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.

A Month of Miracles Part 2 - Healing of the Mother-in-Law of Saint Peter

Title: The Healing of the Mother-in-Law of Saint Peter
Artist: Rembrandt Harmenszoon van Rijn
Medium: Pen and brown ink, brown wash, heightened with white.
Size: 17.1 x 18.9 cm
Date: late 1650s
Location: Fondation Custodia, Collection Frits Lugt, Paris.

 

Mark 1:29–31 – As soon as they left the synagogue, they went with James and John to the home of Simon and Andrew. Simon’s mother-in-law was in bed with a fever, and they immediately told Jesus about her. So he went to her, took her hand and helped her up. The fever left her and she began to wait on them.

 

When making sketches to serve as models for his students, Rembrandt often focused on a story's protagonists — in this case, Christ and the convalescent woman — deliberately excluding any additional figures. Here he also refrains from making any reference to the setting, save for a few lively strokes to suggest the bed or blanket on which the woman reclines. Rembrandt's strategic placement of hatched lines and subtle smudging of ink create bold contrasts in light and shadow, which underscore the drama of the event.

 

Rembrandt Harmenszoon van Rijn (July 1606 – October 1669) was a Dutch painter and etcher, generally considered one of the greatest painters and printmakers in European art history. Throughout his artistic life Rembrandt van Rijn produced between 300 to 600 paintings, approximately 300 etchings, and about 1400 drawings. The jury is still out on the exact numbers because in many cases it is not clear which works were done by Rembrandt himself and which were painted by his apprentices.

TWENTY SAINTS IN TWENTY DAYS: PART 16 – ST PETER

Title: The Liberation of St Peter
Artist: Gerrit van Honthorst
Medium: Oil on canvas
Size: 129 x 179 cm
Date: 1616-18
Location: Staatliche Museen, Berlin.

TWENTY SAINTS IN TWENTY DAYS: PART 16 – ST PETER

Simon Peter (possibly died AD 67), was an early Christian leader, who is featured prominently in the New Testament Gospels and the Acts of the Apostles. Peter was the son of John or of Jonah and was from the village of Bethsaida in the province of Galilee. His brother Andrew was also an apostle. Simon Peter is venerated in multiple churches and is regarded as the first Pope by the Roman Catholic Church. Acts of the Apostles 12:3–19 tells how Peter was put into prison by King Herod, but the night before his trial an angel appeared to him, and told him to leave. Peter's chains fell off, and he followed the angel out of prison. Scholars have noted the direct divine intervention in this narrative, and it is contrasted to the story of James, who was executed by Herod. That James should die while Peter should escape is a mystery of divine providence. It has been suggested that this incident is portrayed as being a type of resurrection for Peter. One of the major themes of the Book of Acts is that "Christ’s servants follow in His footsteps," and events of the chapter "recapitulate the resurrection of Jesus."

A sense of Baroque drama is found in Van Honthorst's Liberation of St Peter. The artist was beloved for his nocturnes, so much so that the Italians called him "Gherardo della Notte". In this painting, the Utrecht artist made the entrance of Peter's liberating angel into the light source, so illuminating the dark prison by a celestial blaze that pours in through the suddenly opened door. The angel’s outstretched hand and flowing garments capture a sense of urgency and movement, but Peter is still surprised, unable to fully comprehend what he sees, thinking “he was seeing a vision”.

Gerrit van Honthorst, also known as Gerard van Honthorst (November 1592 - April 1656), was a Dutch painter and a leading member of the Utrecht school influenced by the Italian painter Caravaggio. He was born in Utrecht as the son of a textile painter. His younger brother Willem also became a painter. Van Honthorst was apprenticed to Abraham Bloemaert, the most celebrated master in Utrecht, and went to Italy around 1610-1615, when Caravaggio's influence there was at its height. During his career, Van Honthorst's overwhelming success brought him tremendous wealth and he lived in the lap of luxury. Rembrandt's use of Caravaggesque devices in his early works derives in large part from his knowledge of Honthorst's paintings.

Christ's Charge to Peter

Title: Christ's Charge to Peter
Artist: Raphael
Medium: Bodycolor on paper on canvas
Size: 340 × 530 cm
Date: 1516
Location: Victoria and Albert Museum, London.

