Hagar and Ishmael – God’s Love and Mercy is Both Universal and Personal

In reviewing additional available art on biblical subjects I have already addressed, I found a drawing of Rembrandt on the subject addressed in my post, “God Protects and Blesses Hagar and Ishmael.”  It particularly strikes me as unique among the paintings I have chosen.

Hagar and the Angel REMBRANDT (ca. 1655)

See http://www.artbible.info/art/large/86.html for the source of the above photograph of the pen drawing and a comment.

I admire not only the simply essential,  but nuanced, style of this drawing, but also its expression of Hagar’s personal encounter with the Divine in that the angel touches her shoulder and she faces the angel in grateful submission.  Also, I see the depiction of Ishmael as in the style typically rendering Jesus in the manger.  I have in this blog noted Rembrandt’s study and expression of human emotional and behavioral interaction in those represented.  That helps to make this drawing personal to me so that I interpret it to demonstrated God’s love for Hagar and Ishmael, who represent the indigenous people of that area in the Biblical view, now known as Arabs, and addressed by Mohammed.  It reminds me that we are all family loved by God.

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Sarah – Art as Revelation of an Unseen Essence.

Genesis 21:1,2 tells us, “And the LORD visited Sarah as he had said, and the LORD did unto Sarah as he had spoken.  For Sarah conceived, and bare Abraham a son in his old age, at the set time of which God had spoken to him.”

The Angel Appears to Sarah TIEPOLO (1726-28)

See http://www.artbible.info/art/large/468.html for the source of the above photograph of the painting and comment.  Whether Tiepolo intended to comment so or not, the above-referenced commentator appears to take the view that the “Lord” appears to humans only through angels and that “visiting Sarah” was akin to the common Biblical interpretation of a man “knowing” a woman: as inpregnating her.  The commentator seems to come to that interpretation on the premise that Sarah was too old to conceive, and since God is represented in the flesh as an angel, Sarah conceived only by divine intervention and that via an angel.

A note about this painting and the prior post concerning the visit of the three angels to Abraham:  Christians reinterpreted that story to reflect their notion of the Trinity.  As finite beings, we can conceive of the infinite, or “divine things,” not directly but only as revealed to our imagination based upon actual experience.  That, of course, makes our understanding biased.  That’s okay; it’s normal; it’s necessarily so.  In his book, Law and the Modern Mind, Jerome Frank explores the concept of an “impartial judge.”  He maintains pure objectivity is a fiction.   Bias is inherent in all human activity and cannot be irradicated; one can best minimize its influence by recognizing it.

The role of experience in our thinking is addressed by Plato in his Allegory of the Cave: Suppose a prisoner, who knows nothing but a cave, were to escape and discover  the world in the light of day.  And then suppose that he then return to the cave to tell of his (or her) experiences. The other prisoners, who know only shadows of objects cast into the cave, will have no understanding of what is described as revealed  by light.

As I understand them, the orthodox Jewish and Muslim answer for the  inadequacy of image to represent the Divine is to prohibit any physical representation of God.  Jews don’t even utter, “God:”  to name God is to limit God, and their God is the Living God.  The medieval Jewish philosopher, Maimonides, went so far in his Doctrine of Negative Attributes to hold that we cannot state what God is; we can only state what God is not.  “God” is always more than any statement that can be made about God.

Metaphor provides better reference to the Divine nature than any amount of descriptive language.  Rather than dictate, it invites the viewer or listener to bring his or her own experiences to bear on the subject so that the experience is more like a dialogue between the artist and the viewer than mere description of an event.  Rather than define truth, it points toward the truth.  Likewise with art: it is not necessarily intended as an exact replication of an historic event, but may reveal a deeper truth contained within the subject.   Marcus Borg expresses the notion citing an Indian story teller who began the telling with, “Now, I don’t know if it actually happened this way, but I know it’s true . . . ”

Frank also addresses the benefit of “as if” thinking.  Some experiences cannot be related directly.   Modern physicists discuss theories in analogies or metaphors, “as if” time-space were a stretched fabric warped by a metal object resting upon it; or metaphorically discussing string theory as though it were a tire inner tube.  Models are necessary for complex thinking and dialogue; and they can be most helpful when we recognize that our perceptions are not reality, itself, but are understood by our model of reality.  These models are helpful as long as we recognize reality “as if” it were the model.  They cease to be helpful when the model reaches its outer limits.  For example, Newtonian physics works very well as a mechanical model of reality within the “normal” range of experience.  But when one is dealing with velocities at, or approaching, the speed of light or the scale of atomic particles, it becomes inadequate as a model and must be replaced with another model that works.

