Tag: Mary

The Annunciation to the Virgin Mary, March 25

The Annunciation to the Virgin Mary, March 25

Today 25th of March is the feast of The Annunciation, also referred to as the Annunciation to the Blessed Virgin Mary. It is the announcement by the Archangel Gabriel to Mary that she would conceive and bear a son through a virgin birth and become the mother of Jesus Christ.

It’s easy to remember this date, as it’s a full nine months of pregnancy before Christmas, the birthday of Jesus. And it’s approximately the start of spring and the moment of the northern equinox when day and night are equally long. In medieval terms, start of spring is identified as the date of an unusual number of Biblical events: Adam’s and Eve’s fall into sin; Cain’s murder of Abel; Abraham’s near-sacrifice of Isaac; the martyrdom of John the Baptist; and the Crucifixion. Still more strongly associated with this date is the Annunciation, at which, according to the Gospel of Luke, the archangel Gabriel brought word to the Virgin Mary that she would conceive the Son of God: “Hail, full of grace, the Lord is with thee: blessed art thou among women.”

The Annunciation at the Well flourished in Byzantium, an ancient Greek city that became known as Constantinople and as Istanbul today. In this illustration from a 12th century manuscript, two meetings are implied: at left, Mary dips her pitcher into a well as she turns to hear Gabriel’s message; at right, she approaches a house where she will receive the angel a second time while sitting on a throne-like chair. This illustration is following the Annunciation as written in the Gospel of James.
Jacobus Monachus also known as the Kokkinobaphos Master, Homiliae in Beatam Mariam etc, 12th Century, Bibliothèque Nationale de France. Département des Manuscrits, Inv Nr Grec 1208, page 159v. 

The Annunciation has been one of the most frequent subjects of Christian art. Its composition and details vary in accordance with its setting: the Virgin might appear on a throne, in a loggia, in a bedroom, or outdoors, and she often is shown sewing or reading. A variant of particular interest is the depiction of the Annunciation at the Spring, also known as the Annunciation at the Well. Inspired by accounts preserved in early apocryphal (non-Bible) texts such as the Gospel of James, this variant of the Annunciation depicts the Virgin Mary greeted by the angel Gabriel as she is fetching water at a well.

Cultures in the western part of the Mediterranean, like Venice with its strong trading links to the Byzantine area, adopted the image of the Annunciation at the Spring. This scene appears among twelfth-century mosaics of the Life of the Virgin in the transept of the church of San Marco in Venice.

There are two basic sources that describe the Annunciation. The Gospel of Luke (1:26-38) and the Gospel of James (v.11). Luke’s Gospel is part of the traditional Bible books and mostly the story that is depicted in Western art from the 14th Century onwards. The other source is the 2nd Century Gospel of James, which is an “apocryphal” book, meaning it’s not included in the traditional Bible collection of books. James’s Gospel is mostly the source in Eastern art up to the 15th Century and – remarkably – again by British painters in the 19th Century. The Gospel of James describes how one day Mary took the pitcher and went forth to draw water at a well when she heard an angelic voice: “Hail, you are highly favored, the Lord is with you, blessed are you among women.” And Mary looked around on the right and on the left to see from where this voice could have come.” During this first encounter, at a well or spring, the angel was heard but not seen. Mary appeared to be alone. Mary then went inside and it’s there that the angel appeared to her in person, while Mary is sitting on a throne-like chair.

In this beautiful illustration form an early 14th Century Armenian manuscript known as the Glazdor Gospels, a flattened, stylized well and pitcher offer only a reminder of the original “Annunciation at the Well” images. The figures’ static postures, animated only by Gabriel’s speaking gesture and the Virgin’s raised palm, recall Western Annunciation scenes, but Mary’s gilded brocade, the throned seat and the ogival dome at the top of the composition attest to its Eastern roots.
The Glazdor Gospels, Los Angeles, University of California Research Library, MS. 1, p. 305.

From the 14th Century onward most Annunciations in Western art focus more on the story as written in the Gospel of Luke rather than the apocryphal Gospel of James. They dispense with the pitcher and the well and more and more they will also omit Mary sitting on a the throne-like seat. Many more images placed the event in a specific and unified space such as a portico (Fra Angelico), a private home (Rubens), or a church (Van Eyck).

The Archangel Gabriel delivers a salutation from God: “Ave Gratia Plena” (Hail, Full of Grace). His words flow out in gold letters. Mary draws back with surprise and modesty. She has been chosen to bear the Son of God. As she speaks her acceptance: “Ecce Ancilla Domini” (See, I am the Servant of the Lord), written upside-down for God to read it more easily from above. The dove of the holy spirit descends to her on rays of light.
Jan van Eyck (Netherlandish, c.1390 – 1441), The Annunciation (c.1435), 90x34cm, National Gallery of Art, Washington.
In this Annunciation by Fra Angelico, Gabriel is seen approaching Mary outdoors in the cloister of San Marco in Florence. Mary is depicted as sweet and innocent yet taken aback by Gabriel’s arrival. Her innocence and virginity is represented by the “Hortus Conclusus” (Walled Garden) seen in the background. Her arms are folded in the same manner as Gabriel, and show her acceptance, humility, and submission.
Fra Angelico (c.1395 – 1455), The Annunciation (c.1442), Fresco, 230x297cm, Convent of San Marco, Florence.

