Educating the Rich on the Globe | Art for Proper 20

“If then you have not been faithful with the dishonest wealth, who will entrust to you the true riches? And if you have not been faithful with what belongs to another, who will give you what is your own?” Luke 16:11-12

Commentary by Hovak Najarian

Educating the Rich on the Globe, bronze, 1997, Tom Otterness, 1952-

The excitement of finding, seeing, or experiencing something new or different seems to be built into our makeup as humans. We like to see technological advancements (new cars, airplanes, computers, etc.) and to talk about them as well. The fashion industry is known for its annual changes of colors, materials, and styles. Almost all other commercial areas of our lives also are subject to change; if nothing else, slogans and packaging are changed. In the arts, the avant-garde continues to push boundaries and as in almost every aspect of our culture, the pace of change has accelerated continuously within the past one hundred fifty years.

In the 1960s and 1970s, Pop Art with its familiar images from our commercial world (e.g. soup cans, comic strips, and celebrities) re-engaged the public. Pop imagery arrived at a time when large sums of money were being invested in art; individuals with immense wealth, large corporations, and city governments were among the collectors. At a time when the definition of art expanded, and money was available, collectors seemed to be eager to identify with works that were new, thought to be clever, and on the leading edge. City councils found that placement of art on sidewalks, in medians, or in parks promoted a positive image and before long, the imagery of pop culture spilled over into commissions for “Art in Public Places.” Serious art and war memorials were for Washington, DC. Other cities were likely to select work that did not require an emotional involvement or a mental effort from people in passing cars or pedestrians. Humor rather than solemnity tended to be preferred and images were likely to be entertaining and non-controversial. Often this resulted in pseudo-sophisticated works that were hollow in content and only pretended to have deep meaning. Among sculptors who tapped into an opportunity to receive large financial rewards for public sculpture was Tom Otterness.

Otterness’ “Educating the Rich on the Globe” is made in a cartoon balloon-figure Pop Art style. The title would lead one to believe the sculpture deals with the subject of moral responsibility. Instead, it is simply a play on the words of its title – a deliberate misdirection and a strained attempt at humor. At its base, four small people are supporting a globe that is obscured partly by very large pennies. The coins are apparently the artist’s nod to the fictitious surname, “Pennybags.” Uncle Pennybags, the man that is sprawled on his back atop the globe is wearing his usual tuxedo, bow tie and top hat, and will be recognized immediately as the board game figure also known as Mr. Monopoly. He is being straddled by a child that is reading from a very large book. The Globe in the title refers literally to the globe in the sculpture and the Rich is referring to Monopoly’s mascot, “Rich Uncle Pennybags.” In total, “Educating the Rich on the Globe” depicts a child with a book pretending to be Educating a man called Rich who is literally on the Globe. This work begs for a deadpan response.

Parable of the Lost Drachma| Art for Proper 19

Luke 15:8 “Or what woman having ten silver coins, if she loses one of them, does not light a lamp, sweep the house, and search carefully until she finds it?

Commentary by Hovak Najarian

Parable of the Lost Drachma, oil on wood, c. 1618, Domenico Fetti, c. 1589-1623

During the Italian Renaissance of the fifteenth century, neither a painting’s subject nor its style reflected the physical surroundings and day to day lives of common people. Domestic scenes or work activities were not of interest to wealthy patrons or Church figures who commissioned art; there would be no reflective glory for them from such works. In the sixteenth century, however, artists expanded their range of subjects and explored new visual effects. One outcome was “naturalism.” An artist such as Caravaggio was known to cast a person he met at a tavern in the role of a biblical figure. They were not “cleaned up” for their role. In Northern Italy a trend toward naturalism also emerged and may be seen in Domenico Fetti’s “Parable of the Lost Drachma.”

After studying painting in Rome, Fetti, at the age of twenty-four moved to northern Italy to work at the court of Vincenzo Gonzaga, Duke of Mantua. The Duke was a noted collector of art and while in Mantua, Fetti’s work continued to develop. He was influenced by a variety of sources; among them were the naturalism of Caravaggio, the use of warm colors by nearby masters in Venice, and the works of Rubens. While he worked for the Duke, the subjects of his paintings often were parables that took place in domestic scenes. The “Parable of the Lost Drachma” illustrates the story of a poor woman who possessed only ten drachmae (Greek coins of small value used during the time of Christ). When one was lost she was desperate to find it. She lit a lamp, swept and searched the house thoroughly, and was delighted when the coin was found. In her excitement she called together friends and neighbors to share her good news.

