19 IMAGES FROM THE 19th CENTURY: PART 2 - Jesus Handing St Peter the Keys to Paradise

Title: Jesus Handing St Peter the Keys to Paradise
Artist: Jean Auguste Dominique Ingres
Medium: Oil on canvas
Size: 280 x 217 cm
Date: 1820
Location: Musée Ingres, Montauban.

19 IMAGES FROM THE 19th CENTURY: PART 2

Matthew 16:15-19 “But what about you?” Jesus asked. “Who do you say I am?” Simon Peter answered, “You are the Messiah, the Son of the living God.” Jesus replied, “Blessed are you, Simon son of Jonah, for this was not revealed to you by flesh and blood, but by my Father in heaven. And I tell you that you are Peter, and on this rock I will build my church, and the gates of Hades will not overcome it. I will give you the keys of the kingdom of heaven; whatever you bind on earth will have been bound in heaven, and whatever you loose on earth will have been loosed in heaven.”

The success of Jesus Handing St Peter the Keys to Paradise lead Ingres to stiffen many of his compositions, giving the historical scenes as well as portraits sometimes a too pronounced solemn character. In this image, however, the stiffness achieves the wonderful effect of making the painting seem like a living Icon. The photo-realism of the robes contrasts the stylized halos; the realistic expressions contrast the formality of their posture, and so on. Even as a guardian of tradition, Ingres cannot help but nod towards the future.

Jean Auguste Dominique Ingres (August 1780 – January 1867) was a French Neoclassical painter. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognized as his greatest legacy. A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style. Ingres influence on later generations of artists has been considerable. His most significant heir was Degas, who studied under Louis Lamothe, a minor disciple of Ingres. In the 20th century, Picasso and Matisse were among those who acknowledged a debt to the great classicist; Matisse described him as the first painter "to use pure colors, outlining them without distorting them."

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 Washing the Apostles Feet

Title: Christ Washing the Apostles Feet
Artist: Dirck van Baburen
Medium: Oil on canvas
Size: 199 x 297 cm
Date: c. 1616
Location: Staatliche Museen, Berlin.

John 13:1-17 It was just before the Passover Festival. Jesus knew that the hour had come for him to leave this world and go to the Father. Having loved his own who were in the world, he loved them to the end. The evening meal was in progress, and the devil had already prompted Judas, the son of Simon Iscariot, to betray Jesus. Jesus knew that the Father had put all things under his power, and that he had come from God and was returning to God; so 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, “Those who have had a bath need only to wash their feet; their whole body is clean. And you are clean, though not every one of you.” For he knew who was going to betray him, and that was why he said not every one was clean. When he had finished washing their feet, he put on his clothes and returned to his place. “Do you understand what I have done for you?” he asked them. “You call me ‘Teacher’ and ‘Lord,’ and rightly so, for that is what I am. Now that I, your Lord and Teacher, have washed your feet, you also should wash one another’s feet. I have set you an example that you should do as I have done for you. Very truly I tell you, no servant is greater than his master, nor is a messenger greater than the one who sent him. Now that you know these things, you will be blessed if you do them.

Baburen's broadly narrative Christ Washing the Apostles Feet typifies the Utrecht School formulaic, stages approach. St Peter's pose, as he protests that Christ should not lower himself to such a humble role, anticipates the violently active figures Bernini sculpted on some of his Roman fountain bases.

Dirck van Baburen (c. 1595 – February 1624) was a Dutch painter who was a leading member of the Utrecht school. After studying painting with a portraitist and history painter in Utrecht, Baburen traveled to Rome about 1612 where he was influenced by the dramatic chiaroscuro style of the Italian painter Caravaggio. His most important Italian commission was the decoration of a chapel in the Church of San Pietro in Montorio, Rome (1615-20).

The Transfiguration

Title: The Transfiguration

Artist: Cornelis Monsma

Medium: Oil on canvas panel

Size: 76 x 96 cm

Date: 2006

Location: Private collection

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

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

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

Title: Transfiguration

Artist: Girolamo Savoldo

Medium: Oil on Wood

Size: 139 x 126 cm

Date: c. 1520

Location: Galleria degli Uffizi, Florence.

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

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

St Peter in Penitence

Title: St Peter in Penitence

Artist: El Greco

Medium: Oil on canvas

Size: 102 x 84 cm

Date: c. 1605

Location: Hospital Tavera, Toledo.

