Third Sunday of Advent

Title: Adoration of the Shepherds

Artist: Agnolo Bronzino

Medium: Oil on wood

Size: 65 x 47 cm

Date: 1540

Location: Szépmûvészeti Múzeum, Budapest

Luke 2:16-20: And they came, having hasted, and found both Mary, and Joseph, and the babe lying in the manger, and having seen, they made known abroad concerning the saying spoken to them concerning the child. And all who heard, did wonder concerning the things spoken by the shepherds unto them; and Mary was preserving all these things, pondering in her heart; and the shepherds turned back, glorifying and praising God, for all those things they heard and saw, as it was spoken unto them.

This small, jewel-like devotional painting, commissioned by Filippo di Averardo Salviati (1513-1572), was most likely destined for a private chapel in the Salviati villa. This painting displays extreme refinement of execution and luxury of materials characteristic of Florentine Mannerism, with 'disegno' (drawing), sculptural modelling of forms, and enamel-like finish apparent in every detail. The entire upper half of the composition is a deep landscape of lakes and hills, above which stretches a vast blue sky that Bronzino painted in expensive lapis lazuli. To the right, an angel announcing the birth of Christ to a single shepherd hovers in the sky, and in the foreground five putti fly in celebration directly over the Nativity scene.

Agnolo di Cosimo (1503 – 1572), more commonly known as Il Bronzino, or Agnolo Bronzino, was an Italian Mannerist painter from Florence. His sobriquet, Bronzino, in all probability refers to his auburn hair, or possibly derived from his having a dark complexion. He was court painter to Duke Cosimo I de Medici for most of his career, and his work influenced the course of European court portraiture for a century. Cold, cultured, and unemotionally analytical, his portraits convey a sense of almost insolent assurance. Perhaps it was these qualities which worked against him as a religious painter as his paintings have been accused of lacking real feeling leading to empty, elegant posturing.

Second Sunday of Advent

Title: Annunciation to the Shepherds

Artist: Taddeo Gaddi

Medium: Fresco

Size: tbd.

Date: c. 1330

Location: Cappella Baroncelli, Santa Croce, Florence

Luke 2:8-12: And there were in the same country shepherds watching, and keeping the night watches over their flock. And behold an angel of the Lord stood by them, and the brightness of God shone round about them; and they feared with a great fear. And the angel said to them: “Fear not; for, behold, I bring you good tidings of great joy that shall be to all the people: For, this day, is born to you a Saviour, who is Christ the Lord, in the city of David. And this shall be a sign unto you. You shall find the infant wrapped in swaddling clothes, and laid in a manger.”

The angel announces that the new born child is the Saviour, that He has come to save us from our sins, that the salvation Christ brings is offered “to all the people”. In the words of St. Paul’s in his letter to the Colossians (3:11): “Where there is neither Gentile nor Jew, circumcision nor uncircumcision, Barbarian nor Scythian, bond nor free. But Christ is all, and in all.”

This fresco is located on the south wall among frescoes devoted to the Life of the Virgin in the Baroncelli Chapel. This nocturnal scene presented in a unique way: the golden yellow glow of the cloud that surrounds the hovering angel bathes the shepherds and their resting place in a bright light that even reaches the trees that crown the mountain peak, while the remainder of the pictorial space is filled with semidarkness. Although the light source is a supernatural one, it produces a natural effect.

Taddeo Gaddi (c. 1300 - c. 1366), a Florentine painter, was a pupil of Giotto's and one of his most inventive followers. He worked alongside the master for twenty-four years, and in 1347 he headed a list of the best living painters compiled for the purpose of choosing a master to paint a new high altarpiece for Pistoia Cathedral. Today, he is best known for the works painted for Santa Croce, Florence: notably the frescoes devoted to the Life of the Virgin in the Baroncelli Chapel (finished 1338).

First Sunday of Advent

Title: Annunciation

Artist: Matthew Whitney

Medium: Oil on canvas

Size: 61 x 76 cm

Date: 2008

Location: Private Collection

Luke 1:26-31 -- And in the sixth month the angel Gabriel was sent from God unto a city of Galilee, named Nazareth, to a virgin espoused to a man whose name was Joseph, of the house of David; and the virgin's name was Mary. And the angel came in unto her, and said, “Hail, thou that art highly favoured, the Lord is with thee: blessed art thou among women.” And when she saw him, she was troubled at his saying, and cast in her mind what manner of salutation this should be. And the angel said unto her, “Fear not, Mary: for thou hast found favour with God. And, behold, thou shalt conceive in thy womb, and bring forth a son, and shalt call his name Jesus.”

Mary, as captured by the frenetic brush of Matthew Whitney, looks more than just troubled, but rather terrified and utterly confused. Her bedroom is virtually invaded from both sides of the canvas. To the left Gabriel tries to delicately to bring her the message of the lord, his exhortation “Fear not” seeming to have little effect; to the right a menagerie of startling and grotesque animals force their way into the scene, although they, too, seem to hold Mary in reverence, prefiguring the animals in the manger.

