that God works through many sources. The five sibyls on the ceiling represent a diverse geographic area. They are from Africa, Asia, Greece and Ionia.

The Tree of Life | Art for Easter 6C

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Commentary by Hovak Najarian

The Tree of Life, Mixed Media, 1905, Gustav Klimt, 1862-1918

In the latter part of the nineteenth century, people often turned to nature as a relief from living conditions brought on by industrialization. In art, there was a rejection of nineteenth century “history painting” and during the last two decades of the century, and into the early part of the twentieth century, there was renewed interest in hand crafts and the decorative arts. Artists working in these areas tended to gravitate toward stylized curvilinear shapes and the undulating lines of nature. They also were attracted to exotic subjects with symbolic content. In Austria, Gustav Klimt was the leader of the Vienna Secession and in style his work was linked to “Art Nouveau.”

Humans throughout history and in many cultures have ascribed symbolic meaning to trees. The writer of Genesis tells us of trees in the Garden of Eden; among them the tree of life: “And out of the ground the Lord made to grow every tree that is pleasant to the sight and good for food, the tree of life also in the midst of the garden, and the tree of good and evil.” (Gen. 2:9). The tree of life is mentioned again in Revelation with a note that it bears twelve types of fruit and that its leaves are for the healing of nations (Rev. 22:1-2). Like trees we come into the world, grow according to our genetic plan, and encounter a world that may be both supportive and threatening. Klimt did not comment on any of his work but a variety of influences may be seen; these include motifs from sources such as Byzantine mosaics, and the arts of Egypt and Asia. Klimt’s “Tree of Life,” has its roots in a colorful mosaic-like soil suggesting earthly attractions that are there to be tapped. Its thick trunk spreads out into tendrils that fill the painting with Fibonacci spirals; spirals are known to represent the sun as well as the cycle of seasons and the cycles of life. Interspersed among the branches of the tree are rounded eye-like orbs and the eye(s) of Horus. A raven is waiting.

Standing on the left side of the painting is a youthful woman who is facing life and projecting her thoughts with the hope that her future will be fulfilled (symbolized by an embrace on the right side of the painting). Based on the images in “The Tree of Life,” we can surmise Klimt is saying this young woman’s experiences – and what she makes of them – will affect her journey as life unfolds. The spiraling branches suggest growth, progression, and life’s complexities. There will be earthly pleasures and watchful eyes; the Egyptian healing Eye of Horus is included several times among them. Yet death symbolized by a raven is perched on a branch and will be part of the journey as well. Experiences await us as we enter the labyrinth of branches life places before us. We make choices as we continue with hope.

Note

We often see the familiar Rx symbol displayed at pharmacies (the “R” is made with an extended leg that is crossed to make the “x”). Persuasive evidence suggests this symbol is derived from the Eye of Horus. Ancient Egyptians were known to wear amulets of the Eye of Horus in the belief it would help ensure good health.

The Heavenly Jerusalem | Art for Easter 5C

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Commentary by Hovak Najarian

The Heavenly Jerusalem, Fresco, c. 1090-1100, Unknown Artist

In the Book of Revelation, John’s description of the Heavenly Jerusalem includes the following passages:

[The holy city Jerusalem] had a great, high wall with twelve gates, and at the gates twelve angels, and on the gates the names of the twelve tribes of the sons of Israel were inscribed. On the east three gates, on the north three gates, on the south three gates, and on the west three gates. (Rev. 21: 12-13)

[John was shown] the river of the water of life, bright as crystal, flowing from the throne of God and the Lamb through the middle of the street of the city, also, on either side of the river, the tree of life…(Rev. 22: 1-2)

John’s description of the “Heavenly Jerusalem” is illustrated in a primitive yet straightforward manner in a fresco painted by an unknown artist on the eastern vault of the Church of San Pietro al Monte (Saint Peter in the Mountain), Civate, Italy. The artist, following John’s words (cited above) depicts the four walls that surround the New Jerusalem. There are three arched gates on each of the four walls; they represent the twelve tribes of Israel and each contains an angel. The names of the tribes are written within the arch of the gates but because of faded color and damage to the fresco, only a few of the names are discernable.

In the center of the fresco, framed by the four walls is God, the focal point of attention. In accordance with his importance, God is depicted much larger in scale than anything else in the painting. He is sitting on a throne with a Lamb at his feet and a staff in his right hand. His left hand is holding an open book with the words “Qui sitit veniat” (Let him who thirsts come). Between God’s feet is the river of life flowing from the throne. It spreads out to become four rivers; thus indicating the Gospel is preached to every corner on earth. A tree of life is placed on either side of God.

