Following Titian’s death in 1576, Tintoretto became the leading artist in Venice.
Category Archives: Instagram
Torah Scroll
15th century
Below the image, click play to listen.
Drama and Beauty: Great European Paintings from the Bob Jones Collection
This beautifully illustrated catalog—celebrating the 70th anniversary of the Bob Jones Collection—presents a fascinating survey of religious European art from the 14th through the 19th centuries.
Bob Jones Jr. founded the collection as an educational effort and opened it on the campus of the university named after his father in Greenville, South Carolina, in 1951. Those first 25 paintings included works by Bicci di Lorenzo, Luca Giordano, El Greco, and Tintoretto, and today the collection comprises over 400 paintings, as well as a wide range of sculpture, decorative arts, and antiquities. It is widely recognized among scholars as one of the finest collections of Renaissance and Baroque paintings in America, and a document of the revival of the taste for Baroque pictures in the mid-20th century.
Erin Jones’s introduction provides an overview of the history of the various iterations of the Museum & Gallery, even as it looks forward to a new home in the center of its community. Richard P. Townsend’s essay presents the most in-depth examination to date of Bob Jones Jr. as a collector, extensively using letters, invoices, and photographs to paint a picture of Jones hitherto not available. At the heart of the volume is the presentation of 55 paintings, featuring works by great European masters including Botticelli, Bouts, Cranach, Guercino, Jordaens, Preti, Reni, Ribera, Rubens, Tiepolo, and Zurbarán.
If you’re interested in M&G’s new catalog commemorating our 70th anniversary, Drama and Beauty: Great European Paintings from the Bob Jones Collection, you may pre-order and purchase a book online at any of these places: Amazon, Barnes & Noble, Walmart.com and Target.com.
Jacob Mourning over Joseph’s Coat
Oil on canvas, c. 1625
Giovanni Francesco Barbieri, called Il Guercino
Bolognese, 1591–1666
The nickname “Guercino” (the squinter) was given to the artist due to an eye defect which in no way deterred his ability or ambition to paint as evidenced by his lifelong production of hundreds of paintings, thousands of drawings, and numerous frescoes. He worked for Pope Gregory XV in Rome where his style began the transition from baroque to classical. The vigorous brushwork, saturated colors, and bold, naturalistic modeling of the figure of Jacob are hallmarks of this transitional period.
The composition of this work is unusual for Guercino. First, the work portrays, not a saint, but the biblical character, the mourning father Jacob. Second, only a single figure is rendered and not a scene of the biblical event, whereas most works illustrating this tragedy show Joseph’s brothers in addition to the patriarch. Because of these compositional choices, Guercino presents a moment in time for the observer to ponder the emotions of Jacob. As such, the work could be seen as an allusion to God the Father’s loss of His Son or as any parent’s loss of a child. Either way, the work is more devotional than historical.
But it is impossible to separate the figure from the story. The work’s primary impact is the pathos it generates in the viewer. Not only has Jacob lost his favorite son, but he becomes the victim of deceit, his lifelong characteristic. After deceiving his father, Jacob is deceived, in turn, by his father-in-law, who first marries him to Leah and later to Rachel whom he loves. Jacob favors Joseph, his eleventh son and elder of Rachel’s two sons, making him a coat of many colors. Their increased jealousy causes the brothers to sell Joseph into slavery and use the blood-stained coat to deceive their father into believing the teen was killed by wild beasts. A devastated Jacob looks to heaven. Is it to ask for God’s comfort or to ask God why He has brought evil into his life? Regardless, Jacob goes to the right source, though he receives no answer. Uncomforted, he declares, “I will go down into the grave unto my son mourning” (Gen 37:35).
The painting, however, does not match the biblical account. Rather than a vibrant cloak, Guercino’s white garment succeeds on both the literal and symbolic levels: the bloodstains which clinch the lie are clear evidence, and the color white (which indicates innocence) argues that Joseph has been unjustly treated by his brothers. However, God is at work. Ultimately, innocent Joseph is vindicated with the most powerful position in Egypt, second only to Pharoah, allowing him to save all of Jacob’s household during a prolonged famine.
