Year B – Page 6 – Hear what the Spirit is saying

B Proper 13, Art for August 5, 2012

LUIKEN , Caspar (Dutch, 1672-1708)
Click to explore other works by this artist.

Artwork: Nathan rebukes David for his adultery
Artist: LUIKEN, Caspar (Dutch, 1672-1708)
Date: Published 1712
Technique: Copper engraving
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Related art commentary by Hovak Najarian.

Nathan Rebukes David for His Adultery, Published in 1712, Copper Engraving, Caspar Luiken (1672-1708)

Commentary by Hovak Najarian

At the time Caspar Luiken was born, Amsterdam was still aglow from its golden age of art and commerce. During those years it was the wealthiest city in Europe and an important center for the arts. His father, Jan Luiken, was a contemporary of Rembrandt and Franz Hals during their latter years and was a very successful illustrator and publisher. This was a time before photographs were known; a time when highly skilled engravers such as Jan and his son Caspar filled a need for images used in publications. Caspar learned engraving from his father and it was hoped he would carry on the family business but after working with him initially, he went to Germany to be on his own. Six years later he returned to help financially support his father but then died at the age of thirty-six. A book of Caspar’s engravings of Old Testament events, including Nathan Rebukes David for his Adultery, was published posthumously.

In the Second Book of Samuel (Chap. 12), the prophet Nathan was sent by the Lord to visit David and upon his arrival, told him a story of two men; one rich and the other poor. In the story, the wealthy man used his position to take advantage over the poor one. When David heard what the rich man had done he was furious but then Nathan said to him, “You are that man.” Nathan then reminded him that he had “…murdered Uriah the Hittite with the sword of the Ammonites and stolen his wife.” At this, David became remorseful and confessed, “I have sinned against the Lord.” He then listened as Nathan told him what the sad consequences of his actions would be. In Caspar’s engraving, David is crownless, his head is downcast, and he is slump-shouldered as Nathan points his finger at him in a scene reminiscent of a Greek tragedy.

Although Caspar Luiken lived during the Baroque period, the architectural setting gives this illustration a classical quality. Ornate aspects of the print are limited primarily to the drapery, robes, carpet, and the two covered storage vessels. In keeping with what had become standard practice for an artist of this era, a strong light source defines the folds of the robes and fills the space with high contrasts. Caspar also demonstrates his skill in creating an illusion of pictorial depth. Through an accurate use of linear perspective, our attention is taken back to a brightly lit space and then a window takes us back even farther into a distant landscape.

In an illustration created more than 175 years after master engravers Albrecht Durer and Lucas van Lyden were active artists, Caspar’s print is an excellent example of the subtle values (a range from black to white) that can be achieved with simply a burin, copper plate, ink, and paper. An actual continuous gradation of tone (as in a photograph or ink wash) is not a technique that is inherent in the engraving process. To make gray tones an artist must place lines close together in a technique called hatching. In the architecture directly above Nathan’s head, the simple “parallel hatching” produces a light gray value. At the very bottom of the print the dark area is rendered in “crosshatching.” The fine parallel lines are engraved horizontally and then crossed by lines in the opposite direction. Areas that are crosshatched carry more ink and produce a darker value in the print. Through skillful use of hatching, Caspar is able to control the lightness and darkness throughout this illustration.

Jan Luiken completed more than 3,200 works and his son Caspar produced over a 1000 engravings; all in exquisite detail. Yet today the name, Luiken, seldom appears in art history books. It is unfortunate that today’s critics and art historians tend to value art that is on a wall or a pedestal more than they do small prints made for an audience that appreciates the intimacy of a book.

[A brief description of the engraving process is given in the note following the Art Commentary for: “B Proper 7, Jun 24, 2012.”]

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B Proper 12, Art for July 29, 2012

SALVIATI, Cecchino del
(b. 1510, Firenze, d. 1563, Roma)
Click to open Web Gallery of Art Artist Biography and to explore other works by this artist.

Bathsheba Goes to King David
1552-54
Fresco
Palazzo Sacchetti, RomeClick to open Web Gallery of Art commentary page. Click image for large view.

