MEDITATIONS FOR MIDWINTER: PART 4

Title: Alpine Winter Madonna and Child

Artist: Willy Juttner

Medium: Oil on canvas

Size: 52 x 40 cm

Date: c. 1920

Location: Private Collection

This painting, a depiction of the nursing Madonna (aka Virgo Lactans, or Madonna Lactans), is an iconography of the Madonna and Child in which the Virgin Mary is shown breastfeeding the infant Jesus. Usage of the depiction seems to have intensified with the Cistercian Order in the 12th century, as part of the general upsurge in Marian theology and devotion. Milk was seen as "processed blood", and the milk of the Virgin to some extent paralleled the role of the Blood of Christ. After the Council of Trent in the mid-16th century, clerical writers discouraged nudity in religious subjects, and the use of the Madonna Lactans iconography began to fade away.

Despite the cold blues of the background mountains and plains, there is a distinct warmth in Juttner’s portrayal. The crimson dress of the Madonna alludes to the Blood of Christ, which is, in fact, reflected in the warm rosy glow emanating from the Christ child’s cheeks as he suckles.

Willy Kurt Reinhold Juttner (1886 - 1940) was a Munich based painter and illustrator influenced by the Symbolists. During World War One he produced a very large set of postcards depicting German soldiers engaged in a variety of activities from writing letters to charging into battle. These cards were very popular and were printed in large numbers. In addition to his print work, he was also, as we can see here, a very accomplished painter, and he is known to have taken part in several Munich Exhibitions during his lifetime.

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.

The Twelve Days of Christmas - Day 12

Title: The Last Supper
Artist: Stanley Spencer
Medium: Oil on canvas
Size: 91.5 x 122 cm
Date: 1920
Location: Stanley Spencer Gallery, Cookham.

On the twelfth day of Christmas my true love gave to me, twelve drummers drumming...

The twelve drummers represent the twelve articles of the Apostles Creed. Throughout the Middle Ages it was generally believed that the Apostles, on the day of Pentecost, while still under the direct inspiration of the Holy Ghost, composed our present Creed between them, each of the Apostles contributing one of the twelve articles. This legend dates back to the sixth century, and is foreshadowed still earlier in a sermon attributed to St. Ambrose, which takes notice that the Creed was "pieced together by twelve separate workmen". About the same date (c. 400) Rufinus gives a detailed account of the composition of the Creed, which account he professes to have received from earlier ages.

The Twelve Days of Christmas - Day 11

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.'

The Twelve Days of Christmas - Day 8

Title: The  Sermon on the Mount
Artist: Károly Ferenczy
Medium: Oil on canvas
Size: 135 x 203 cm
Date: 1896
Location: National Gallery, Budapest.

On the eighth day of Christmas my true love gave to me, eight maids a-milking...

The eight maids can be identified with the eight beatitudes, or blessings, taught by Jesus as recorded in the Sermon on the Mount in Matthew 5:3-10. Together, the Beatitudes present a new set of Christian ideals that focus on spirit love and humility and echo the highest ideals of the teachings of Jesus on mercy, spirituality, and compassion. He said: “Blessed are the poor in spirit, for theirs is the kingdom of heaven. Blessed are those who mourn, for they will be comforted. Blessed are the meek, for they will inherit the earth. Blessed are those who hunger and thirst for righteousness, for they will be filled. Blessed are the merciful, for they will be shown mercy. Blessed are the pure in heart, for they will see God. Blessed are the peacemakers, for they will be called children of God. Blessed are those who are persecuted because of righteousness, for theirs is the kingdom of heaven."

The Twelve Days of Christmas - Day 6

Title: Creator of Heaven and Earth
Artist: James B. Janknegt
Medium: Oil on canvas
Size: 90 X 60 cm
Date: 2010
Location: Property of the artist.

On the sixth day of Christmas my true love gave to me, six geese a laying...