When Cosimo de’ Medici rebuilt the convent of San Marco, he commissioned Fra Angelico to decorate the walls with frescos. This included the inside of the monk’s cells and inside the corridors; around fifty pieces in total. Out of all of the frescos at the convent, the Annunciation is the most well known. This fresco was not intended just for aesthetic purposes. Running across the loggia at the bottom of the fresco there is an inscription that instructs the viewer: “Virginis Intacte Cvm Veneris Ante Figvram Preterevndo Cave Ne Sileatvr Ave.” It means “When you come before the image of the Ever-Virgin take care that you do not neglect to say an Ave”. This was a daily reminder for the monks to pray.

Leonardo’s Annunciation depicts the Archangel Gabriel announcing to Mary that she would conceive miraculously and give birth to a son to be named Jesus.  The angel holds a Madonna lily, a symbol of Mary’s virginity as well as that of the city of Florence. It is presumed that, being a keen observer of nature, Leonardo painted the wings of the angel to resemble those of a bird in flight, but later, the wings were lengthened dramatically by another artist.
Leonardo da Vinci (Italian, 1452 – 1519), Annunciation (c.1474), 98x217cm, Uffizi, Florence.
In this Annunciation by Rubens, painted around 1628, Mary is portrayed in her sitting room. The homy atmosphere is emphasized by the wicker basket that contains Mary’s sewing and the sleeping cat in the bottom right-hand corner. Rubens started working on this painting after his stay in Italy, where he had come under the influence of the great painters of the Renaissance. This Italianate influence is evident from the unusually bright colors and the free dynamic style, which was new in the Netherlandic countries. Rubens used ultramarine for Mary’s cloak, a precious pigment made from finely ground lapis lazuli.
Peter Paul Rubens (Flemish, 1577 – 1640), The Annunciation (1628), 310x179cm, Rubens House, Antwerp.
This scene shows the intercession of the Holy Ghost, symbolised by the white dove. The Virgin is accompanied by three of her traditional attributes: a sewing basket, a book as symbol of Mary’s devotion, and a spray of lilies which symbolize her purity.
Bartolomé Esteban Murillo (Spanish, 1617 – 1682), The Annunciation (c.1660), 125x103cm, Museo del Prado, Madrid.
In the 19th Century a group of British painters broke with traditional imagery and went back to pre-Raphael depiction of stories. This group is therefor called the Pre-Raphaelites. Here on this painting, Mary is back at the well as in the Byzantine annunciation images. She encounters the voice of the angel and his message, although she doesn’t see him.
Edward Burne-Jones (British, 1833–1898), The Annunciation (1879), 250x105cm, Lady Lever Art Gallery, Liverpool, England.
This Annunciation of 1892, by Arthur Hacker from the Tate Britain, London, is depicting the story from the 2nd Century apocryphal (non-Bible) Gospel of James. As Mary gathers water at the well, unexpectedly an angel she cannot see appears. Arthur Hacker chose to portray the young Mary in portrait form, rather than focus upon the angelic meeting. Serious and sombre, Mary rests her hands on her heart. She is aware of something very important happening to her. She knows she has a role to play, and seems humbled to be chosen for it. Hovering behind Mary is the angel. He holds out a lily to Mary, the flower that symbolises Mary’s purity. Arthur Hacker spent time in Spain and Morocco. This had a strong influence on his art. Mary’s clothing probably reflects Islamic dress Hacker saw during his travels.
Arthur Hacker (English, 1858 – 1919), The Annunciation (1892), 233x126cm, Tate, London.
Beatrice Emma Parsons chooses to portray the innocence and vulnerability of a young woman faced with the important responsibilities of motherhood. While the virginity of Mary has always held theological importance, with this work Parsons uses it to emphasize the humanity of the scene. Parsons captures the vulnerability of Mary, dressed in white and standing among a field of Madonna lilies, a symbol of the Annunciation and Mary’s purity. Also seen growing in Mary’s garden are red roses, emblematic of Christ’s Passion. The Holy Spirit, represented according to the traditional iconography of scenes of the Annunciation as a Dove fluttering above the Virgin’s head, is here translated into a group of birds sitting on the roof of the Virgin’s cottage.
Beatrice Emma Parsons (English, 1870 – 1955), The Annunciation (1897), 114x183cm, Sotheby’s New York, 2007.
Tanner painted The Annunciation after a trip to Egypt and Palestine in 1897. Influenced by what he saw, Tanner created an unconventional image of the moment when the angel Gabriel announces to Mary that she will bear the Son of God. Mary is shown dressed in rumpled Middle Eastern peasant clothing, without a halo or other holy attributes. Gabriel appears only as a shaft of light. Tanner entered this painting in the 1898 Paris Salon exhibition, after which it was bought for the Philadelphia Museum of Art in 1899.
Henry Ossawa Tanner (American, 1859 – 1937), The Annunciation (1898), 145x181cm Philadelphia Museum of Art, Philadelphia PA.

March 25 was used as New Year’s Day in many pre-modern Christian countries. The holiday was moved to January 1 in France by Charles IX in 1564. In England, the feast of the Annunciation came to be known as Lady Day, and Lady Day marked the beginning of the English new year until 1752.