In the same way, I think, art has the capacity to connect transcendent (infinite) experiences to human (finite) experiences through conscious “as if” thinking.   That occurs best when there is actual dialogue which invites mutual participation of artist and observer, as with metaphor.  I hope that you, the reader, bring to your exploration of the paintings in this post your own experience and thinking and that it engages you personally.  I also invite your contributions to this blog.

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Israel Reunited With Joseph in Egypt

Genesis 46:29-30 tells us that Israel (Jacob) traveled to Egypt where he was reunited with Joseph.

Joseph Receives His Father and Brothers BRAY(1627-1697)

See http://www.themartman.com/stmartins/6joseph.jpg for the source of the above photograph of the painting.   I love the arches, soldiers’ accouterments and dog in the foregroound.  What do you see?

Genesis 48 tells us that Jacob blessed Joseph’s children before he died, when his eyesight was failing.  As he was born contending with Esau for the rights of the first born, Jacob lays his right hand upon the younger of Joseph’s sons to bless him, which displeases Joseph.  Joseph instructs his father to lay his hand upon the older child, but Jacob refused, saying, “I know it, my son, I know it: he also shall become a people, and he also shall be great: but truly his younger brother shall be greater than he, and his seed shall become a multitude of nations.”  Thus ends Genesis as “captured” by Rembrandt:

Jacob Blessing the Children of Joseph REMBRANDT (1606 – 1669)

See http://www.artbible.info/art/large/421.html for the source of the above photograph of the painting and a brief description.  The commentary notes that Rembrandt (charitably) chose not to represent Joseph’s displeasure.

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Unexpected Reunion

Genesis 43-45 tells us that Israel ‘s country is also suffering famine.  He hears that there is plenty of grain for sale in Egypt; so, he sends his sons, all, that is, except Benjamin, his youngest son, of whom he cannot bear to risk loss.    Here is that story in  “pictures.”

The Story of Joseph GHIBERTI (1378-1455)

See http://www.wga.hu/frames-e.html?/html/g/ghiberti/paradiso/2joseph.html for the source of the above photograph of the gilded bronze panel and a brief description.   You will notice, again, Ghiberti’s representation of several separate scenes in one panel, thereby representing at once the whole story.

The Search for the Cup BACCHIACCA (1494 – 1557)

See http://www.terminartors.com/artworkprofile/Bacchiacca_Francesco-Scenes_from_the_Story_of_Joseph_The_Search_for_the_Cup for the source of the above photograph of the painting.

The Discovery of the Stolen Cup BACCHIACCA

See http://www.backtoclassics.com/gallery/bacchiacca/scenesfromthestoryofjosephthediscoveryofthestolencup/ for the source of the above photoraph of the painting.

Discovery of the Golden Cup GHIBERTI

Recognition of Joseph by his Brothers CORNELIUS (1783-1867)

See http://www.terminartors.com/artworkprofile/Cornelius_Peter_von-The_Recognition_of_Joseph_by_his_Brothers for the source of the above photograph of the painting.

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Potiphar’s Wife and Pharaoh’s Dream

Joseph is taken by the traders to Egypt, where he is sold to Potiphar, captain of the Pharoah’s guard.   While in faithful service to Potiphar, Jacob rejects the advances of Potiphar’s wife.  She feels scorned, and she became the epitome of the statement often attributed to Shakespeare concerning a woman scorned . . .   Joseph is imprisoned where he interprets dreams of fellow prisoners, not always with good news (Genesis 40), and he is forgotten.  Some time thereafter, Pharoah has a disturbing dream and one former prisoner-returned-to service-of -the-Pharoah remembers Joseph. Joseph “just happens to be in the right place at the right time.”  He remembers Joseph and the Pharoah summons Joseph from prison to interpret his dream.  (Genesis 41).