Mark 14:72 Immediately the rooster crowed the second time. Then Peter remembered the word Jesus had spoken to him: "Before the rooster crows twice you will disown me three times." And he broke down and wept.

Here, Christians can take solace in the knowledge there is hope of forgiveness and repentance for us all. Peter is the example, who upon realization of what he had done, “broke down and wept”. Had Judas broke down and wept, and repented, he too would have been forgiven. To reinforce this point, it should be noted that Judas never appears in the Gospel of Mark again, whereas Peter does in Mark 16:7.

In this painting Peter raises his tear-filled eyes to Heaven, his hands joined in prayer. This is one of the late versions of a subject El Greco painted in at least six different autograph variants (several of which gave rise to studio copies) over the course of his career in Spain.

Domenikos Theotokopoulos, known as El Greco (1541 – April 7, 1614) was a painter, sculptor, and architect, considered one of the greatest of the Spanish School. The Cretan-born artist always acknowledged his origin, signing his works with his given name in Greek characters. Though his dramatic and expressionistic style was not met with the universal approval of his contemporaries, his work found greater appreciation in beginning of the 20th century.

The Denial of St Peter

Title: The Denial of St Peter

Artist: Gerrit van Honthorst

Medium: Oil on canvas

Size: 111 x 149 cm

Date: 1622-24

Location: Institute of Fine Arts, Minneapolis.

Mark 14:66-71 While Peter was below in the courtyard, one of the servant girls of the high priest came by. When she saw Peter warming himself, she looked closely at him. “You also were with that Nazarene, Jesus," she said.

But he denied it. "I don't know or understand what you're talking about," he said, and went out into the entryway.

When the servant girl saw him there, she said again to those standing around, "This fellow is one of them." Again he denied it.

After a little while, those standing near said to Peter, "Surely you are one of them, for you are a Galilean."

He began to call down curses on himself, and he swore to them, "I don't know this man you're talking about."

The “curses” Peter utters are not vulgar words; rather, he vows that he does not know the man, invoking curses on himself if he is lying.

As compared with Italian painters taking up the same theme, in Honthorst's painting the emphasis is shifted towards the dramatic potential of artificial light. The face of the maidservant who identifies Peter as one of the followers of Christ is sharply illuminated by the candle she holds. Its flame is hidden by the outstretched arm of another accuser, creating a complex pattern of superimposed bright and dark areas and enhancing the atmospheric effect of the glowing light.

Gerrit van Honthorst, also known as Gerard van Honthorst (November 4, 1592 - April 27, 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.

Christ Giving the Keys to St Peter

Title: Christ Giving the Keys to St Peter

Artist: Lorenzo Veneziano

Medium: Panel

Size: 90 x 60 cm

Date: 1369

Location: Museo Correr, Venice.

In Matthew 16:15-19 when the disciple Simon Peter states that Jesus is the Messiah, and the Son of the living God, Jesus replied, "Blessed are you, Simon son of Jonah, for this was not revealed to you by man, but by my Father in heaven. And I tell you that you are Peter, and on this rock I will build my church, and the gates of Hades will not overcome it. I will give you the keys of the kingdom of heaven; whatever you bind on earth will be bound in heaven, and whatever you loose on earth will be loosed in heaven."

Lorenzo Veneziano fulfilled countless commissions in Venice and its vicinity that display a style that is a handsome fusion of Byzantine and later pictorial currents. His commissions included an altarpiece which was later dismembered, and its side panels unfortunately destroyed in Berlin in 1945. But the central panel depicting Christ Giving the Keys to St Peter survived and is now considered a masterpiece in its own right. His rich, elegant painting is characterized by brilliantly clear color, the sculpture-like form of his figures, and the expressiveness of their faces. He accentuated the sense of space and added a fresh dimension to the elongated style of Byzantine figures.

Lorenzo Veneziano was an Italian painter active 1356-1372 in Venice. We have little written evidence for the life of Veneziano, who was one of the most important figures in late-fourteenth-century Venice, but many of his surviving works are dated. It is likely that he worked in the workshop of Paolo Veneziano in the early 1350s and he also worked at Verona, Vicenza, and Bologna, where he executed the Lion Triptych (1357-59) for the Sant'Antonio Abate church (now in the Gallerie dell'Accademia, Venice).