Related art commentary by Hovak Najarian.

Bathsheba Goes to King David, 1552-1554, Fresco, Cecchino del Salviati (1510-1563)

Commentary by Hovak Najarian

As a young man, Francisco de’Rossi (before taking the name Cecchino del Salviati), studied with several artists in Florence, the city of his birth. Among his teachers was Andrea del Sarto, whose skills were so highly regarded he was called, “the faultless painter.” After two years in del Sarto’s studio, de’Rossi’s left to work on an unfinished fresco at the palace of Cardinal Giovanni Salviati in Rome and through his connections, further commissions were received. While there, he also determined it would be a good career move to take his patron’s surname as his own. Now, in addition to the name, Cecchino del Salviati, he continues to be known by his given name, Francisco de’Rossi, as well as Francisco Salviati and Il Salviati.

As the classicism of the Renaissance waned, Mannerist characteristics increased. In painting, sculpture, and architecture of this period there was frequently novelty, artificiality, discrepancy in scale, and linear movement (Vasari referred to this as a “serpentine line”). Also, in many Mannerist works there was a manipulation of pictorial space. Instead of staying with the exactness of Renaissance perspective, they modified space and often made it ambiguous; at times, a viewer is unable to determine what the artist was intending. In his paintings, Salviati used many of these Mannerist devices; note particularly the background, curvilinear staircase, and Bathsheba’s melodramatic pose in Bathsheba Goes to King David

This painting of Bathsheba is one of the frescos based on the life of King David painted by Salviati at the Palazzo Sacchetti in Rome. The presentation of this story, however, differs from the usual paintings of Bathsheba. In a typical painting, Bathsheba is bathing while King David is ogling her from the rooftop of his palace. Often, the primary focus is on a voluptuous Bathsheba at her bath. Salviati moves this story forward to the time she has come to the palace to see David. It is a rather unusual painting in that Salviati presents us with a look at Bathsheba from both back and front as she pauses before ascending the stairs. In the lower right corner of this painting we see her from the back; her fingers are lifting a portion of her dress coquettishly. Her left hand is holding her outer garment and she is turning her head to the left. Next we see her again at the foot of a spiral staircase. Bathsheba is now in the same pose but we see her from an opposite point of view; from the front we are shown she is wearing a diaphanous dress. At the top of the stairs King David is in a toga and finally the sequence ends in the shadow of David’s chamber where we are given a glimpse of the couple embracing.

Note

Venus, Bathsheba and Odalisque: In art, the portrayal of Venus was not to be seen in medieval art; Mary was the image venerated during those years. During the Renaissance, Mary continued to be honored but Venus made a comeback. Not only did artists paint scenes of the dalliances of Venus and other goddesses but the Bible also became a source of titillating subjects such as Bathsheba. Later, in the nineteenth century, the romanticists were enamored with the exotic Near East and in art the odalisque (harem woman) replaced Venus as one of the favorite subjects.

Color: When black pigment is added to a color it is called a “shade.” When white pigment is added it becomes a “tint.” When water based paints are absorbed into wet plaster (as when painting a fresco) the white of the plaster combines with the pigment and this makes its color a little lighter; it becomes, in effect, a “tint.” Also it decreases the saturation (intensity) of the colors, thus frescos tend to be soft in tone.

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The Tabernacle of Peretola, 1442, Marble, Glazed Terra cotta, and Bronze, Luca della Robbia (1400-1482)

Commentary by Hovak Najarian

During his lifetime, Luca della Robbia was said to be among the finest artists of the early Renaissance. Critics continue to hold him in high regard but they are mixed in their appraisal. It is believed he could have grown much more as a sculptor if he had worked only in stone or bronze. Yet his relief work in terra cotta was of such remarkable quality that his name and fame has been linked with it forever. In his “Tabernacle,” della Robbia includes terra cotta alongside marble and bronze, and the figures are surrounded by an architectural frame that is carved in relief and is part of the sculpture itself. The subject of each section is part of the overall trinity theme.