The six geese a laying are said to represent the six days of creation. In this painting by Texas native James B. Janknegt, the six days are represented in an arc around a depiction of the Holy Trinity:

- Day 1 - God created light and separated it from the darkness, calling light "day" and darkness "night."
- Day 2 - God created an expanse to separate the waters and called it "sky."
- Day 3 - God created the dry ground and gathered the waters, calling the dry ground "land," and the gathered waters "seas." On day three, God also created plants and trees.
- Day 4 - God created the sun, moon, and the stars to give light to the earth and to govern and separate the day and the night.
- Day 5 - God created every creature of the seas and every winged bird.
- Day 6 - God created the animals to fill the earth. God also created man and woman, blessed them and gave them every creature and the whole earth to rule over, care for, and cultivate.

The Twelve Days of Christmas - Day 2

Title: The Infant Savior
Artist: Andrea Mantegna
Medium: Tempera on canvas 
Size: 70.2 x 34.3 cm
Date: c. 1460
Location: The National Gallery of Art, Washington, D.C.

On the second day of Christmas, my true love gave to me two turtle doves...

 

This stanza can be identified with either the pairing of the Old & New Testaments, or the two natures of Jesus: human and divine. Mantegna has chosen to represent the latter theme, with the infant Jesus portrayed in a decidedly un-childlike manner. Portraying Jesus in this manner depicts that he is aware of his divinity and still He chooses to remain as an infant. To further this point the artist shows Jesus’ right hand raised in the sign of blessing. This is obviously not something a normal infant would do and is meant to show that Jesus is more than just an infant. These and other similar symbols are used throughout the ages.

The Christmas Story

Title: The Christmas Story
Artist: Mary Wilshire
Medium: Four Color Process comic book cover
Size: 17 x 26 cm
Date: 1993
Location: From “The Life of Christ: The Christmas Story” New York: Marvel/Nelson.

Luke 2:4-7 So Joseph also went up from Galilee, from the town of Nazareth, to Judea, to the city of David which is called Bethlehem, because he was of the house and family line of David, to be registered together with Mary, who was legally promised in marriage to him and was pregnant. And it happened that while they were there, the time came for her to give birth. And she gave birth to her firstborn son, and wrapped him swaddling cloths and laid him in a manger, because there was no place for them in the inn.

The birth of the baby is described simply. “swaddling cloths” were strips of cloth used to wrap a baby. That the Child was put in a manger may mean that the birth was in a stable. There is a tradition that Jesus was born in a cave, which could have been used as a stable. Mangers were often outdoors, so it is possible that Jesus was born in the open air. If ever there was an opportunity for God to enact his plan with a majestic flourish, it was at Jesus' birth. But God did not presume upon humanity when he stepped in to redeem it. There was no pretense in this arrival. Rather, God chose to identify in the humblest way with those made in his image.

 

This adaptation of the nativity story for the comic book medium was by writer Louise Simonson and American penciller Mary Wilshire (b. 1953). At a young age Mary was influenced by newspaper comics and Mad magazine artists such as Jack Davis, Stan Drake and Alex Kotzky. She began her career in underground comix, and got her first work at Marvel Comics around 1980 working on Crazy. She is most well known for her work in the early 80s as the penciller and cover artist on Marvel's Red Sonja. This is another example in the decades long history of comic books used to spread the gospel, from Classics Illustrated to Japanese manga!

A Month of Miracles - Epilogue

Title: The Trinity
Artist: Lorenzo Lotto
Medium: Oil on canvas
Size: 170 x 115 cm
Date: 1523
Location: Sant'Alessandro della Croce, Bergamo

John 10:24-30 - The Jews then gathered around Him, and were saying to Him, “How long will you keep us in suspense? If you are the Christ, tell us plainly.”  Jesus answered them, “I told you, and you do not believe; the works that I do in My Father’s name, these testify of Me. But you do not believe because you are not of My sheep. My sheep hear My voice, and I know them, and they follow Me;  and I give eternal life to them, and they will never perish; and no one will snatch them out of My hand. My Father, who has given them to Me, is greater than all; and no one is able to snatch them out of the Father’s hand. I and the Father are one.”

