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

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.

______________
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.

______________
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.)

______________
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.

______________
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.

Moses and the Burning Bush | Art for Lent 3C

Exodus 3:1 Moses was keeping the flock of his father-in-law Jethro, the priest of Midian; he led his flock beyond the wilderness, and came to Horeb, the mountain of God. There the angel of the LORD appeared to him in a flame of fire out of a bush; he looked, and the bush was blazing, yet it was not consumed

Moses and the Burning Bush (with the artist’s self-portrait), c. 1150,
Stained Glass, Master Gerlachus, 12^th century

______________
Commentary by Hovak Najarian

Moses and the Burning Bush (with the artist’s self-portrait), c. 1150, Stained Glass, Master Gerlachus, 12th century

The basic ingredient of glass is silica which melts at a very high temperature (over 3,000 F). The melting point is lowered when a flux is added but for ancient artisans there was still a problem of how to control glass in its fluid state. In the first century BC, a minor industrial revolution occurred in the Near East when a person placed a blowpipe into molten glass, gathered a blob, blew into it, and formed a bubble (like blowing a soap bubble). Artisans learned to attach a pontel rod to where the base of a container would be and then cut the bubble from the blowpipe. While still fluid and workable, the open end (where it was cut from the blowpipe) was made wider to make a bowl or other usable form. The pontel then was snapped off and the glass was cooled slowly as it became a solid. During the late Romanesque period, artisans such as Gerlachus were heirs to a great deal of empirical knowledge which included how to make sheets of glass by cutting elongated bubbles lengthwise then opening and spreading them flat.

Today, the term “stained glass” is used interchangeably with “colored glass” but they are not technically the same. Colored glass contains coloring agents (oxides) within it, whereas staining is done by painting an oxide onto the surface to add details. After sections of glass are painted, they are returned to a furnace and the stain is fused. Then, H-shaped strips of lead called “came” are used to surround each section as a window is being assembled. The came is soldered where their ends touch to hold the glass in place.

“Moses and the Burning Bush” is one of a series of windows depicting the life of Moses; in it, the black, even-in-thickness came can be seen as outlines between the large sections of glass. Details such as the faces of Moses, God, the artist, their clothes, and the burning bush, are all stained by being painted with iron oxide and then fused to the glass. Instead of using many small pieces, Gerlachus’ windows were made from large sections of colored glass on which he painted clarifying details of his subject.

Note

While Master Gerlachus was working in Germany, Abbot Suger began rebuilding the Abbey Church of St. Denis in France. Abbot Suger called for stained glass to be used much more than it had been used previously. Light entering the church through stained glass not only displayed brilliant images that were related to a parishioner’s faith but also the colors were a sensual delight. In defense of its use, it was pointed out that light represented the divine and light coming through glass symbolized the Holy Spirit which was capable of passing through solid objects. The Abbey Church of St. Denis set in motion the direction that was taken by builders during the Gothic Period that followed; a time when there was even greater use of stained glass.

The Story of Abraham | Art for Lent 2C

Genesis 15:1 The word of the LORD came to Abram in a vision, “Do not be afraid, Abram, I am your shield; your reward shall be very great.”

______________
Commentary by Hovak Najarian

The Story of Abraham, detail of the “Gates of Paradise,” 1425-52, Gilt Bronze, Lorenzo Ghiberti, 1378-1455

In 1401, the wool merchant’s guild of Florence announced a competition that would lead to a commission for a set of bronze doors for the Baptistery of San Giovanni (Saint John). Lorenzo Ghiberti won the competition and was given the commission. Upon completion, he was given a commission to design a second set of doors for the Baptistery. The doors and a few other pieces of sculpture would become his life’s work. “The Story of Abraham” is one of ten panels from the second set of doors which now is referred to as the “Gates of Paradise.” According to Giorgio Vasari, Michelangelo was looking at the doors when a companion asked his opinion. Michelangelo said allegedly the doors were so beautiful they were worthy to serve as the gates of paradise.

Ghiberti’s training as a goldsmith and metalworker was invaluable as he solved the technical problems of casting the bronze doors. Other sculptors were eager to learn from him. Also, he read widely, was a humanist, and was open to the changes during a time of cultural and artistic rebirth. Just as early Renaissance painters sought to create an illusion of depth, Ghiberti studied perspective and applied it to his relief sculpture. Rather than his reliefs being figures attached to a flat background, he sculpted the entire surface to create an illusion of pictorial depth. With regard to the “Gates of Paradise” he said “I sought to imitate nature as closely as possible.”

