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Sacred and Secular Angelo Now Softened by Being Approached Through Mary As an Intermediary

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Sacred and Secular Angelo Now Softened by Being Approached Through Mary As an Intermediary realism in religious art? We shall end with a setting by Pergolesi of a hymn to God as the Creator of Light, the heroic vision of Michel- Sacred and Secular angelo now softened by being approached through Mary as an intermediary. Raphael: Madonna and Child (1505, Washington NGA) Cassatt: Mother and Child in the Conservatory (1906, New Orleans) Murillo: Madonna and Child (c.1670, Dresden) Breton: Young Mother Nursing Her Child (1873) David: Virgin and Child in a Landscape (1520, Rotterdam) Van Dyck: The Virgin as Intercessor (1629, Washington NGA) Pergolesi: "Lucis Creator optime" fromMarian Vespers (1732) Artists’ Full Names and Dates: Ivan Aivazovsky (1817–1900), Tim Ashkar (living), William Blake (1757–1827), Heironymus Bosch (1460 –1516), William-Adolphe Bouguereau (1825–1905), Jules Breton (1827–1906), Jan Brueghel the Elder (1568–1625), Mary Cassatt (1844–1926), Lucas Cranach the Elder (1472–1553), Gerard David (c.1455–1623), Theo van Doesburg (1883–1931), Aaron Douglas (1899–1979), Anthony van Dyck (1599–1641), Lorenzo Ghiberti (1378–1455), Hendrik Goltzius (1558–1617), St. Gregory the Great (6th century), Joseph Haydn (1732–1809), James Weldon Johnson (1871–1938), Danusha Laméris (living), Masaccio (1401–28), Michelangelo Buonarroti (1475–1564), Piet Mondrian (1872–1944), Bartholomé Esteban Murillo (1617–82), Héctor Pérez (living), Giovanni Battista Pergolesi (1710–36), Raphael (Raffaello Sanzio, 1483–1520), Auguste Rodin (1840–1917), Peter Paul Rubens (1577– 1640), John Stanhope (1829–1908), Jacopo Tintoretto (1518–94), Benjamin West (1738–1820). All the paintings, together with brief notes on the artists, will soon be available on my website: http://www.brunyate.com/SacredSecular/ February 19, 2019 The Miracle of Creation Blake: Ancient of Days (1794, Cambridge) Medieval French MS: The Divine Architect (1411, British Museum) Anonymous: Atlas Holding up the Celestial Sphere (16th century) Most religions begin with a creation story that explains the Thomas Wright: Celestial Map of the Universe (1742) world in which we live. Artists, whether writers, painters, Mondrian: The Red Tree (1908, Civic Museum, The Hague) sculptors, or musicians, also seek to explain the world through Mondrian: The Grey Tree (1911, Civic Museum, The Hague) Mondrian: Composition in Blue, Gray, and Pink (1913, Otterloo) the creations of their minds and hands. In this sense at least, Van Doesburg: Contra-Composition of Dissonances(1925, Hague) does not art inherently share some quality of religion? Mondrian: Lozenge Composition (1921, Chicago) A. Light out of Darkness C. In His Own Image We begin in music, with a short film clip and the opening of a major An African-American Creation story, culminating in God’s creation oratorio, both evoking the first moments of Creation. Then a series of Man in His own image. What does this phrase mean, whether for of medieval and renaissance representations of the Genesis story, theology, anthropology, or art? We shall look at depictions of Adam focusing finally on Michelangelo, both as the creator of the Sistine and Eve to consider the differences between presenting the facts of Chapel ceiling and as a poet. a story and evoking empathy with the human beings in it. Héctor Pérez: The Creation (film) Johnson: The Creation (1927, read by Wintley Phipps) Bosch: The Garden of Earthly Delights (1510, Madrid, Prado) Douglas: The Creation (3 versions, c.1935) Haydn: The Creation(1796 -98), opening Ghiberti: The Garden of Eden (1437, Baptistery, Florence) Ivory panel: Separation of Light from Darkness (c.1084, Salerno) Michelangelo: Sistine Ceiling (1508–12, Vatican, Sistine Chapel) Genesis mosaics in San Marco, Venice (finished 1270) Cranach: Adam and Eve (1526, Courtauld Gallery, London) Raphael: Frescoes from the Vatican loggie (1519) Goltzius: The Fall of Man (1616, Washington NGA) Tintoretto: Creation of the Animals (1551, Venice, Accademia) West: Expulsion from Paradise (1791, Washington NGA) Rubens and Jan Brueghel: Garden of Eden (1617, The Hague) Masaccio: Expulsion from Eden (1428, Florence, SM Novella) Michelangelo: Sistine Ceiling (1508–12, Vatican) Rodin: Adam and Eve Expelled (1887, Paris. Musée Rodin) Stanhope: Eve Tempted (1877, Manchester) Laméris: Eve, After(poem, 2013) B. The Divine Architect The view of Creation bringing Order out of Chaos chimes with ideas from Aristotle onward that the universe has an inherent order, and D. The Mother of God that the motions of the planets are in mathematical and musical Finally, a group of paintings of the Virgin Mary and her son Jesus. harmony. In this light, we will look at the painter Piet Mondrian, What is the difference between a devotional painting and a secular who broke a long professional friendship over the question of one of a mother and child? Is there a definition of “sacred” that whether the structure of the universe contains diagonals. provides a middle ground between them? What, if any, is the role of .
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