A Month of Miracles Part 24 - Christ Healing the Ear of Malchus

Title: Christ Healing the Ear of Malchus
Artist: Unknown
Medium: Oil on Canvas
Size: 121.2 x 96.9 cm
Date: ca. 17th century
Location: The Bowes Museum, Barnard Castle.

Luke 22:47-53 - While he was still speaking a crowd came up, and the man who was called Judas, one of the Twelve, was leading them. He approached Jesus to kiss him, but Jesus asked him, “Judas, are you betraying the Son of Man with a kiss?” When Jesus’ followers saw what was going to happen, they said, “Lord, should we strike with our swords?” And one of them struck the servant of the high priest, cutting off his right ear. But Jesus answered, “No more of this!” And he touched the man’s ear and healed him.

The IVP New Testament Commentary Series notes how the disciples represent those in panic who try to take matters into their own hands. They fight to avoid the path of suffering God has laid out for his messenger and those who follow him. While one asks, "Lord, should we strike with our swords?" another one answers on his own, wielding the sword and cutting off the right ear of the high priest's servant. Sometimes disciples believe they must take matters into their own hands to defend Jesus. But here Jesus stops the attempt to defend him with violence. His path takes a different direction. The healed servant pictures the opportunity that exists to experience God's grace. Here is a man who rejects Jesus and participates in the arrest leading to Jesus' death. Yet the avowed enemy is not beyond Jesus' healing touch. A severed ear can always be restored, if one will listen to him.

In this picture, while a soldier lifts a rope noose to put it around Jesus' arms and chest, Jesus touches Malchus' right ear. The connection between the two is through a flow from Jesus’ right hand on his own chest, that follows the arc of light clockwise across his breast bone, down his left arm, and to Malchus' right ear. The flow of energy becomes visual, and Malchus appears more struck by that than the blow from the sword. Although the identity of the painter of this work is unknown, it has been identified as being from the Flemish school, and was created in the Netherlands during the 17th century.

A Month of Miracles Part 23 - Christ Healing Bartimaeus

Title: Christ Healing Bartimaeus
Artist: Carmel Cauchi
Medium: Oil on Board
Size: 181 x 121 cm
Date: 1994
Location: George Eliot Hospital Chapel, Nuneaton.

Mark 10:46-52 - Then they came to Jericho. As Jesus and his disciples, together with a large crowd, were leaving the city, a blind man, Bartimaeus (which means “son of Timaeus”), was sitting by the roadside begging. When he heard that it was Jesus of Nazareth, he began to shout, “Jesus, Son of David, have mercy on me!” Many rebuked him and told him to be quiet, but he shouted all the more, “Son of David, have mercy on me!” Jesus stopped and said, “Call him.” So they called to the blind man, “Cheer up! On your feet! He’s calling you.” Throwing his cloak aside, he jumped to his feet and came to Jesus. “What do you want me to do for you?” Jesus asked him. “Rabbi, I want to see.” The blind man said. “Go,” said Jesus, “your faith has healed you.” Immediately he received his sight and followed Jesus along the road.

Blind Bartimaeus's faith, persistence, and recognition of Jesus' significance provide a focus for this important story of discipleship. At the outset he is sitting by the roadside, but in the end he received his sight and followed Jesus along the road. This is a clear portrait of the healing power of the merciful King, but this story also functions as a parable of discipleship: To be healed from spiritual blindness is to grasp the true identity of Jesus and join him on the way to the Cross.

Carmel Cauchi (b.1927) is a Maltese born painter who now resides in England. He has more than 100 works of art currently hanging in public places throughout the UK, including a 40ft mural in Rugby and a 35ft mural in Feltham, Middlesex. Three of his paintings were officially unveiled by the Queen. Mr Cauchi moved to England 45 years ago after winning a Commonwealth scholarship to study art.