In the panel called “The Story of Abraham,” Ghiberti combined two accounts from the Book of Genesis. At the lower left is the story found in Genesis 18:2-10; a time when three men (Ghiberti interpreted them as heavenly beings with wings) came to Abraham. Sarah is at the doorway of their tent while Abraham is kneeling before the men with a pan of water with which they may wash their feet. The men tell him his wife, Sarah, will have a son. Ghiberti’s narrative composition continues with images from Genesis 22:3-13; the sacrifice of Isaac. At the lower center is a donkey and to its right are Abraham’s two servants who wait while he and Isaac go to a higher level of the mountain. Above them, Isaac is kneeling on an altar and Abraham has raised his knife. An angel has arrived just in time to hold back the knife and stop him from killing his son. Behind the feet of Abraham is a ram caught in a thicket; it will be sacrificed in place of Isaac.

Note

Because the rite of baptism was regarded to be a door to heaven, a baptistery was symbolically a “gateway to paradise.” Michelangelo’s alleged description of Ghiberti’s doors, if true, could have meant simply that the doors were worthy of the Baptistery of San Giovanni, not paradise itself.

Early scholars were interested in the many parallels found in the story of Abraham and the passion of Christ. Both stories deal with father, son, and sacrifice.

Baptism and Temptation of Christ | Art for Lent 1C

Luke 4:1 Jesus, full of the Holy Spirit, returned from the Jordan and was led by the Spirit in the wilderness, where for forty days he was tempted by the devil

______________
Commentary by Hovak Najarian

Baptism and Temptation of Christ, Oil on Canvas, 1580-1582, Paolo Veronese, 1528-1588

During the Italian Renaissance of the fifteenth and sixteenth century, the cities of Florence and Rome were major centers of art. Venetians also could boast of their art during this period; Titian, Tintoretto, and Veronese were among the finest artists in Europe. Being at the northern tip of the Adriatic Sea, the people of Venice were seafarers and their merchant ships sailed eastward to trade with ports throughout the region. Through trade, Venetians acquired great wealth and as was the practice (then and now), people of means acquired possessions to enrich their lives and serve as symbols of status. Inasmuch as expensive sports cars and private jets were not available, their possessions were sumptuous palaces and fine art. They also were generous in their support of public projects and the Church. Because of favorable working conditions and an opportunity to earn fine salaries, many painters, sculptors, and artisans made Venice their home. Veronese (given name Paolo Caliari), studied initially in the city of his birth, Verona, but soon was living and working in nearby Venice. In Venice, he became known simply as “Veronese,” a person from Verona.

As Renaissance art continued from the fifteenth century to the sixteenth there was a tendency toward mannerism and then from mannerism, art developed into the baroque style of the seventeenth century. “Baptism and Temptation of Christ,” painted by Veronese in the latter part of the mannerist period is baroque-like in its dramatic composition. As we enter the painting at the lower left, we see John the Baptist in shadow but we do not linger. Instead, we move past him immediately to the upper torso of Christ which is bathed in light emanating from a dove representing the Holy Spirit. Not only does Christ receive our immediate attention but also all figures in this section of the painting are focused on him. Included in this drama are a cherub and angels hovering excitedly. The dove illuminates the foreground figures while shadows of the trees close off pictorial depth.

The narrative continues as we leave the baptism and move to the right where after forty days and nights of fasting, Christ is with Satan in a clearing. A forest is in the middle ground and then in the background beyond the trees are buildings representing the kingdoms of the world and their splendor. Unlike the animated scene of the baptism, the temptation of Christ is calm. Satan is not depicted with horns or forked tail but appears as an old bearded and seemingly harmless figure in a gray robe.

Note

A visitor to Venice today may still feast visually on its art but they will not see evidence of shipping and trade. The city is supported financially now by tourists who dine at fine restaurants, ride the canals in gondolas, and feed pigeons after lunch at McDonalds in St. Mark’s Square.

Transfiguration | Art for Last Epiphany C

Luke 9:28-29 Now about eight days after these sayings Jesus took with him Peter and John and James, and went up on the mountain to pray. And while he was praying, the appearance of his face changed, and his clothes became dazzling white.