Fetti’s painting depicts a small room furnished sparsely. The only light source is the woman’s small oil lamp and all shadows emanate from it. Indications of her poverty can be seen in the loose stone tiles on the floor and a portion of the upper wall that is in need of repair. The scene depicted by Fetti takes place during the process of the woman’s hunt for the small coin. She has looked under a chair in the corner and left it on its side. In the left foreground, a stool has been toppled, indicating she has looked under it as well. She searched under the loose floor stones and looked in her trunk; pieces of cloth were taken out and then left on the floor as she went elsewhere to look. In paintings of this parable by other artists, the woman often is shown sweeping with a broom but Fetti has chosen instead to show us her meager furnishing and the places she has searched.

After nine years in Mantua, Fetti moved to Venice to continue his career. He was an exceptional painter but he died at the age of thirty-four and we do not know what else he might have accomplished.

The Potter and Wheel | Art for Proper 18C

Jeremiah 18:2 “Come, go down to the potter’s house, and there I will let you hear my words.”

Commentary by Hovak Najarian

The Potter and Wheel, Jaffa, Palestine, pen and ink (book illustration), 1859, William Hanna Thomson (19th century)

Clay is abundant. We tend to think of it as being almost worthless and despite the amount that is used (for everything from bricks to dinnerware), the supply is not being depleted. It is formed by the action of the elements as they break down and erode the surface of the earth. In the process, minute particles of decomposed rock and organic matter are moved by water to low lying areas where clay beds are formed. When clay is moist, it has great plasticity; often it can be used just as it is found. A potter wedges the clay – somewhat like kneading dough – to make it even in consistency and then a pot may be hand-built by the coil method, or “thrown” on a wheel.

A potter’s wheel is a simple device. Its top is a flat disc (today wheel heads are made usually from an aluminum alloy) and a shaft connects it to a larger and heavier disc below, a flywheel. The wheel head and flywheel are supported by a frame; attached to it may be a bench for the potter and a table that provides a place for a pail of water, clay, and tools. When making a pot on a wheel, a potter throws a ball of clay onto the wheel head. The hands are lubricated in water and the flywheel is kicked. As the wheel is turning, the hands are braced and placed on the clay to center it; the centered clay then is opened, raised and given form (bottle, bowl, storage vessel, etc). After a pot is trimmed and thoroughly dry (“bone dry”) it is placed in a kiln. The high temperature in a kiln fuses clay particles and hardens the pot.

In 1834, William McClure Thomson went to the Near East as a missionary and after twenty-three years in the Holy Land he wrote: The Land and the Book: Biblical Illustrations Drawn from the Manners and Customs, the Scenes and Scenery of the Holy Land. In his book, Thomson wrote about the setting in which Bible stories took place and his son, William Hanna, illustrated the text with over 200 drawings. “The Potter and Wheel” depicts a Palestinian artisan giving final shape to a pot that has been thrown. “Throwing” is a process that has not changed for thousands of years and when Jeremiah went to the potter’s house, as directed by the Lord, the potter at the wheel would have been very much like what Thomson depicts in the nineteenth century illustration above. At the time Jeremiah arrived, a thrown pot was still on the wheel; the potter was reshaping it because it was flawed. For Jeremiah, seeing the potter at the wheel was a graphic demonstration. Just as a potter controls clay, the form of nations is in the Lord’s hands.

Note

Although firing gives clay strength in compression, it is weak in tensile strength; it can break easily. Thus a person who exhibits a flaw in character is said to have, “feet of clay.”

Christ in the House of Mary and Martha | Art for Proper 11C

Commentary by Hovak Najarian

Christ in the House of Martha and Mary, oil on canvas, 1618, Diego Velázquez, 1599-1660

In the seventeenth century, Flemish painter Peter Paul Rubens and Dutch artist Rembrandt van Rijn were the two most noted artists in northern Europe, and Diego Velázquez was the unrivaled master of painting in Spain. Velázquez graduated from Don Francisco Pacheco’s workshop academy in Seville, married his daughter, and a few years later moved to Madrid. Soon he was working for King Philip IV at the Spanish Court where he remained throughout his life.