John 21:15-25 When they had finished eating, Jesus said to Simon Peter, “Simon son of John, do you love me more than these?” He said, “Yes, Lord, you know that I love you.” Jesus said, “Feed my lambs.” Again Jesus said, “Simon son of John, do you love me?” He answered, “Yes, Lord, you know that I love you.” Jesus said, “Take care of my sheep. “The third time he said to him, “Simon son of John, do you love me?” Peter was hurt because Jesus asked him the third time, “Do you love me?” He said, “Lord, you know all things; you know that I love you.” Jesus said, “Feed my sheep. Very truly I tell you, when you were younger you dressed yourself and went where you wanted; but when you are old you will stretch out your hands, and someone else will dress you and lead you where you do not want to go.” Jesus said this to indicate the kind of death by which Peter would glorify God. Then he said to him, “Follow me!” Peter turned and saw that the disciple whom Jesus loved was following them. (This was the one who had leaned back against Jesus at the supper and had said, “Lord, who is going to betray you?”) When Peter saw him, he asked, “Lord, what about him?” Jesus answered, “If I want him to remain alive until I return, what is that to you? You must follow me.” Because of this, the rumor spread among the believers that this disciple would not die. But Jesus did not say that he would not die; he only said, “If I want him to remain alive until I return, what is that to you?” This is the disciple who testifies to these things and who wrote them down. We know that his testimony is true. Jesus did many other things as well. If every one of them were written down, I suppose that even the whole world would not have room for the books that would be written.

Pope Leo X commissioned a set of tapestry designs, or cartoons, from Raphael in 1515. The ten cartoons depicted episodes from the lives of Saints Peter and Paul. Raphael here combines the two New Testament passages on which the catholic church bases its authority, that of Matthew 16:18-19 and this passage in John where Jesus orders Peter three times to feed the sheep - making it obvious that he actually charges Peter to take care of the believers. The tapestry was made in the workshop of the weaver Pieter van Aelst and is now in the Vatican Museums. Although Raphael's cartoons have been prized since the eighteenth century as independent works of art, in their own time they were seen as a stepping stone in the creation of the final object - the tapestry.

Raffaello Sanzio da Urbino (1483 – April 1520), better known simply as Raphael, was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was highly admired by his contemporaries, although his influence on artistic style in his own century was less than that of Michelangelo. Mannerism, beginning at the time of his death, and later the Baroque, took art in a direction totally opposed to Raphael's qualities; "with Raphael's death, classic art - the High Renaissance - subsided", as Walter Friedländer put it. However, he was soon seen as the ideal model by those disliking the excesses of Mannerism.

Two Disciples at the Tomb

Title: Two Disciples at the Tomb
Artist: Henry Ossawa Tanner
Medium: Oil on canvas
Size: 129.5 x 105.7 cm
Date: c. 1906
Location: The Art Institute of Chicago.

John 20:2-10 So she came running to Simon Peter and the other disciple, the one Jesus loved, and said, “They have taken the Lord out of the tomb, and we don’t know where they have put him!” So Peter and the other disciple started for the tomb. Both were running, but the other disciple outran Peter and reached the tomb first. He bent over and looked in at the strips of linen lying there but did not go in. Then Simon Peter came along behind him and went straight into the tomb. He saw the strips of linen lying there, as well as the cloth that had been wrapped around Jesus’ head. The cloth was still lying in its place, separate from the linen. Finally the other disciple, who had reached the tomb first, also went inside. He saw and believed. (They still did not understand from Scripture that Jesus had to rise from the dead.) Then the disciples went back to where they were staying.

In this painting, John’s youthful face reflects the emptiness of the arched tomb. Next to him, bowing his head in awe, stands the bearded disciple Peter, who will later become the leader of the Christian church. The sense of spirituality is emphasized by the light radiating from the tomb. Although Tanner depicted a wide range of subjects he considered himself primarily a painter of religious subjects. “Two Disciples at the Tomb” became one of Tanner’s most well-known religious paintings in America, giving him at long last the kind of recognition that he had received abroad. Called "the most impressive and distinguished work of the season" in 1906, the painting competed against 350 other works to win the Harris Silver Medal at The Art Institute of Chicago. The museum purchased the painting later that year.

Henry Ossawa Tanner (June 1859 – May 1937) was an African American artist who earned international acclaim for his religious paintings. His father was a prominent minister and his mother a former slave who escaped the South through the Underground Railroad. At age eleven, Tanner decided to become an artist, and nine years later the Pennsylvania Academy of the Fine Arts accepted him, the only African American out of two hundred students. Throughout his life Tanner kept close ties with his native country and was proud of his contributions as a black American, but chose to live in France, where he felt that his race mattered less to other artists and critics. His painting “Sand Dunes at Sunset, Atlantic City” hangs in the Green Room at the White House, the first painting by an African-American artist to enter the permanent collection of the White House.

Peter’s Denial

Title: Peter’s Denial
Artist: Michael D. O’Brien
Medium: Acrylic on hardboard
Size: 60 x 60 cm
Date: c. 2005
Location: Private collection

John 18:25-27 Meanwhile, Simon Peter was still standing there warming himself. So they asked him, “You aren’t one of his disciples too, are you?” He denied it, saying, “I am not.” One of the high priest’s servants, a relative of the man whose ear Peter had cut off, challenged him, “Didn’t I see you with him in the garden?” Again Peter denied it, and at that moment a rooster began to crow.