______________
Commentary by Hovak Najarian

Transfiguration, Fresco, 11th Century, Unknown artist of Cappadocia

“And after six days Jesus took with him Peter and James and John his brother, and led them up a high mountain apart. And he was transfigured before them, and his face shone like the sun, and his garments became white as light. And behold there appeared to them Moses and Elijah, talking to him.” (Matt. 17:1-3)

A large portion of the Eastern Roman Empire spoke Greek and by the seventh century it was the primary language used by the Byzantines. The Byzantine Empire extended eastward from Constantinople and included Asia Minor where Greek speaking Orthodox Christians often had to seek protection from invading tribes. In a region known as Cappadocia, the ash and lava of a volcanic eruption created rock formations that were soft and could be carved easily. By carving into the rock, Christians hollowed out spaces that would shelter them from the elements and offer protection from invaders. The soft rock also was carved out for churches.

In a monastic compound known as the “Dark Church,” The interior walls and the ceilings are covered with frescos and among the paintings is “The Transfiguration.” In it, Moses and Elijah are with Jesus in an event interpreted as a revelation that Christ is the fulfillment of the law and prophets. Moses represents the law and often he is shown holding the Torah or a stone tablet. Elijah represents the prophets. In this fresco, neither Moses nor Elijah has been given an identifying symbol but we can assume the gray-haired bearded man is Moses and the un-bearded figure is Elijah.

Mt. Tabor is the traditional site of the transfiguration but other places have been proposed. One of the suggested sites is Mt. Hermon which has three distinct peaks and in paintings of the event often three peaks are shown; Christ is always in the center. In the “Dark Church” fresco, Moses is standing on the right peak and Elijah is on the left. Below them are the disciples kneeling and crouching. At the bottom left is Peter with white hair and a beard. He is pointing upward toward Christ. The disciple John is depicted in the center as a beardless youth (his face is partially obscured by damage) and James is to the right with brown hair and a beard. Linear rays indicate a direct connection between Jesus and each of the figures.

Note

The “Dark Church” is so named because it has only a small opening (oculus) for light, thus the interior is dim.

Among the various people of ancient Cappadocia were the Armenians who were known at one time as being horse breeders. “Cappadocia,” the historic name for the region was derived likely from “Kapatuka,” an Old Persian term meaning, “Land of beautiful horses.” The Crusaders referred to the region as Terra Hermeniorum: “Land of the Armenians.”

Elijah Increases the Oil of the Widow | Art for Epiphany 4C

Luke 4:25-26 But the truth is, there were many widows in Israel in the time of Elijah, when the heaven was shut up three years and six months, and there was a severe famine over all the land; yet Elijah was sent to none of them except to a widow at Zarephath in Sidon.

______________
Commentary by Hovak Najarian

Elijah Increases the Oil of the Widow, Pewter, 1769-70, Franz Xaver Messerschmidt, 1736-1783

The title of Franz Messerschmidt’s, sculpture, “Elijah Increases the Oil of the Widow,” sets up an expectation of the biblical story (1 Kings, 17:7-16). The work only alludes to the story, however, and an occasional reference to it as the “so called Zarephath fountain” is fitting. It is primarily a fountain sculpture of a woman pouring water in the style of figures seen in courtyards and gardens throughout Europe.

The biblical account of Elijah and a poor widow tells of a time of famine. God told Elijah to go to the city of Zarephath to meet the widow. There he saw the widow gathering wood near the gate of the city. She was going to build a fire and use the last of her flour and oil to prepare bread. Then she and her son would have a final meal and it was likely they soon would die. Elijah, a stranger to the widow, asked her for water but then, as she was going to get some for him, he also asked for a piece of bread. She hesitated but Elijah promised that if she prepared bread for him she would never run out of oil and flour. The widow had faith and fed Elijah; thereafter provisions were miraculously provided for her.

Franz Messerschmidt, an Austrian, established a successful career sculpting busts of dignitaries in a fashionable baroque manner but in 1765 his studies in Rome brought him in direct contact with classical art. His visit to Italy coincided with a time when there was great interest in the excavations at Herculaneum, a Roman city covered and preserved by the ashes of Vesuvius. Upon his return to Austria, he completed several full-sized figures that were influenced clearly by classicism. Among these commissions was a courtyard fountain sculpture for a palace in Vienna. In its typical Roman niche setting, Elijah and the widow’s son are nowhere to be seen. The widow’s stance, clothing, hair style and the amphora from which she is pouring water are all from Greek and Roman sources. At the widow’s feet, Messerschmidt places two cherubs to do God’s work. One is lifting a food storage urn to the widow and another has his arms around an urn ready to offer it as well. The offering of storage urns by cherubs informs us that ongoing provisions from God are being supplied to the widow.

Note

In the eighteenth century, one of the metals alloyed with tin to make pewter was lead. Messerschmidt used pewter and as he became older he began exhibiting peculiar behavior; it is very likely this was due to lead poisoning.