Here are the two stories, written by Luke and by James, both accounts of the Annunciation and written down in the first few centuries after the birth of Jesus.The story as told by Luke in his Gospel (1:26-38) is focusing on the discussion between the Angel and Mary. It’s as follows:

Luke 1: 26-38
God sent the angel Gabriel, to a virgin named Mary. The angel went to her and said, “Greetings, you who are highly favored! The Lord is with you.”
 Mary was greatly troubled at his words and wondered what kind of greeting this might be. But the angel said to her, “Do not be afraid, Mary; you have found favor with God. You will conceive and give birth to a son, and you are to call him Jesus. He will be great and will be called the Son of the Highest.”
 “How will this be,” Mary asked the angel, “since I am a virgin?”
The angel answered, “The Holy Spirit will come on you, and the power of the Most High will overshadow you.”
 “I am the Lord’s servant,” Mary answered. “May your word to me be fulfilled.” Then the angel left her

The story as told by James in his Gospel (v.11) gives also details about the setting. It happens at the well and inside Mary’s house, and it mentions that Mary is doing some sewing and needlework. It’s as follows:

James v.11
And she took the pitcher and went out to fill it with water. And suddenly a voice could be heard, saying: “Hail, you who has received grace; the Lord is with you; blessed are yiou among women!” And Mary looked round to the right hand and to the left, to see from where this voice came. And she went away, trembling, to her house, and put down the pitcher; and she took her sewing basket with needlework, and she sat down on her seat. And then, look, an angel of the Lord stood before her, saying: “Fear not, Mary; for you have found grace before the Lord, and you shall conceive, according to His word.” And she is hearing, reasoned with herself, saying: “Shall I conceive by the Lord, the living God? and shall I give birth as every woman gives birth?” And the angel of the Lord said: “Not so, Mary; for the power of the Lord shall overshadow you: wherefore also that holy thing which shall be born with you shall be called the Son of the Highest. And you shall call His name Jesus, for He shall save His people from their sins.” And Mary said: “See, I am the servant of the Lord before His face: let it be upon me according to your word.”
The Visitation: Mary meets Elizabeth

The Visitation: Mary meets Elizabeth

“Baby Shower for two”

As we near December and Christmas, all our attention turns to the story of the birth of Jesus. But how about his mother Mary? How about Mary’s pregnancy, and what did she do in those nine months before giving birth to Jesus? Around May that year, when Mary was 2 months pregnant with Jesus, she travelled some 150km from her home in Nazareth to a small town in Judea, to visit her relative Elizabeth who was 8 months pregnant of John the Baptists. This visit of Mary to Elizabeth is called the “Visitation” and is told in the Bible in the chapter that’s the Gospel of Luke (1:39-56). The Visitation took place on May 31st and Mary stayed with Elizabeth for three months, during which Elizabeth gave birth to John the Baptist, on June 24th.

Rogier van der Weyden (c.1400 – 1464), “Visitation” (c.1437), 58x36cm, Museum der Bildenden Künste, Leipzig.
Mary meets Elizabeth, both pregnant, in front of Elizabeth and Zacharias’ house. Although the story is set in Judea, Rogier van der Weyden choose a Flemish setting, which will have appealed to the contemporary viewers.

Elizabeth and her husband Zacharias were both very old and without children. Miraculously Elizabeth suddenly got pregnant, which was predicted to Zacharias by the angel Gabriel. Zacharias could hardly believe this, as his wife was too old to get a baby. Here is a similarity with the message Maria got from the same angel Gabriel: “Ave Maria, you will be pregnant and give birth to Jesus!” When Mary got pregnant, her fiancé Joseph could also hardly believe what had happened.

Albrecht Dürer (1471 – 1528), “Visitation”, from The Life of the Virgin series (1503), Woodcut, 30x21cm, The Metropolitan Museum of Art, New York.
The Life of The Virgin is a series of 20 woodcuts, published as a book with the prints facing a page with Latin verses. These series focus on Mary as a human and even a mother, opposed the the suffering as in many other series of the life of Mary and Christ. Also, Dürer is using a very contemporary approach, look at the clothes of Mary and Elizabeth and Zacharias standing in the door of their house. This depicting of a “bourgeois” Mary will immediately have been familiar and attractive to Dürer’s clientele. From the moment of publishing, the woodcuts were copied and sold illegally, Dürer started many legal cases to protect his copyright.

Mary knew well that her cousin Elizabeth had grieved for so many years on account of being childless. Mary travelled all the way to share Elizabeth’s joy and of course to help her in her household affairs and be with her during birth and in the months after the birth of the little John. It was a mission of charity.

Rembrandt Harmensz van Rijn, (1606 – 1669), “Visitation” (1640), 57×48cm, Detroit Institute of Arts, Detroit, MI.
On the left the elderly Zacharias, husband of Elizabeth, easing himself down the stairs with the help of a young boy; on the right Joseph, Mary’s fiancé, climbing up the hill leading his donkey. Considering tradition and the need for security, Joseph probably accompanied Mary to Judea and then returned to Nazareth, to come again after three months to take his wife home. The dog symbolizes faithfulness. This painting may relate directly to Rembrandt’s life. The face of Elizabeth is reminiscent of the artist’s mother, who died in 1640 just as his wife was about to give birth.

Mary’s visit also brought divine grace to both Elizabeth and her unborn child, John the Baptist. Even though he was still in his mother’s womb, John became already aware of the presence of Jesus who was still in Mary’s womb. When Mary and Elizabeth met at the doorsteps of Zacharias’ house – the “Visitation” – Elizabeth spoke out with a loud voice and said to Mary: “Blessed are you among women and blessed is the fruit of your womb. Why am I so favored, that the mother of my Lord should come to me?” And Elizabeth said that as soon as she heard the voice of Mary’s greeting, her baby leaped in her womb for joy. At that moment the still to be born John the Baptist was filled with the Holy Spirit.