Matthew Whitney is a multidisciplinary artist and educator who lives and works in Seattle, Washington. This painting was made as part of The Vancouver Project, a two week art residency at Regent College in Vancouver, BC. Selected Pacific Northwest-based artists created this visual art exhibition contemplating the beautiful, grotesque and sublime. The project provides a conduit for churches and other faith-based groups to support artists through project patronage, and hosting the art and artists in their community. More of Matthew’s art can be seen on his website http://www.matthewwhitney.com

Luke for Lent - Part 7 of 7

Title: Friend of the Humble (Supper at Emmaus)

Artist: Léon-Augustin Lhermitte

Medium: Oil on canvas

Size: 156 x 223 cm

Date: 1892

Location: Museum of Fine Arts, Boston

Luke 24: 28-35 As they approached the village to which they were going, Jesus continued on as if he were going farther. But they urged him strongly, “Stay with us, for it is nearly evening; the day is almost over.” So he went in to stay with them. When he was at the table with them, he took bread, gave thanks, broke it and began to give it to them. Then their eyes were opened and they recognised him, and he disappeared from their sight. They asked each other, “Were not our hearts burning within us while he talked with us on the road and opened the Scriptures to us?” They got up and returned at once to Jerusalem. There they found the Eleven and those with them, assembled together and saying, “It is true! The Lord has risen and has appeared to Simon.” Then the two told what had happened on the way, and how Jesus was recognised by them when he broke the bread.

For these disciples, their faces downcast, hope had been buried in the tomb provided by Joseph. But despite their heavy hearts, these disciples do one thing right in this story — something so apparently insignificant it would be easy to miss. They offer hospitality to Jesus: “Stay with us, for it is nearly evening.” As Jesus sits at the table, takes the bread, blesses it, breaks it and gives it to them, their eyes were opened. Jesus blesses their small act of generosity with the revelation of his presence. It is in the intimacy of fellowship, in the breaking of the bread, that they at last recognise him, and their perplexity over recent events is removed. It is through sitting with Jesus and listening to him that we get to know him.

Léon Augustin Lhermitte (1844 – 1925) was a French realist painter and etcher whose primary subject matter was rural scenes depicting peasants at work. He was a student of Lecoq de Boisbaudran, and gained recognition after his show in the Paris Salon in 1864. Lhermitte’s innovative use of pastels won him the admiration of his contemporaries, including Vincent van Gogh, and his many awards include the French Legion of Honour (1884) and the Grand Prize at the Exposition Universelle in 1889.

Luke for Lent - Part 6 of 7

Title: The Three Crosses

Artist: Peter Paul Rubens

Medium: Oil on panel

Size: 60.5 x 96 cm

Date: ca. 1620

Location: Museum Boijmans Van Beuningen, Rotterdam

Luke 23:39-43 One of the criminals who hung there hurled insults at him: “Aren’t you the Messiah? Save yourself and us!” But the other criminal rebuked him. “Don’t you fear God,” he said, “since you are under the same sentence? We are punished justly, for we are getting what our deeds deserve. But this man has done nothing wrong.” Then he said, “Jesus, remember me when you come into your kingdom.” Jesus answered him, “Truly I tell you, today you will be with me in paradise.”

The faith of the thief on the cross is often dismissed, for he has the equivalent of a deathbed conversion. But the testimony he gives in his last moments is a most eloquent evidence of faith. He addresses his colleague first, expresses the injustice of the entire crucifixion by exclaiming, "We are punished justly, for we are getting what our deeds deserve. But this man has done nothing wrong." Then, anticipating the restoration and resurrection, the thief turns to Jesus with words full of faith, and asks to be included. This man, despite a life full of sin, comes to Jesus, and seeks forgiveness in his last mortal moments. He confesses his guilt and casts himself on Jesus' mercy and saving power. Ironically, though dying amidst mocking, Jesus has saved while on the cross. The request of the taunts has been granted to one who learned to believe. Luke could not have painted a clearer portrait of God's grace…

Peter Paul Rubens (1577 – 1640) was a Flemish/Netherlandish draughtsman and painter, widely considered as the most notable artist of Flemish Baroque art school. A proponent of an extravagant Baroque style that emphasised movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. Art experts have pointed out that Rubens did not intend the three towering crosses in this painting to have such a dramatic impact. It was only later that his original panel was mounted in a larger one. However, the work was reproduced in its present form during his lifetime, so the idea of portraying Christ’s death so bleakly is certainly authentic and came from Rubens’s circle.

Luke for Lent - Part 5 of 7

Title: Christ before Herod Antipas

Artist: Nicolaus Knüpfer

Medium: Oil on Panel

Size: 46 x 61 cm

Date: tbd

Location: Szépmûvészeti Múzeum, Budapest

Luke 23:8-12: When Herod saw Jesus, he was greatly pleased, because for a long time he had been wanting to see him. From what he had heard about him, he hoped to see him perform a sign of some sort. He plied him with many questions, but Jesus gave him no answer. The chief priests and the teachers of the law were standing there, vehemently accusing him. Then Herod and his soldiers ridiculed and mocked him. Dressing him in an elegant robe, they sent him back to Pilate. That day Herod and Pilate became friends—before this they had been enemies.

Christ being sent to Herod Antipas for judgement is an episode that occurs only in the Gospel of Luke. Herod would have had heard many things of Jesus in Galilee, where his miracles had for a great while been all the talk of the country; and he longed to see him, not for any affection he had for him or his doctrine like Zacchaeus, but purely out of curiosity. He hoped to see some miracle done by him, but Jesus would not gratify him with the performance of even a single miracle. The poorest beggar that asked a miracle for the relief of his necessity was never denied; but this proud prince, that asked a miracle merely for his own amusement, is denied. Herod thought, now that he had him in bonds, he might command a miracle, but to Jesus miracles must not be made cheap, nor Omnipotence be at the beck of any earthly potentate.