There are a number of paintings of the story about how Potiphar’s wife took a special liking to Joseph and attempted to seduce him.  Rembrandt takes that opportunity to study of the human condition and character.

Joseph Accused by Potiphar’s Wife REMBRANDT (1606 – 1669)

See http://www.artbible.info/art/large/360.html for the source of the above photograph of the painting and description.  For an excellent, detailed analysis of the painting, see http://www.customessaymeister.com/customessays/Fine%20Arts/4078.htm  Again, I see in the painting Joseph’s resignation to his fate, without protest, as though there might be some meaning in the madness -yet again.

Joseph Interpreting  Pharaoh’s Dream CORNELIUS (1783-1867)

See http://www.wga.hu/frames-e.html?/html/c/corneliu/fresco1.html for the above photograph of the fresco and a description.

Joseph tells the Pharoah that his dream means that a famine is coming, but that the Pharoah can prepare for those hard times because first there will be years of plenty.  A grateful Pharoah puts Joseph in charge of storing grain in preparation – a great rags-to-riches story.

Joseph Selling Wheat to the People BREENBURGH (ca. 1598 – 1657)

See http://www.terminartors.com/artworkprofile/Breenbergh_Bartholomeus-Joseph_Selling_Wheat_to_the_People for the source of the above photograph of the painting.

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Joseph the Dreamer

Joseph is born to Jacob and Rebecca.  Genesis 37.  He was a dreamer and he didn’t mind sharing his dreams, not only his brothers, but even with his father.   Rembrandt captures that moment:

Joseph Tells His Dreams to Jacob REMBRANDT (1606 – 1669)

See http://www.spaightwoodgalleries.com/Pages/Rembrandt.html for a photograph of the above etching and a description of it.

Joseph Tells His Dreams to Jacob REMBRANDT (1606 – 1669)

See http://www.artbible.info/art/large/564.html for the source of the photograph of the painting.

In each of the above works of art, Rembrandt studies various reactions of Jacob’s brother and of his father.

Of course, the result is that the brothers are jealous and get rid of Joseph by selling him to some passing slave traders going to Egypt.  Genesis 37.

Joseph is Pulled Out of the Well ANNONYMOUS (18th Century)

See http://www.artbible.info/art/large/742.html for a photograph of the above illumination.  It is particularly interesting to me because it is the work of a Muslim artist inserted into a Persian poem, despite Islamic general disapproval of artistic rendition of images, particularly those of the human body, and because it tells the story from an Islamic  point of view.   See http://www.studiesincomparativereligion.com/public/articles/Perennial_Values_in_Islamic_Art-by_Titus_Burckhardt.aspx for the source of the above photograph of the painting.

Joseph Sold by his Brothers BACCHIACCA (1494 – 1557)

See http://www.lib-art.com/artgallery/20784-scenes-from-the-story-of-joseph-joseph-sold-by-his-brethren-bacchiacca.html for the source of the above photograph of the painting.  For some biographical information on this lesser-known artist and characteristics of his style within Florentine Mannerism see http://en.wikipedia.org/wiki/Francesco_Bacchiacca. The style of painting reminds me of the Twentieth Century Mexican painter, Jose Clemente Orozko, particularly of his Zapatistas, see http://www.moma.org/collection/object.php?object_id=79798, has a similar earth-tone pallette, stolid figures, and an even more heightened sense of rhythm.  Isn’t it interesting that visual art would convey a sense of rhythm, beating incessantly with a sense of resignation, in an inevitable, forced march to doom?

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Reconciliation

Genesis 33:3,4 tells us that the next day, “He passed over before them, and bowed himself to the ground seven times, until he came near to his brother.  And Esau ran to meet him, and embraced him, and fell on his neck, and kissed him: and they wept.”

The Reconciliation of Jacob and Esau REMBRANDT (1606-1669)

See http://www.artbible.info/art/large/87.html for the source of the photograph of the above line drawing.  I love Rembrandt’s line drawing, not just because of his empathy for the human condition but because he says so much with so little.  In that sense it seems to have a modern, expressive flair – it seems to come to life.