In Italy during the eleventh and twelfth century, the Byzantine influence remained a factor in art. Several centuries more would pass before changes brought on by the Renaissance would take place.
Note

San Pietro al Monte is on a mountain about an hour’s climb upward from Civate, Italy. It is not certain why it was built in such an isolated place or the exact date it was constructed. The following is one of the legends: Lombardy King Desiderius built San Pietro as a result of a dream in which he was told if a church were to be built there, his son’s sight would be restored. After it was built, the king asked the pope for relics for the church. He was given the right arm of Peter and links from the chain that bound him.

Healing of the Cripple and Raising of Tabatha | Art for Easter 4C

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Click here for the left view and for other works from the Cappella Brancacci.
Commentary by Hovak Najarian

Healing of the Cripple and Raising of Tabitha (right side), fresco, 1426-27, Masolino da Panicale, c.1383-1447

Painter Tommaso di Christoforo Fini was born in Panicale, Italy and called Masolino (Little Tommaso) – hence the name by which he is known: Masolino da Panicale.

Some aspects of Masolino’s life are unclear because another artist with a similar name was active during his lifetime. Even the artist and biographer Giorgio Vasari was inaccurate in details about him. According to Vasari, as a young man Masolino worked for Ghiberti. Yet, known facts indicate this information is likely to be incorrect. Also, because Masolino worked closely with Masaccio in the Brancacci Chapel, there are questions regarding correct attribution of some of his paintings. The fresco, “Healing of the Cripple and Raising of Tabitha,” however, is regarded to be the work of Masolino alone.

In the Acts of the Apostles an account is given of a time when Peter was in Lydda. He encountered a man who had been paralyzed for eight years and he said to him “Aeneas, Jesus Christ heals you. Rise up and make your bed.” (Acts 9:33-35). Aeneas was healed. Another account took place in Joppa where a woman named Tabitha had died; she had been a person “…full of good works and acts of charity.” Peter, being in nearby Lydda, was asked to go to her. He went, prayed, and said, “Tabitha rise!” She opened her eyes, saw Peter and then sat up (Acts 9:38-42). These events did not happen on the same day, not in the same town, and definitely not across the street from each other. Yet, Masolino combined the two stories in a single painting. He placed both miracles in an early fifteenth century Italian architectural setting in a pictorial space that was created by recently discovered linear perspective. On the left side of the painting, Peter is healing Aeneas and then on the right side (the portion shown above) Peter is across the street raising Tabitha from the dead. In the biblical account, Tabitha’s body was placed in an upper room. Masolino used artistic license and placed her conveniently at street level in a covered porch.

In Acts, both the Jewish name, Tabitha, and the Greek name, Dorcas, are given as the name of the woman who was raised from the dead. They both mean “gazelle.” The use of the two names for the same person suggests this Gospel was intended for Gentiles as well as Jews.

Note

Placing separate events in a single painting (as we see in the work by Masolino) is a compositional device used regularly by contemporary artists. If an artist today were to make an image using a photograph of Julia Child chopping onions and then were to combine the photo digitally with photographs taken at a later date while she was stirring beef stew or baking a cake, we would accept it as “composite information” about Julia. The terms “correct” or “incorrect” do not apply to this form of composition.

The Conversion on the Way to Damascus | Art for Easter 3C

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Commentary by Hovak Najarian

The Conversion on the Way to Damascus, Oil on Canvas, 1601, Caravaggio, 1571-1610

Like other artists who became known by the place of their origin, Michelangelo Merisi was called “Caravaggio,” the Italian city of his birth. After studying art in Milan, Caravaggio went to Rome at age twenty and, after three years of poverty, his fortune changed when a few of his paintings were bought by the influential Cardinal del Monte; this led to other important commissions.

During the Renaissance in Rome, heroic events were painted and subjects seemed to exist in a lofty idealized classical world – an “art” world. Artists of the century that followed painted in the “manner” of the Renaissance but seemed to lack a guiding direction; often virtuosity was substituted for substance. By the time Caravaggio went to Rome almost a hundred years had passed since the High Renaissance and he was neither smothered by its idealism nor enamored with the exaggerations of the Mannerists. Instead, he brought naturalism into his work. His models often were selected from earthy low life people of the streets and Caravaggio painted them as they were (dirty feet, fingernails, and all). Prettiness did not interest him.