Nicolaus Knüpfer (ca. 1603 - 1655) was a Dutch painter of German origin. After initial training in Leipzig and elsewhere, in 1630 Knüpfer moved to Utrecht, where he studied with Mannerist painter Abraham Bloemaert. Knüpfer specialised in history paintings, producing works based on stories from the Bible, from Greek and Roman history and from mythology. In his own day, Knüpfer enjoyed considerable fame and was frequently commissioned by patrons. Typical of his style is the loose brushwork, the liveliness of the depictions and the rich palette, all of which can be seen in this painting of Christ before Herod Antipas. The wall with the low door, closing off the space, looks like a stage set. The curtains and the stage raised by three steps on the right and extending to the plane of the painting are theatrical. The king, leaning back on his throne, is shrieking with laughter and the soldier on one knee, dressing Jesus in a white mantle, has his back to us. His hulking comrade, leaning on his stave, calls through the door to recruit more spectators for Jesus' derision.

Luke for Lent - Part 4 of 7

Title: Zaccheus

Artist: J. Kirk Richards

Medium: Oil on Panel

Size: 72 x 25 in

Date: 2001

Location: Private collection

Luke 19:1-10: Jesus entered Jericho and was passing through. A man was there by the name of Zacchaeus; he was a chief tax collector and was wealthy. He wanted to see who Jesus was, but because he was short he could not see over the crowd. So he ran ahead and climbed a sycamore-fig tree to see him, since Jesus was coming that way. When Jesus reached the spot, he looked up and said to him, “Zacchaeus, come down immediately. I must stay at your house today.” So he came down at once and welcomed him gladly. All the people saw this and began to mutter, “He has gone to be the guest of a sinner.” But Zacchaeus stood up and said to the Lord, “Look, Lord! Here and now I give half of my possessions to the poor, and if I have cheated anybody out of anything, I will pay back four times the amount.” Jesus said to him, “Today salvation has come to this house, because this man, too, is a son of Abraham.  For the Son of Man came to seek and to save the lost.”

Jesus has said that it is hard for a rich person to be saved, but the salvation of Zacchaeus shows it is not impossible. Though Zacchaeus had a great curiosity to see Jesus, having heard great talk of what kind of a man he was, he could not get his curiosity gratified because he was little, and the crowd was great. Christ did not ride in an open chariot, as princes do, that all men might see him; He came as one of us, lost in a crowd. But those that sincerely desire a sight of Christ will use the proper means for gaining a sight of him, and will break through difficulty and opposition, and be willing to take pains to see him. Christ looked up into the tree, and saw Zacchaeus.He encouraged weak beginnings, and helped them forward. He that had a mind to know Christ shall be known of him; he that only courted to see him shall be admitted to converse with him.

American artist J. Kirk Richards is becoming increasingly known for his accomplishments as a painter of Judeo-Christian themes. Richards was born near Brigham Young University in Utah, and as a teen he took private lesson from artist Clayton Williams to supplement his public school studies. Upon graduation was accepted into the BYU art program, studying with artists such as Bruce Smith and Hagen Haltern. During his Missionary work he spent time in Rome where he was able to immerse himself in the Italian culture of art, which he says had a lasting effect on his painting. He notes that the colors in Italy are reflected a lot in his work - the rust browns and a lot of the color choices, such as the muted palette and the color harmonies found in Italian architecture. More of his work is featured on his website http://www.jkirkrichards.com

Luke for Lent - Part 3 of 7

Title: Christ in the House of Martha and Mary

Artist: Johannes Vermeer

Medium: Oil on canvas

Size: 160 x 142 cm

Date: 1654–1655

Location: National Gallery of Scotland, Edinburgh.

Luke 10:38-42: As Jesus and his disciples were on their way, he came to a village where a woman named Martha opened her home to him.  She had a sister called Mary, who sat at the Lord’s feet listening to what he said. But Martha was distracted by all the preparations that had to be made. She came to him and asked, “Lord, don’t you care that my sister has left me to do the work by myself? Tell her to help me!” “Martha, Martha,” the Lord answered, “you are worried and upset about many things, but few things are needed—or indeed only one. Mary has chosen what is better, and it will not be taken away from her.”

Mary and Martha may be the most familiar set of sisters in the Bible. Both Luke and John describe them as friends of Jesus. Luke's story, though only four verses long, is unique, and has been a source of endless interpretation and debate. On the Surface, Mary’s eagerness to absorb Jesus’ teaching at the expense of a more traditional womanly role would have shocked most Jewish men of that time, and challenges the roles designated for women in the first century. In the religious context of Vermeer's time, the scene illustrated one of the fundamental differences between Catholics and Protestants: the latter sought salvation in action while the former placed greater value on the contemplative life. Vermeer's treatment of this subject, which focuses on the message that Christ is transmitting, may reflect his sympathetic response to the Catholic Church in the mid-1650s.

Johannes, Jan or Johan Vermeer (1632 –1675) was a Dutch painter who specialised in domestic interior scenes of middle-class life. Although moderately successful in his lifetime, he was evidently not wealthy, leaving his wife and children in debt at his death. Even his modest celebrity gave way to obscurity after his death, and he was barely mentioned in surveys of Dutch art for nearly two centuries. This early work by Vermeer shows few of the stylistic concerns that would characterise his mature works, instead using a more discreet number of elegant, yet complacent brushstrokes. Rendered with almost naive sincerity, this shallow treatment is evident on the robes of the figures of Christ and Martha, the folds indicated with free-flowing, sloshy brushstrokes, ignoring volume or an underlying substance. Christ, because of the soft glow that radiates from his head and his emphatic gesture, is the dominant figure in this piece. Since the 19th century Vermeer's reputation has grown, and he is now acknowledged as one of the greatest painters of the Dutch Golden Age. 

