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.

TWENTY SAINTS IN TWENTY DAYS: PART 8 – ST JAMES THE GREATER

Title: Apostle James the Greater
Artist: Antonio Veneziano
Medium: Tempera on poplar panel
Size: 51 x 33 cm
Date: c. 1384
Location: Staatliche Museen, Berlin.

TWENTY SAINTS IN TWENTY DAYS: PART 8 – ST JAMES THE GREATER

The Apostle St James the Greater was the son of Zebedee and Salome, and the brother of John the Evangelist. Originally they were fishermen, and fished with their father in the Lake of Genesareth. In the Gospels the two brothers are often called after their father "the sons of Zebedee", and received from Christ the honorable title of Boanerges, "sons of thunder" (Mark 3:17). James the son of Zebedee is styled "the Greater" to distinguish him from the Apostle James "the Less", the son of Alphaeus. The fact that the name of James almost occurs always before that of his brother seems to imply that James was the elder of the two. According to Acts 12:1-2, on the occasion of the Passover of A.D. 44, Herod Agrippa perpetrated cruelties upon the Church, whose rapid growth incensed the Jews: "He killed James, the brother of John, with the sword."

When Venetian artists began to break away from the grip of Byzantium, Antonio Veneziano was among the first to lead the way. He was popular in Siena, Florence, and Pisa, all gave him important commissions. This panel, part of a polyptych and representing St James the Great, shows the artist at his best. The tension of the strongly defined sculptural volume of the figure plays against the flat, linear surface is characteristic of Veneziano’s panels. The saint’s face, too, has flair associated with the artist. The long straight nose with the hint of a bulb at the tip; the sharply defined eye sockets and the hard outline of the eyes; the strongly modeled face; the heavy chin; the lips pressed together dimpled at the corners. All signs of an artist transcending restrictive traditions.

Antonio Veneziano (Antonio the Venetian, c. 1310 – 1384) was an Italian painter who was reported to have been a student of Taddeo Gaddi. He was born apparently in Venice, although it is also supposed that he was born in Florence and acquired the name Veneziano due to a long residence there where he executed several works in the Ducal palace. He was active in Siena, Florence and Pisa, documented between 1369 and 1419, having produced a series of paintings, including frescoes in two chapels, for Siena Cathedral (all untraced). His style was less dry and formal than the generality of many of his contemporaries, and he is said to have carried fresco-painting to a higher degree of perfection than it had attained previous to the period at which he lived.

The Transfiguration

Title: The Transfiguration

Artist: Cornelis Monsma

Medium: Oil on canvas panel

Size: 76 x 96 cm

Date: 2006

Location: Private collection

The seventh miracle account that displays Jesus' power over nature is recorded in Luke 9:28-36. This miracle is known as the Transfiguration.

About eight days later Jesus took Peter, John, and James up on a mountain to pray. And as he was praying, the appearance of his face was transformed, and his clothes became dazzling white. Suddenly, two men, Moses and Elijah, appeared and began talking with Jesus. They were glorious to see. And they were speaking about his exodus from this world, which was about to be fulfilled in Jerusalem. Peter and the others had fallen asleep. When they woke up, they saw Jesus’ glory and the two men standing with him. As Moses and Elijah were starting to leave, Peter, not even knowing what he was saying, blurted out, “Master, it’s wonderful for us to be here! Let’s make three tabernacles — one for you, one for Moses, and one for Elijah.” But even as he was saying this, a cloud overshadowed them, and terror gripped them as the cloud covered them. Then a voice from the cloud said, “This is my Son, my Chosen One. Listen to him.” When the voice finished, Jesus was there alone. They didn’t tell anyone at that time what they had seen.

Cornelis Monsma, a modern day, self-professed expressionist visual artist, seeks to create modern Christian art work that “aims to visualize the deeper truth of Christianity.” Biblical inspiration has produced colorful contemporary artwork, with an expressionist, abstract flavor. Monsma, Friesian-Dutch born, resides in New Zealand and is inspired by the paintings and colors of Marc Chagall. More artwork can be viewed on the website http://www.monsmart.com/

Title: Transfiguration

Artist: Girolamo Savoldo

Medium: Oil on Wood

Size: 139 x 126 cm

Date: c. 1520

Location: Galleria degli Uffizi, Florence.

The disciples are trying to come to grips with what is happening. In their view Jesus is another great figure, like Moses and Elijah. He will found a people like Moses and sustain them through hope like Elijah. So Peter suggests they together celebrate Tabernacles, a feast that looked forward to the eschaton. Peter wants to enjoy the moment and prolong it in celebration. He wants to stay on the mountaintop for as long as possible. But Luke makes it clear that Peter has spoken because he did not know what he was saying. The voice from heaven explains: they need to listen to Jesus so they will understand his uniqueness, call and destiny to suffer. Also, as their role is not merely to contemplate Jesus but to serve him. Celebration awaits in the future, but now is a time for instruction, response and action. There is the divine voice, which stops all discussion between the disciples and Jesus, and there is the central instruction to listen to Jesus. The point in both cases is that instruction is needed, because the path Jesus walks is unexpected.

Girolamo Savoldo, also called Girolamo da Brescia (c. 1480 – after 1548) was an Italian High Renaissance painter. Active mainly in Venice, his output was small and his career is said to have been unsuccessful, but he is now remembered as a highly attractive minor master whose work stands somewhat apart from the main Venetian tradition. He carefully studied the effects of light and reflections in a way that was most unusual for the time, and had links to the current of realism and acute psychological portrayal.