Rest on the Flight into Egypt | Art for Christmas 2A

What happened after the Magi left the Holy Family?

Matthew 2:13 An angel of the Lord appeared to Joseph in a dream and said, “Get up, take the child and his mother, and flee to Egypt…”

Rest on the Flight into Egypt, engraving, c. 1470-75,
Martin Schongauer, 1430 -1491

Commentary by Hovak Najarian

When Herod learned the “King of the Jews” had been born he was troubled and ordered all males at the age of two and under in Bethlehem and nearby regions, to be killed. Joseph was warned by an angel about Herod’s plan so “he rose and took the child and his mother by night, and departed to Egypt, and remained there until the death of Herod.”

Martin Schongauer’s engraving is based on an account from the non-canonical Gospel of Pseudo Matthew. It tells of a rest taken while the Holy Family was on their journey. After three days, Mary was tired, hungry, and thirsty so they rested under a date palm; Mary looked up at the fruit but could see that it was too high to reach. The baby Jesus said, “O tree, bend thy branches and refresh my mother with thy fruit.” Schongauer depicts five angels bending the tree, thus allowing Joseph to reach the dates. Jesus then asked water to flow from the roots of a palm and the family was refreshed.

It was a common practice for artists of this period to include symbolic content in their work. Some of the flora and fauna in this engraving may seem gratuitous but in its day their meaning would have been understood. The stag, a symbol for Christ and a destroyer of serpents, is standing watch through the trees in the background. Stags shed their antlers every year and it was believed they renewed them by drinking from a spring; likewise people who drink from the spring of the spirit shed sins and are renewed. A dandelion in the foreground on the right is a symbol of Christ’s passion and a reminder of the future that awaits the child. The lily at the left foreground is a symbol of Mary’s purity, and at the far left is a dragon tree. When the tree is cut it yields a red resin known as “dragon’s blood.”

In Schongauer’s engraving, two lizards are on the trunk of the dragon tree and one is approaching it. The presence of lizards, serpents, and dragons represents the devil and lurking danger. At the very top of the tree is yet another symbol; a parrot. Because a parrot has the ability to fly and talk they symbolize a messenger and are associated with the angel that brought word to Mary that she would give birth to Jesus. In paintings of Mary, a parrot is sometimes placed on her shoulder as though it just arrived and said, “Ave Maria.” When not with Mary, a parrot may be placed high in a tree (as here in the dragon tree) where it cannot be reached by serpents.

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Johannes Guttenberg invented moveable type and printed the Bible not long before Martin Schongauer engraved, “Rest on the Flight into Egypt,” but since most people could not read, art remained an essential means of learning stories of the Bible. During the fifteenth century the range of subjects expanded widely and stories about Mary were enhanced with lore. In addition to events such as the Annunciation and the Nativity, stories based on tradition often were included in illustrations of her life.

Dragon trees are native to the Canary Islands. It is possible that Schongauer saw one in Leipzig where the first botanical garden in Europe was established.

This scene and folk story from The Gospel of Pseudo-Matthew (scroll down to chap 20) travelled to Europe becoming, with many changes, The Cherry Tree Carol.

The Cherry Tree Carol performed by Joan Baez

This “Art and Commentary” is based on the Gospel [Matthew 2:13-15, 19-23] appointed for the Second Sunday after Christmas, January 5, 2025. After the wise men left Bethlehem (not reporting back to Herod) an angel appeared to Joseph and told him of Herod’s plan to find and kill Jesus. Joseph was told to flee to Egypt with Jesus and Mary and not return until told.

Images

Web Gallery of Art
“Dragon Tree” via Google Image Search

Hurault Gospels | Art for Christmas 1C

John 1:1 In principio erat Verbum et Verbum erat apud Deum et Deus erat Verbum.