This moving work, illustrating one of the most devasting losses a parent can experience, offers much to contemplate. But as with all proper devotional art, this work points the viewer to the God of all the earth who will do right. Bad things do happen to good people; this world is a vale of sorrows; and character flaws do bear fruit—but God guides the lives of His children, using even those “bad things” to work together for good.
Dr. Karen Rowe Jones, M&G board member
Published 2022
The Holy Family in the Carpenter Shop
Gerrit van Honthorst
Below the image, click play to listen.
Narratives from the Early Life of Christ
Wool tapestry
Franco-Flemish, c. 1480
In Western church tradition, celebrating the twelve days of Christmas begins December 25 and culminates on January 6 with the Feast of Epiphany on Twelfth Night. According to The Golden Legend by Jacobus de Voragine (Archbishop of Genoa in 1275), this day commemorates four special events in the life of Christ: the adoration of the Magi, and later the baptism of Christ by John the Baptist, the miracle at Cana of the water turned into wine, and the miracle of feeding the five thousand with five loaves and two fish.
Scripture is unclear about the dates of these four events; however, chapter two of Matthew’s Gospel recounts that the wise men from the East came not thirteen days after Christ’s birth, but some two years. The Magi followed the star to Roman-occupied Jerusalem, where they visited King Herod hoping to learn of the promised Messiah’s birth. Unaware and troubled by the news, Herod assembled the chief priests and scribes to discover Christ’s birthplace, which was cited by the prophet Micah as Bethlehem in the land of Judah. Herod directed the noble travelers and requested they return to let him know where the young king was so that he too could worship.
The Magi found and worshipped the Christ child and offered Him three generous gifts, but they were warned in a dream not to return to Herod and departed a different way. Joseph too was advised by an angel to flee to Egypt to protect Jesus from Herod’s murderous jealousy—his massacre of innocent male children two years and younger.
Possibly handcrafted by a guild weaver in Tournai, France in 1480, M&G’s tapestry is roughly 4.5 feet high by 11 feet long. It tells a visual narrative of three scenes following the Magi’s remarkable visit: Herod ordering the murder of the children, the massacre of the innocents, and the family’s flight to Egypt.
Tapestries have a long history dating back to Egyptian and Roman times. However, from the Middle Ages up to the French Revolution, weaving flourished in France and Flanders as an outgrowth of interest from both the church and wealthy nobility. Tapestries were once functional, beautiful, and personal—full of purpose and reflecting the beliefs, skill, economics, and status of the times.
In the 15th century, tapestries often focused on heroes, particularly the Nine Heroes of pagan history (Hector, Alexander the Great and Julius Caesar), Jewish history (Joshua, David and Judas Maccabeus), and Christian history (King Arthur, Charlemagne and Godfrey de Bouillon). However, in this age of chivalry there was a parallel focus on nine heroines including the “greatest lady of them all,” Christ’s mother Mary. M&G’s Narratives from the Early Life of Christ is one of a series of six tapestries depicting the life of the virgin. In 1499 Leon Conseil, who was Chancellor of the Cathedral of Bayeux, cannon of Arry, and secretary of the bishops of Bayeux (Louis de Canossa and vicar general of Cardinal de Prie) gave the tapestry series and a pension for their care to the Cathedral of Bayeux—a church dedicated to Mary and one of France’s greatest and most notable cathedrals.
Phyllis Ackerman in Tapestry, the Mirror of Civilization explains the import and placement of such a gift, “The feudal devotion to a patron was equally practiced by the towns, for each had its patron saint to whom the Cathedral or finest church was usually dedicated, and just as a knight would trace his descent to his hero, so a city often attributed, if not its foundation, at least important moments in its early history to its saint. The lives of these saints were rendered into tapestry to decorate the church, usually on long, horizontal bands to hang around the choir.”
