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Art of Christmas: Puer Natus Est by Patrick Hunt

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Art of Christmas: Puer Natus Est by Patrick Hunt Art of Christmas: Puer Natus Est by Patrick Hunt Included in this preview: • Table of Contents • Preface • Introduction • Excerpt of chapter 1 For additional information on adopting this book for your class, please contact us at 800.200.3908 x501 or via e-mail at [email protected] Puer Natus Est Art of Christmas By Patrick Hunt Stanford University Bassim Hamadeh, Publisher Christopher Foster, Vice President Michael Simpson, Vice President of Acquisitions Jessica Knott, Managing Editor Stephen Milano, Creative Director Kevin Fahey, Cognella Marketing Program Manager Melissa Accornero, Acquisitions Editor Copyright © 2011 by University Readers, Inc. All rights reserved. No part of this publication may be reprinted, reproduced, transmitted, or utilized in any form or by any electronic, me- chanical, or other means, now known or hereafter invented, including photocopying, micro- filming, and recording, or in any information retrieval system without the written permission of University Readers, Inc. First published in the United States of America in 2011 by University Readers, Inc. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. 15 14 13 12 11 1 2 3 4 5 Printed in the United States of America ISBN: 978-1-60927-520-4 Contents Dedication vii Preface ix Introduction 1 Iconographic Formulae for Advent Art 9 List of Paintings 17 Section I: the annunciation 21 Pietro Cavallini 23 Duccio 25 Simone Martini and Lippo Memmi 27 Jacquemart de Hesdin 29 Robert Campin 31 Fra Angelico 35 Caravaggio 39 Hendrick ter Brugghen 41 Section II: The Visitation 43 Giotto 45 Fra Angelico 47 Pontormo 49 Section III: The Journey to Bethlehem 53 Byzantine Mosaic Master 55 Section IV: The Taxation in Bethlehem 57 Bruegel 59 Section V: The Nativity 61 Byzantine Mosaic Master 63 Conrad von Soest 65 Sano di Pietro 67 Piero della Francesca 69 Sandro Botticelli 71 Gerard Horenbout 75 Mathis Grünewald 77 Section VI: Annunciation to the Shepherds 79 Limbourg Brothers 81 Gerard Horenbout 85 Flemish Master 87 Section VII: Adoration of the Shepherds 89 Bartolo di Fredi 91 Robert Campin 93 Ghirlandaio 95 Pinturicchio 99 Giorgione 101 Caravaggio 103 Georges de la Tour 107 Section VIII: Journey of the Magi 109 Ravenna Mosaic Master 111 Sassetta 115 Rogier Van Der Weyden 117 Gozzoli 119 Section IX: The Adoration of the Magi 123 Gentile da Fabriano 125 Andrea Mantegna 129 Filippino Lippi 131 Joos Van Cleve 133 Pieter Bruegel 135 Peter Paul Rubens 139 Section X: Presentation in the Temple 141 Andrea Mantegna 143 Raphael 147 Champaigne 149 Rembrandt 151 Section XI: The Dream of Joseph 153 Rembrandt 155 Gaetano Gandolfi 157 Section XII: The Flight into Egypt 159 Ghislebertus 161 Vittore Carpaccio 163 Melchior Broederlam 165 Sano di Pietro 169 Albrecht Dürer 171 Caravaggio 173 Section XIII: The Slaughter of the Innocents 177 Giotto 179 Matteo di Giovanni 183 Cornelis van Haarlem 185 Pieter Bruegel 187 Section XIV: The Holy Family 191 Giovanni Bellini 193 Leonardo da Vinci 195 Andrea del Sarto 199 Michelangelo Buonarroti 201 Titian 205 Notes 207 Dedication his book which reflects several decades of inspiration is dedicated to Peter and Helen T Bing. As Keats said, “Beauty is Truth, Truth Beauty.” Helen and Peter exemplify this perfectly. I also want to acknowledge Cordell and Susan Hull, Fritz and Beverly Maytag and Michael and Sande Marston for their love of beauty and truth in art. For her vision and championing of the Humanities, I gratefully acknowledge Carolyn Lougee at Stanford University. For her constant and matchless love, I acknowledge my wife and muse Pamela, who epitomizes the wisdom of Keats. I also thank my editor Jessica Knott for her high standards and peerless eye for art. Dedication vii Preface rt is often the voice of the people rather than the voice of the powerful. Christmas art is A no exception. Even if the subject of Christmas Art appears a sacred cow with a hands- off label, it is not above scrutiny. The life and death of Jesus continues to elicit deep and even explosive reaction—no matter how often it is reinterpreted by each generation, running the gamut from skeptical reflection and scorn to reverence and worship. What many call the greatest story ever told—always able to stir up emotions and controversy—has as much raw appeal in its beginning as in its ending. Dogma is not fond of real examination. But art can be looked at from almost an infinite variety of angles, and is in no way lessened by multiple reference points or interpretive approaches. This Puer Natus Est: Art of Christmas book deciphers the many layers of formula and accumulation of stories added over the original terse gospel narratives, whether oral or scrip- tural. Puer Natus Est