Art On The Easier Scene

Auckland Star, Volume LXXI, Issue 70, 23 March 1940, Page 1 (Supplement)

Art On The Easier Scene

A SAVAGE requires to devote himself exclusively to finding food, but civilisation makes time to cultivate art. In its earliest form art meant decoration of common objects, and according to Ruskin every work of art "either states a true thing or adorns a serviceable one." The next step is imilation and out of this comes the idea of creation. The artist "conceives scenes and persons he has never beheld," and resolves to give his ideas some visible form. Naturally, his conceptions are those of the age ill which he lives, and religious art reflects the spirit of the times. The the general activity. It kept pace with scholarship. Leonardo da, Vinci illustrates the happy combination of the artistic and scientific intellect. It was inevitable that Biblical themes should exercise the genius of the painter, and the picture galleries of Europe are witness to the extraordinary outflow of aesthetic energy. The primitive Chris-

tian shrank from all attempts at portraying Christ. Early Christianity regarded art with an unfriendly eye, and it is here we find the true explanation of the many svmbols used to represent our " Amongst these were the

anchor, the fish, the dove, the cross. The fish was freely used, because the Greek Word for it when taken letter by letter, stood for "Jesus Christ, Son of Cod. Saviour." Farrnr in his "Christ In Art" relates how Leonardo da Vinci sought the types of the Twelve in such models as he could idealise into the greatest force, "but not that of Christ for whom he did not wish to seek any earthly representation."

His friend Zenalc advised him to leave lie head of Christ unfinished. It docs lot appear that article in general had iuch scruples. It is well in this conlection to remember Ruskin's dictum hat "painting is invaluable as the •ehielo of thought, but by itself luthing." Tliere is also the related "amiliar warning, "Painting illustrates jot cannot reform." Certain peculiar difficulties emerge vhen artists, even the greatest, deal vith the Resurrection of our Lord. No aortal witnessed the event. No descripion is given by any of the four cvangcists. Even the Apocryphal Gospels irovided no details. Devout imaginaion, however, set to work to provide ('presentations of the Resurrection itself, as well as the various appearances mmedintely following it. Slantogna laillted the Saviour carrying in His hand he Resurrection flag with the red cross >n a white ground, and Perugino shows lim rising and two angels running to idore Him. Raphael, Rembrandt, Sodoma and Tinoretlo treated the subject with all the skill they possessed, but of the. work if some "of them the criticism lias been node that they are "not so much picores of the resurrection as of saint" hinking about the Resurrection." Even I'intorelto was sadly hampered by conventionalities. He showed Christ bnrst--117 out of a rock, which seems to hrcatcn the safety of the angels. With Hoe In Hand! The famous Noli Me Tangore, by fitian, represents Christ partially Iresscd in white, but holding a hoe in lis hand, an extraordinary addition irobably suggested to the artist by darv supposing Him to be the gardener. \larv kneels before Him, and the setting hcludes a tree ill the centre, some buildngs on a hill, and a landscape in the listance. There is a solemn charm in he picture because of the colours. The itlo. means "Touch Me Not," but ■ utlioritics have constantly pointed out hat the translation from the Greek in nislcading. It should be "Uo not :rasp hold of Me." Some MSS. say "she an forward to grasp Him." The inner meaning of the saving was hat material fellowship had ended, md true spiritual communion was to ollow only after the Ascension. It was, says Farrar, a reminder to the church •not to confound His bodily form with ilis real presence. Mary was yearning 'or the Human Jesus. He pointed her o the Divine Christ." Of all the post-Resurrection paintings u" our Lord the most popular has been the meeting with tile two disciple? either hi the way to Kmniaus or at supper ihcre. Quite an army of masters have Attempted to do justice to the theme, rkllini, Marzialc, Titian and Vecchio being an.ong them. Bellini's picture is

famous for the grandeur given to the head of Christ, but tho work of Titian is regarded as faulty in his treatment of the surroundings. His Supper at ICinmnus has historical interest because of tho tradition that the disciple at Christ's right is said to be a portrait of Cardinal Nimenes, the other of Ferdinand the Catholic; the host, of Charles V., and tho page, of Philip 11. Reverence and Power

Another subject dealt with Is the Unbelief of St. Thomas, and this has been handled with reverence and power. A bronze group, by Verrocehio, is most impressive. It represents the Kisen Saviour, a majestic figure, "drawing aside His robe with His left hand, while He raises His right arm in appeal. The Apostle, a very noble figure, gazes at the wound in the side with deep reverence, and holds back the robe with his right hand that he may see it clearly. Duceio is equally effective, with his painting. Contrasting with the dignity and mildness of Jeeus is the face 'of Thomas, with its hesitation and doubt.

One of our British artists, William Hole, U.S.A., U.K., has ventured upon illustrating the life of Jesus of Nazareth in eighty pictures. His aim was to represent what would be visible to the eye of a contemporary, especially emphasising the dull perception of one who saw nothing of the profound significance of what was going on.

One of his efforts was directed to a representation of the appearance of Christ, to His disciples by the Lake of Galilee. Three of the disciples are at tho bow of a boat heading for the shore, on which stands the figure of Christ, with His left arm outstretched as if indicating direction. Behind Him is smoke ascending from a kindled fire, and ill the background a valley with mountains beyond. Criticism" would regard tho boat as far too large, and the three men on it as too calm. Peter seems to be going over the side in his haste to «ct ashore. The colours are striking, and are those of the early

Other artists have essayed to portray the incident, but cannot lie said to have attained success. The difficulty in doing justice to Easter in respect of art is not hard to imagine, and lias to some extent been indicated. Some of it relates to the now proverbial impossibility of doing justice to the face of our Lord. The only conclusion possible is that no pencil or brush can ever do that. Whoever the artist, he will never be satisfied with his work. What we discern in such a fact is the extent to which Jesus of Xazareth has stamped His life and character upon the lincst minds in civilisation. It is putting the mailer familiarly to say that Ho was unique, and that most arti.-ts fail to represent Him as a vigorous and .masterful personality, who was at the same time meek and lowly in heart.