According to the 1901 Normandy Annals, M&G’s tapestry survived the French Revolution and still remained with the Cathedral (hanging in the library) until the city of Bayeux determined to deaccess it. It then passed through multiple collectors including John Pierpont Morgan, Georges Hoentschel, Clarence H. Mackay, and French & Co. before joining M&G’s collection in 1960.
Erin R. Jones, Executive Director
Published 2022
Scenes from the Life of Christ
Russian Icon
Below the image, click play to listen.
The Adoration of the Shepherds
Oil on canvas
Jacques Stella
French, 1596–1657
Sometimes it isn’t what you know, it’s who you know.
Jacques Stella travelled to Florence, Italy, and worked for Cosimo II de’ Medici, Grand Duke of Tuscany. Returning to France, Stella became official painter to Cardinal Richelieu and then Painter to the King (Louis XIII). But these powerful historic personages do not impact his work Adoration of the Shepherds.
Likely inspired by a prototype by Correggio, the first Italian to introduce the supernatural light emanating from Christ and illuminating the nocturnal scene1, Stella has one of the shepherds shield his eyes, foreshadowing Christ’s declaration of Himself as the “light of the world.” But it is not even this master of Italian art that figures most prominently in Stella’s painting.
Rather, it is his lifelong friend and fellow painter Nicolas Poussin whom he met during his 10 years in Rome between his service to the Duke and the Cardinal. Their similar works Adoration of the Shepherds reveal their friendship and knowledge of each other’s art.
Stella’s Adoration contains the obligatory elements in the lower half. But the viewer must read the upper half through the iconography of the lower. Mary, robed in blue, prays; Joseph kneels; and the shepherds wonder. Christ lies in the manger on a white cloth which outlines his extended left hand which, in turn, points directly at a resting lamb. Surprisingly, the baby is not “wrapped in swaddling clothes” (Luke 2:12). He is only diapered. On the far right two figures bear a basket containing two doves, an oddity until one remembers that the temple sacrifice to redeem the firstborn of a poor family was two turtledoves.
In these three ways Stella points to Christ as the Savior of the world: His identification as the Lamb of God, the necessity of a sacrifice for redemption, and the hinted-at burial shroud on which He’s resting.
So far, so good. But in the upper area are both angels and putti. The biblical account clearly states that the angels “had gone away from [the shepherds] into heaven” (Luke 2:15), so these figures show definite artistic license. In the air above his Holy Family, Nicolas Poussin also has putti; his are strewing flowers, a seemingly joyous gesture. However, the flowers are iconographic “flores of martyrum”2; these putti represent the Holy Innocents who by the hand of Herod will be the first martyrs for Christ. Though Stella does not include flowers, clearly his putti also represent the Holy Innocents—given the intimations of Christ’s own martyrdom and the sacrificial doves, classic symbols of innocence.
Stella blends the halves of the work in three significant ways. The two putti gathered around the manger connect the worlds of heavenly bliss and earthly suffering. In addition, the sightline of the front dove-bearer looks heavenward past the basket, connecting the sacrificial doves to the now-redeemed children. The mountain seen on the right also connects the two worlds. Surely here is Mt. Moriah, where Abraham was to sacrifice Isaac, the innocent child of promise, but was stopped by God who provided “himself a lamb” (Genesis 22:8); and where the Lamb of God would sacrifice Himself, the innocent dying for the guilty, to make heaven possible for fallen mankind.
Jacques Stella, like his friend Nicolas Poussin, tells more than the Christmas story: there is none innocent enough for heaven without the redeeming death of the sinless Son of God. It’s not what you know, it’s Who.
Karen Rowe Jones, M&G Board Member
Footnotes:
1David Steel Jr., Baroque Paintings from the Bob Jones University Collection, Exhibition catalogue (Raleigh: North Carolina Museum of Art, 1984), 22.
2De Grazia, Diane. “Poussin’s ‘Holy Family on the Steps’ in Context.” Cleveland Studies in the History of Art 4 (1999): 26–63.
Published 2021