While he was still in Seville, Velázquez further developed skills and expanded his range of subjects by painting domestic settings. Kitchen scenes were popular with the public and often they conveyed an underlying message connecting everyday life in Spain with biblical events. “Christ in the House of Martha and Mary” depicts a scene of a maid preparing garlic mayonnaise to go with the fish that will be served for dinner. The maid’s expression indicates she is upset and the woman behind her is calling attention to a scene in the upper right corner of the painting. We can not be sure if the smaller scene (like an inset) is intended to be a reflection in a mirror, a hatch (an opening) through which we are looking into an adjacent room, or a painting on the kitchen wall. Velázquez used devices such as reflections and paintings within paintings throughout his career.

In the usual interpretation of this painting, the two figures in the kitchen and the figures in the upper right hand scene are many centuries apart in time. The smaller scene shows Jesus seated in the home of Martha and Mary (Luke 10: 38-42). Mary is seated at his feet and Martha is standing behind her. In the biblical story, Martha became busy serving food and drink while Mary seemed oblivious to the fact that her sister was doing all of the work alone. Instead of helping her sister, Mary sat down and listened to Jesus. Martha was frustrated at this and wondered if Jesus cared that her sister was leaving all of the serving chores up to her; she hoped Jesus would ask Mary to help her. Jesus told Martha that her concern was misplaced and that in sitting and listening to him, Mary had made a good choice.

The frustration of the maid pictured by Velázquez is similar to that of Martha. She is trying to make preparations for a meal but is working by herself and is distraught about all that needs to be done. The woman behind her is calling the maid’s attention to the scene of Jesus, Martha, and Mary; pointing out that spiritual nourishment is an important part of life as well.

It has been suggested this kitchen scene is not set in seventeenth century Spain but rather is in the home of Martha and Mary when Christ was there. If this interpretation of the painting is accepted, the person believed to be an upset maid in the kitchen is actually Martha herself and the second woman with Jesus in the smaller scene is another guest.

Elijah Fed by the Angel | Art for Proper 7C

Scuola Grande di San Rocco.

Commentary by Hovak Najarian

Elijah Fed by the Angel, oil on canvas, c.1577-78, Tintoretto, 1518-1594

During the Renaissance, the composition of many paintings seemed staged but on the ceiling of the Sistine Chapel, Michelangelo did not organize figures in tableau-like fashion. Later, when he painted, “The Last Judgment,” he introduced even greater dynamic movement. Many sixteenth century artists admired this aspect of his work and it was Venetian painter Tintoretto’s stated desire to emulate the drawing ability of Michelangelo. Like Michelangelo, Tintoretto was praised in his lifetime and history also has treated him kindly; today, he continues to be regarded as an artist of the highest rank.

When Tintoretto received the commission to create paintings for the Scuola di San Rocco in Venice (an institute dedicated to charitable work), he was free from the whims of patrons. He was given permission to develop his own themes. On the ceiling of Sala Superiore (the upper room of the Scuola di San Rocco) – referred to occasionally as Tintoretto’s “Sistine” ceiling – he painted thirteen scenes from the Old Testament. The themes are on the subject of thirst, hunger, and disease; Tintoretto’s “Elijah Fed by an Angel” is one of the illustrations showing God’s providence in times of hunger.

Biblical events leading to the time when Elijah was fed by an angel goes back to when the people of Israel along with King Ahab, and the priests of Baal went to Mt. Carmel for a display of God’s power. The priests of Baal and Elijah each built an altar. When the priests prayed for fire to offer a sacrifice, their efforts were in vain but when Elijah prayed, an intense fire engulfed the altar of God. After this demonstration, hundreds of the priests of Baal were put to death and King Ahab’s wife, Jezebel, a follower of Baal, became livid. Elijah feared for his life and fled to Beersheba in Judah where he went into the wilderness. He sat under a shrub, prayed, and being exhausted, fell asleep. While asleep, an angel brought bread and water to him. Tintoretto’s painting depicts Elijah lying motionless as he is sleeping in the shade at the edge of the desert. Above him is the angel descending with wings and arms outspread. Elijah was awakened by the angel and he ate the bread; he then fell asleep again. Elijah was awakened once more and told to eat because a long journey awaited him.