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Jacob Wrestles and is Named Israel

Jacob finally gets Rachel as his wife.  But Laban wants Jacob to remain and feed his sheep, goats and cattle.  As his wages, Jacob agrees he will get the less desirable livestock.  Genesis 30 and 31 tells us that he stays with Laban a total of twenty years.  That is an additional six years for Jacob to manipulate Laban’s livestock so that it appears that Jacob is getting the less favorable livestock as his wages whereas, in fact, he gets the stronger livestock and Laban the weaker.  Thereby, he builds a fortune.

As you can imagine, Jacob leaves Laban on less than favorable terms.  Genesis 31:49 contains the familiar parting phrase, “The Lord watch between me and thee while we are absent one from the other.”  We used to close our Christian Endeavor meetings with that verse.  My father noted that rather than the warm parting that it seemed, it was one of deep suspicion and resentment.  You will see from its context it is quite different from the song that seems to be of similar sentiment, “God be with you ’til we meet again.”

Jacob returns to his homeland, Canaan, where he prepares to again meet Esau.  He has no idea what to expect of Esau, their parting having been so bitter.  Surely, Jacob could not have expected any change in Esau, as there had been so little change, it would seem, in Jacob’s own dishonest and manipulative nature.  Jacob sends servants ahead to arrange a meeting with Esau.  Esau sends back word that he will be at the appointed place the next day to meet Jacob –  with four hundred men.  That concerns Jacob.  He does not rest well that night.  Instead, he finds himself wrestling with a man until dawn and “throws out his hip.”  For surviving the bout, he is named Israel.

Jacob names the place Peniel: “for I have seen God face to face, and my life is preserved.”

Jacob Wrestling with the Angel REMBRANDT (1606-1669)

See http://www.artbible.info/art/large/89.html for the source of the photograph of the above painting.  See http://www.rembrandtgallery.org/painting-REMBRANDT%20Harmenszoon%20van%20Rijn-Jacob%20Wrestling%20with%20the%20Angel-34521.htm for a brief description of Rembrandt’s style and place in art history.

Jacob Wrestling with the Angel (detail) Eugène DELACROIX (1798-1863)

See http://www.artbible.info/art/large/604.html for a photograph of the above painting and a brief description.

See http://en.wikipedia.org/wiki/Jacob’s_Ladder for a fuller description of the symbolism in the story and in the paintings.

See http://smarthistory.khanacademy.org/gauguin for expert analysis and discussion of a late Romantic, pre-modern interpretion of the same scene by Paul Gauguin.

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Jacob Deals With One as Conniving as He

Genesis 29 tells us that Jacob arrived in Laban’s land where he met Rachel, who was at the well watering the sheep.  He is smitten with her beauty.  When Jacob tells her that he is a relative of her father and a son of Rebekah, she runs to bring Laban to Jacob.  Rembrandt captures the moment of their meeting.

Laban Greets Jacob REMBRANDT (1606-1669)

See http://www.artbible.info/art/large/88.html for the source of the above photograph of the drawing.

We learn that Laban, himself, suggests that Jacob should not serve Laban without wages, so he asks Jacob what those wages should be.  Jacob says he will serve Laban for seven years for Rachel as his wife.  Laban agrees, and at the end of those seven years there is a wedding.  It is not until after the ceremony that Jacob discovers that he got Rachel’s “weak eyed” sister, Leah, not Rachel.  Only then Laban tells Jacob that it is contrary to custom in that land to give the younger daughter in marriage before the older.  Not to be denied the prize altogether, Jacob serves Laban for yet another seven years for Rachel.  Poor Leah.  Jacob apparently does not hide his disappointment.  But God perhaps has a sense of humor, or a little spite(?)  We are told that when God saw that Leah was not loved, Leah conceived and had many children with Jacob, but Rachel was unable to have children for quite some time.

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Jacob Flees and Has a Dream

Genesis 28 tells us that Isaac, realizing he gave his blessing to Jacob, charges him, as Abraham had charged Isaac, that he not take a Canaanite as a wife, but to go to Rebecca’s brother, Laban, in Syria to take one of his daughters.  Esau finds a wife among one of Ishmael’s daughters – now to become doubly outcast from the “chosen.”

Jacob flees to Syria.  On the way, one night he has a dream.

Jacob’s Dream FERDINAND BOL (1616-1680)

See http://www.artbible.info/art/large/459.html for the source of the photograph of the painting and a general description of the events it

represents.  Bohl was a student of Rembrandt and that influence is evident in the painting.