Luke for Lent - Part 2 of 7

Title: The Miraculous Draught of Fishes

Artist: Konrad Witz

Medium: Tempera on wood

Size: 132 x 151 cm

Date: 1444

Location: Musée d'Art et d'Histoire, Geneva.

Luke 5:1-11: One day as Jesus was standing by the Lake of Gennesaret, the people were crowding around him and listening to the word of God. He saw at the water’s edge two boats, left there by the fishermen, who were washing their nets. He got into one of the boats, the one belonging to Simon, and asked him to put out a little from shore. Then he sat down and taught the people from the boat. When he had finished speaking, he said to Simon, “Put out into deep water, and let down the nets for a catch.” Simon answered, “Master, we’ve worked hard all night and haven’t caught anything. But because you say so, I will let down the nets.” When they had done so, they caught such a large number of fish that their nets began to break. So they signalled their partners in the other boat to come and help them, and they came and filled both boats so full that they began to sink. When Simon Peter saw this, he fell at Jesus’ knees and said, “Go away from me, Lord; I am a sinful man!” For he and all his companions were astonished at the catch of fish they had taken, and so were James and John, the sons of Zebedee, Simon’s partners. Then Jesus said to Simon, “Don’t be afraid; from now on you will fish for people.” So they pulled their boats up on shore, left everything and followed him.

Christ’s calling his newfound disciples to be fishers of people is related in both Matthew 4:18 and Mark 1:16, but rather than focusing only on the calling of his disciples, Luke also relates this miraculous draught of fishes. By this vast draught of fishes, Christ intended to show his dominion in the seas as well as on the dry land, over its wealth as over its waves. Thus he would show that he was that Son of man under whose feet all things were put, particularly ‘the fish in the sea, all that swim the paths of the seas’ (Ps. 8:8). The size of the catch tells Simon and his companions that this event has been no accident. The greatest moment in their fishing career causes them to stop and ponder what God is doing. Jesus has taken Peter's humble faith and scared him to death with God's presence. But in the uncertainty that often surrounds faith comes the divine voice that says, "Don't be afraid."

Konrad Witz (ca. 1400 - ca. 1445) was a German-born painter from Rottweil in Swabia, active in Switzerland and generally considered a member of the Swiss school. Although few paintings by him survive, these few show that he was remarkably advanced in his naturalism, suggesting a knowledge of the work of his contemporaries Jan van Eyck and the Master of Flémalle. Witz's most famous works are the four surviving panels (forming two wings) from the altarpiece of St Peter he painted for the cathedral in Geneva (although the central panel is lost).  The Miraculous Draught of Fishes is Witz's masterpiece and his only signed and dated work. The landscape setting depicts part of Lake Geneva, and Witz's remarkable naturalism is evident in his observation of reflection and refraction in the water.

Luke for Lent - Part 1 of 7

The Lenten season, a time for fasting and abstinence, can also be a time for prayer and reflection. As the Gospel According to Luke has many unique parables, teachings, and narrative episodes, Lent seems like the ideal time to have a look at a few paintings inspired by some of these passages.

Title: Annunciation to the Shepherds

Artist: Adam Pynacker

Medium: Oil on Panel

Size: 38.7 cm

Date: ca. 1640

Location: The Legion of Honor, San Francisco.

Luke 2:8-15: And there were shepherds living out in the fields nearby, keeping watch over their flocks at night. An angel of the Lord appeared to them, and the glory of the Lord shone around them, and they were terrified. But the angel said to them, “Do not be afraid. I bring you good news that will cause great joy for all the people. Today in the town of David a Savior has been born to you; he is the Messiah, the Lord. This will be a sign to you: You will find a baby wrapped in cloths and lying in a manger.” Suddenly a great company of the heavenly host appeared with the angel, praising God and saying, “Glory to God in the highest heaven, and on earth peace to those on whom his favor rests.” When the angels had left them and gone into heaven, the shepherds said to one another, “Let’s go to Bethlehem and see this thing that has happened, which the Lord has told us about.”

Although the Nativity narrative is also found in Matthew, the details of each account differ. Unique to Luke is the inclusion on the annunciation to the shepherds. Whereas Matthew records the recognition of Jesus by Magi, men of high reputation and standing, Luke describes the visit of shepherds, people of low esteem. Because their work prevented them from keeping the ceremonial law, shepherds were a despised class. Often regarded as thieves, they were considered unreliable and not allowed to give evidence in court. This is the beauty of Luke's gospel: God puts equal importance on each of us no matter our present station. Note as well that the angel calls Jesus “Savior”, one of only two times this word is used in reference to Jesus in all four Gospels (cf. John 4:42), a most outstanding term to be used for a new baby.

Adam Pynacker (1622 - 1673) was a Dutch landscape painter, active mainly in Delft and in Amsterdam. Having spent some time in Italy, he was one of the outstanding Dutch exponents of Italianate landscapes. In 1658 he converted to Catholicism in order to marry Eva Maria de Geest, daughter of renowned Dutch painter Wybrand de Geest. Pynacker’s style resembles that of Jan Both and Jan Asselyn, but his mature work often has a distinctive and attractive silvery tonality all his own, perfect for capturing the nocturnal arrival of an angel of the Lord.