A Month of Miracles Part 22 - Ten Lepers Healed

Title: Ten Lepers Healed
Artist: Brian Kershisnik
Medium: Oil on Canvas
Size: 50 x 40 cm
Date: ca. 2010
Location: tbd.

Luke 17:11-19 - Now on his way to Jerusalem, Jesus traveled along the border between Samaria and Galilee. As he was going into a village, ten men who had leprosy met him. They stood at a distance and called out in a loud voice, “Jesus, Master, have pity on us!” When he saw them, he said, “Go, show yourselves to the priests.” And as they went, they were cleansed. One of them, when he saw he was healed, came back, praising God in a loud voice. He threw himself at Jesus’ feet and thanked him—and he was a Samaritan. Jesus asked, “Were not all ten cleansed? Where are the other nine? Has no one returned to give praise to God except this foreigner?” Then he said to him, “Rise and go; your faith has made you well.”

People with leprosy were required by law to keep away from healthy people (Lev. 13:46); these came as close as they dared and called out loudly. They ask not in particular to be cured of their leprosy, but, Have pity on us. Jesus did not tell them positively that they should be cured, but bade them go show themselves to the priests. This was a test of faith. They were healed as they went in obedience to Jesus’ word. One of them, and only one, when he saw that he was healed, instead of going forward to the priest, to be by him declared clean, and so discharged from his confinement, which was all that the rest aimed at, he turned back towards him who was the Author of his cure, whom he wished to have the glory of it, before he received the benefit of it. He appears to have been very hearty and affectionate in his thanksgivings: “With a loud voice” he glorified God!

Brian Kershisnik (born 1962) is an American painter. After a year of college at the University of Utah, he served for a time as a missionary for The Church of Jesus Christ of Latter-day Saints in Denmark. He returned to the USA to study art at Brigham Young University, during which studies he received a grant to study in London for six months. After graduate studies in Austin, Texas, he and his family moved to Kanosh in central Utah where he paints. Currently, Kershisnik is represented by the Two Sisters Fine Art Gallery, who offer prints of his work for sale on their website http://www.twosistersfineartgallery.com/brian_kershisnik.html

A Month of Miracles Part 21 - Healing the Man With Dropsy

Title: Healing of the Man With the Dropsy
Artist: Alexandre Bida
Medium: Etching
Size: 28 x 21 cm
Date: ca. 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.

Luke 14:1-6 - One Sabbath, when Jesus went to eat in the house of a prominent Pharisee, he was being carefully watched. There in front of him was a man suffering from abnormal swelling of his body. Jesus asked the Pharisees and experts in the law, “Is it lawful to heal on the Sabbath or not?” But they remained silent. So taking hold of the man, he healed him and sent him on his way. Then he asked them, “If one of you has a child or an ox that falls into a well on the Sabbath day, will you not immediately pull it out?” And they had nothing to say.

As Jesus dines with the Pharisees, the religious leaders are watching him. The phrase Luke used here for ‘carefully watched’ means to watch surreptitiously – ominously - much as an undercover agent would today. It is apparent that the mood is somber, suspicion deep. At the meal is a man with dropsy, which means his limbs are swollen with excess body fluids, and Jesus asks whether it is lawful to heal on the Sabbath. Having had experience with this predicament, the leaders remain silent - and Jesus heals the man. After sending him away, Jesus notes again that they would quickly offer aid to a son or even an ox that had fallen in the ditch on the sabbath. The leaders' silence continues. Nothing has been learned; nothing has been confessed. Despite a constant barrage of divine activity, their position has not changed. The passage confirms how strong sin's stubbornness can be. It also shows how even after warnings about judgment and its consequences, God graciously still gives evidence of his presence.