Drawn by Raphael (1483 – 1520) and finished by his workshop, “The Visitation” (c.1517), 200x145cm, Museo del Prado, Madrid.
The two figures can be told apart by their age. Mary is depicted as a young woman while Elizabeth, on the left, is an old woman, which emphasizes the miracle of her pregnancy, as the Bible texts have it. The scene takes place in a landscape and in the background we can see an event which would take place years later: Jesus being baptized by John the Baptist in the Jordan River. This work was drawn by Raphael, who was paid 300 escudos. He then had the painting done by one of his assistants, though it is not clear which one. 

Since the Medieval era, Elizabeth’s greeting, “Blessed are you among women, and blessed is the fruit of your womb,” has formed the second part of the “Ave Maria” or the “Hail Mary” song. The first part are the words the angel Gabriel said to Mary when he announced she will be pregnant of Jesus. One of the most famous composed music versions is Franz Schubert’s “Ave Maria” from 1825. Listen to it via the link, with English and Latin lyrics provided in the clip and hereunder.

Hail Mary, full of grace,
the Lord is with thee.
Blessed art thou amongst women,
and blessed is the fruit of thy womb, Jesus.
Holy Mary, Mother of God,
pray for us sinners,
now and at the hour of our death. Amen.

Ave Maria, gratia plena,
Dominus tecum.
Benedicta tu in mulieribus,
et benedíctus fructus ventris tui, Jesus.
Sancta Maria, Mater Dei,
ora pro nobis peccatoribus,
nunc et in hora mortis nostrae. Amen.
Domenikos Theotokopoulos (aka El Greco) (1541 – 1614), “Visitation” (c.1612), 97x71cm, Dumbarton Oaks, Washington, DC.
This Visitation painting was intended for the Church of San Vicente in Toledo, Spain, and the contract signed in 1607 stipulated “in the ceiling a story of the Visitation of Saint Elizabeth, … which is to be placed in a circle. ” By April 17, 1613, El Greco declared the paintings completed. However, it is not certain that The Visitation was installed. El Greco used quite some artistic – almost modern – abstractions in this 17th century work.  

In response to Elizabeth, Mary proclaims the famous words “My soul magnifies the Lord” in what is now called “Song of Mary” or “Magnificat”. Mary rejoices that she has the privilege of giving birth to Jesus. While Mary speaks to Elizabeth, she also turns a bit into a revolutionary as she continues looking forward to God transforming the world. “The proud will be brought low, and the humble will be lifted; the hungry will be fed, and the rich will go without.” In her answer to Elizabeth, Mary transforms herself from an obedient humble girl into an adult fighter for justice and protector of the poor. This “Magnificat” is nowadays banned in certain countries, as seen dangerous by the ruling oppressors. Johann Sebastian Bach put music to the words and created in 1723 his masterpiece “Magnificat”. Listen to it via the link, at least for the first few minutes. Lyrics in English and Latin hereunder.

My soul magnifies the Lord;
my spirit rejoices in God my Savior,
for He has looked with favor on His humble servant;  from this day all generations will call me blessed.
The Almighty has done great things for me, and holy is His Name,
He has mercy on those who fear Him in every generation.
He has shown the strength of his arm;
He has scattered the proud in their conceit.
He has cast down the mighty from their thrones, and has lifted up the humble.
He has filled the hungry with good things, and the rich He has sent away empty.

Magnificat anima mea Dominum;
Et exultavit spiritus meus in Deo salutari meo,
Quia respexit humilitatem ancillae suae; ecce enim ex hoc beatam me dicent omnes generationes.
Quia fecit mihi magna qui potens est, et sanctum nomen ejus,
Et misericordia ejus a progenie in progenies timentibus eum.
Fecit potentiam in bracchio suo;
Dispersit superbos mente cordis sui.
Deposuit potentes de sede, et exaltavit humiles.
Esurientes implevit bonis, et divites dimisit inanes.
Pontormo (1494 – 1557), “Visitation” (c.1529), 202x156cm, San Michele e San Francesco, Carmignano, Tuscany, Italy. This “Visitation” has remained in the church for which it was painted for almost its whole existence. In the foreground of the painting, we see Mary and Elizabeth, in the background two handmaids.

Mary, through her meeting with Elizabeth, is no longer a silent participant of the Christmas story. She is a protector of the suppressed and a revolutionary, a fighter for a better world. Celebrating Christmas, is celebrating hope for a better world, for true justice to come.

Johann Sadeler (I) (1550 – 1600) engraver, after Maerten de Vos (1531 – 1603) drawer, “Visitation” (c.1588), 2nd print from the series of 15, “Life and Passion of Christ and the Virgin”, Engraving, 19x14cm, RijksMuseum, Amsterdam. An almost nowadays meet and greet between two couples. Mary and Elizabeth, who are both pregnant, kiss and hug. And their husband, Joseph and Zacharias, shake hands.

And for the sake of completeness, here is the full text of the Bible story of The Visitation; Luke 1:39-56, in the new international version.

Mary Visits Elizabeth (39 - 45)

At that time Mary got ready and hurried to a town in the hill country of Judea,
where she entered Zechariah’s home and greeted Elizabeth.
When Elizabeth heard Mary’s greeting, the baby leaped in her womb, and Elizabeth was filled with the Holy Spirit.
In a loud voice she exclaimed: “Blessed are you among women, and blessed is the child you will bear!
But why am I so favored, that the mother of my Lord should come to me?
As soon as the sound of your greeting reached my ears, the baby in my womb leaped for joy.
Blessed is she who has believed that the Lord would fulfill his promises to her!”