The Twelve Days of Christmas - Day 4

Title: Christ in Glory
Artist: Unknown
Medium: Tempera on parchment  
Size: tbd.
Date: 17th-century
Location: British Library, London.

On the fourth day of Christmas, my true love gave to me four calling birds...

Four Calling birds represent the Four Gospels of Mark, Matthew, Luke & John. This image, from an illuminated manuscript held at the British Library, London, is of the Christ in Glory, surrounded by traditional images depicting the Four Evangelists. Matthew, the author of the first gospel account is symbolized by a winged man, or angel. Mark, author of the second gospel account is symbolized by a winged lion – a figure of courage and monarchy. Luke, author of the third gospel account (and the Acts of the Apostles) is symbolized by a winged ox or bull – a figure of sacrifice, service and strength. John the Evangelist, author of the fourth gospel is symbolized by an eagle – a figure of the sky, and believed to be able to look straight into the sun.

The Ascension

Title: The Ascension
Artist: John Singleton Copley
Medium: Oil on canvas
Size: 81 x 73 cm
Date: 1775
Location: The Museum of Fine Arts, Boston.

Luke 24:50-56 - When he had led them out to the vicinity of Bethany, he lifted up his hands and blessed them. While he was blessing them, he left them and was taken up into heaven. Then they worshiped him and returned to Jerusalem with great joy. And they stayed continually at the temple, praising God.

As we come to the end of Luke’s Gospel, it is important to recall that Luke is only half finished with his story. The sequel comes in Acts. The resurrection-ascension is the link between the two volumes. That Luke regards the ascension as crucial is clear from Peter's speech in Acts 2. Now that Jesus is raised and seated at God's right hand, the mediating Ruler at the Father's side can pour out the blessing of God's Spirit.

John Singleton Copley (1738 – 1815) was an American painter, a son of Irish immigrants. He is famous for his portrait paintings of important figures in colonial New England, depicting in particular middle-class subjects. Though he had a long and successful career, the Napoleonic Wars brought hard times, and maintaining his household and the education of a talented son were costly. By the time of his death, despite his fame and talent, he left his family to settle his debts.

Fourth Sunday of Lent - Crucifixion

Title: Crucifixion
Artist: Jörg Breu the Elder
Medium: Oil on wood
Size: 87 x 63 cm
Date: 1524
Location: Szépmûvészeti Múzeum, Budapest.

Luke 23:32-43 - Two other men, both criminals, were also led out with him to be executed. When they came to the place called the Skull, they crucified him there, along with the criminals—one on his right, the other on his left. Jesus said, “Father, forgive them, for they do not know what they are doing.” And they divided up his clothes by casting lots. The people stood watching, and the rulers even sneered at him. They said, “He saved others; let him save himself if he is God’s Messiah, the Chosen One.” The soldiers also came up and mocked him. They offered him wine vinegar and said, “If you are the king of the Jews, save yourself.” There was a written notice above him, which read: THIS IS THE KING OF THE JEWS. One of the criminals who hung there hurled insults at him: “Aren’t you the Messiah? Save yourself and us!” But the other criminal rebuked him. “Don’t you fear God,” he said, “since you are under the same sentence? We are punished justly, for we are getting what our deeds deserve. But this man has done nothing wrong.” Then he said, “Jesus, remember me when you come into your kingdom.” Jesus answered him, “Truly I tell you, today you will be with me in paradise.”

Luke’s gospel describes how Jesus and two criminals head to their fate. The Greek term describing the other offenders, kakourgos, is a generic one for "lawbreaker" (Prov 21:15). Mark 15:27 and Matthew 27:38 describe the men with the term lestes, which can mean "bandit" or "revolutionary." This is the word Jesus used to question his arrest in Luke 22:52. The other Synoptics mention these thieves, but they only note that they reviled Jesus. Apparently one of them has a change of heart, however, as he hears Jesus intercede for others and watches him tolerate the taunts. This criminal anticipates the restoration and resurrection, and asks to be included. His depth of perception stands in contrast to the blindness of those who taunt. This thief, despite a life full of sin, comes to Jesus and seeks forgiveness in his last mortal moments. He confesses his guilt and casts himself on Jesus' mercy and saving power. Luke could not have painted a clearer portrait of God's grace.

Jörg Breu the Elder was a German painter and designer of woodcuts whose subjects included portraits, altarpieces and battle scenes. He was one of the leading painters of his time in Augsburg, and was patronized by both the emperor Maximilian and by Duke William IV of Bavaria. His style was complex and detailed, sharing something of Altdorfer's passion and love of landscape, and showing strong influence from Dürer and a journey he made to Italy in about 1514.

19 IMAGES FROM THE 19th CENTURY: PART 17 - Mary Magdalene in the house of Simon the Pharisee

Title: Mary Magdalene in the house of Simon the Pharisee
Artist: Jean Beraud
Medium: Oil on Canvas
Size: 101.2 x 131.5 cm
Date: 1891
Location: Musée d'Orsay, Paris.