As noted by the artist, Simon Bar Jonah loves Jesus, but does not understand himself. He is often brave and considers himself to be very strong. The Lord has renamed him "Peter", "Kepha", meaning "rock." When the time of ultimate testing comes, however, he is astonished and horrified to find himself ruled by fear, denying that he knows Jesus. John, by making Peter's denials simultaneous with Jesus' defense before Annas, has constructed a dramatic contrast wherein Jesus stands up to his questioners and denies nothing, while Peter cowers before his questioners and denies everything. The foil Peter provides helps highlight Jesus' regal strength and authority, the hallmark of John's portrait of Jesus in his passion. Yet Peter does repent, and in this repentance are the seeds of the man who will become the rock on which the Church is built.

Michael D. O'Brien (b. 1948) is a Roman Catholic author, artist, and frequent essayist and lecturer on faith and culture, living in Combermere, Ontario, Canada. Born in Ottawa, he is self-taught, without an academic background. His paintings, in a neo-Byzantine style with a contemporary interpretation, are also featured on the covers of all of his books. His work can be seen on his website http://www.studiobrien.com/.

Peter's Denial

Title: Peter's Denial
Artist: Carl Bloch
Medium: Oil on Copper Plate
Size: 104 x 84 cm
Date: 1865
Location: National History Museum, Frederiksborg Castle, Denmark.

John 18:15-18 Simon Peter and another disciple were following Jesus. Because this disciple was known to the high priest, he went with Jesus into the high priest’s courtyard, but Peter had to wait outside at the door. The other disciple, who was known to the high priest, came back, spoke to the servant girl on duty there and brought Peter in. “You aren’t one of this man’s disciples too, are you?” she asked Peter. He replied, “I am not.” It was cold, and the servants and officials stood around a fire they had made to keep warm. Peter also was standing with them, warming himself.

John mentions "another disciple" who is known to the high priest and his household. It is not said whether Peter was unable to enter the room with the other disciple, or whether he chose to remain outside. The latter seems unlikely, given Peter's character, but the arrest has shaken him. He is now sifted, beginning with a question from the woman who attended the door. She asks, literally, "You also are not one of the disciples of this man, are you?" But, of course, there would be little other reason for a stranger to be there in the courtyard in the middle of a cold night. Furthermore, the fact that she says "you also" most likely indicates that she knows the other is a follower of Jesus. In this account, therefore, it seems to be Peter's association with the unnamed disciple that draws attention to his relation to Jesus. This other disciple shows no concern about her feelings regarding his discipleship, for he not only was admitted by her, but also came back to get Peter in. While Peter's attack with the sword may have made him fearful of being recognized, he is not in a position of legal difficulty, since there is no warrant for his arrest. Nor is there indication that he was physically threatened by this woman or the others. He has no such excuses for his denial. He who a few hours earlier had said he would die for Jesus now denies any association with him purely out of fear of what people would think.

Carl Heinrich Bloch (May 1834 – February 1890) was a Danish painter. He was born in Copenhagen and studied with Wilhelm Marstrand at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi). His early work featured rural scenes from everyday life. From 1859 to 1866, Bloch lived in Italy. After many of Bloch’s paintings that were coming out of Italy were seen by influential patrons back home, he was commissioned to paint 23 new paintings for the King's Praying Chamber in the newly restored Frederiksborg Castle Chapel, in Hillerød, Denmark. Those paintings have become very popular illustrations, so much so that for over 40 years the Church of Jesus Christ of Latter-day Saints has made heavy use of the imagery in Bloch's paintings in its church buildings and printed media.

The Miraculous Draught of Fishes

Title: The Miraculous Draught of Fishes

Artist: Peter Paul Rubens

Medium: Black chalk, pen and oil on paper, stuck on canvas

Size: 55 x 85 cm

Date: 1618-19

Location: National gallery, London.

The Miracles of Jesus are the supernatural deeds believed by many Christians to have been performed by Jesus Christ in the course of his ministry. These miracles are sometimes categorized into four groups: cures, exorcisms, resurrection of the dead and control over nature. The Gospels include eight pre-resurrection accounts concerning Jesus' power over nature. The first such account, as recorded in Luke 5:1-11, is The Miracle Draught of Fishes.