The uppermost section is a pediment in marble with a figure of God the Father being represented as an old man with a long beard. He is giving a blessing with his right hand while his left hand is holding a tablet with the first and last letters of the Greek alphabet; a reference to a statement in the Book of Revelation (22:13), “I am Alpha and Omega, the beginning and the end.”

The central section of the tabernacle is a lamentation in a lunette made of terra cotta. The figures include an angel with an anguished expression holding up the figure of the crucified Christ. His grieving mother, Mary, is on the left side and St. John with his head bowed is on the right. At the time this sculpture was commissioned, della Robbia had been experimenting with clay and glazes and this tabernacle is the first piece in which he used glazed terra cotta. Even after being fired, terra cotta is not as dense as marble; the white glaze that della Robbia formulated and used extensively added hardness to its the surface. He often used blue glaze as a background for the white figures.

The lower section of the sculpture is carved in marble and contains two bronze elements within it. The dove, representing the Holy Spirit, was cast in bronze by della Robbia himself. It is surrounded by a laurel wreath that is being held at the top and bottom by an angel on each side. Under the arms of the two angels is a bronze door to the locked tabernacle where the consecrated wine is kept. From a compositional standpoint, the bronze door at this location seems out of place and it is speculated a white door was there originally; this would have allowed the dove to be a central focal point as seems to have been the intent. The door was changed to its present form in the eighteenth century. The relief on the bronze door depicts a standing Christ holding a cross in his left arm. On the floor is a large chalice to receive blood being shed from his right hand.

Note

Terra cotta (Italian for “cooked earth”): This is red clay that is hardened by firing in a kiln. It is also used for bricks, pavers, and flower pots.

Relief Sculpture: This is the term for sculpture that is not “in the round.” It is raised from a surface (like a relief map) and usually attached to a wall. Three types of relief are: Bas relief (low): Sculpture that is raised from a surface but not very much. [Bas is pronounced “bah.”] Metzo relief (middle): Sculpture that is raised from a surface but not high. Alto relief (high): Sculpture that is elevated from the surface and, at times, almost in the round. [In music the terms bas(s), metzo and alto are used also. Since “alto” means high it may seem odd that in music it refers to the low female voice. This comes from a time when choirs were all male; “alto” was the high male voice. When women began singing in choirs, the ones with lower voices sang the “alto” part.]

Pediment: This is a gable formed when two roofs meet. In Greek and Roman temples, this triangular area was filled with relief sculpture.

Lunette: In architecture, a semicircular opening or surface as under an arch.

Lamentation: This is an expanded version of a pieta (Italian for “pity”). In a pieta, only the crucified Christ and his mother Mary are depicted; in a “lamentation,” additional figures are included.

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Herod and Salome | Art for B Proper 10

Mark 6:25 At once the girl hurried in to the king with the request: “I want you to give me right now the head of John the Baptist on a platter.”

Commentary by Hovak Najarian
(Previous post July 15, 2012)

The word capital is known to us as both a monetary term and as the location of a seat of government. Unless a person is familiar with architecture, the head of a column may not come to mind. Stone columns were at first replacements for tree trunks but as architectural forms developed, psychological as well as physical factors came into play. At the bottom of a column a supporting base gives it the appearance of resting on the floor, not growing out of it. The “capital,” an embellishment at the top of a column, gives it a sense of completeness. Capitals of Egyptian columns were often in the form of lotus blossoms. Doric, Ionic, and Corinthian are names given to capitals used by the Greeks; these are familiar to us today because we continue to see them in classical revival architecture. In Romanesque church architecture, capitals of basket weave and intertwining vines were often carved but also they depicted biblical events. In Herod and Salome we see a detail from a capital that was once in the cloister of Saint Etienne, Toulouse, France. [The cloister was destroyed completely and this relief is now in a museum in Toulouse.]

In the familiar biblical story, Herod was attracted to his brother’s wife, Herodias. She decided to divorce her husband and marry Herod. John the Baptist was quite vocal in stating this marriage was unlawful; this angered Herodias so she asked Herod to imprison him. When Herodias’ daughter danced at Herod’s birthday banquet, Herod was pleased immensely and promised her anything she would ask. Her mother, who despised John for criticizing her marriage, told her to ask for the head of John the Baptist. Herod felt he could not go back on his word and granted the wish.