19 IMAGES FROM THE 19th CENTURY: PART 17

Luke 7:36-47 When one of the Pharisees invited Jesus to have dinner with him, he went to the Pharisee’s house and reclined at the table. A woman in that town who lived a sinful life learned that Jesus was eating at the Pharisee’s house, so she came there with an alabaster jar of perfume. As she stood behind him at his feet weeping, she began to wet his feet with her tears. Then she wiped them with her hair, kissed them and poured perfume on them. When the Pharisee who had invited him saw this, he said to himself, “If this man were a prophet, he would know who is touching him and what kind of woman she is—that she is a sinner.” Jesus answered him, “Simon, I have something to tell you. Two people owed money to a certain moneylender. One owed him five hundred denarii, and the other fifty. Neither of them had the money to pay him back, so he forgave the debts of both. Now which of them will love him more?” Simon replied, “I suppose the one who had the bigger debt forgiven.” Jesus said, “You have judged correctly.” Then he turned toward the woman and said to Simon, “Do you see this woman? I came into your house. You did not give me any water for my feet, but she wet my feet with her tears and wiped them with her hair. You did not give me a kiss, but this woman, from the time I entered, has not stopped kissing my feet. You did not put oil on my head, but she has poured perfume on my feet. Therefore, I tell you, her many sins have been forgiven—as her great love has shown. But whoever has been forgiven little loves little.”

This interesting and technically accomplished painting pulls the event recorded in Luke into the artist’s contemporary world. Only the figure of Jesus is timeless. All the others, including the startled maid at far right, are in modern dress. The painting was controversial when it first appeared, because people rightly suspected that Beraud was trying to make them uncomfortable by confronting them with their own failings, their own hypocrisy. Many of the well-heeled men in the painting would have had mistresses. Now they were confronted with reality, with raw human suffering, and they did not particularly like it. Interestingly, each person in this work is evidently illustrated with features of a personality from of the world of political or the arts. Christ is illustrated with the features of the socialist journalist Albert Duke-Quercy and Simon the Pharisee those of the writer Ernest Renan.

Jean Beraud (January 1849 – October 1935) was a French painter and commercial artist noted for his paintings of Parisian life during the Belle Époque. He was born in St. Petersburg, son of a French sculptor. Studied law in Paris, then turned to painting after the Franco-Prussian War and studied for two years at the Ecole des Beaux-Arts under Bonnat. While his Impressionist contemporaries were moving out into the country to study the changing effects of the landscape during the late nineteenth century, Beraud remained rooted in Paris, studying the city life and its people. By the 1890s Beraud had interestingly decided to pursue religious themes, although at one point they had become the antithesis of progressive artistic dictum. As noted by Art critic Gabriel P. Weisberg “...by the end of the century there were so many religious compositions – and painters – that the world of art was flooded with religious sentimentality.”

19 IMAGES FROM THE 19th CENTURY: PART 15 - The Raising of the Daughter of Jairus

Title: The Raising of the Daughter of Jairus
Artist: Gabriel Max
Medium: Oil on Canvas
Size: 71.9 x 87.9 cm
Date: 1881
Location: The Walters Art Museum, Baltimore.

19 IMAGES FROM THE 19th CENTURY: PART 15

Luke 8:51-56 When he arrived at the house of Jairus, he did not let anyone go in with him except Peter, John and James, and the child’s father and mother. Meanwhile, all the people were wailing and mourning for her. “Stop wailing,” Jesus said. “She is not dead but asleep.” They laughed at him, knowing that she was dead. But he took her by the hand and said, “My child, get up!” Her spirit returned, and at once she stood up. Then Jesus told them to give her something to eat. Her parents were astonished, but he ordered them not to tell anyone what had happened.

The model for Christ has been identified as Joseph Mair, who played the role of the Lord in the famous Oberammergau Passion Play, and the artist’s first wife, Emma Kitzinger, is thought to have posed for the daughter of Jairus. Although favoring the dark tones of his teacher Karl Theodor von Piloty, Max shows his own tendency to add light, delicate tones where applicable. Here, the daughter of Jairus glows with a renewed life, as though the power of Jesus has flowed from his darkened figure, and poured into her. Her expression appears almost bewildered as she rises up from her resting place.

Gabriel Cornelius Ritter von Max (August 1840 – November 1915) was born in Prague, then part of the Austro-Hungarian Empire. He studied between 1855 and 1858 at the Prague Academy of Arts with Eduard von Engerth. From 1863 to 1867 he studied at the Munich Academy with Karl Theodor von Piloty, and also Hans Makart and Franz Defregger. His first critical success was in 1867 with the painting "Martyr at the Cross": that painting transformed the dark palette of Piloty into a religious-mystical symbolism using a psychological rendering of its subject. He continued to use the dark palette of the Piloty school well into the 1870s, later moving toward a more muted palette, using fewer, clearer colors.

19 IMAGES FROM THE 19th CENTURY: PART 8 - The Disciples at Emmaus

Title: The Disciples at Emmaus
Artist: Eugène Delacroix
Medium: Oil on canvas
Size: 55.2 x 47 cm
Date: 1853
Location: Brooklyn Museum, Brooklyn, New York.

19 IMAGES FROM THE 19th CENTURY: PART 8

Luke 24:28-35 As they approached the village to which they were going, Jesus continued on as if he were going farther. But they urged him strongly, “Stay with us, for it is nearly evening; the day is almost over.” So he went in to stay with them. When he was at the table with them, he took bread, gave thanks, broke it and began to give it to them. Then their eyes were opened and they recognized him, and he disappeared from their sight. They asked each other, “Were not our hearts burning within us while he talked with us on the road and opened the Scriptures to us?” They got up and returned at once to Jerusalem. There they found the Eleven and those with them, assembled together and saying, “It is true! The Lord has risen and has appeared to Simon.” Then the two told what had happened on the way, and how Jesus was recognized by them when he broke the bread.