Caravaggio’s “Conversion” depicts Paul as a young armored soldier who had been traveling by horseback on his way to persecute Christians in Damascus. The painting gives us the moment a blinding light struck Paul and caused him to fall to the ground. In this unusual arrangement of images, the upper portion of the painting is dominated by nothing more than the body of Paul’s horse. A companion, who is mostly in shadow, has a hand on its bridle. In the center are numerous legs; portions of which are highlighted by the intense light and Paul is at the very bottom lying helpless. When an artist is organizing a composition, the principal subject is placed usually in a prominent position but Caravaggio’s painting limits the physical space given to Paul. About two-thirds of the way down, a foreshortened Paul is flat on his back. His sword is off to one side, his helmet has fallen from his head and his arms are raised as though he is confused by the suddenness of what happened. Caravaggio’s use of extreme contrast keeps our attention in the foreground; there is no middle ground or background and we are not able to enter visually the dark areas of the painting. He keeps our focus directly on the event.
Note

Caravaggio’s genius was in identifying with his subjects and in having an ability to communicate the feelings they were experiencing.

In his personal life, Caravaggio was in constant trouble with authorities and was not a person you would want to meet. He was in arguments and brawls frequently, and after one of his fights the person he struck died. He fled from place to place but high regard for his art brought commissions and he painted masterpieces of dramatic impact even as he ran from the law.

Church of the Holy Sepulchre

RNS-MOSAIC-JERICHO — A Palestinian team from the Mosaic Center, Jericho, restores a mosaic in Jerusalem’s Church of the Holy Sepulcher, the traditional site of Jesus’ crucifixion, burial and resurrection. Photo courtesy of Mosaic Center, Jericho

From Religion News Service

JERUSALEM (RNS) The tens of thousands of Christians who visited the Church of the Holy Sepulchre this month got a special Easter treat: the chance to view the newly cleaned and restored mosaic that covers the ceiling and walls of a Franciscan chapel dedicated to Calvary, or Golgotha, the hill where Jesus was crucified.

They might also pause to marvel at this: the work of restoring those mosaics involves a joint effort of Palestinian Christians and Muslims.

I encourage you to read the whole article Mosaic restoration depicting Jesus at Calvary an interfaith effort. It is demonstrates the mystery and power of art to transcend politics and religious differences while creating community.

Image: via RNS

Easter Candlestick | Art for Easter Sunday

John 20:1 Early on the first day of the week, while it was still dark, Mary Magdalene came to the tomb and saw that the stone had been removed from the tomb.

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Commentary by Hovak Najarian

Easter Candlestick, Marble, c.1170, Pietro Vassalletto, (active in Rome from 1154-1186)

In the twelfth century, Europe was in transition from its medieval years to the Gothic period. Several great cathedrals were underway in France but Italy was heir to a long history of Roman engineering and there was no immediate need for change. Additions to churches such as the Basilica of Saint Paul, Rome (San Paolo Furi le Mura) continued to be made in the Romanesque style. This basilica was founded by Constantine in the early fourth century at the site where Saint Paul was buried and is outside the massive walls built around Rome; it is known commonly as “Saint Paul’s Outside the Walls.” [The walls were built by Emperor Aurelian in the third century in an effort to thwart invading Barbarians.] Throughout the centuries, the Basilica of Saint Paul was reconstructed, enlarged, and enriched by emperors and popes. Pietro Vassalletto took part in the extensive construction that took place in the twelfth century.

During the Romanesque period stone masons built churches, made sculpture, baptismal fonts, and fountains, as well as anything else that required carving. There was no debate about whether or not a person was an artist, sculptor, or artisan because those concepts had not entered their thoughts at that time. Stone carvers simply performed tasks that were required according to their abilities; at times they worked on decorative ornamentation and at other times they worked on what we now call, “sculpture.” Often the skills of a father would be taught to his sons and thus several generations would work together. The Vassalletto family of stone carvers remained active between the twelfth and fourteenth century.

At the Basilica of Saint Paul, Pietro Vassalletto designed and sculpted the colonnade surrounding the rose garden of the cloisters. His columns are not uniformly cylindrical but are twisted in spirals, varied in types of stone and appear light and decorative; they are placed in pairs around the portico facing the garden. For the paschal candle within the basilica, Pietro designed an unusual eight-sectioned candlestick. Candlesticks and paschal candles are made usually taller and larger in order that they may be seen by everyone attending a service. “Candlestick,” however, does not describe adequately Pietro Vassalletto’s eighteen foot tall column that is covered entirely with relief sculpture. Both biblical and secular figures as well as plants and animals are included in its elaborate decorative motif.

Note

The term “paschal” is in reference to “Passover” and among Christians it refers to Easter. It is believed the use of paschal candles started as early as the fourth century; its flame symbolizes Christ as the “Light of the World.” The Candle is marked usually with the Greek letters, “alpha and omega,” in reference to Christ being the “beginning and the end.”