This relief of Herod and Salome is on a capital that was placed on double columns next to a wall. On the front (not shown) is a scene of a table set with food and people are gathered there to celebrate Herod’s birthday. Around the corner on the left side (pictured here) we see Herod seated with his step-daughter standing next to him; her feet are crossed at the ankles in a dance position. Herod’s left hand is placed gently under her chin in a tender moment as he looks at her in admiration. In this relief, she is child-like and unlike the “Salome” depicted usually as a seductive symbol of wickedness. This event is given in narrative form and is completed on the opposite side. On the right side of the capital, (around the corner from the banquet scene), John the Baptist is leaning over being beheaded.

Note

In the Gospel of St. Mark the name of Herodias’ daughter’s is not given. Historian Flavius Josephus, in his Antiquities of the Jews, supplied us with the name “Salome.” The “Dance of the Seven Veils,” said to have been performed by her, also is not mentioned. This dance is likely the result of transferring and embellishing the story of Assyrian and Babylonian fertility goddess Ishtar’s visit to the underworld. On her way she shed a piece of clothing as she passed through each of seven gates. Because of its emotional content, the story of Herod and Salome often is told with vivid imagination and has been exploited in all of the arts.

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Herod and Salome (detail from The Feast of Herod capital) c.1120, Limestone, Gilabertus de Toulouse (12th century)

Commentary by Hovak Najarian

Note

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The Ecstasy of St. Paul, 1649-50, Oil on Canvas, Nicolas Poussin (1594- 1665)

Commentary by Hovak Najarian

Hovak Najarian

At the end of the fifteenth century, Renaissance artists had opened the way for an expansion of ideas but the direction art would take was not clear until the latter part of the century that followed. Whereas Renaissance artists retained a connection to classicism, the art that began in the late sixteenth century and lasted until mid-eighteenth century – referred to collectively as “Baroque” – moved beyond classicism into an area of drama and fantasy. During this time the boundaries of art were pushed and the classical images of the Renaissance gave way to exuberant and ornate forms. Often painting, architecture and sculpture were coordinated for dramatic effects that tended to overwhelm the senses. It was a time when technical difficulties did not stand in the way of artists. Light and shadow, perspective, foreshortening, and virtually all other problems dealing with the creation of an illusion of three dimensions on a surface had been overcome. Artists could give free reign to their ideas and imagination.

In 1624, Nicolas Poussin, left Paris to settle in Rome and through his work became the most renowned French artist of the seventeenth century. In subject matter, he became attracted to mythological as well as real life heroes of ancient Rome and although it was a time when art tended to be full of unbridled activity, his work tended to be restrained; his working methods were deliberate. When asked about his well thought out compositions, he said, “I am forced by my nature towards the orderly.” During the mid-1630s, in addition to painting subjects from mythology and history, Poussin turned his attention to subjects from the Bible.

In The Ecstasy of St. Paul, Poussin depicts Paul being escorted by three angels as he starts his journey heavenward. The lead angel is pointing the way. In organizing this composition, Poussin was faced with a problem of how to deal with so many arms, legs, and angel’s wings. He resolved the problem by having some of the limbs out of sight and connecting others by touch. Paul, in the center of what seems to be an entangled scene, is in a laid-back position with arms raised. The angel on the left has a hand under the knee of his right leg. The angel on the right, whose face is in shadow, has a hand on the ankle of Paul’s left leg. The uppermost angel is touching his left hand lightly as if to guide him upward but no real lifting is being done. The angels are there primarily to accompany Paul while a sweeping landscape and billowing clouds serve as a backdrop. Below them are the symbols associated with Paul; a book that represents the word of God and a sword. The sword indicates he was at one time a persecutor of the Church and then, after his conversion, took up the Sword of the Spirit; the bound book refers to his epistles.