Jesus was standing on the shore of Lake Gennesaret, teaching the people as they crowded around him to hear God's message. Near the shore he saw two boats left there by some fishermen who had gone to wash their nets. Jesus got into the boat that belonged to Simon and asked him to row it out a little way from the shore. Then Jesus sat down in the boat to teach the crowd. When Jesus had finished speaking, he told Simon, "Row the boat out into the deep water and let your nets down to catch some fish." "Master," Simon answered, "we have worked hard all night long and have not caught a thing. But if you tell me to, I will let the nets down." They did it and caught so many fish that their nets began ripping apart. Then they signaled for their partners in the other boat to come and help them. The men came, and together they filled the two boats so full that they both began to sink. When Simon Peter saw this happen, he knelt down in front of Jesus and said, "Lord, don't come near me! I am a sinner." Peter and everyone with him were completely surprised at all the fish they had caught. His partners James and John, the sons of Zebedee, were surprised too. Jesus told Simon, "Don't be afraid! From now on you will bring in people instead of fish." The men pulled their boats up on the shore. Then they left everything and went with Jesus.

Sir Peter Paul Rubens (June 1577 – May 1640) was a prolific seventeenth-century Flemish painter, and a proponent of an extravagant Baroque style that emphasized movement, color, and sensuality. Not only was he an enormously successful painter whose workshop produced a staggering number of works; but he also played an important diplomatic role in 17th-century European politics. Rubens's major business was altarpieces, particularly suitable for an artist who enjoyed working on a grand scale. The central part of the design for his The Miraculous Draught of Fishes shares imagery with the central panel of a triptych in Notre Dame au delà de la Dyle, Malines, painted by Rubens in 1617-19.

Title: Miraculous Catch

Artist: Anton Losenko

Medium: Oil on Linen

Size: 159.5 X 194 cm

Date: 1762

Location: Russian State Museum, Saint Petersburg.

Anton Pavlovich Losenko (August 1737 - December 1773) was born to the family of a Ukrainian cossack. Soon he became an orphan and at the age of seven was sent to a Court Choir in Saint Petersburg. In 1753, as he had lost his voice but had shown talent for painting, he was sent for apprenticeship to the artist Ivan Argunov. In 1758, after five and a half years of apprenticeship, he was admitted to the Imperial Academy of Arts.

Losenko depicts the Miraculous Catch as it is hauled ashore where people have gathered in order to witness the miracle. Peter has fallen down to one elbow before Christ to proclaim “I am a sinner”, as James, John and the others drag in the nets. This event signifies not only what disciples are called to do, but who the disciples are as they do it. Simon Peter and Jesus represent different sides of the theology that undergirds the community Jesus is forging. Simon, for his part, knows that he is a sinner who is not worthy to experience the benefits of God's power and presence - there is no presumption that God owes him anything. Jesus, exemplifying God's grace, makes it clear that such a humble approach to God is exactly what God will use. Losenko’s skillful blending of stoic classicism and realism, was powerful enough to make an impression on Catherine II of Russia, who acquired this picture for the emperor hermitage.

Jesus Washing Peter's Feet

Title: Jesus Washing Peter's Feet

Artist: Ford Madox Brown

Medium: Oil on canvas

Size: 116.8 x 133.3 cm

Date: 1852-6

Location: Tate Britain, London.

Just before the Passover Feast, Jesus knew that the time had come for him to leave this world and go to the Father. He knew that the Father had put all things under his power, and that he had come from God and was returning to God. So, as recorded in John 13:4-10, he got up from the meal, took off his outer clothing, and wrapped a towel around his waist. After that, he poured water into a basin and began to wash his disciples' feet, drying them with the towel that was wrapped around him. He came to Simon Peter, who said to him, "Lord, are you going to wash my feet?" Jesus replied, "You do not realize now what I am doing, but later you will understand." Peter said, "No, you shall never wash my feet." Jesus answered, "Unless I wash you, you have no part with me." Simon Peter replied, "Then, Lord, not just my feet but my hands and my head as well!" Jesus answered, "A person who has had a bath needs only to wash his feet; his whole body is clean.”

The Lord knew his time on earth was ending. This was the last time he would be with all his disciples. What does John say was on his mind? His love for his disciples. And out of love he taught them one last lesson - humility. Humility and service to others is the evidence of love.

This painting of Jesus washing Peter’s feet has an unusually low viewpoint and compressed space. When first displayed, however, critics objected to the picture’s coarseness – it originally depicted Jesus only semi-clad. Though this was how Jesus was described in the Gospel, it caused an outcry when it was first exhibited and it remained unsold for several years until Brown reworked the figure in robes.

Ford Madox Brown (16 April 1821 – 6 October 1893) was an English painter of moral and historical subjects, notable for his distinctively graphic and often Hogarthian version of the Pre-Raphaelite style. Brown was an individualist and a man of prickly temperament, and his paintings, though displaying dedicated craftsmanship and brilliant coloring, have been criticized as having too heavy an emphasis on social idealism.