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Commentary by Hovak Najarian

Portrait of Saint Jean (John) and the Beginning of His Gospel, 9^th Century, Illuminated Manuscript, Monastery at Reims, France

In the fifth century, Rome was sacked by Visigoths and Vandals, and threatened by Huns; it was conquered finally in AD 476 by Odoacer, a barbarian from a Germanic tribe. The eastern portion of the Roman Empire remained free from invasion, however, and its culture continued. Europe, on the other hand, faced very troubled times. By the ninth century, Latin was being lost as a unifying common language and literacy had declined greatly. Greek and Roman culture was almost forgotten. Small kingdoms and tribes fought to control their territories and the Church tried to hold on to its power and influence. During these unstable times, monasteries were places where literature, knowledge and Christian history was preserved. They were centers of learning.

In the eighth century, Charles I – a Frank known as Charlemagne – fought numerous wars, formed an empire, and was determined to re-establish literacy and culture among his people. Art played a key role in the renaissance he had in mind. Under Charlemagne, copying and originating illuminated manuscripts was a priority and at the monastery in Reims, under Archbishop Ebbo’s direction, gospel books such as “Saint John” were made. The portrait of John depicted at the front of his book shows him looking out at the viewer; his seated position is a much repeated pose copied from Byzantine sources. Although a quill and scroll are being held to indicate he is the writer of the gospel that bears his name, an eagle, the animal associated with him and included usually as an identifying feature, is missing. The Latin text starts with the very large decorative first letter “I” and to its right the letter “N.” The letter “N” also is large but almost hidden beneath its embellishment. Though spaced apart, the two letters spell the word “IN” which begins the introductory words of John’s Gospel; “IN PRINCIPIO ERAT VERBUM” (“In the beginning was the word”). The lacy designs, vines, and animal decorative work of the middle ages are not from Greek or Roman sources but the result of the assimilation of images brought into Europe by barbarian tribes.

Note

Making books at a monastery required a team of artists with specialized skills; these included not only calligraphers and painters but also people who prepared vellum, ground pigment, mixed inks, and bound books, Often goldsmiths were employed to create a book’s cover and embellish it with precious jewels.

The city of Byzantium was founded by Greeks in the fifth century BC and named after their king, Byzas. When the Roman Emperor Constantine moved his capital east to Byzantium in AD 330, the city was renamed Constantinople (now called Istanbul). The eastern portion of the Roman Empire was not called the “Byzantine Empire” during its time. Historians of the sixteenth century were responsible for that designation.

Visitation Group | Art for Advent 4C

Luke 1:39-40 In those days Mary set out and went with haste to a Judean town in the hill country, where she entered the house of Zechariah and greeted Elizabeth.

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Commentary by Hovak Najarian

Annunciation and Visitation (Jamb Figures of the Central Portal), Stone, c. 1225-1245, Unknown Sculptors, Cathedral of Notre Dame de Reims, France

During the Gothic Period (the late middle ages) churches increased greatly in size. Stained glass and sculpture was used extensively and the three west facing entrances (portals) were enriched with statues and ornamentation. The central portal was always the largest and all three were recessed. The placement of relief sculpture on the jambs (columns that support the arch over the portals) began during the Romanesque period and the tradition continued in Gothic cathedrals. As people entered a church they walked past a receiving line of larger than life stone figures that depicted saints, church dignitaries, and heavenly beings. On the right side of the central portal of the cathedral at Reims the Archangel Gabriel is standing next to Mary; bringing news that she is to be the mother of Christ. To their right, two pregnant women, Elizabeth and Mary are visiting.

At first, portal figures were carved out of the same stone as the jambs. These figures called statue columns have almost no form to their bodies and their robes hang as though they are covering a post. Changes took place during the “High Gothic” period, however, and at Reims, the figures have discernable human forms; their facial expressions communicate feelings. Archangel Gabriel’s head is tilted toward Mary and there is a smile on his face. Mary’s face suggests she is thinking about all that is to come in the future. Parts of some of the arms have broken but it can be seen that gestures are being used to convey meaning. This also was a time when liberation of sculpture from the wall was taking place. Although at Reims the figures are still in relief, they are in “high relief” and almost free from the column. Reims Cathedral was started in the early thirteenth century and work on it continued until the early Renaissance in the fifteenth century.