Delacroix has located this miraculous apparition in a darkened interior, which becomes dramatically illuminated by Christ’s golden halo. Jesus stands with a powerful backward stance, echoing the diagonal line of the staircase, breaking the bread with his large hands. The casual posture of the disciple on the right conveys the relaxation of a meal shared among friends, whereas the disciple on the left registers the wonder of the moment. The surprised disciple’s face is turned toward Jesus, Delacroix preferring the use of a bodily gesture—an up-flung left hand—rather than facial expression to convey amazement. In addition to shrewd compositional strategies and theatrical lighting, the artist’s characteristically loose paint handling of his later compositions adds a further note of dramatic energy to the work.

Ferdinand Victor Eugene Delacroix (April 1798 – August 1863) was a French painter regarded from the outset of his career as a leader of the French Romantic school. In 1815 he entered the studio of the neoclassical painter Pierre Narcisse Guérin, where he met Théodore Géricault, a romantic painter by whom he was much influenced. Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on color and movement rather than clarity of outline and carefully modeled form. Delacroix's use of expressive brushstrokes and his study of the optical effects of color profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement.

19 IMAGES FROM THE 19th CENTURY: PART 5 - Christus Consolator

Title: Christus Consolator
Artist: Ary Scheffer
Medium: Oil on canvas
Size: 184 x 248 cm
Date: 1836-37
Location: Van Gogh Museum, Amsterdam.

19 IMAGES FROM THE 19th CENTURY: PART 5

Luke 4:18: “The Spirit of the Lord is on me, because he has anointed me to proclaim good news to the poor. He has sent me to proclaim freedom for the prisoners and recovery of sight for the blind, to set the oppressed free, I have come to heal those who are brokenhearted and to announce to the prisoners their deliverance; to liberate those who are crushed by their chains.”

At the center of the composition is the figure of Christ, surrounded by the afflicted and oppressed. A kneeling woman mourns her dead child, while in the background we see an exile with his walking stick, a castaway with a piece of the wreckage in his hand, and a suicide with a dagger. Placed near these groups are Torquato Tasso (crowned with laurel), a brilliant 16th-century poet imprisoned as a madman, and figures representing the three ages of women. To the right of Christ are the oppressed of both the past and present, among them a Polish independence fighter, a Greek Souliote warrior, a Roman slave, and a black slave. With his left hand Christ releases from his shackles a dying man, the personification of Poland with the shattered weapons of its failed insurrection against Russia by his side, his exposed, wounded body draped in the Polish flag. The repentant Mary Magdalene kneels beside Christ. It is an encyclopedic interpretation of human history that transports the viewer from modern-day Poland, Greece, and America to both the ancient and medieval eras. The composition reflects the renewed interest in France during the 1830s for a more liberal activism within the Catholic Church. On a personal level, it also reveals the artist’s appreciation for various European art movements, especially, the markedly religious Nazarene circle in Germany.

The Dutch-born and French-trained artist Ary Scheffer (February 1795 - June 1858) was one of the pre-eminent Romantic painters active in Paris during the first half of the 19th century. Although his earliest works concentrated on illustrating Romantic literature or overtly sentimental genre subjects, after 1830 he became increasingly occupied with Old and New Testament themes. Christus Consolator created a sensation when exhibited at the Paris Salon of 1837, where it was purchased by the French monarch’s son, the Duc d’Orléans, as a wedding present for his Lutheran fiancée, the Princess Mecklenburg-Schwerin. Scheffer’s religious subjects were the source of his international reputation during his lifetime, and, one might argue, the epitome of his genius. Christus Consolator was, after Holman Hunt’s contemporaneous Light of the World, the most popular religious image throughout the Western world during the middle decades of the 19th century.

TWENTY SAINTS IN TWENTY DAYS: PART 19 – ST LUKE THE EVANGELIST

Title: The Evangelist Luke
Artist: Unknown
Medium: Illuminated Manuscript
Size: 30.3 x 25.8 cm
Date: c. 860
Location: The Morgan Library & Museum, New York.

TWENTY SAINTS IN TWENTY DAYS: PART 19 – ST LUKE THE EVANGELIST

St Luke the Evangelist was an Early Christian writer who the Church Fathers such as Jerome and Eusebius said was the author of the Gospel of Luke and the Acts of the Apostles. Modern scholarship reinforces the view that the author of these two books is one and the same. One of the most extensive writers of the New Testament, his Gospel is considerably longer than St. Matthew's, his two books are about as long as St. Paul's fourteen Epistles. Luke was a Greco-Syrian physician who lived in the Greek city of Antioch in Ancient Syria. His earliest notice is in Paul's Epistle to Philemon, verse 24. He is also mentioned in Colossians 4:14 and 2 Timothy 4:11, two works commonly ascribed to Paul. Luke died at age 84 in Boeotia, according to a "fairly early and widespread tradition". According to Nikiphoros-Kallistos Xanthopoulos and others, Luke's Tomb was located in Thebes (Greece), from whence his relics were transferred to Constantinople in the year 357.

This, the only Reims Gospel Book written in gold, is an exquisite example of a Carolingian manuscript. As is usual in illustrated Gospel Books, a "portrait" of an Evangelist precedes each of the four Gospels. Such author portraits were derived from antique models; here Luke wears a Roman toga and holds a basket containing scrolls, the standard book form in antiquity.

