Christ and the Canaanite Woman, c. 1650, Pen/Ink, Rembrandt van Rijn (1606-1669)
Commentary by Hovak Najarian
Related post B Proper 18, Art for September 9, 2012
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 managing money was not a high 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 drawing, Christ 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.
It is standard practice for composers to write sketches of musical themes and for writers to keep a file of ideas. In like manner, visual artists make sketches and use them as source material for their work. Christ and the Canaanite Woman was a drawing made to develop a composition and at this stage Rembrandt was not engaged in details. Arrangement of the figures and their interaction were his immediate concerns; he did not intend this sketch to be a finished piece. Instead, it was a study that was drawn rapidly and loosely in a method known as “gesture drawing.”
As is typical for “preparation drawings,” Rembrandt reworked the sketch and edited it; white pigment was used to cover areas in order to make changes. The drawing was likely a preliminary study for an etching but Rembrandt did not develop it further. It was not used for either an etching or a painting. The reason for not following through could be because Rembrandt had other work that took precedence or perhaps the composition was not resolved to his satisfaction.
Note
Canaan and Phoenicia: The ancient land of Canaan was known as “Phoenicia” to the Greeks. Both names mean the color “purple” which is in reference to the dye that was obtained from the gland of a mollusk – a murex – found there in the Mediterranean waters and harvested. The purple dye was so rare and costly that only the very wealthy could afford it; hence, purple became known as the color of royalty. The color purple’s association with royalty is one of the reasons it has been the traditional color for the church season of Advent. A trend in recent years has been instead to use the color blue for Advent and to use purple for the season of Lent.
Tyre and Sidon: These two cities are in modern day Lebanon and have been renamed: Tyre now is called, “Sour,” and Sidon is called, “Saida.”
Drawing Ink: Rembrandt’s brown ink was made from tannic acid, derived from oak gall, mixed with ferrous sulfate and water. Artists mixed their own inks and often there were differences from one batch to another. This has enabled analysts to examine some of Rembrandt’s drawings to determine which lines were drawn first and which were made later as he reworked a composition.
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© 2012 Hovak Najarian
B Proper 17, Art for September 2, 2012
James the Just, Icon (Artist and Date Unknown)
Commentary by Hovak Najarian
Related post B Proper 17, Art for September 2, 2012
Surnames often are the result of physical characteristics, occupations, places of origin, and family connections. Names such as Johnson or Peterson require no explanation and we are familiar with “Mac” (son of) in Irish names and “von” (meaning from) in German names. Yet, “last names” as we know them today were not widely used until the modern era. In biblical days, American architect Philip Johnson (designer of the Crystal Cathedral), would have been known as Philip the son of John. In times when people were given a single name, an identifying designator often was necessary to differentiate one person from another. Among the disciples was Matthew the tax collector and Simon the Zealot. Two disciples were named James; James the son of Zebedee and James the son of Alphaeus. At times, a person was given several different identifying descriptions.
Although one of the brothers of Jesus also was named James, the exact nature of his kinship has been debated; it has been said he was a step brother, half brother, or cousin. He was not a participant apparently in Jesus’ ministry and it is likely he was not sure of Jesus’ divine nature. Upon seeing Jesus after the resurrection, however, James was convinced. As Bishop of Jerusalem he helped spread the Christian faith and became known as, “James of Jerusalem.” Because he spent so much time in prayer, it was said his knees were hard like those of a camel; thus he was known as “James the Righteous.” He is known more often as, “James the Just” because of the great respect for his wisdom.
Though highly respected in many quarters, James was not appreciated by the high priest of Jerusalem. His martyrdom took place when he was asked by Ananias to denounce Jesus from atop the temple. James went up but instead of cooperating, he began preaching the gospel. For this, he was shoved off and hurt critically but was still alive. As he prayed to ask forgiveness for those who tried to kill him he was stoned and then a man with a fuller’s club hit him on the head and he died. He was buried near the Temple.
Images of Mary, Jesus, and the apostles began appearing very early in church history and it was believed some were of miraculous origin. Icons were used particularly in worship by Orthodox Christians but during the eighth and ninth century a segment of the Church regarded them to be “graven images.” The Church defended the use of icons and pointed to the belief that Jesus himself pressed a cloth to his face and produced an image. In icons of James the Just, he is depicted in his linen bishop’s vestments wearing a long beard (it was reported he never wore wool and never cut his beard) and he is shown holding a book of his writings. Often he is depicted with a fuller’s club, the stick used as he was being killed. Neither the artist nor the date (possibly 12th century) of the image shown above is known. Except for a few notable exceptions, painters of icons worked anonymously.
Note
Icon: The term is from the Greek word eikon meaning likeness or image.
Fuller’s club: This stick is used to beat clothes when they are being washed.
