Title: Appearence While the Apostles are at Table Artist: Duccio di Buoninsegna Medium: Tempera on wood Size: 39.5 x 51.5 cm Date: 1311 Location: Museo dell'Opera del Duomo, Siena.
On the eleventh day of Christmas my true love gave to me, eleven pipers piping...
The eleven pipers are representative of the eleven faithful disciples. Duccio di Buoninsegna's The Appearance While the Apostles are at Table alludes to the story in Luke 24, where Jesus appears before the disciples and, to dispel all their doubts, eats with them. The detail of the fish painted on the plates repeats the gospel text to the letter: 'While they were still talking about this, Jesus himself stood among them and said to them, “Peace be with you.” They were startled and frightened, thinking they saw a ghost. He said to them, “Why are you troubled, and why do doubts rise in your minds? Look at my hands and my feet. It is I myself! Touch me and see; a ghost does not have flesh and bones, as you see I have.” When he had said this, he showed them his hands and feet. And while they still did not believe it because of joy and amazement, he asked them, “Do you have anything here to eat?” They gave him a piece of broiled fish, and he took it and ate it in their presence.'
Title: Christ Taken Prisoner Artist: Giuseppe Cesari Medium: Oil on walnut panel Size: 89 x 62 cm Date: c. 1597 Location: Staatliche Museen, Kassel.
Mark 14:43-52 - Just as he was speaking, Judas, one of the Twelve, appeared. With him was a crowd armed with swords and clubs, sent from the chief priests, the teachers of the law, and the elders. Now the betrayer had arranged a signal with them: “The one I kiss is the man; arrest him and lead him away under guard.” Going at once to Jesus, Judas said, “Rabbi!” and kissed him. The men seized Jesus and arrested him. Then one of those standing near drew his sword and struck the servant of the high priest, cutting off his ear. “Am I leading a rebellion,” said Jesus, “that you have come out with swords and clubs to capture me? Every day I was with you, teaching in the temple courts, and you did not arrest me. But the Scriptures must be fulfilled.” Then everyone deserted him and fled. A young man, wearing nothing but a linen garment, was following Jesus. When they seized him, he fled naked, leaving his garment behind.
As the armed mob takes Jesus captive, in a futile gesture, one of the disciples draws a sword and severs the ear of the high priest's servant. In Matthew's account this becomes an opportunity for Jesus to teach. He warns the disciple not to return violence for violence, for those who live by the sword die by the sword. In the Sermon on the Mount, Jesus had urged his disciples not to turn to violence; a child of God must love even the enemy. If it were a simple matter of displays of power, God could overwhelm Jesus' attackers with legions of angels. But God's reign revealed in the scriptures would not be imposed by violence. Jesus' fidelity would take him into the valley of death but, ultimately, the scriptures would be fulfilled and love would defeat violence and death.
Giuseppe Cesari (1568 – July 1640) was an Italian Mannerist painter, also named Il Giuseppino. Christ Taken Prisoner is one of Cesari's most important works, its popularity attested by the existence of a somewhat smaller version in the Galleria Borghese and of numerous copies. Cesari bathes the scene in a pale moonlight that gives the colors an almost metallic coolness. His rendering of the form of the moon, and of the stars shining with varying degrees of brightness, testifies to a growing interest in the realistic representation of the night sky. The picture must have been painted in Rome in 1596/97, when Cesari was working on one of his most important commissions, the fresco cycle for the Palazzo dei Conservatori.
Title: Christ Appearing to His Disciples After the Resurrection Artist: William Blake Medium: Color print (monotype), hand-colored with watercolor and tempera Size: 43.2 x 57.5 cm Date: c. 1795 Location: National Gallery of Art, Washington.
John 20:19-23 On the evening of that first day of the week, when the disciples were together, with the doors locked for fear of the Jewish leaders, Jesus came and stood among them and said, “Peace be with you!” After he said this, he showed them his hands and side. The disciples were overjoyed when they saw the Lord. Again Jesus said, “Peace be with you! As the Father has sent me, I am sending you.” And with that he breathed on them and said, “Receive the Holy Spirit. If you forgive anyone’s sins, their sins are forgiven; if you do not forgive them, they are not forgiven”.
In visual terms, this work tells us about the things that influenced Blake as an artist. The sinuous curves that roll over the backs of the disciples recall similar effects in Gothic art (which Blake had studied during his apprenticeship). However, Blake’s typically muscular figures demonstrate other inspirations at play, owing much to the Renaissance master Michelangelo. Here, the body of Christ is firmed up and thickened, backing up Blake’s belief in the resurrection. Although the stigmata and signs of physical suffering are showing, the muscled shoulders, defined thighs and solid arms add visual weight and vital credence to this cornerstone of Blake’s faith. This image does exude a sense of intimacy, with the huddle of heads, grinding and groveling (some are even flush to the floor), an odd (and totally engaging) backdrop. The syrupy glow that emanates from Jesus sets a definitive mood too. The warm flesh tones on the exposed bits of body flush fierce focus-on-the-physical into the picture. And Christ’s (just) larger than normal eyes could make someone look at this with new eyes.