Mary’s Song (46 - 55)

And Mary said: “My soul glorifies the Lord
and my spirit rejoices in God my Savior,
for he has been mindful of the humble state of his servant.
From now on all generations will call me blessed, for the Mighty One has done great things for me — holy is his name.
His mercy extends to those who fear him, from generation to generation.
He has performed mighty deeds with his arm; he has scattered those who are proud in their inmost thoughts.
He has brought down rulers from their thrones but has lifted up the humble.
He has filled the hungry with good things but has sent the rich away empty.
He has helped his servant Israel, remembering to be merciful
to Abraham and his descendants forever, just as he promised our ancestors.”

Mary stayed with Elizabeth for about three months and then returned home. (56)
Saint Joseph

Saint Joseph

“Carpenter from Nazareth”

Today March 19th is the day dedicated to Saint Joseph. Who is he? Joseph is one of the three members of the Holy Family, together with the Virgin Mary and her child Jesus. He is a carpenter from Nazareth and a widower, who married the Virgin Marry at that time already pregnant with Jesus. The virgin birth of Jesus is the Christian doctrine that Jesus was conceived and born by his mother Mary through the power of the Holy Spirit and without sexual intercourse. Joseph is therefore Jesus’s foster-father. In most paintings with the Holy Family, Joseph has a minor role and just in the background. Only from the 15th century artists gave more attention to Joseph and made him visible as head of the Holy Family. When the bible speaks about Jesus’s brothers and sisters, those are children of Joseph from a previous marriage. Saint Joseph is the patron saint of family life, fathers, unborn children and carpenters and in Western Christianity his celebration day is March 19th. And in Italy, this special day of Saint Joseph (San Giuseppe in Italian) is also Father’s Day. Joseph might be a lesser celebrity in the biblical world, but as “father” he is a figure that means so much in everyone’s life. Even when he is a foster-father.

Robert Campin (1378 – 1444), “Saint Joseph” (right-hand panel of the “Annunciation Triptych – Merode Altarpiece”) (c. 1430), 65x27cm, Oil on Panel, The Metropolitan Museum of Art, New York.

This is the right-hand panel of a triptych. The old man Joseph, who is engaged to the Virgin Mary, works in his carpenter shop. The mousetraps he made, on the bench and in the shopwindow opening onto the street, are symbols of the crucifixion of Jesus which will only happen 33 years later. Jesus on the cross is considered the devil’s mousetrap.

Robert Campin (1378 – 1444), “Annunciation Triptych – Merode Altarpiece” (c. 1430), 65x118cm, Oil on Panel, The Metropolitan Museum of Art, New York.

Looking at the triptych as a whole, the middle panel shows the moment when the Virgen Mary gets the message from the angel Gabriel that she will be pregnant with Jesus. It’s even the moment of the divine impregnation itself. On the right panel Joseph in his workshop, busy making the mousetraps and no idea what is happening to Mary at this very moment. On the left the donors of this triptych.

French 15th century, “The Expectant Madonna with Saint Joseph” (c.1435), 71x35cm, Tempura on Panel, National Gallery of Art (Samuel H. Kress Collection), Washington DC.

When Joseph was engaged to Mary he found out she became pregnant, and certainly not by him! Joseph was very much doubting if he should indeed marry her. As he considered splitting up, an angel of the Lord appeared to him in a dream. “Joseph” the angel said, “do not be afraid to take Mary as your wife. For the child within her was conceived by the Holy Spirit.” As is written in the bible, see Matthew 1: 18-20. On the picture above you can see Mary, pregnant with Jesus, and Joseph as an old man doubting about what happened. This is not a very common image to see in paintings and it’s obviously a mysterious element in the whole story and even a bit embarrassing for Joseph. The message from the angel to Joseph is then solving this element to everyone’s satisfaction, including Joseph’s. From the 15th century the Holy Family (Maria, Jesus and Joseph) as a subject became way more popular and that helped to raise Joseph in public esteem. Joseph is from then on represented more sympathetically and more prominently.

George de la Tour (1593 – 1652), “Saint Joseph the Carpenter” (1642), 137x102cm, Oil on Canvas, Louvre, Paris.

This painting by George de la Tour (1642, from the Louvre) cannot be missed in any story about Joseph. As patron saint of carpenters, Joseph is working on a beam, helped by his foster son Jesus. The arrangement of pieces of wood on the floor evokes a cross and prefigures the crucifixion of Jesus. The young Jesus with the candlelight shining on his face makes already a reference to becoming the “Light of the World”. George de la Tour shows that even Jesus lived a simple and innocent earthly life, but he included divinity’s presence by way of the light of the candle.

Bartolomé Esteban Murillo (1617 – 1682), “The Holy Family” (1650), 144x188cm, Oil on Canvas, Museo del Prado, Madrid.

Here we see the Holy family with a playing Jesus and two caring parents in a domestic scene. It shows home life but also work, symbolized by Saint Joseph’s carpenter tools on the right. The almost leading role of Joseph, the foster father, corresponds to the increased worship of Joseph as a father figure within the Holy Family. Over the centuries the image of Joseph developed from a grumpy old man to a caring – and younger – father.

Sir John Everett Millais (1829 – 1896), “Christ in the House of His Parents – The Carpenter’s Shop” (1850), 86x140cm, Oil on Canvas, Tate Gallery, London.