St. Luke as Icon Painter: There is a tradition that Luke painted an icon of Mary as well as images of Peter and Paul. St. Thomas Christians of India lay claim to still having an icon of Mary that was painted by Luke and taken to India by Thomas himself. In illuminated manuscripts, St. Luke sometimes is shown at an easel but there is no evidence to support the tradition that he was an artist.
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© 2012 Hovak Najarian
Growing an oak from an acorn
I admit it: it’s a metaphor. This post is about water, not oak trees. Please keep reading even if you are more interested in trees than water.
Once upon a time a little girl, Rachel, only 8 years old, wanted to raise about $300 to help provide clean water to children she would never meet (the acorn). For her 9th birthday she asked friends and family to give to charity: water instead of to her. Events after her birthday turned out far differently than she or her family imagined. The hoped for gift ($300) turned into a $1.3 million gift (the oak tree).
In 1975 I was ordained a deacon. Since then I have been to several diaconal ordinations. In the Episcopal Church those about to be ordained deacons are instructed with these words: “You are to interpret to the Church the needs, concerns, and hopes of the world.” Though I was subsequently ordained a priest I continue to take this instruction seriously. It did not disappear when I was ordained a priest.
In our Forum we seek to understand the needs, concerns and hopes of the world so that we may respond as the Spirit directs.
Clean water, clean and accessible water, is a human need in every time and place. Access to clean water is a concern and fundamental hope of every human being. I continue to contribute to charity: water. Here is why. You will find “the rest of the story” about Rachel in this report from NBC News.
Here you can find out more about Rachel’s Gift from the folks at charity: water
What is the Spirit saying to you?
B Proper 16, Art for August 26, 2012
Note: This depicts an earlier transport of the Arc to Jerusalem not today’s reading of bringing the Arc to Solomon’s Temple.
Related art commentary by Hovak Najarian.
Transportation of the Ark of the Covenant Containing the Tablets of the Law, 1816, Fresco, Luigi Ademollo (1764-1849)
Commentary by Hovak Najarian
Related post B Proper 16, Art for August 26, 2012
In the early eighteenth century baroque art gave way to a lighter, more delicate version called rococo (from the French: rocaille – shell-work, pebble-work). Rococo tended to be ornate, frivolous, florid, and was associated with court life in France; it also tended to reflect the gap between the working class and the wealthy elite. Social differences were among factors that led ultimately to the French Revolution at the latter part of the century.
At mid eighteenth century the discovery of the ruins of Pompeii brought renewed interest in the life of ancient Romans and elements of classicism began to reappear in art. While Napoleon Bonaparte was in the military, he admired and identified with Roman courage and after becoming Emperor of France in 1804, he placed artists in key positions to promote and portray traits such as moral strength, honor, and sacrifice for one’s country. Art became serious business; classicism returned and rococo came to an end. During the late eighteenth and first half of the nineteenth century, this latest manifestation of classicism – called “Neoclassicism” – spread throughout Europe and America. The style was not limited to subject matter with moral messages but also included portraiture and other interests.
One of the practitioners of neoclassicism in Italy was Luigi Ademollo. He was born in Milan and received his art training there but while in his mid-twenties, he set out for Rome and then settled in Florence. During, and following the Renaissance, wealthy bankers and commercial traders in Italy built palazzos for themselves and were like princes. Their palaces contained large surface areas and artists, who often were regarded as decorators, received commissions to fill the walls with paintings. Ademollo established a reputation as one of the foremost fresco artists of his time and received commissions for work throughout Italy. In the early nineteenth century he was asked to paint murals for the Palazzo Pitti in Florence. The Transportation of the Ark of the Covenant Containing the Tablets of the Law (detail shown above) was painted for its chapel. Ademollo’s mural in its entirety is an extensive painting that seems to have a “cast of thousands.” Some of the people are onlookers and others are part of a long trail that is following the Ark as it is being transported.
The Ark, which in Hebrew means box or chest, was made from acacia wood and covered with gold; it contained the stone tablets on which were inscribed the Ten Commandments. On top of it was the “mercy seat” made of pure gold and on it were two cherubim facing each other; their wings covered the top of the Ark entirely. [In depictions of the Ark by other artists, the cherubim often are sculpted in the round, not in relief as depicted here.] The Ark was not to be touched and, according to instructions, it was to be accompanied by priests and carried with gold covered poles on the shoulders of Levites. A billowing cloud is filling the scene as burning incense is being carried in a large censor while people following the Ark are caught up in the drama of the procession. To the right (not shown in this detail) are a group of men holding an ox that later will be sacrificed.
Note
In this mural the architecture and manner of dress is in keeping with neoclassicism but during the early nineteenth century there were romanticists who were fascinated with North Africa and the exotic Near East. Romanticists often sought drama and action in their subject matter. [The spirit of Romanticism is exemplified in the motion picture, “Raiders of the Lost Ark”] Although Ademollo is called a neoclassicist, “Transportation of the Ark” has elements of romanticism in its dramatic appeal.