Note

A painting is a surface on which pigment has been arranged to create an image. The arts of literature, music, theater, and cinema are like journeys. A duration of time is required to travel, read or listen. It also takes time to fully absorb a painting but its subject can be seen superficially in its entirety at a glance; further study will reveal details and deeper content. Artists have found that similarity (of colors shapes, lines, and textures) forms a very strong visual bond. “Elijah Fed by the Angel,” is unified clearly by similar curvilinear forms. The curves unify the composition and are also related visually to the oval-shaped canvas.

Jezabel and Ahab Meeting Elijah in Naboth’s Vineyard | Art for Proper 6C

Jezabel and Ahab Meeting Elijah in Naboth's Vineyard Giclee — Jezabel and Ahab Meeting Elijah in Naboth’s Vineyard Giclee.
Print by Sir Frank Dicksee Click image for more information.

Commentary by Hovak Najarian

Jezebel and Ahab Meeting Elijah in Naboth’s Vineyard, Frank Dicksee, 1853-1929 [The source of this painting did not cite the date or medium.]

The term “jezebel” has come to mean an embodiment of wickedness in a woman. This association comes from the beautiful Phoenician Princess Jezebel who married King Ahab of Israel during the time of the prophet Elijah. Jezebel was a worshiper of Baal, and a power-seeking woman with no qualms about using any means available to get her way, even murder. After Ahab took her as his bride, possibly for political reasons, she began scheming to bring about the worship of Baal in Israel. Jewish prophets were killed and Elijah was threatened. Ahab, the king, seemed to have neither the will nor the ability to prevent her from doing as she pleased.

One day Ahab decided the vineyard near his castle would be a nice place for a vegetable garden. The vineyard, however, belonged to Naboth and it had been in his family for many generations. Ahab offered to trade another piece of property or pay for it but his offers were rejected. Naboth told Ahab the Lord forbids him to sell his inheritance. When Ahab saw he could not acquire the property, he became ill and would not eat. Jezebel’s quick solution to the problem was to have Naboth killed. Frank Dicksee’s painting depicts the time after Naboths death when Jezebel and Ahab, along with their servants go to the vineyard to claim it. They are surprised by the appearance of a very angry Elijah. The expression on Jezebel’s face expresses her intense dislike of Elijah and her displeasure at being confronted. Early in Dicksee’s career he worked as an illustrator; the painting, “Jezebel and Ahab Meeting Elijah in Naboth’s Vineyard” is likely from that early period. It is a style associated with Sunday School storybook illustrations and differs from the subtle use of color seen typically in Dicksee’s mature paintings.

Dicksee was admired greatly in his lifetime. He became President of the Royal Academy of Art, he was knighted, and King George named him to the Royal Victorian Order. The measure of an artist, however, is determined usually by the insights and understanding they give us about ourselves and the world we experience. Frank Dicksee and Vincent van Gogh were born in the same year (1853) but they followed very different paths. Today, van Gogh’s work continues to stir our emotions whereas Dicksee’s paintings of romanticized events are rarely given attention by art historians.

Note

This painting of Ahab, Jezebel and Elijah is being reproduced currently for commercial purposes and its medium is noted as, “giclee” (zhee-klay). The original image, however, was not created as a print. The French term “giclee, indicates simply that Dicksee’s painting (possibly a watercolor) was reproduced by a finer version of an inkjet printer. When the term “giclee” was coined, the calculated intent was to imbue this copying process with greater cachet. Artists now are creating images directly with inkjet printers but at the present time they are regarded still as pioneers in a new medium.

Elijah and the Widow of Zarephath | Art for Proper 5C

Border with Elijah Raising the Son of the Widow of Sareptha
Simon Bening
Flemish, Bruges, about 1525 – 1530
Tempera colors, gold paint, gold leaf, and ink on parchment
6 5/8 x 4 1/2 in.
MS. LUDWIG IX 19, FOL. 70
Click image for more information.

Commentary by Hovak Najarian

Elijah Raising the Son of the Widow of Zarephath (Painted border), Tempera, gold paint, gold leaf and ink on parchment, c.1525-1530, Simon Bening, 1483-1561

During the Middle Ages, hand made devotional books with text and illuminations were particularly popular in Northern Europe. They contained prayers and biblical passages for use in daily worship and were small in size in order to be carried easily. Often they included a calendar that made note of saints’ days and religious feasts. Flemish artist Simon Bening’s finest work was found in his books of hours (containing the seven canonical prayers of the Church). In them, he included many paintings depicting people at work in labors associated with the seasons. They often were in landscape settings.