This is a painting from the Pre-Raphaelite painter Millais, showing a scene from the boyhood of Jesus and placed in Joseph’s carpenter workshop. It’s full of symbolic messages. Jesus, as a boy, has wounded himself at a nail and is being comforted by his parents Mary and Joseph. Blood is dripping from his hand on his foot. Both spots of blood are foreshadowing the crucifixion. On the right we see the young Saint John the Baptist with a bowl of water, as reference to the baptizing of Jesus Christ. At the back on the wall is a carpenter’s triangle, referring to the Holy Trinity of God, the Holy Spirit, and Jesus son of God. And the dove, symbolizing the Holy Spirit, is sitting on the ladder.

The pre-Raphaelites wanted to strip-away all traditions of painting since Raphael. Millais removed all beauty and placed the scene in an ordinary carpenter workshop, with common people as the Holy Family. The picture prompted many negative reviews. The Times described it as ‘revolting’ and objected to the way in which the artist had dared to depict the Holy Family as ordinary, lowly people in a humble carpenter’s shop. Charles Dickens was one of the most vehement critics, describing the young Christ as ‘a hideous, wry-necked, blubbering, red-headed boy, in a bed gown’. The painting can be seen in the Tate Gallery, London, where it’s now considered one of their masterpieces.

Bartolomé Esteban Murillo (1617 – 1682), “The Heavenly and Earthly Trinities – The Pedroso Murillo” (c. 1680), 293x207cm, Oil on Canvas, National Gallery, London.

This painting illustrates the belief that Jesus was both human and divine, by placing him in the middle of the two “Trinities”. The vertical line is the Holy Trinity, with God the Father, the Holy Ghost (the dove), and Jesus as the Son of God. Jesus looks up towards heaven, but affectionately holds hands with his human parents, Mary and Joseph. The three together, as the horizontal line, make up the Earthly Trinity. Mary’s loving gaze and gracefully upturned palm are directed towards her young son. Joseph looks out of the picture towards us, inviting us to adore Jesus. Murillo transforms a complex theological principle into a very human and accessible image. With Jospeh as the connecting figure between us humans and the divine world of God.

Mary and the Immaculate Conception

Mary and the Immaculate Conception

Bartolomé Esteban Murillo (1617 – 1682), “The Aranjuez Immaculate Conception” (1675), 222x118cm, Oil on Canvas, Museo del Prado, Madrid.

Today December 8th is the day of the Immaculate Conception of the Virgin Mary. It’s one of the major Christian feast days and it’s a holiday in many Catholic countries. But what is it about; what is the Immaculate Conception of Mary? First of all: do not confuse it with Mary’s virginal conception of her son Jesus! That’s only happening on March 25th, when it’s announced to Mary that she will be pregnant, being 9 months before the birth of her son Jesus, which happens on December 25th and that’s Christmas day. December 8th is about the Immaculate Conception of Mary herself, and it’s exactly 9 months before another feast day in the Catholic church, the Nativity or Birth of Mary, and that’s on September 8th. It’s all easy to remember when you count with those 9 months pregnancy.

The Immaculate Conception of Mary is nothing more than that she was born immaculate, pure, spotless and without any sin. That’s in contrary to any other human being. Everyone is born with the Original Sin, which is the inherited sin of Adam and Eve, who were eating the forbidden fruit while being in Paradis. That was the first sin of mankind ever, and it became an inheritable sin. It means that every baby is born with this Original Sin, to be washed away by baptizing, as soon as possible after birth. Mary on the contrary was born without this Original Sin, she was born Immaculate. That also makes her the one and only human being ever been without any sin. And Mary being so immaculate and the purest of all, is celebrated on December 8th.

Francisco de Goya y Lucientes (1746 – 1828), “The Immaculate Conception” (1783), 80x41cm, Oil on Canvas, Museo del Prado, Mardrid.

The parents of Mary are Anna and Joachim, and these two are in that sense the grandparents of Jesus. Many believe that Anna, Mary’s mother, stayed a virgin herself while becoming pregnant of Mary. That’s not correct and officially considered an error by the Catholic doctrine. It’s also not so that Mary, after being born without the Original Sin, by default stayed without any personal sin. In general however, it’s believed that Mary was born without sin and stayed without sin.

Mary’s Immaculate Conception is a doctrine, being established as a faith by Popes and widely accepted within the Church. Already celebrated since the 5th century, the doctrine was only dogmatically defined in 1854, when Pope Pius IX declared so with “papal infallibility”. So, since then it’s a “true” story.

Giovanni Battista Tiepolo (1696 – 1770), “The Immaculate Conception” (1767), 281x155cm, Oil on Canvas, Museo del Prado, Madrid.

It’s for artists not so easy to depict the concept of Immaculate Conception. Painters were struggling with the concept for long time, and only from the 17th Century onwards a standard image developed, based on paintings from the circle of the Spanish painter Murillo. It’s mostly an image of Mary in a heavenly realm with clouds and a golden light, surrounded by symbols of purity like white lilies and roses, with sometimes an image of God above Mary. On some painting symbols of the Original Sin, like snake and apple, can be seen at Her feet. Mary is standing on a crescent moon, symbol of virginity and chastity. It’s always an image of Mary herself and certainly without the baby Jesus, as that happened only later in the life of the Virgin Mary.

Assumption of Mary

Tiziano “Titian” Vecelli (1488 – 1576), “The Assumption of the Virgin Mary” (1516), 690x360cm, Oil on Panel, Basilica di Santa Maria Gloriosa dei Frari, Venice.