Alexandre Bida (1813–1895) was born in Toulouse, France, and was a painter of the Romantic period. He specialized in Orientalism and studied under Eugene Delacroix, but soon developed his own style along with his desire for perfection. As a youth he traveled to work in Egypt, Greece, Turkey, Lebanon, and Palestine, and likely used this knowledge as illustrator of ‘Bida's Les Saints Evangeles’, published in 1873. Of Bida's work, although having closely observed the costumes and people encountered overseas, his decorative arrangements and symmetry of space exemplified the theatrical aspects of his art.

A Month of Miracles Part 20 - The Infirm Woman

Title: The Infirm Woman
Artist: Louis Glanzman
Medium: Mixed media
Size: 55 x 42 cm
Date: ca. 2002
Location: tbd.

Luke 13:10-17 - On a Sabbath Jesus was teaching in one of the synagogues, and a woman was there who had been crippled by a spirit for eighteen years. She was bent over and could not straighten up at all. When Jesus saw her, he called her forward and said to her, “Woman, you are set free from your infirmity.” Then he put his hands on her, and immediately she straightened up and praised God. Indignant because Jesus had healed on the Sabbath, the synagogue leader said to the people, “There are six days for work. So come and be healed on those days, not on the Sabbath.” The Lord answered him, “You hypocrites! Doesn’t each of you on the Sabbath untie your ox or donkey from the stall and lead it out to give it water? Then should not this woman, a daughter of Abraham, whom Satan has kept bound for eighteen long years, be set free on the Sabbath day from what bound her?” When he said this, all his opponents were humiliated, but the people were delighted with all the wonderful things he was doing.

This is the last time in Luke that Jesus appears in a synagogue. As he is teaching, a woman possessed by a spirit for eighteen years is in the audience. She was bent over and could not straighten up at all. The mention of the spirit is important, because the woman's opponent is not merely mortality or the natural process of aging but a spiritual agent. The age of her condition indicates how serious it is. Again, Jesus takes the initiative—a significant act in a culture that tended to shun women. Again, He shows his authority.

Louis Glanzman was born in 1922, raised in the farmlands of Virginia, and is a self-educated artist. He began his career at the age of sixteen as a comic book illustrator. During the 50's he illustrated numerous children's books, including the popular 'Pippi Longstocking' series. Noted as one of America's most prolific illustrators and acclaimed portrait painters he is deeply proud of his many historical paintings. Recently, his 13 portrait series of the Women of the New Testament became the basis for a book of spiritual reflections entitled 'Soul Sisters.' More of his work can be seen at http://www.louisglanzman.com.

A Month of Miracles Part 19 - Healing of the Lunatic Boy

Title: The Healing of the Lunatic Boy
Artist: John Reilly
Medium: Oil on canvas
Size: 66.5 x 106 cm
Date: 1958
Location: Oxford Brookes University

Matthew 17:14-18 - When they came to the crowd, a man approached Jesus and knelt before him. “Lord, have mercy on my son,” he said. “He has seizures and is suffering greatly. He often falls into the fire or into the water. I brought him to your disciples, but they could not heal him.” Jesus replied, “You unbelieving and perverse generation, how long shall I stay with you? How long shall I put up with you? Bring the boy here to me.” Jesus rebuked the demon, and it came out of the boy, and he was healed at that moment.

Here Reilly has given us an image of 'before' and 'after' with yellow almost the home key, we see the child in his right mind together with Jesus on the left brightly shining after the moment of healing. Its antithesis, on the right, the blue-grey, appears slightly violet because of the way our eyes react to very strong statements of color. There we see the darkened experience of the before, of the distressed boy and his parents. Vertical and horizontal lines divide the space into definite areas which act in counterpoint to the more fluent lines of the figures. It seems as if the figures are in danger of becoming caricature. But Reilly has concentrated on the humanity of all involved, and the bold color serves to reinforce the emotion of the scenes.

John Reilly (1928- ) is a contemporary English painter who has works in such notable galleries as the Methodist Church Collection, Isle of Wight Council Heritage, and The John Wesley’s House Museum of Methodism.