Note

“Baroque” first came into use as a somewhat derisive term. It was used in France to mean something unusual, bizarre, or even poorly made, but the source of the word is unclear. It may have come from the Spanish word berrucco for an irregular (uncultured) pearl or from the Portuguese barroco for hilly or uneven ground. The root of these words may be from the Latin verruca meaning a slight flaw. In view of the turning, undulating, and convoluted shapes found in a great deal of Baroque art, any of these suggested origins are plausible.

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B Proper 8, Art for July 1, 2012

OVERBECK, Friedrich
(b. 1789, Lübeck, d. 1869, Roma) Click to open Web Gallery of Art Artist Biography and to explore other works by this artist.

Christ Resurrects the Daughter of Jairus
1815
Pen with black ink over pencil, watercolour, 307 x 373 mm
Staatliche Museen, BerlinClick to open Web Gallery of Art commentary page. Click image for large view.

Related art commentary by Hovak Najarian.

Christ Resurrects the Daughter of Jairus, 1815, Pen/ink and Watercolor, Friedrich Overbeck (1789-1869)

Commentary by Hovak Najarian

In the early nineteenth century there were two, often opposing, stylistic directions in art; Neoclassicism and Romanticism. Neoclassicists turned to the works of the Greeks, Romans, and the Renaissance as the basis for their work and made art an intellectual pursuit. It was the official art of the academies in France but the romanticists of this time preferred to follow their hearts and often painted subjects having dramatic content. Friedrich Overbeck was born in Germany where a tendency toward romanticism was strong. As a mature painter his subjects were usually Biblical and like the romanticists, they contained emotional content but he lived in Rome and as seen in Christ Resurrects the Daughter of Jairus, he was influenced greatly by the classicism found in Renaissance painting.

As a young man, Overbeck studied art at the Vienna Academy and it was during this time that he recognized his desire to bring a spiritual quality back into art. In 1909, while still a student, he and others of likeminded values founded a group called, “The Brotherhood of Saint Luke,” and imagined being like medieval guild painters. A year later he and his friends went to Rome where they decided to live in a former monastery and remain somewhat in seclusion like monks. They were joined by several other German artists who shared Overbeck’s desire for spirituality in art. Because they affected Biblical manners in their clothes and hair styles, they soon were dubbed, “Nazarenes.” Rome became Overbeck’s adopted home and he lived there for the remainder of his life.

Overbeck had long admired the work of Albrecht Durer and when he arrived in Rome he studied the works of Raphael as well. The influence of both of these artists is evident in Christ Resurrects the Daughter of Jairus. The robes are very much in the style of Raphael and, in the tableau-like dramatic setting and composition it has elements in common with Durer’s woodcuts. Overbeck’s subject for this painting (which is primarily a drawing with added watercolors) is based on accounts in the Gospels in which a patron of the synagogue, Jairus, asks Jesus to come to heal his dying daughter. By the time Jesus was asked, however, his daughter may have been already dead. When Jesus arrived at Jairus’ home, a wailing crowed was there and they laughed when they were told the girl is not dead but asleep. Jesus sent them out and took the girl’s hand saying, “Little girl, I say to you, get up!” Overbeck’s painting depicts the moment when the girl rises up in bed looking pale and gaunt. Her eyes are still closed.

In this painting, the figure of Christ gets our attention immediately; he is in a dark blue robe and placed in the center of the painting. The figure of Christ also serves as a visual barrier that keeps our focus on the left half of the painting where the miraculous event is occurring. Jesus is holding the girl’s hand and at the same time he is looking directly at her face. Behind the girl with his hands clasped is Jairus and off to the right and away from the immediate action is a passive group of figures that came with Jesus; they are waiting quietly as Christ takes the girl’s hand and asks her to get up. Farther back are figures leaving as they exit through an arched opening; it is likely these are the last of the people told by Jesus to leave. Like the neoclassicists, Overbeck has kept his composition cool and uncluttered; our eyes move to different areas of this painting with ease but we always return to the interaction between Jesus and the girl.

This exceptionally well-balanced composition does not break new ground in art, yet in Overbeck’s painting there is subdued color that gives it serenity. It gives us a story without overwhelming us with details. There is a sense that he wanted to depict this event simply and honestly without taking attention away from it with excessive visual effects.
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