Jacob’s Dream BLAKE (1757-1827)

 See http://www.artble.com/imgs/c/8/8/524824/jacob_s_ladder.jpg for the source of the photograph of the above painting.

 

Dream of Jacob CHAGALL (1887-19850)s

See http://www.fantasyarts.net/chagalljacob.html for the source of photograph of the above painting and a brief description.  For a succinct biograpy and description of Chagal’s work, see http://tars.rollins.edu/Foreign_Lang/Russian/chagall.html.

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A Blessing Obtained by Deceit

Genesis 27 tells the story of  Rebecca putting Jacob up to tricking Isaac into giving Jacob, the second twin born,the blessing that primogeniture required be given the first born, Esau.  As the story goes, Rebecca overhears Isaac make the request for the presence of Esau so that he may bless him with his approval and inheritance.   Isaac’s eyesight is failing him, and Rebecca wants her favorite son, Jacob. to receive the blessing.  So she consorts with Jacob to deceive Isaac to bless Jacob.  Of course, Esau had already sold his birthright to Jacob.

Isaac Asks Esau to Hunt for Venison BERTRAM OF MINDEN (1340-1414/15)

See http://www.artbible.info/art/large/568.html for the source of the above photograp of the painting and notes.

Isaac Blessing Jacob ASSERETO (1600-49)

See http://www.hermitagemuseum.org/fcgi-bin/db2www/descrPage.mac/descrPage?selLang=English&indexClass=PICTURE_EN&Query_Exp=%28WOA_AUTHOR+%3D%3D+%22Assereto%2C+Gioacchino%22%29&PID=GJ-1457&numView=1&ID_NUM=2&thumbFile=%2Ftmplobs%2FS3EG_40E_40KAP5I%2472N6.jpg&embViewVer=last&comeFrom=browse&check=false&sorting=WOA_AUTHOR%5EWOA_NAME&thumbId=6&numResults=2&author=Assereto%2C%26%2332%3BGioacchino for the source of the above photograph of the painting.

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Rebecca at the Well

Rebecca at the Well POUSSIN (1594-1665)

See http://www.wga.hu/frames-e.html?/html/p/poussin/3/36rebecc.html for the source of the above photograph of the painting and notes.  Although a Frenchman, Poussin spent most of his painting career in Rome.  He is known for his painting on both religious and Greco-Roman subjects.  You see the latter influence in this painting of the scene from Genesis 24:12-38 when Abraham sends his servant to his old country, Ur, to find a wife for Isaac, since the Canaaninte women weren’t fit for him.  Poussin inserts the rural scene in a setting of Classic Antiquity.

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Near Sacrifice of Isaac

Genesis 22:1-13 tells us that God tested Abraham’s loyalty to God by telling him to sacrifice “thy son, thine only son Isaac.”  Abraham obeys and is ready to kill Isaac with his knife when an angel interrupts him and provides him a ram caught in a thicket to sacrifice instead.

The Sacrifice of Isaac  – DIETRICH (1712-1774)

See http://www.wga.hu/frames-e.html?/html/d/dietrich/sacrific.html for the source of the photograph of the painting and for notes.  As you will see, this painting was based upon an engraving by Rembrandt.  Rembrandt is known for his empathy for his subjects.  There is nothing in the above Bible passage to suggest that Isaac was suspicious of Abraham’s intention to make a sacrifice of him, but in this painting based upon that engraving, Rembrandt imagines Isaac’s unease in helping his father prepare to make a sacrifice for which there is no live object to sacrifice except himself.

Sacrifice of Isaac REMBRANDT (1635)

See http://www.artbible.info/art/large/274.html for the source of the above photograph of the painting and for notes.  One of the characteristics of the Baroque period both in music and in art is a sense of drama.  One artistic means of providing that is through chiarascura, which spotlighs the subject out of a dark background for dramatic effect.  You see that in each of the paintings shown here, each of which is from that period.

The Sacrifice of Isaac CARAVAGGIO (1573-1610)

See http://www.artbible.info/art/large/2.html for the source of the photograph of the painting and notes.

See http://www.bcc-la.org/the-binding-of-isaac-in-christian-history-with-petra-verwijs-ph-d/ for an excellent, scholarly Jewish perspective on this subject.