Note

The term “Gothic” (in the manner of the Goths) was not in use during the “Gothic Period.” This term began to be used during the Renaissance. The tribes that sacked Rome – the Goths – were regarded to be barbaric and uncultured. Thus the term, “Gothic,” in reference to the time period when cathedrals were built, was intended as a derogatory term. From the viewpoint of a Renaissance classicist, the cathedrals were monstrous, disorderly, and barbarous in form.

All large churches are not cathedrals. The term for a bishop’s throne is “cathedra,” therefore, the bishop’s church, the church in which the bishop’s chair is located, is called a “cathedral.” One of the largest churches in the world, St. Peter’s in Rome is not a cathedral. St. John Lateran’s Basilica is the Cathedral of the Diocese of Rome.

Many cathedrals are laid out to have an east-west axis; the facade and portals facing west and the altar facing east. Inside the church, a congregation faces the direction of the sunrise which is associated with Christ’s ascension. Even in churches where the axis is not in an east-west direction the altar end often is referred to as being “East.”

Hovak Najarian © 2012

Saint John the Baptist | Art for Advent 3C

Luke 3:16 John answered all of them by saying, “I baptize you with water; but one who is more powerful than I is coming; I am not worthy to untie the thong of his sandals. He will baptize you with the Holy Spirit and fire.

Saint John the Baptist (preaching),
bronze sculptuer, by Auguste Rodin
Click image for more information.

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Commentary by Hovak Najarian

St. John the Baptist Preaching, 1878, Bronze, Auguste Rodin, 1840 -1917

Painting is physically easier than carving a block of stone or casting bronze; because of this, a sculptor is less likely to take exploratory chances when so much physical work is required. After the Renaissance, painters tried many new directions but sculptors tended to become conservative (an exception being Gianlorenzo Bernini during the Baroque Period) and they often followed styles set by painters and architects. During the latter part of the nineteenth century, however, French artist, Auguste Rodin, restored vitality to sculpture almost single handedly. He was a contemporary of the Impressionists but his work was not in a particular style. Instead, it was a synthesis of the best qualities of sculpture found throughout history.

Before Rodin was able to support himself as a sculptor, he spent many years creating decorative pieces while working for others. Income from a job opportunity in Belgium (he was there six years) enabled him to save money for a visit to Italy. In Italy, he saw the works of Donatello and Michelangelo and he was determined to devote full-time to sculpture when he returned. Rodin’s first piece after his return to Belgium, “The Age of Bronze,” did not fit the stilted neo-classical taste of the critics of his day and they accused him of making molds from his model’s body rather than modeling the clay. After returning to Paris in the following year, a rough, hairy, Italian man appeared at his studio and offered to model for him. Upon seeing him, Rodin recalled; “I immediately thought of a Saint John the Baptist, in other words, a man of nature, a visionary, a believer, a precursor who came to announce one greater than himself.” The model, without instructions, disrobed, went to the modeling stand and stood firmly with legs spread (“like a compass” Rodin would later say). The pose surprised and pleased Rodin who added a further touch by having an arm extended to indicate a gesture as John the Baptist was moving forward while preaching. In order not to be accused again for making molds directly from the model, Rodin made this figure larger than life.

When Rodin was a young man his sister’s death troubled him and he sought solace for two years in a monastery. Biblical subjects, however, were not a major part of his life’s work. During the late nineteenth century and throughout the twentieth century, the use of biblical themes in art diminished as artists dealt with problems of form and social issues. Other than “John the Baptist,” Rodin made several works relating to religious themes (e.g. “The Hand of God” and “The Gates of Hell”).

Note

Two bronzes were sculpted and donated to St. Margaret’s Episcopal Church by the late Francis Rich, who was a member briefly until she moved to Arizona. One bronze is a life-sized “St. Francis” and the other a small “St. Margaret.” The smaller piece was made specifically for St. Margaret’s, Palm Desert. Francis Rich studied sculpture in Paris for two years with Malvina Hoffman and also studied sculpture with Carl Milles at Cranbrook Academy of Art. Both Hoffman and Milles were students of Rodin.