Christ before Pilate | Art for Palm/Passion Sunday

Luke 23:1-2 Then the assembly rose as a body and brought Jesus[i] before Pilate. They began to accuse him, saying, “We found this man perverting our nation, forbidding us to pay taxes to the emperor, and saying that he himself is the Messiah, a king.”

The Christ before Pilate — Christ before Pilate
1566-67
Oil on canvas, 515 x 380 cm
Scuola Grande di San Rocco, Venice
TINTORETTO
(b. 1518, Venezia, d. 1594, Venezia) Click image for more information.

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Commentary by Hovak Najarian

Christ before Pilate, 1566-67, Oil on Canvas, Tintoretto, 1518-1594

In the early fourteenth century, painters were still struggling with how to create visual effects as they tried to paint convincing portrayals of biblical events. Their audience was mostly people who could not read; biblical stories were presented verbally and reinforced visually. By the middle of the fifteenth century artists had overcome technical difficulties and the term “art” had been coined. Half a century later works of exceptional artists were regarded as, “high art.” Patrons had become aware that a painting could depict subject matter and at the same time have visual appeal; Tintoretto, a sixteenth century Venetian artist, excelled in both of these aspects of art.

Jacopo Comin’s father worked as a dyer (tintore); thus Jacopo became known by the diminutive term, “Tintoretto.” Very little is known about his childhood and aside from studying briefly with Titian, his skill in art seems to have been learned primarily through his own efforts. Upon deciding on art as a career, he mastered his trade and then at times worked without pay in order to make connections with clients. His aggressiveness made him unpopular with other artists, but it gave him steady work and enabled him to set up a well organized workshop. His many assistants (including his two sons and a daughter) helped complete his large scale commissions.

Among his commissions were paintings for the Scuolo Grande di San Rocco, Venice; an institute dedicated to charitable work. Tintoretto was invited to become a member of its brotherhood and in the room called Sala dell’Albergo, he painted four works based on the Passion of Christ. “Christ before Pilate,” is the opening scene. Tintoretto’s mastery of color, light and shadow, foreshortening, and linear perspective are all evident in this painting. The scene’s staging is close to the picture plane; a few feet into the pictorial space and we are front row witnesses to the action taking place. Christ, robed in white, is standing before Pontius Pilate whose face is down and turned aside. Dramatic light is streaming in from behind Pilate and leaving him mostly in shadow. In contrast, the sunlight is shining brilliantly on Christ who is standing motionless. Prior to when this scene took place, Pilate said he found no fault with Christ but the crowd insisted he should be crucified. In a symbolic gesture, Pilate washed his hands in front of the crowd and said, “I am innocent of this man’s blood; see to [the crucifixion] yourselves.” (Matt. 27:24). One of Pilate’s aides is pouring water as he washes his hands. At the feet of Pilate in the foreground is a scribe recording the proceedings with his back to the sunlight. The agitated crowd is in the background and in shadow.

“Christ before Pilate” is a dramatic and convincing portrayal of a biblical event but Tintoretto organizes the visual elements in such a way that it also generates an aesthetic response; “high art” is an apt description.

Head of Judas | Art for Lent 5C

At the heart of the matter

John 12:4-6
But Judas Iscariot, one of his disciples (the one who was about to betray him), said, “Why was this perfume not sold for three hundred denarii and the money given to the poor?” 
(He said this not because he cared about the poor, but because he was a thief; he kept the common purse and used to steal what was put into it.)

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Commentary by Hovak Najarian

Head of Judas, c.1495, Mixed Media, Leonardo da Vinci, 1452-1519

“The Last Supper” – a large mural in the refectory (dining hall) of the Convent of Santa Maria delle Grazie, Milan – took Leonardo three years to complete. Leonardo had in mind a physical likeness of each disciple and was known to leave his work to seek the image he wanted. Upon finding a face with the right characteristics, he would follow them unnoticed, observe them closely, and later make multiple sketches. The prior of the convent complained at length about these delays. On many days Leonardo would come to the refectory just to sit, observe, and think without picking up a brush; yet other days he would paint all day without a break.

Some of the sketches Leonardo made for the face of Judas have been lost and the one presented here (from the Strasbourg Museum, Germany) and others like it, is very likely to be a tracing made by one of Leonardo’s pupils. The “Judas” portion of a sketch of “Judas and Peter,” at the Ackland Museum at Chapel Hill, North Carolina is virtually identical to the Judas at the Strasbourg Museum. It is likely it also is a tracing made directly from Leonardo’s cartoon for “The Last Supper.”