See http://www.onbeing.org/program/children-abraham/feature/canticle-ii-abraham-and-isaac-op-51/2129 for a wonderful interview by Krista Tippett of journalist, Bruce Feiler,  titled Children of Abraham.

See http://smarthistory.khanacademy.org/brunelleschi-ghiberti-isaac.html for an insightful expert analysis and comparison of Brunelleschi and Ghiberti panels on the subject.

I recall reading years ago in one of Eric Fromm’s books, perhaps Psychoanalysis and Religion, that he interpreted this story to be a statement that God did not want human sacrifices.  Wikipedia is not recognized as a scholarly source, lacking the review standards of formal research, however, in searching for Eric Fromm’s statement I came across an interesting Wikipedia site that has sufficient references that you may judge its credibility for yourself: http://en.wikipedia.org/wiki/Binding_of_Isaac.  Apparently there is significant Jewish history to support Eric Fromm’s statement.

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God Protects and Blesses Hagar and Ishmael

Genesis 21:14-21 follows Hagar and Ishmael into the wilderness upon their expulsion.  God does not abandon them, but protects them and promises Hagar that a great nation shall arise from Ishmael.  That Abraham is reported to have had a son with Hagar and six sons with his wife, Keturah, is consistent with the account that God promised to make of Abraham many nations.  Whether that is literally true or not, certainly a number of religious traditions have found their inspiration and source in the figure of Abraham.

Hagar and Ishmael in the Wilderness DUJARDIN

See http://www.wga.hu/frames-e.html?/html/d/dujardin/hagar.html for the source of the photograph of the above painting and notes.

Hagar and the Angel POUSSIN

See http://www.wga.hu/frames-e.html?/html/c/claude/3/06hagar.html for the source of the photograph of the above painting, and for a poignant interpretation of the painting.

Hagar and the Angel REMBRANDT (ca. 1655)

See http://www.artbible.info/art/large/86.html for the source of the above photograph of the pen drawing and a comment.  What I like about the above drawing, besides the skill in its production, is the sense of personal encounter with the Divine in that the angel touches Hagar,s shoulder and she gazes gratefully upon the face of the angel; also I happen to see the depiction of Ishmael as in the style typically rendering Jesus in the manger.  I have in this blog noted Rembrandt’s skill of studying and representing human emotional and behavioral interaction.  That helps to make this drawing personal to me, and even more so to express the Divine’s love for Ishmael, who represents the indigenous people of the area in the Biblical view, now traditionally known as Arabs and followers of Mohammed.

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Abraham Reluctantly Casts Out Hagar and Ishmael

As the Jewish version of the story (which Christians have adopted and the only one I was aware of until recent years) goes, Sarah gives her servant, Hagar, to Abraham to fulfill God’s promise that Abraham would become the father of many nations, something Sara assumes to be impossible through her, an old woman.  Hagar has Ishmael and then Sarah, despite her old age, has Isaac.  That, as might be expected, generates some jealousy.  Genesis 21:1-21 tells the story that Sarah made it clear to Abraham that Abraham’s son, Ishmael, by her servant, Hagar,  was not going to compete with Abraham’s son by Sarah, Isaac; and so, she demands of Abraham: Hagar and Ishmael must go.  The Jewish account, of course, suggests that their own claimed ancestor, Isaac, was the one who God had really intended as heir to Abraham, and that Sarah short circuited the process for lack of faith.  The underlying notion of that story is that Ishmael is the ancestor of other non-Jewish inhabitants of that region, most often perceived by Jews to be their enemies.  Nonetheless,  the story does concede that God promised to make of Abraham the father of many nations.  The biblical story concedes that for Abraham, both Ishmael and Isaac were equally his sons, that he loved each of them, and that he was very much grieved and conflicted over Sarah’s demand.  The story is fascinating for me, both for its expansive and inclusive view of who are “God’s children,” and for the narrow views that have nonetheless been slipped into it.  Perhaps that is an inevitable part of the human condition.  Or is it inevitable?

One aspect of the story that strikes me is that, after all, we are family: every one of us is a child of God.  A corollary might be that there is no such rancor and emotionally toxic byproducts of any feud as with family: such conflicts strike too close to home to be seen objectively.

