Ep. 2 ~ Pentinent Mary

Today’s topic is a series of paintings: suggestions for use within the church service and a series of paintings by Georges de La Tour.
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SHOW NOTES

Many churches today incorporate meaningful photographs and paintings into their worship slides as a part of the singing portion of church services. Fitting lyrics or text with artwork enhances the atmosphere and mood of the moment. This technique also helps the worship participant more clearly understand the meaning of the text if it was previously unclear. Traditional hymns are a great example of text that may become more clear to a younger participant when paired with imagery.

In addition, art prints may be useful as sermon illustrations. There are plenty of Biblical paintings to choose from that are especially wonderful for children as most Biblical art tells an entire story in one frame. For example, take a look at the painting “The Binding of Samson” by Rembrandt on the website. Delilah is running away with Samson’s hair while his eyes are gauged out and he is bound by attackers, compressing many parts of the story into one episode. By the way, make sure you comply with federal copyright laws when using non-clip art in your services.

Perhaps you’d just enjoy adding a few prints to your personal collection, in which case I recommend today’s paintings by Georges de La Tour. La Tour painted in the early 1600s, this series in painted between 1638-1645. He was heavily influenced by Carvaggio’s use of light, as exampled in this collection. There are four paintings in the series, all depicting Mary Magdalen in various stages or moments of repentance:

~ Magdalen with the Smoking Flame
~ The Repentant Magdalen
~ Magdalen of Night Light
~ The Penitent Magdalen

Magdalen with the Smoking Flame

The Repentant Magdalen

Magdalen of Night Light

The Penitent Magdalen

All four paintings depict Mary sitting at a table, a private meditative place made more so by the slender candle flicker. The candle brings light to a small circle of the painting, leaving all else in shadow.

Her hand rests on a skull. In all but “The Repentant Magdalen,” the skull sits in her lap. In all four, she fingers the crevices of the empty face or it’s smooth top. Art critics explain that a skull represents the passing vanities of the world. However, the skull seems more likely to represent her life prior to her encounter with Jesus in Luke, chapter 8:

After this, Jesus traveled about from one town and village to another, proclaiming the good news of the kingdom of God. The Twelve were with him, and also some women who had been cured of evil spirits and diseases: Mary (called Magdalene) from whom seven demons had come out Joanna the wife of Cuza, the manager of Herod's household; Susanna; and many others. These women were helping to support them out of their own means.

She was also present at the crucifixion and among the group of women who went to the tomb and to whom Jesus first appeared after His resurrection. Two of the paintings: “Magdalen with the Smoking Flame” and “Magdalen of Night Light” show what appears to be a cross on the table, so perhaps in these moments, her thoughtful repose occurs after the crucifixion. A mirror rests on the table in the other two paintings. The mirror of “The Penitent” only reflects the candle, God’s truth; “the Repentant Magdalen” reflects the skull, and her own Golgotha.

John 3:19-21

"This is the verdict: Light has come into the world, but men loved darkness instead of light because their deeds were evil. 20Everyone who does evil hates the light, and will not come into the light for fear that his deeds will be exposed. 21But whoever lives by the truth comes into the light, so that it may be seen plainly that what he has done has been done through God."

If you’d like to view these paintings yourself, they can be found in the following museums:

“Magdalen with the Smoking Flame” -- LACMA, LA
“The Repentant Magdalen” -- The National Gallery, DC
“Magdalen of Night Light” -- The Louvre
“The Penitent Magdalen” -- Metropolitan Museum of Art, NY


I’ve also included a link below to “all posters” where you can purchase prints of this artist. While there, check out the paintings “The Tears of St. Peter," and “Job Mocked by His Wife." In closing, I’d like to share a poem by Anne Bronte.

The Penitent
I mourn with thee and yet rejoice
That thou shouldst sorrow so;
With angel choirs I join my voice
To bless the sinner's woe.

Though friends and kindred turn away,
And laugh thy grief to scorn;
I hear the great Redeemer say,
"Blessed are ye that mourn."

Hold on thy course, nor deem it strange
That earthly cords are riven:
Man may lament the wondrous change,
But "there is joy in heaven!"

I’d love to hear how your church uses art, and any paintings that were deeply meaningful to you. Email any questions or commentary to: crossandcanvas@gmail.com

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EPISODE LINKS:

www.allposters.com

Ep. 1 ~ Liturgical Drama

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The topic of this first episode is liturgical drama and it's first uses in the early church. The majority of the podcast is dedicated to the work of Hildegard von Bingen.

Read more about Hildegard von Bingen

SHOW NOTES:
Welcome to Cross and Canvas, I am your host Celine Sorota. This podcast explores the connection between faith and art and the role art plays in the contemporary Christian church. Thank you for joining me for the first podcast of Cross and Canvas. Todays topic is Liturgical Drama. Liturgical Drama means simply a religious drama with music.

You may think of drama as a newer element of church services, but the first recorded use of drama in the Christian church was in the 10th century.

In order to enhance mass around special occasions, such as Christmas and Easter, little plays were inserted into the order. I’m going to read an excerpt from “Music in the Western World” by Weiss. This describes one of these small dramas inserted into an Easter service:+

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In the 12th century, the first liturgical drama that was performed by itself, standing apart from the church services, was conceived and composed by a woman. Hildegard of Bingen served as Mother Superior at a nunnery in Germany. She wrote 13 books ranging from such topics as botany, theology and zoology. In addition she composed drama with about 80 chants, the vocal music of the day, that formed this first liturgical drama. The play, entitled “Ordo virtutum” or “Play of the Virtues” follows a female soul through a spiritual journey. The Devil and Virutes, such as Obedience, Humility, Mercy, Innocence and Chastity form the rest of the cast. Throughout the musical drama, these virtues plead with the human soul, against the Devil’s urgings, to follow the path of righteousness. Because the Devil possesses no divine harmony, this character does not sing, instead shouting and jeering at the Soul.

So, what does this mean to today’s church? Here are a few of my ideas and reactions:

1. Drama, Theater, Musicals are not new aspects of church. There are ideas to be had from as early as the 10th century. If you’re apart of a drama group at your church, perhaps you’ll research some of these more ancient plays for inspiration.

2. The excerpt I read regarding the Easter service is full of suggestion. I’ve seen many an Easter pageant, and there is very little variation from one to the next. Naturally, the story doesn’t change, but the Telling certainly can. The seekers carry insence. Imagine sitting in a small chapel, your head dizzy with the scent of burial, the scent of death. What a great way of Telling!

3. A woman’s role in church is often controversial., but art is asexual. Hildegard von Bingen did not keep her new ideas a secret for fear of controversy. Rather, she served her craft, for like all artists, what else could she do? Madeleine L’Engle says, “The artist is a servant who is willing to be a birth-giver. In a very real sense the artist (male or female) whould be like Mary, who , when the angel told her that she was to bear the Messiah, was obedient to the command.”

That’s all for today. Please send any commentary to crossandcanvas@gmail.com

Reference book: Music in the Western World