In the early sixteenth century, the Renaissance was well established in Italy but in Northern Europe, Gothic influences were still lingering. Yet, change was taking place and although the use of devotional books was declining, Bening’s reputation was well established. An art critic of the time referred to him as the greatest master of illumination in all of Europe. Although his work was in demand, they were not created for the men of the fields. His commissions came from aristocrats and the very wealthy. Among them were the royalty of Spain, Portugal, and Germany. These commissions enabled him to enrich his paintings with the finest of materials including gold leaf and vellum. Today his books are placed in museums.

Although the widow of Zarephath was blessed to have Elijah staying at her home, her good fortune turned to grief when her son became ill and died. Elijah took the dead child to his upper room and placed him on the bed; he then cried out, “O Lord my God, let this child’s soul come into to him again.” God answered Elijah’s prayers and the child returned to life. Upon seeing her son alive again the widow said, “Now I know that you are a man of God, and that the word of the Lord in your mouth is truth” (1 Kings 17: 21-24). Simon Bening’s painting is a border around a text on the subject of the power of Christ. “Elijah Raising the Son of the Widow of Zarephath” is on the opposite side of a page depicting the raising of Lazarus; thus a connection is being made between Old and New Testament events.

We are familiar with creative license such as changes and modifications in motion picture biographies. Changes are made in art as well and a common practice is to move the location of an event to a familiar setting. Instead of the widow’s son being taken to an upper bedroom where he is restored to life, Bening places the three principal participants in a peaceful landscape. The widow’s child, like a small lifeless doll, is lying on the ground while she kneels beside it. Elijah stands in prayer. The narrative continues on the right side where we see the widow departing with her son who is now alive and well.

Elijah and priests of Baal | Art for Proper 4C

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Elijah and the Priests of Baal, Oil on Wood, 1545, Lucas Cranach the Younger, 1515-1886

German artist, Lucas Cranach the Elder was known as one of the foremost painters and printmakers of the Northern Renaissance. For much of his life he worked for the Electors of Saxony and was an avid supporter of the Protestant Reformation. His son, Lucas Cranach the Younger, apprenticed with his father and often worked on paintings in the studio with him. At the death of his father, he took over as supervisor of the art workshop. Both Lucas Cranach the Elder and the Younger were friends of Martin Luther and each painted several portraits of him.

Lucas Cranach the Younger’s “Elijah and the Priests of Baal” depicts the result of a long conflict between the Prophet Elijah and King Ahab. When the king married the Phoenician princess, Jezebel, she brought the worship of the idol Baal with her. She convinced Ahab to allow the worship of Baal in Israel and had Jewish prophets put to death. Elijah left Israel and upon his return saw that conditions had become impossible; he demanded a showdown. He told King Ahab to take the people of Israel and the priests of Baal to Mount Carmel. When they were together he told the people their faith could not be divided; they couldn’t have it both ways. He said, “If the LORD is God, follow him, but if Baal, then follow him.” Elijah then proposed a test. Two altars would be built; firewood and a bull as a sacrifice would be placed on each one. Then each would pray for fire to burn the wood and offer the sacrifice. The priests of Baal built their altar and prayed fervently until after midday but their efforts were futile. When it was Elijah’s turn, firewood and the bull to be sacrificed were placed on the altar. For good measure, he dug a trench around its base and asked that four jars of water to be poured over the wood. He asked the same amount to be poured on it twice more causing the wood to be well drenched. As he prayed, fire from above came down dramatically and consumed everything. The water-soaked wood, the sacrificial offering, the stones, and even the water in the trench were engulfed in flames. When the people saw this, they fell down and said, “The LORD indeed is God; the LORD indeed is God.”

The painting, “Elijah and the Priests of Baal,” is crowded densely with people who are there to witness the resolution of this conflict. The altar built by Elijah is on the left side in the foreground and a dark cloud has gathered at the top center of the painting. Pellets of fire from the cloud are sending intense heat to the altar and even the water at the base of the altar is touched by the flame. Elijah is standing to the right of the altar with his arms raised in prayer and in the lower left corner are Elijah’s assistants with their empty water vessels. The altar of Baal is on the right and its wood and sacrifice remain untouched but the persistent priests of Baal are continuing to dance and pray even as the altar built by Elijah is consumed in flames. The crowd on the left is in awe, as is King Ahab who is standing between the altars and looking at the miraculous fire.