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© 2012 Hovak Najarian
Feeding the hungry
Many of you will remember Margaret Watson who served as an Associate at St. Margaret’s (2003-2005). Her friend Maria L. Evans visited Margaret in South Dakota at the Cheyenne River Episcopal Mission and came away with an inspiration for her church and community Trinity Episcopal Church in Kirkesville, MO. The rest of the story (and a short video follows).
Maria posted this on Facebook (a note to Margaret, seen by many) and shared the video which follows. (You gotta love Facebook for its ability to share Good News and inspire the creation of more Good News.)
Hey, Margaret, I wanted to show this to you (if you haven’t seen it already) b/c I also wish to pass my thanks to the wonderful folks I met at Eagle Butte as part of the seed of where this came from. When I was there in the spring, between watching everyone make sure others were fed at funerals and comfort services, as well as the weekly food ministry at church, it was a huge part of what helped me come to believe that it was truly possible to fill a pickup truck full of food in Kirksville, MO (Adair County has 1/4 of the population at or below the poverty line) for the local food bank. Turns out the Holy Spirit saw fit to fill TWO pickup truck loads full of food.
I would not have believed if not for what I saw happening in Eagle Butte. The idea would not have come to me, I don’t think. It was part of what God called me there for, I believe, and I suspect God is not finished working with me on that one, yet…God bless the dedicated folks who feed others at Eagle Butte! Shared on 16 August 2012
What is the Spirit saying to us? Keep the conversation going.
B Proper 15, Art for August 19, 2012
Solomon, 1308-1311, Egg Tempera, Duccio di Buoninsegna (c. 1255-1319)
Commentary by Hovak Najarian
Related post B Proper 15, Art for August 19, 2012
Duccio’s altarpiece, Maesta (Majesty) painted for the Cathedral of Siena in the early fourteenth century, was composed of a large panel of the Madonna and child surrounded by a host of saints and angels. In its original form, this main panel was part of an assemblage that included many smaller paintings. Above the central painting were eight crowning panels depicting scenes pertaining to Mary’s death. Below the central panel was a row of thirteen small paintings that made up a predella (Italian: kneeling stool); this served as a base or plinth. The Maesta was the first known altarpiece with a predella and this addition became a form used by subsequent artists. On the reverse side of the main panel there were originally forty-three smaller paintings representing events in Christ’s life.
The scenes in Duccio’s predella illustrate The Annunciation and events in Christ’s infancy and youth but they are not in chronological order. Each scene is approximately square in shape and each except the last one is followed immediately by a panel that is the same height but half as wide containing an image of an Old Testament prophet holding a scroll. The prophet’s words on the scroll are interpreted as foretelling the New Testament event that is pictured in the preceding scene. The scenes and accompanying prophets of the Maesta predella, from left to right, are as follows:
Annunciation: The Prophet Isaiah (7:14)
Birth of Christ: The Prophet Ezekiel (44:2)
Adoration of the Magi: The Prophet Solomon (shown above).
In the scene of the “Adoration,” three Magi, along with two horses and four men, have arrived to see the Messiah. Two camel heads can be seen in the background, thus indicating they are from the East, and a star is above the grotto where Mary sits with the infant Jesus in her lap. Two of the Magi, wearing crowns and holding gifts, are standing while the third one with his crown on his arm is kneeling as he kisses the foot of the child, Jesus. [Artists often borrow an image if it fits their need (Picasso said “What I see, I steal”). For the basis of his kneeling Magus, Duccio used the image of the kneeling king in Nicola Pisano’s sculpture of the baptistery pulpit at the Cathedral of Pisa]
The panel to the immediate right of the Adoration of the Magi is the lone figure of Solomon, standing with a scroll on which is written a passage from the Book of Psalms; “The kings of Tarshish and the islands shall bring presents: the kings of the Arabs and of Sheba shall offer gifts” (Psalm 72:10).
Presentation in the Temple: The Prophet Malachi (3:1)
Massacre of the Innocents: The Prophet Jeremiah (31:15)
Flight into Egypt: The Prophet Hosea (11:1)
Christ Disputing with the Scribes (not accompanied by a prophet)
The figures of the prophets are small but, as seen in “Solomon,” they stand solemnly and with dignity. It is believed the statues on the facade of the Cathedral of Siena were used as models for each of the prophets.
During the eight hundred years since the Maesta was painted, both time and human actions have taken a toll. In 1711, it was decided to take apart the altarpiece and divide the sections between the two altars of the cathedral. During this process, severe damage was caused. After it was taken apart, several sections were taken to museums and others were misplaced and are missing. A major restoration was done from 1953-1958 at which time it was discovered that part of the damage to Mary and Jesus was caused by nails being driven into their faces in order to hang rosaries.
[For a brief background of Duccio and the Maesta Altarpiece see Art Commentary for Proper B Easter 3 for April 22, 2012.]
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© 2012 Hovak Najarian
Hear what the Spirit is saying 