is Latin for “A child is born,” from Isaiah 9:6 Vulgate. The texts of Luke and Matthew were merely starting points. Apocryphal texts added color and vigor, folklore, popular themes, puns, and sometimes magical details to the bare skeleton provided in the scriptures. Talking beasts; exotic and extravagant tapestries of costumes, crowns, and turbans; fragrant spices; and all the language of miracle and medieval allegories augment the text. Countless bright angels dressed in every silken damask and wing hue hang above frightened shepherds or rickety stable rafters to signal heaven and earth are momentarily one. Wicked, bloodthirsty tyrants like King Herod compete with Joseph’s peasant cunning. Bridled camels and pet leopards plod along in unusually mobile starlight while magpies joke and peacocks preen. Even humble plants like chamomile give off their allegorical fragrance, symbolic of Christ when trampled by all the retinue of this huge Christmas cast. Gold, frankincense, and myrrh were more than just storied gifts—they marked clear theological reference points for Jesus as the kingly Son of David, divine Son of God, and Son of Man born to die. The tale of the Wise Men is a new borrowed type of Jewish rabbinic midrash commentary for explaining the Magi, as old Mithraic priests bending the knee to the new Christianity, or the subordination of Roman paganism to austere Christian monotheism. These eastern Wise Men became the religious spoils of a theological war that culminated in Constantine and what would become the new imperial state, a church triumphant because it conquered as much by assimilation as by evangelism. Yet, each participant in this Christmas pageant has at least one meaning to Preface ix Codex Bruchsal, “Journey of the Magi,” ca 1220 be fleshed out, and no symbol is too shadowy for the microscope and the zoom lens of this project. Here for the first time, thePuer Natus Est: Art of Christmas is given its due as Old Masters from Byzantine mosaic to Fra Angelico, Botticelli, Raphael, Bruegel, Caravaggio, and Rembrandt give their versions of the story. Visual literacy is often easier to manage than textual literacy. The eyes register even when the idiosyncrasies of an artist make a story more interesting. While one must still train to observe many subtleties in art, the ability to see depends less on education and erudite train- ing than on the practical reality of familiarity. A bright child who knows little about art history but who is already familiar with a story can often more readily identify its protagonists than an adult overly concerned with an artist’s pedigree and documents relating to the history of a painting. Unlike the child, the adult may have never carefully read the actual biblical text or heard it in catechism, Shabbat school or Sunday school. So Puer Natus Est: Art of Christmas brings back to life the treasury of symbols that were layered into paintings, sculptures, and mosaics for millennia. The great artists desired to be understood not just as individuals but narrators in common of a higher truth than their own lives. They passed along the Christmas story in their art because even though it humbled them, it also elevated them to their highest art. x Puer Natus Est Introduction Ancient art has a specific inner content. At one time, art possessed the same purpose that books do in our day, namely: to preserve and transmit knowledge. In olden days people did not write books, they incorporated their knowledge into works of art. We would find a great many ideas in the works of ancient art passed down to us, if only we knew how to read them...1 G. Gurdjieff isual literacy, unlike textual literacy, has always been the property of common people. V Since its inception, Christian art has always demanded and mandated a symbiosis be- tween word—in this case, scripture—and picture. The picture has rarely been independent of the text. This book has a dual focus. One focus, as mentioned, is for those who are deeply interested in art—well educated students of history but who are not art historical specialists, and for whom Christian iconography is a new topic. For these the focus of the book is on “decoding” the art, explaining its symbolism and formulae. Another focus is to bring out subtleties of both biblical text and art iconography that will be appreciated by those with a modicum of training in art history, but who are not necessarily students of biblical texts and traditions. There is a fundamental question addressed here at the outset, which for many need not even be asked. Others may not be persuaded, preferring the antecedent art of antiquity even though they postdate much of formative Christian art, or those who are content with modern art without any necessary genetic link to the past in terms of theme or myth, or those unbound by any narrative at all.
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