Belonging by Kaze

As we put our faith into action (see James 1:22) pause to consider this reflection by Kaze Gadway. Pay attention to her experience-filled words as you seek to do good.

kazegadway

Belonging by Kaze Gadway

Recently a Ted Talk used the Maslow’s hierarchy of needs as a subject. I appreciate the talk, especially as it relates to the homeless.

The physiological need is obvious. The homeless do not have consistent food, water, housing, clothing or sanitary facilities. That’s obvious.

Physical and Economic safety are also missing. Violence, trauma, accidents are common. They are treated poorly when they go to emergency rooms. One look at their uncleanliness and poor clothes places them at the bottom of the job selection pool.

The next three categories are not as obvious but powerful.

One of the homeless women admits to me, “They gave me an apartment but I hate it. I take a shower there and maybe keep some food but at night, I go back on the streets and sleep at my camp with my friends. I hate being…

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Trinity with Three Faces | Art for Trinity C

The Heavenly Jerusalem — Trinity with Three Faces
c.1400
Fresco
Duomo, Atri
ANTONIO DA ATRI
(b. ca. 1350, Atri, d. 1433, Atri)Click image for more information.

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Commentary by Hovak Najarian

Trinity with Three Faces, Fresco, c.1400, Antonio da Atri, c.1350-1433

The much quoted statement, “A picture is worth a thousand words,” is not an ancient Chinese proverb and often not even true. A picture can not represent adequately images that come to mind while hearing words of the Twenty-third Psalm or the Sermon on the Mount. However, it is true that art sometimes can clarify ideas that can not be expressed in words and yet there are times also when neither words nor pictures are adequate. Early Christian artists had to invent or adapt a visual language that could communicate concepts that were difficult to explain through art or through words.

In the early Church, there were questions about how, or if, a depiction of God should (or could) be made in art; if so, what would the image be? After several centuries, God was depicted as a bearded father figure (possibly derived from the Ancient of Days mentioned in the Book of Daniel). A lamb often symbolized Jesus and a dove symbolized the Holy Spirit. As long as members of the Godhead were separate, artists did not have to deal with creating a composite image that represented all three. The three figures that appeared before Abraham were portrayed as the Trinity but they were shown as separate individuals. By placing them adjacent to each other they were seen as a visual unit. Official use of that form of Trinity was ended by the Pope in the eighteenth century but it continued in places such as the American Southwest.

Another attempt to depict the Trinity may be seen in the Basilica of Santa Maria Assunta in Atri, Italy. Antonio da Atri’s fresco, “Trinity with Three Faces,” shows Christ standing and facing the viewer. His right arm is raised in a blessing and the left hand is holding a book. In order to depict Christ as part of the Trinity, Antonio has given the figure one body but three faces. Right and left profiles have been added to Jesus’ head. All three faces have radiating lines and halos. As a fashionable background, Antonio painted a late Gothic arch and decorative elements as a setting for the figure.

Multi-headed divinities existed in other religions and although this three-faced Trinity was accepted by the Roman Catholic hierarchy, it was ridiculed by Protestants. It was called the “Catholic Cerberus.” [In Greek mythology, Cerberus was the three-headed dog that guarded the gates of Hades.] As a consequence, in the sixteenth century the Pope ended use of the three-faced Trinity but the image remained in remote regions. Pope Innocent XII went further in the seventeenth century and ordered them all to be destroyed. The three-faced Trinity at the Basilica of Atri survived because it was not in sight. It and other frescos at the Basilica had been covered with plaster for fear their surfaces in some way could contribute to the spread of the Plague.

Note

The statement, “A picture is worth a thousand words” is not an ancient proverb. It is derived from an early twentieth century American advertising slogan.

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Luke 15:8 “Or what woman having ten silver coins, if she loses one of them, does not light a lamp, sweep the house, and search carefully until she finds it?

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Jeremiah 18:2 “Come, go down to the potter’s house, and there I will let you hear my words.”

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______________ Commentary by Hovak Najarian

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Commentary by Hovak Najarian