Hovak Najarian © 2012

St John the Baptist | Art for Advent 2C

Luke 3:2 during the high priesthood of Annas and Caiaphas, the word of God came to John son of Zechariah in the wilderness.

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Commentary by Hovak Najarian

St. John the Baptist in the Wilderness, c. 1489-1505, Oil on Panel, Hieronymus Bosch, 1450-1516

Until recent times, artists were not preoccupied with styles. Their work gave form to thoughts concerning their physical, emotional, and spiritual worlds; art was (and is) a product of its time and culture. When art became an area of academic study, codification was necessary and terms came into use to describe periods and styles. Today, when the work of an artist of the past is highly individualistic, they are recognized as part of their culture but often are regarded as a precursor of a category that was not yet named during their lifetime. The work of fifteenth century painter, Hieronymus Bosch, falls easily into a classification that today is known as “Fantasy.”

The word “fantasy” brings to mind make-believe and the imagination. In art, it includes a variety of types ranging from the playfulness and humor of Disney to the dream imagery of Surrealism (“beyond the real”). It may include science fiction, mystery, fear, naïve art, and various moods as well. A work of fantasy may seem unusual and we may think the artist is surely quite different from us. Many artists, writers, musicians, and actors, however, work routinely in areas of fantasy but remain anchored to reality. On the face of it, the paintings of Hieronymus Bosch might cause one to think he was at least a little strange, yet from all indications his life was quite normal.

Bosch lived in the Netherlands and his milieu was very different from that of an almost exact contemporary, Sandro Botticelli, who worked in Florence. In Italy, humanism and the work of the Greeks and Romans set the stage for the art of the Renaissance. The Netherlands was farther away from classical influences and in the fifteenth century, lingering aspects of a Gothic world were still present in parts of Northern Europe. While Botticelli was making paintings such as, “The Birth of Venus,” Bosch’s themes focused on morality. He painted everyday people in scenes that were sometimes satirical and pessimistic; punishment and sin seemed to be a preoccupation. His landscape settings include typically medieval-like imagery of imaginative oddities and beasties that interact with people or, at times, carry on in a world of their own. A lot of side action usually takes place in his paintings.

An oft-depicted version of John the Baptist is that of an intense person clothed in animal skins and a caveman-like appearance. In motion pictures he may be shown as a bellicose man preaching in a shouting manner. In contrast, Bosch’s depiction shows John as a quiet, gentle, and thoughtful person. John, the forerunner of Christ, exists in a fantasy landscape and seems to be at peace as he leans against a rock and points to a lamb. Viewers in his time would recognize the lamb as a symbol of Christ and understand the connection

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Surrealists of the twentieth century looked upon Hieronymus Bosch as a kindred spirit. Unlike the Surrealists, however, Bosch’s paintings were not an outgrowth of dreams, chance occurrences, or interest in the paranormal. Bosch’s work seems unconventional to us today but in his time and place he was known as an imaginative moralist and a well regarded, artist.

Hovak Najarian © 2012

Cross Formed by Clouds | Art for Advent 1C

Luke 21:27 Then they will see ‘the Son of Man coming in a cloud’ with power and great glory.

Christ on the Cross Formed by Clouds, 1734
Oil on canvas, 73 x 52 cm
Gemäldegalerie, Dresden
Louis de SILVESTRE,
(b. 1675, Sceaux, d. 1760, Paris).
Click image for more information.

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Commentary by Hovak Najarian

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Christ on the Cross Formed by Clouds, 1734, Oil on Canvas, Louis de Silvestre, 1675-1760

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In the motion picture based on Irving Stone’s novel, The Agony and the Ecstasy, Michelangelo was asked by Pope Julius II to paint the ceiling of the Sistine Chapel. Michelangelo resisted. He worked on the fresco for a short time and then left. He went into hiding and while the Pope was trying to locate him, movie goers were given “the inspiration scene.” Michelangelo was on a mountain when he saw clouds come together to form an image of “The Creation of Adam.” Being given a sign and a direction, he returned to paint the Chapel’s ceiling. The scene in the movie was the result of creative license but we all have had moments when we noticed images in rock formations, reflections, or even in mechanical objects. Leonardo da Vinci suggested artists use these images as points of departure when developing compositions for paintings. Louis de Silvestre did just that and his title, “Christ on the Cross Formed by Clouds” lets us in on the source of his inspiration.

