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.

TWENTY SAINTS IN TWENTY DAYS: PART 7 – ST JOHN THE EVANGELIST

Title: St John the Evangelist
Artist: El Greco
Medium: Oil on Canvas
Size: 90 x 77 cm
Date: 1595-1604
Location: Museo del Prado, Madrid.

TWENTY SAINTS IN TWENTY DAYS: PART 7 – ST JOHN THE EVANGELIST

The Apostle St John the Evangelist was the son of Zebedee and Salome, and the brother of James the Greater. 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). John is the presumed author of the fourth gospel and, by tradition, the Beloved Disciple of that book, as well as the author of the Apocalypse, although scholarship does question at least some of these connections. One of the first to be called to follow Christ, he also witnesses with Peter and James the raising of Jairus's daughter (Mark 5:37), the Transfiguration (Matthew 17:1), and the Agony in Gethsemane (Matthew 26:37). Only he and Peter were sent into the city to make the preparation for the Last Supper (Luke 22:8).

There is an analogous version of this painting in the Cathedral of Toledo, which is part of a series of the twelve Apostles called Apostolados. It is assumed by some scholars that this painting also belonged to a similar series. The saint’s attributes are a book or scroll, in allusion to his writings, an eagle which may hold a pen or inkhorn in its beak, or, as in this example, a chalice from which a snake emerges. This imagery commemorates the testimony that once, while at Ephesus, John was given a cup of poisoned wine to drink. Before drinking, he blessed the cup and the poison departed the cup in the form of a serpent.

Domenikos Theotokopoulos, known as El Greco (1541 – April 1614) was a painter, sculptor, and architect of the Spanish Renaissance. Today considered one of the greatest artists of the Spanish school, El Greco was born in Crete, a Greek island then under Venetian control. Little is known of his youth, though El Greco's early works demonstrate that he worked within the conservative tradition of Byzantine icon painting before exposure to Venetian High Renaissance art broadened his stylistic approach. His workshop turned out a great many replicas of his paintings, but his work was so personal that his influence was slight, his only followers of note being his son Jorge Manuel Theotokopoulos and Luis Tristan. The strangeness of his art has inspired various theories, for example that he was mad or suffered from astigmatism, but his rapturous paintings make complete sense as an expression of the religious fervor of his adopted country. Interest in his art revived at the end of the 19th century and with the development of Expressionism in the 20th century he came into his own.

Jesus Appeared To His Disciples By The Sea Of Galilee

Title: Jesus Appeared To His Disciples By The Sea Of Galilee
Artist: Alexandre Bida
Medium: Etching
Size: 28 x 21 cm
Date: 1873
Location: From Illustrations by Alexandre Bida, from Christ in Art; or, The Gospel Life of Jesus: With the Bida Illustrations. by Edward Eggleston. New York: Fords, Howard, & Hulbert, 1874.

John 21:1-14 Afterward Jesus appeared again to his disciples, by the Sea of Galilee. It happened this way: Simon Peter, Thomas (also known as Didymus), Nathanael from Cana in Galilee, the sons of Zebedee, and two other disciples were together. “I’m going out to fish,” Simon Peter told them, and they said, “We’ll go with you.” So they went out and got into the boat, but that night they caught nothing. Early in the morning, Jesus stood on the shore, but the disciples did not realize that it was Jesus. “Friends, haven’t you any fish?” He called out to them. “No,” they answered. He said, “Throw your net on the right side of the boat and you will find some.” When they did, they were unable to haul the net in because of the large number of fish. Then the disciple whom Jesus loved said to Peter, “It is the Lord!” As soon as Simon Peter heard him say, “It is the Lord,” he wrapped his outer garment around him (for he had taken it off) and jumped into the water. The other disciples followed in the boat, towing the net full of fish, for they were not far from shore, about a hundred yards. When they landed, they saw a fire of burning coals there with fish on it, and some bread. Jesus said to them, “Bring some of the fish you have just caught.” So Simon Peter climbed back into the boat and dragged the net ashore. It was full of large fish, 153, but even with so many the net was not torn. Jesus said to them, “Come and have breakfast.” None of the disciples dared ask him, “Who are you?” They knew it was the Lord. Jesus came, took the bread and gave it to them, and did the same with the fish. This was now the third time Jesus appeared to his disciples after he was raised from the dead.

We now know that the Gospel of Mark ended at 16:8... or do we? There are scholars who state that the ending of Mark can be found in John 21. John 21 has synoptic affinities which do not appear in John 1-20: the sons of Zebedee appear, the disciples are fishing, 28 words in John 21 do not appear elsewhere in John, but only in the synoptics. Further, Mark 14:27-28, 16:7 states that Jesus will reappear in Galilee. There are other clues that Mark foreshadows John 21. The disciples will be unaware of the empty tomb, because the women told no-one of what they saw (Mark 16:8). Accordingly, in John 21, Peter and other disciples have lost hope and returned to the lake; for having witnessed the risen Christ before, they now fail to realize Jesus is present in 21:4. The whole story is more like a first appearance to the disciples than a "third".

Alexandre Bida (1813–1895) was born in Toulouse, France and was a painter of the Romantic period. During Bida's youth, he traveled and worked in Egypt, Greece, Turkey, Lebanon, and Palestine. He specialized in Orientalism and studied under Eugène Delacroix, but with an artist's eye for precision and perfection, he soon developed his own style. He was also an illustrator of the Holy Bible. As a Bible illustrator, Bida's Les Saints Evangeles was published in 1873. In it, the four gospels were enriched by his twenty-eight etchings. Of Bida's work, it was said that he brought a truth and genius that made his Christ reverent, refined, dignified, and strong.

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.

Christ and the Fisherman

Title: Christ and the Fisherman

Artist: Georges Rouault

Medium: Oil on paper mounted on masonite panel

Size: 36.8 x 48.9 cm

Date: 1937

Location: Fine Arts Museums of San Francisco

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.