Today August 15 is the official feast day of the “Assumption of Mary”. It’s a holiday in many, mostly Catholic, countries. But what is it about and how has it been depicted in art? This day is to celebrate that the Holy Virgin Mary, mother of Christ, is taken up into Heaven at the end of her earthly life. It’s not so much a historic event, but it’s deeply embedded in the Christian tradition, belief and faith. The historic element is that somewhere around the year 41, Mary passed away. From around the 3rd century the belief was added that the body of Mary was taken up into Heaven and in that sense she followed her son Jesus Christ, who was crucified and subsequently taken into Heaven about 10 years earlier. From the 5th century onwards, it was added that all the apostles were present at this very moment, which is depicted on the many paintings with Mary’s Assumption. They are the group of guys looking up in astonishment when Mary is taken into Heaven, up into the arms of God. On most paintings Mary goes up with the help of angels, like on the gigantic Titian altar piece, almost 7×4 meters, which is still on its original location in the Frari Church in Venice.

Annibale Carracci (1560 – 1609), “The Assumption of the Virgin Mary” (1587), 130x97cm, Oil on Canvas, Museo del Prado, Madrid.

There is still an endless dispute about the moment just before the heavenly Assumption of Mary. Did Mary only fell asleep, the so-called “Dormition”, and then went up? Or did she actually also really die? The official Catholic dogma around the subject is not clarifying this element. Pope Pius XII proclaimed in 1950 that Mary indeed “completed her earthly life” and that her body and soul went up into heavenly glory. The Pope used his Papal authority to declare this dogma and did so with “Papal Infallibility”. He made not clear if Mary just fell asleep and went up, or if she also really died before going up into Heaven. On the Titian painting, Mary goes up into Heaven and no indication of the moment just before the Assumption. On the Carracci painting from the Prado, Madrid, Mary is ascending from a tomb, which would indicate that Mary indeed died. On the Rubens altar piece, still in its original location in the Cathedral of Our Lady in Antwerp, the tomb is also present.

Peter Paul Rubens (1577 – 1640), “The Assumption of the Virgin Mary” (1626), 490x325cm, Oil on Panel, Cathedral of Our Lady, Antwerp.

I think the Assumption of Mary is a beautiful belief and it’s great to depict this story. Every viewer of a painting with the Assumption of Mary, the mother of Christ, has a mother him- or herself and many viewers are also “mother” themselves. And all those mothers will one day pass away. It must have given – and still gives – a lot of comfort to know or believe that Mary, as the mother of all mothers, was taken up into heaven after her death. It gives hope to everyone, and certainly to our mothers, that one day they will follow Mary up into Heaven. August 15 is a public holiday, but it’s above all the ultimate and sacred Mother’s Day.

Saint Luke the Evangelist

Who is Saint Luke and how to recognize him in art? Luke is one of the Four Evangelists and the author of the Gospel of Luke, one of the New Testament books that describe the life of Christ. Luke is definitely a historic figure, who lived in the 1st Century and originally came from the then Greek city of Antioch, now on the Turkish-Syrian border. He was an physician, painter and writer and died at the age of 84. As he is one of the Four Evangelists, he became pretty popular and important in Western art. Luke was also a physician, and thus his name is used for many Saint Luke Hospitals all over the world.

Guercino (1591 – 1666), “Saint Luke Displaying a Painting of the Virgin” (1652), 221x180cm, Oil on Canvas, The Nelson-Atkins Museum of Art, Kansas City.

In the 8th Century a story popped up telling that Luke once painted a portrait of the Virgin Mary with the Christ child. Most likely just a cute legend, but it helps with recognizing Luke in art. He is shown as a painter at work, and his model is the Virgin. This also made Luke become the patron saint of painters. He gave his name to the Guilds of Saint Luke, which were the trade unions for painters in the 16th and 17th Century. Here is a 1652 painting by Guercino. Saint Luke shows the viewer his painting with the Virgin and Child. And look what’s on the table behind him. It’s a book. That refers to the Gospel he wrote. And on the book is an inkstand in the form of an ox. And the ox is the very most common attribute to recognize Saint Luke the Evangelist. The other three Evangelists also have their own symbols: Matthew – angel; Marcus – lion; John – eagle.

Here is another painting, from c. 1603, by El Greco (“The Greek”). His real name is Doménikos Theotokópoulos, a Greek painter but mainly living and working in Toledo in Spain. El Greco painted this magnificent portrait of Saint Luke for the Toledo Cathedral where it still can be seen. He must have felt close to Saint Luke, as they both came from Greece. Saint Luke shows us the Gospel, and his painting of the Virgin and Child is now incorporated in the Gospel book itself.

El Greco (1541 – 1614), “Saint Luke the Evangelist” (c. 1603), 100x76cm, Oil on Canvas, Toledo Cathedral, Spain.

Most common is to depict Luke as a writer, together with an ox or a bull, which animal became Luke’s trademark symbol. The ox or bull, as an animal often used for offers, refers to Christ’s sacrifice and crucifixion. Here are a few Dutch Old Master prints from series with the Four Evangelists. The person writing, depicted together with an ox, can only be Saint Luke the Evangelist. Once you make the link between Luke and the ox, it will be super easy to recognize this saint.

Peter Paul Rubens (1577 – 1640)

On the 30th of May, 1640, death of Peter Paul Rubens, the most important Baroque painter from the Flemish Netherlands. Rubens was not only a well-educated scholar and painter, but also businessman and diplomat. He made religious altarpieces, portraits of royalty, mythological paintings and hunting landscapes. All his paintings are impressive big pieces with lots of color and typical Baroque-emphasized movement and sensuality. He run a large studio in Antwerp which is now the Rubenshuis Museum.