Louis de Silvestre, a French artist of the Baroque Period, excelled in portrait painting. His patrons were primarily the wealthy noble class; among his patrons was Louis XV, King of France. He accepted a position of honor as painter at the court of Augustus II, King of Poland and worked there primarily as a portraitist for thirty years.

“Christ on the Cross Formed by Clouds” contrasts greatly from the rich color and baroque style found in de Silvestre’s portraits. The painting is simple in composition and subdued in its colors. There is no Roman soldier with a spear at the base of the cross or angels in the sky. Mary is not there nor are there people standing nearby in despair. None of the additions that artists have included typically in the crucifixion can be found in de Silvestre’s painting. Christ is alone. If we were not given the fact that it was painted in 1734 it would be difficult to place it in a time frame and it would be equally difficult to determine the artist. The style is neither characteristic of the baroque period nor of de Silvestre’s usual style. “Christ on the Cross Formed by Clouds” is related stylistically to some aspects of early nineteenth century Romanticism and would not seem out of place in an exhibit of early twentieth century Surrealism. There is a sense of mystery in its starkness. Louis de Silvestre was not interested in painting a series of cloud studies as did John Constable. It was this single unusual cloud formation that received his attention. Scientists could explain undoubtedly the cause of the phenomenon but for de Silvestre it was an inspiration. The cloud served as a catalyst to a spiritual moment that he painted to share with others.

Note

“Pareidolia” is the psychological term used to describe the seeing of images such as animals in clouds, faces in rock formations, or the familiar man in the moon; such observations seem to be an innate human response and universal. In 1996, the face of Mother Teresa was discovered on a cinnamon bun (dubbed the “nun bun”). An image of Jesus discovered on a grilled cheese sandwich was placed on eBay in 2004 and sold for $28,000. There tends to be an increase in religious image discoveries during holidays.

On the Way | 11/29/15

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Incredulity of St Thomas | Art for Easter 2

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Commentary by Hovak Najarian

Incredulity of St. Thomas, Oil on Panel, 1572, Giorgio Vasari, 1511-1574

The High Renaissance took place in the last quarter of the fifteenth century and continued into the early part of the sixteenth century. By the time Giorgio Vasari was nine years old, however, many of the noted artists were no longer living. The exceptions were Titian and Michelangelo (who lived to be almost ninety years old). Renaissance advancements in art were now left to be sorted out by the next generation. Vasari regarded himself as part of the Renaissance; believing it continued until the death of Michelangelo (1564) and that he and his generation were part of it. In a broader sense he was correct but art historians today use the term “Mannerist” when referring to sixteenth century artists. Unlike artists of the prior century, it was not necessary for Mannerists to be pioneers in finding solutions to technical problems of art. Instead, they often used their abundant skills to emphasize style, dramatic effect, and virtuosity.

When Vasari was young, his precociousness was noted and he was selected to be schooled with members of the prominent Medici family; as an adult this contact was invaluable to his career. When Cosimo I de’ Medici funded changes at the Church of Santa Croce, Florence, he chose Vasari to be the architect and painter. Vasari painted scenes from Christ’s Passion – as well as events that followed – for the private chapels of the Church; the “Incredulity of Thomas” was painted for the Guidacci Chapel. Thomas, having said he would not believe Christ was resurrected until he himself saw the wounds on his hands and side, is shown with Jesus at a gathering with disciples. Vasari leads our attention immediately to center stage where Christ stands bare-chested with arms wide apart as though to say, “Go ahead, see for yourself.” Thomas examines the wound on Christ’s side as people rush out from a background door to also look. Angels have arrived and are floating above, and cherubs are on either side of the arch. The dramatic lighting and hand gestures of Christ and those in attendance add to the theatricality to this scene.

Note

Giorgio Vasari was immensely famous during his lifetime but now he is cited more often for his writings on the lives of artists. The necessity to rely on secondhand sources at times resulted in a few points of misinformation but on a whole, his work provides invaluable insights into the art and artists of his time.

