Her figures, far from the classical ideal of beauty, retain the brokenness of humanity, a brokenness that is both spiritual and physical. At the same time, Paine preserves their dignity and value, arguing that man’s design is not wholly evil. In each of these figures the signs of life and death are evident, like permanent and deep marks that cannot be wiped away.
One of the miracles of creative collaboration is the momentum it creates, continuing to create new work beyond what was originally envisioned. After the model session, once my drawing was photographed and titled and shared, Olivia wrote this poem in response to the drawing.
The figure in the mirror is attentive, ready, waiting, poised in the act of creating. Her world is not limited to the objects before her – the mirror, the window, the branch. Within them, through them, she sees more: she sees deeper into a physical world than would be considered possible at first glance
The Feast of the Annunciation was moved to April 8 this year, since March 25 fell during Holy week. The Annunciation celebrates the moment when the angel Gabriel announces to Mary that she will bear the Savior. This series of Annunciation master studies I have shared over the last months is about waiting, and the expectation of new life. At times this “new life” has been a metaphor for new beginnings, forgiveness, spiritual renewal, but in 2012 the time of waiting was literal, as I waited, in pregnancy, for my baby girl to be born…
This Annunciation transcription will be included in the exhibit Compassion: The Good Samaritan, opening at Adams ArtSpace, Harvard College, Cambridge this weekend.
The Annunciation is the moment when God comes to earth – when human and divine come together to become incarnate in Jesus, Savior of the world. The Incarnation, God’s greatest act of compassion.
Appropriate to post another Annunciation transcription today, the Feast of the Archangels (Gabriel, Michael and Raphael). This particular Renaissance Annunciation infuses Classical architecture into the Biblical story of the Gabriel’s announcement to Mary. The painting also shows off the artists’ knowledge of perspective in the way that the artist places the angel in the foreground.
Another in my series of Annunciation transcriptions. The original Mannerist painting was completed in 1546 by Italian Domenico Beccafumi and is currently in the little town of Sarteano near Siena, Italy. I’m not always a fan of Mannerism, but I like the mirrored swooping curves in this painting and the sense of motion it creates, so different from the very still, stable Annunciations of Fra Angelico.
Another in my little “Annunciations from the Masters” series, from a predella by Fra Angelico, 15th century Florentine painter, who was also a Dominican brother. Graham Nickson of the New York Studio School says “the transcription endeavors to understand the nature of the original work.
What is the purpose of “copying” a work of art? Franklin Enspruch phrases it like this in a review of Wendy Artin’s series of watercolors of the Elgin Marbles: “She is at once paying the sculptures due homage, studying them for artistic clues, and using them to reach upward in ambition and scale.”
Somehow, in entering in to someone else’s creation, one often emerges at the other end with a clearer, renewed sense of voice and direction.
I love the brilliant blue and of Mary and her contemplative gaze in the Annunciation altarpiece by Ambrogio Lorenzetti. Lorenzetti was a Sienese painter in the first half of the 14th century and this work of his is presently housed in the Pinacoteca Nazionale in Siena, Italy. My version is tiny, only 6″ x 6″, but I’m looking for the contemplative quality he captures.
My latest studio project is making “transcriptions” of some of the classic Annunciation paintings of art history. The Annunciation has been one of my favorite images for many years. In seeking to make some of these images of Mary new in my paintings, I have taken on a studio exercise which is also a bit of a meditation.
These paintings are a metaphor for the struggle of my own experience to know Christ and seek to become more like his mother Mary. The metaphors in this poem, and others found throughout art history, continue to open my understanding of Christ’s relationship with his mother.
Cardus has just published another of my paintings in their online journal Comment.
Our Lady of the Barren Tree is an image of hope: the strange beauty of winter, in which it requries faith to believe that trees and grass are only “sleeping” and will return with new life and growth.
The tree, the vine, the branches – these images evoke the memory of Eve in the garden of Eden whose disobedience eventually brought on the exile of humanity from paradise. Eve’s disobedience was eventually redeemed in the act of Mary’s obedient “May it be to me as you have said”.
This is one of those days I would love to be back in Italy – it is warm, but not too warm, but somehow the lure of my suburban street is not as strong as the lure of an Italian street – when I am there I am always pulled outdoors to smell and see and greet and experience some one or some thing that is “new”. But part of the lure is that there is so much that is not new – it is the very, very old which is so appealing.