In Christian art, plump rosy-cheeked cherubs were the counterparts to small Roman cupids. In appearance, cherubs often were not discernable from cupids and they were used in a similar manner. By the seventeenth century the question of whether a figure in art was a sacred cherub or a secular cupid depended on the theme of the work. As cupids, they were agents of secular love and as cherubs they represented the omnipresence of God.

Prisoners Exercising | Art for Epiphany 3C

Luke 4:18-19
“The Spirit of the Lord is upon me,
because he has anointed me
to bring good news to the poor.
He has sent me to proclaim release to the captives
and recovery of sight to the blind,
to let the oppressed go free,
to proclaim the year of the Lord’s favor.”

Prisoners-Exercising (after-Doré) — Prisoners Exercising (after-Doré)
Vincent van Gogh
Painting, Oil on Canvas
Saint-Rémy: February 10 – 11, 1890
Pushkin Museum
Moscow, Russia, Europe
Click image for more information.

______________
Commentary by Hovak Najarian

Prisoners Exercising (after Gustave Doré), Oil on Canvas, 1890, Vincent van Gogh, 1853-1890

While he was a young man in the Netherlands, Vincent van Gogh worked for a gallery and seemed headed toward a career as an art dealer. A few years later, however, while working at the London branch of the dealership, an unrequited love turned his thoughts inward. He was a deeply spiritual person and his interest shifted toward becoming a minister, as was his father, in the Dutch Reform Church. Upon returning to the Netherlands, he tried to enroll in divinity school but was turned down. Vincent was turned down again when he wanted to be a missionary so he made the decision to take the Gospel to the coal miners in Belgium on his own. Miners there lived in great poverty and without hope but Vincent learned that nothing he could say or do would make a difference. As a result of his failures, he reasoned that painting might be a way he could give expression to his inner spirit without having to interact directly with people. He went about methodically to master the discipline of art and after three years of drawing and painting, he moved to Paris to be with his brother, Theo.

In Paris he became familiar with impressionism and started using bright colors but unstable conditions led him to seek a change of environment in the south of France. There, in Arles, he became immersed in his subjects as he painted the surrounding wheat fields and the orchards in bloom. He said “I feel like nature has spoken to me.” The artist, Paul Gauguin, joined him but soon their personalities clashed and after an argument, van Gogh went back to his apartment and in a state of intense frustration, severed the tip of his ear. City officials thought they had a madman in their midst and placed him in jail. His brother Theo arrived and Vincent volunteered to stay at an asylum in Saint-Remy until he felt better. It was agreed that while recovering he could go out into the surrounding countryside to paint when he felt like doing so. His masterpiece, “Starry Night” was painted during this period. At times when he became depressed, he stayed indoors and turned to his books. In them were paintings by artists he admired; he identified with aspects of some of their paintings and began to make copies. The reproductions, however, were not in color and, not having seen the originals, he painted them with colors of his own choice. He regarded this as being similar to a performer interpreting a musical score. Among the paintings he interpreted were Rembrandt’s “Raising of Lazarus,” and Delacroix’s “The Good Samaritan.” It is likely that his own confinement attracted him to Gustave Doré’s “Prisoners Exercising.” Because of his affliction it is likely also that he felt like a prisoner within himself.

Note

Medical science in the nineteenth century was in a primitive state and the cause of van Gogh’s illness is still unknown. In his time, it was thought it might have resulted from epilepsy, drinking too much absinthe, or even syphilis. Dr. Gachet thought it could have been caused by “…turpentine poisoning and the effects of too intense sunlight on a Nordic brain.”

______________ Commentary by Hovak Najarian

Share this:

______________ Commentary by Hovak Najarian

Share this:

______________Commentary by Hovak Najarian

Note

Share this:

______________ Commentary by Hovak Najarian

Share this:

______________ Commentary by Hovak Najarian

Share this:

______________ Commentary by Hovak Najarian

Share this:

______________ Commentary by Hovak Najarian

Share this:

______________ Commentary by Hovak Najarian

Share this:

______________ Commentary by Hovak Najarian

Share this:

______________ Commentary by Hovak Najarian

Share this:

______________
Commentary by Hovak Najarian

______________
Commentary by Hovak Najarian

______________
Commentary by Hovak Najarian

______________
Commentary by Hovak Najarian

______________
Commentary by Hovak Najarian

______________
Commentary by Hovak Najarian

______________
Commentary by Hovak Najarian

______________
Commentary by Hovak Najarian

______________
Commentary by Hovak Najarian

______________
Commentary by Hovak Najarian