Peter Paul Rubens (1577 – 1640), “The Descent from the Cross” (1613), 420x320cm, Oil on Panel, Cathedral of Our Lady, Antwerp, Belgium.

Here are two of his paintings. It’s “The Descent from the Cross” (1613), which is the 4×3 meters magnificent central panel of a triptych, which is still in its original place in the Cathedral of Our Lady in Antwerp, Belgium. The body of Christ is lowered from the cross, with very energetic support of Saint John (in the red mantle). Mary Magdalena is gracefully supporting Christ’ leg and Mary, a mother in despair, is stretching out her arms towards her son. Joseph of Arimathea and Nicodemus are placed on both sides of the scenel.

Also here is a 2×3 meters big painting of the legendary hero “Daniel in the Lions’ Den” (1614). Chief counselor to the Persian king, Daniel fell victim to his jealous co-officials. They plotted against him and threw him into a den of lions. But that plot truly failed! Daniel keeps on staring up and praying towards the light of heaven. And he stayed unharmed! Next day he was freed without a single scratch. A strong moral: look up when things get you down; keep your head up and think positive!

Peter Paul Rubens (1577 – 1640), “Daniel in the Lions’ Den” (1614), 224x351cm, Oil on Canvas, National Gallery of Art, Washington.

Mannerism

Bronzino (1503 – 1572), “An Allegory with Venus and Cupid” (1545), 146x116cm, Oil on Wood, The National Gallery, London.

Mannerism is a European art style that follows Renaissance and precedes Baroque, originating in Italy around 1520 and spreading over Europe. Mannerism lasted until the end of the 16th Century, when Mannerism gradually turned into the Baroque style.

How did Mannerism originate and what is it all about? The artists from the Renaissance, like Michelangelo and Leonardo da Vinci, excelled in painting and sculpting ideal beauty, balanced proportions and ultimate elegance. Their art had reached the top of what could be achieved; Renaissance was considered the peak of perfection. That gave the next generation of artists a feeling that they had not much to add anymore, and therefor they started to search for additional artistry on top of the Renaissance skills and values. This next generation started to add wisdom and intelligence to their art. And that resulted in a “manner” of over-sophisticated elegance. Mannerism is more about artificial and intellectual beauty than the perfect natural beauty from the Renaissance times.

The word “Mannerism” comes from the Italian word “maniera”, meaning “manner”. The Mannerist painters were painting in the “manner” of Renaissance painters like Michelangelo, but topped it up with their own intellectual and sophisticated inventions. One could say that they overdid it a bit. The mannerist artists tried to exceed Renaissance art, but that resulted in an overcomplicated way of depicting nature. And ultimately that was followed by the even more complex manner of depicting beauty during the Baroque.

Look at Bronzino’s “An Allegory with Venus and Cupid” (1545). It’s an almost bizarre composition and an exaggerated anatomy of figures. It reminds us of Michelangelo, but with an over-the-top approach of beauty. And the meaning behind this painting is so over-intellectual, that one hardly understands what it is about. It’s passion and play, time and despair, love and seduction; with every figure having it’s own symbolic meaning and art historians nowadays in doubt of the actual meaning. Or look at the Virgin Mary with Child (1540) by Parmigianino. In his efforts to create more elegance, Parmigianino gave his figures those long stretched bodies. And ironically, the painting is now just known as “The Madonna with the Long Neck”. Both Bronzino and Parmigianino want to express that there is more to achieve than the old-fashioned way of traditional Renaissance painting. They show the viewer their new “manner” of dealing with art and beauty. Mannerist painters proudly created Modern Art in the 16th Century.

Parmigianino (1503 – 1540), “The Madonna with the Long Neck” (c. 1537), 216x132cm, Oil on Wood, Galleria degli Uffizi, Florence.

Pontormo (1494 – 1557)

Pontormo (1494 – 1557), “Visitation of the Virgin and Saint Elizabeth” (1528), Oil on Board”, 202x156cm, Church of San Michele e San Francesco, Carmignano, Italy.

On the 24th of May, 1494, birth of Jacopo Carucci da Pontormo, simply known as Pontormo. He is famous for his Mannerist way of painting, with figures in a floating, almost dancing, manner. Pontormo painted in and around Florence, often supported by the Medici family. Here is Pontormo’s “Visitation of the Virgin and Saint Elizabeth”, housed in the church of San Francesco e Michele in Carmignano, about 20 km west of Florence. The Visitation is the visit of the Virgin Mary, who was pregnant with Jesus, to Elizabeth, who was pregnant with John the Baptist, (Luke 1:39–56).

Pontormo’s work was quite out of fashion for several centuries. Though he has received renewed attention by contemporary art historians. Indeed, in 2002, Pontormo’s “Portrait of a Halberdier” was the world’s most expensive painting by an Old Master. The Halberdier holds a halberd, a combination of spear and battle-axe. The sitter’s identity has been much discussed. It could be the young nobleman Francesco Guardi at the age of around fifteen. But it has also been suggested that the portrait represents Cosimo de’ Medici himself.

Pontormo (1494 – 1557), “Portrait of a Halberdier (Francesco Guardi?)” (1529), Oil on Panel transferred to Canvas, 95x73cm, The J. Paul Getty Museum, Los Angeles.

Pontormo’s closest pupil was Bronzino, who followed Pontormo’s style. Of several paintings it’s disputed if the author is Pontormo or Bronzino.