When it is not known if a work is from the direct hand of a particular artist, historians and authenticators seek clues from sources such as notebooks, correspondence, sales records, materials (pigments, paper, etc), as well as an analysis of stylistic similarities to known works. Museums enjoy the prestige associated with possessing the work of a renowned artist and when authenticity has not been established fully, museums may connect a work to an artist by using terms such as, “Attributed to…” or, “Pupil of…”

In the facial expression and body language of each disciple, Leonardo sought to convey the very moment Jesus announced that one among them would betray him. In “The Last Supper,” Judas, in profile, is the fourth figure from the left. He is looking toward Jesus and was taken aback when he heard Jesus’ words. He is seated in shadow, his elbow is on the table, and he is clutching a money purse. Salt has spilled from a tipped shaker that is near Judas’ hand. The salt makes a symbolic connection to the Near-Eastern saying, “betray the salt,” meaning to betray one’s master.

Note

No…the man selected by Leonardo to be the face of Judas in “The Last Supper” was not the same person whose face was used to portray Jesus. This contrived story tells of an innocent young man who was selected to represent Jesus but later became a degenerate criminal with a face that personified evil. According to the legend, Leonardo did not recognize the man and used his face again; this time to portray the face of Judas. Like e-mail misinformation that is forwarded repeatedly as “fact,” this fabricated story continues to be told.

Because of the prior’s incessant complaints, Leonardo joked with the Duke of Milan, that if he couldn’t find a face for Judas, he might use the prior’s face. The duke mentioned this to the prior who did no more complaining.

Prodigal Son in the Tavern | Art for Lent 4C

Luke 15:11 Then Jesus said, “There was a man who had two sons.

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Commentary by Hovak Najarian

Rembrandt and Saskia in the Scene of the Prodigal Son in the Tavern, 1635, Oil on Canvas, Rembrandt van Rijn, 1606-1669

Like other young men in Holland during the early seventeenth century, Rembrandt’s formal education consisted of studying Latin and Religion but when his skills in drawing became apparent, he was guided toward a formal study of art. After an apprenticeship in the studio of Pieter Lastman in Amsterdam, Rembrandt opened a studio in Leyden and was recognized for his exceptional work. His success led him back to Amsterdam which was the most prosperous city in Europe at that time. People of wealth liked having their portraits painted and Rembrandt excelled in portraiture. This brought fame and wealth but he did not manage money well. Soon he was in debt and personal tragedies as well became an ongoing part of his life.

Before financial and personal problems developed, Rembrandt married Saskia. He idolized her and painted her as the Roman goddess, Flora. A person not knowing anything about this painting might regard it simply as a portrait of a woman with flowers but symbolic content and subtexts are often found in an artist’s work. In this portrait, Rembrandt’s admiration and love for Saskia is revealed in his portrayal of her as Flora, the goddess of flowers and springtime. Soon after painting Flora, Rembrandt painted a double portrait representing a blissful time in their recent marriage; the two were young and happy. This painting’s subject, like the “Flora,” also may be appreciated for its subject; in it we see a celebration that does not seem to represent anything other than what it appears to be. Yet a tavern is part of this painting’s subtext and there are similarities between Rembrandt’s drawings of the prodigal son in the tavern and this double portrait.

In 1925, German scholar Wilhem Valentiner concluded that Rembrandt and Saskia are playing roles. Just as an actor may direct a movie as well as play a leading role in it, Rembrandt has cast himself in the role of the wastrel prodigal son; his wife, Saskia, is acting as a carefree prostitute. Valentiner’s conclusion has been supported by an x-ray analysis that indicates the composition once contained a woman playing a lute as well as objects that are associated with a tavern. Rembrandt painted over them as the two principal figures became the object of his attention.

Note
Rembrandt’s penchant for casting family members and people from his community as subjects in scenes continued throughout his life. His study of Latin was likely the source of an early interest in Roman subjects such as Saskia in the role of Flora. As he became older, his interest in biblical themes increased greatly.

Unlike almost every other artist in Europe, Rembrandt did not go to Italy to study the classics. Elements of classicism and its tendency toward formality are not found in his work. Whereas classicism tends to guide a viewer to an intellectual appreciation, the works of Rembrandt contain a sense of emotional warmth and psychological insight.

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Click here for the left view and for other works from the Cappella Brancacci.
Commentary by Hovak Najarian

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Commentary by Hovak Najarian

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Commentary by Hovak Najarian

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Commentary by Hovak Najarian

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Commentary by Hovak Najarian

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Commentary by Hovak Najarian