When reference is made to the “High Renaissance” and the time period is elusive, it may help to know Christopher Columbus was a contemporary of Michelangelo, Raphael, and Leonardo. While they were making art, he was sailing. “In fourteen hundred ninety-two, Columbus sailed the ocean blue.”

Adoration of the Kings | Art for Epiphany Year C

The visit of the Magi

Commentary by Hovak Najarian

In Jacopo Torriti’s Adoration of the Kings, Mary is sitting on a throne with the baby Jesus on her lap. Rays of an inconspicuous star (to the left of the top of the throne) are pointing directly to the head of Jesus. Three Magi with their crowns and splendid robes have arrived and are offering their gifts as they kneel. As the first Magus presents his gift, Jesus reaches out like a curious child. The other two Magi are kneeling in a similar position and create a sense of progression toward Jesus. Variations among them are introduced through differences in their crowns, the color of their beards and hair, and the color of their robes. In the large pictorial space above them, an angel hovers. The angel’s active shape and large spreading wings fill the space and balance visually the stable and compact shapes of the Magi below. All aspects—gestures, gazes, and leanings—of the wise men lead the viewer toward the infant Jesus. As the Magi kneel, the angel above them looks at Jesus, extends an arm, and gestures, “Behold”

In the year 1261, sculptor Nicola Pisano completed a large and much-admired baptistery pulpit for the cathedral of Pisa. Among the scenes carved in relief was the visit of the Magi. Pisano’s kneeling Magi is likely the basis for the kneeling wise men in Torriti’s Adoration of the Kings.

In the Gospel of Matthew, an account is given of wise men from the East being guided by a star as they traveled to Bethlehem to see the infant Jesus (Matthew 2:1-12). It is believed these gift-bearing visitors were Magi from Persia. Magi were known to be scholars who studied science, mathematics, philosophy, and the stars. Matthew’s account does not indicate how many men journeyed to Bethlehem but because three gifts were brought, the assumption and tradition has been that there were three.

When Herod learned of the Magi’s visit, he was frightened and wanted to know the time Jesus was born “so [purportedly] that I may also go and pay him homage.” Herod’s evil intent was made known to the Magi in a dream and after they found Jesus and brought gifts, they did not return to Herod. Instead they took another route as they returned home.

During the twelfth and thirteenth century there was an extraordinary growth in veneration of Mary and many churches honored her name. In France, cathedrals were named Notre Dame (Holy Virgin) and in Rome alone, twenty-five churches were given her name. The largest of these churches—known as Santa Maria Maggiore (Saint Mary Major)—was expanded numerous times and during the late thirteenth century the entire choir area was rebuilt. Jacopo Torriti was commissioned to design the mosaic for its new apse. By this time, Mary had been exalted to the status of royalty and in art she was often seated on a throne. Torriti’s theme for the apse was the coronation of the virgin and its centerpiece was a large medallion depicting Christ placing a crown on the head of Mary. Adoration of the Kings below the medallion is one of the scenes depicting the life of Mary.

Note

Artists before the Renaissance had difficulties when they tried to create a convincing likeness of a child. The face of Torriti’s infant Jesus has the facial features of his mother and a receding hairline. His proportions are like that of an adult’s body reduced in size.

A mosaic is an image created by cementing small pieces (called tesserae) of various hard colored materials – usually of uniform size – to a base such as a wall, floor or ceiling. Materials such as marble, glazed clay and glass have been used traditionally for tesserae and they continue to be used today.

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Annunciation and Visitation (Jamb Figures of the Central Portal), Stone, c. 1225-1245, Unknown Sculptors, Cathedral of Notre Dame de Reims, France

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St. John the Baptist Preaching, 1878, Bronze, Auguste Rodin, 1840 -1917

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St. John the Baptist in the Wilderness, c. 1489-1505, Oil on Panel, Hieronymus Bosch, 1450-1516

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Christ on the Cross Formed by Clouds, 1734, Oil on Canvas, Louis de Silvestre, 1675-1760

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