The most distinctive and influential center of Carolingian illumination was Reims, which flourished during the reigns of Charlemagne and his successors. St. Remi was then under the brilliant leadership of Archbishop Hincmar (845–82), counselor of Emperor Charles the Bald (r. 840–77), grandson of Charlemagne. The volume was rebound in the 18th century and arms of the Abbaye de St-Remy stamped on back. It was kept at the monastery at least until 1790, when the Revolutionary authorities removed 248 manuscripts. It eventually ended up for sale in Paris in 1828.

Saint Anne

Title: Saint Anne
Artist: James Tissot
Medium: Watercolor over graphite on gray wove paper
Size: 20.5 x 14.8 cm
Date: c. 1890
Location: Brooklyn Museum, Brooklyn, New York.

Luke 2:36-38: There was also a prophet named Anna. She was the daughter of Penuel from the tribe of Asher. Anna was very old. After getting married, she lived with her husband seven years. Then she was a widow until she was. She never left the temple. She worshiped night and day, praying and going without eating. Anna came up to Jesus' family at that very moment. She gave thanks to God. And she spoke about the child to all who were looking forward to the time when Jerusalem would be set free.

Though no details of Anna's prophecy are given, this section completes the cycle of male and female witnesses. Again, Anna's piety is underlined by references to her old age, her faithful widowhood and her regular ministry at the temple. She is full of thanksgiving at the arrival of the child who will complete God's promise, and she speaks about the child to all who were looking forward to the redemption of Jerusalem. Her teaching would have been heard by all who frequented the temple. Her hope, like Simeon's, looks to the completion of what God is starting.

James Jacques Joseph Tissot (October 15, 1836 – August 8, 1902) was a French painter. After the death of his longtime companion Kathleen Newton in 1882, Tissot spent some time in Palestine. In Paris in 1896 he débuted the series of 350 drawings of the life of Christ, and the following year found them on show in London. They were then published by the firm of Lemercier in Paris, who paid him 1,100,000 francs. The merits of Tissot's Bible illustrations lay in the care with which he studied the details of scenery rather than any religious sentimentality. He seemed to aim for accuracy, and, in his figures, for vivid realism, which was far removed from the conventional treatment of sacred types.

Presentation in the Temple

Title: Presentation in the Temple
Artist: Lodovico Carracci
Medium: Oil on canvas
Size: 122 x 92 cm
Date: c. 1605
Location: Museo Thyssen-Bornemisza, Madrid.

Luke 2:22-35: The time for making them pure came as it is written in the Law of Moses. So Joseph and Mary took Jesus to Jerusalem. There they presented him to the Lord. In the Law of the Lord it says, "The first boy born in every family must be set apart for the Lord." They also offered a sacrifice. They did it in keeping with the Law, which says, "a pair of doves or two young pigeons." In Jerusalem there was a man named Simeon. He was a good and godly man. He was waiting for God's promise to Israel to happen. The Holy Spirit was with him. The Spirit had told Simeon that he would not die before he had seen the Lord's Christ. The Spirit led him into the temple courtyard. Then Jesus' parents brought the child in. They came to do for him what the Law required. Simeon took Jesus in his arms and praised God. He said, "Lord, you are the King over all. Now let me, your servant, go in peace. That is what you promised. My eyes have seen your salvation. You have prepared it in the sight of all people. It is a light to be given to those who aren't Jews. It will bring glory to your people Israel." The child's father and mother were amazed at what was said about him. Then Simeon blessed them. He said to Mary, Jesus' mother, "This child is going to cause many people in Israel to fall and to rise. God has sent him. But many will speak against him. The thoughts of many hearts will be known. A sword will wound your own soul too."

Jesus' parents are law-abiding Jews. They show up at the temple to perform sacrifices associated with the wife's purification after birth. Such a ceremony occurs forty days after the child's arrival. The Spirit of God directs this scene, because he had revealed to Simeon that death would not come until he had seen the Lord's Christ. Promise, fulfillment and God's direction stand behind the prophecy of this old saint.

In contrast to Caravaggio, who attracted many critics during his lifetime, the Carracci's classicism was extremely successful amongst aristocratic circles and produced a school with numerous followers. Annibale Carracci headed the workshop, which also included his gifted cousin Lodovico. The scene in the Presentation in the Temple is subordinated to a geometric compositional order, marked out by the strict classical architecture of the background which structures the pictorial space into horizontal and vertical bands. The protagonists - the Virgin, the Infant Christ, the elderly Simeon stretching out his arms to the Child, the prophetess Anna with her prophecy inscribed on the marble tablet, and Joseph on the left - are arranged in an orderly way in the foreground with stately gestures and poses.

Lodovico (or Lodovico) Carracci (April 1555 – November 1619) was an Italian, early-Baroque painter, etcher, and printmaker born in Bologna. Along with his cousins Annibale and Agostino Carracci, Ludovico in 1585 was a founder and director (caposindaco) of the so-called Eclectic Academy of painting (also called the Accademia degli Incamminati), which in reality was a studio with apprenticed assistants. The Carracci are credited with reinvigorating Italian art, specially fresco art, which was subsumed with formalistic Mannerism. Lodovico's own sensitivity derived from his deep knowledge of Venetian painting. His style was composed of delicate gestures, bashful looks, and a good deal of narrative drama. Especially in his medium to small pictures this readily became lyrical poetry.