William Blake (November 1757 – August 1827) was an English poet, painter, and printmaker. Blake is considered a seminal figure in the history of both the poetry and visual arts of the Romantic Age. In 1788 Blake developed a process of etching in relief that enabled him to combine illustrations and text on the same page and to print them himself, thus ensuring complete independence of thought and expression. Four illuminated books appeared between 1789 and 1794. Many of his large independent color prints, or monotypes, were done in 1795. His work was largely neglected for a generation after his death and was almost forgotten when Alexander Gilchrist began work on his biography in the 1860s. It was in the twentieth century, however, that Blake's work was fully appreciated and his influence increased.
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.
The third miracle account that displays Jesus' power over nature is recorded in Matthew 8:23-27. It is known as Christ Calming the Storm.
Then he got into the boat and his disciples followed him. Suddenly a furious storm came up on the lake, so that the waves swept over the boat. But Jesus was sleeping. The disciples went and woke him, saying, “Lord, save us! We’re going to drown!” He replied, “You of little faith, why are you so afraid?” Then he got up and rebuked the winds and the waves, and it was completely calm. The men were amazed and asked, “What kind of man is this? Even the winds and the waves obey him!”
Delacroix painted fourteen variations of this New Testament lesson in faith. In the earlier works, the seascape is more prominent; in the later ones, as here, Christ's bark occupies a more significant place. After Vincent van Gogh saw this version in Paris in 1886, he wrote, "The 'Christ in the Boat'—I am speaking here of the sketch in blue and green with touches of violet, red and a little citron-yellow for the nimbus, the halo—speaks a symbolic language through color alone."
Ferdinand Victor Eugene Delacroix (April 1798 – August 1863) was a French Romantic artist 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.
Title: Christ in the Storm on the Sea of Galilee
Artist: Ludolf Backhuysen
Medium: Oil on Canvas
Size: 58.4 x 72.4 cm
Date: 1695
Location: IndianapolisMuseum of Art, Indiana.
If the disciples thought the boat might sink with Jesus aboard, it was because they did not understand Jesus' identity. His power over the sea, however, forces them to grapple afresh with that question. Faith in Jesus' authority flows from conviction concerning his true identity. In biblical tradition it was God whom the seas obeyed, as in Psalm 89:9 “You rule over the surging sea; when its waves mount up, you still them”. The astonishment of Jesus' disciples is therefore understandable. Their cry for Jesus to save them reflects one sense of the Greek term save ("deliver safely") but probably also alludes on a literary level to Jesus' broader mission.
Ludolf Backhuysen (or Bakhuizen ) (December, 1630 – November, 1708) was a German-born painter who was the leading painter of seascapes in Amsterdam during the last quarter of the 17th century. His compositions, which are numerous, are nearly all variations of one subject, the sea, and in a style peculiarly his own, marked by intense realism or faithful imitation of nature. His earliest biographer declared that he was "taught by nature" and reported that he often put to sea when a storm threatened in order observe the changing conditions of sky and water.
Title: Jesus Appears to the Disciples After the Resurrection Artist: Imre Morocz Medium: Oil on canvas on plywood Size: 30 x 40cm Date: 2009 Location: Private Collection
Mark 16:14-18 Later Jesus appeared to the Eleven as they were eating; he rebuked them for their lack of faith and their stubborn refusal to believe those who had seen him after he had risen. He said to them, "Go into all the world and preach the good news to all creation. Whoever believes and is baptized will be saved, but whoever does not believe will be condemned. And these signs will accompany those who believe: In my name they will drive out demons; they will speak in new tongues; they will pick up snakes with their hands; and when they drink deadly poison, it will not hurt them at all; they will place their hands on sick people, and they will get well."
This passage, not part of the original Mark that consists of the material to end of Mark 16:8, is nonetheless used as a clear exhortation for evangelism, a direct command to “Go into all the world and preach the good news”.
The moment when Jesus finally appeared to the eleven is ethereally captured in this painting. A wash of warm light spills over the resurrected Christ. His assembled disciples gaze at his wound, kneel before him, and recognize at last what they had failed to see before.
Imre Morocz (b. 1967) is a contemporary portrait artist and landscape painter from Hungary. His paintings are an expression of his deep love of the Advaita school of Hindu philosophy, whereby everything is considered a part of a great Oneness. To view his own site and for links to other sites featuring more of his work, use the following link: http://www.paintingsilove.com/artist/imremorocz
After Christ’s temptations in the wilderness, he went to the shores of Galilee and made his first choices of those who would become disciples. Depicted are the events from Matthew 4:18-22, Jesus having gathered Simon, his brother Andrew, and the brothers James and John, proclaiming that he will teach them how to bring in people instead of fish.
The painting is a very intimate affair, the group gathered along the lake shore, Jesus in intimate conversation with one of his new followers. The framing and colors suggest unity of a group preparing to go all over Galilee and spread the good news.
Georges Henri Rouault (27 May 1871 – 13 Feb 1958) was a French Expressionist painter and printmaker. The Christian faith informed his work in his search for inspiration and marks him out as perhaps the most passionate Christian artist of the 20th century. In 1885 Rouault started a short apprenticeship as a glass painter and restorer. This early experience has been suggested as a source of the heavy black contouring and glowing colors of Rouault's mature painting style.