Here are various aspects of the story as seen through artists’ eyes.

Abraham and Hagar MOSTAERT (c 1474 – 1555/56)

See http://www.wga.hu/frames-e.html?/html/m/mostaert/jan/abraham.html for the source of the above photograph of the painting and some notes.  You will notice that, as with the biblical scenes of Ghiberti, the painting is not of a single scene at a particular time but is a composite of different scenes and events at different times; also it is cast in the time and style familiar to the artist.  In the background you see the angel protecting Hagar and Ishmael in their wilderness journey that follows.  Perhaps Abraham’s gesture shows his love for Hagar and Ishmael and his reluctance to see them go.  You may see other symbols or expressions as well.  Good art, it seems, not only expresses the artist’s conscious intentions but taps into both universal experiences of  life, even of transcendence, and the particular experiences of the observer.  Good art, in all its forms of expression, invites the observer or listener into it and to participate.

Abraham Casting Out Hagar and Ishmael GUERCINO (1591-1666)

See http://www.wga.hu/frames-e.html?/html/g/guercino/2/abraham.html for the source of the photograph of the painting and notes.  Whereas Mostaert treats the subject of his painting largely as a narrative story, providing an opportunity to paint a scenic view, Guercino explores the human, emotional side of the story from the point of view of each of the subjects.  Now that provides an interesting study of character and of the conflicts inherent in living and doing “what one must do” to get along.

Hagar and Ishmael Banished by Abraham VERHAGHEN (1728-1811)

See http://www.wga.hu/frames-e.html?/html/v/verhaghe/hagar_is.html for the source of the photograph of the painting and notes.  This painting also seems to me to be a study in characters and their perspectives. Ishhmael looks to Isaac, who seems to want his brother and friend to stay, as Sarah restrains Isaac  to protect him from some childish indiscretion.  Hagar is stoic, almost contemptuous, and Abraham is conflicted, looking to Hagar as he apparently places his right hand on Hagar’s back, perhaps affectionately, as he motions her way out, obedient to Sarah’s demand.

And finally,

The Expulsion of Hagar CLAUDE (1600-1682)

See http://www.wga.hu/frames-e.html?/html/c/claude/3/06hagar.html for the source of the photograph of this painting and notes.  I have included this, not because it says anything significant to me, but because it reflects one aspect of humanity that simply wants a feel-good moment in religion, or a religious story or rite that offers us an opportunity for entertainment or to perform, or confirms the imagined validity of our delusions.  Perhaps there is a place for that.  Certainly, not all our religious experiences must be “deep” or serious.

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Lot and His Daughters: Depersonalizing Our Perceived Enemies

I wasn’t going to post on Lot and His Daughters, thinking it a bit risque, with no edifying purpose or artistic value.  I had not included it in the Sunday School survey which preceded this blog.  However, WordPress also automatically generated another “related site” which, upon reading, got me to thinking (see http://apawst8.wordpress.com/2010/05/08/sodom-and-gomorrah/).

The story in Genesis 19:29-38 tells us a drunken, incestuous incident between Lot and his daughters following their escape .  Previously, when warned by the angels of the coming destruction of Sodom, the daughters’ husbands  scoffed at the notion and did not join Lot, his wife and their daughters in their escape.   In addressing the question raised in the above related blog post, I began to think of its value.

What strikes me is how the story serves the purpose of dehumanizing perceived enemies.  We are told that their issue were the Moabites and Ammonites, who failed to greet the Israelites with water when the wandered in the wilderness.  The were “former inhabitants” of the “Promised Land”.   They were idol worshipers, and, because their inhospitality to the Jews they were prohibited from Jewis worship and sacred places.  They were also prohibited participating in Jewish worship because the were inherently blemished because they were illegitimate.  Deuteronomy 23:3-6.

It nonetheless seems to me significant that Ruth, of the book of her name, was a Moabite, converted to Judaism when she pledged her love and loyalty to Naomi, and she is included in the line of David and that to Jesus.

We dehumanize others yet today in our wars, in strained neighborhood relations, competition for limited numbers of jobs, striving for advancement in a threatening world, and the sense of threats posed by immigration, whether controlled, legal or not.

Lot and his Daughters ORAZIO GENTILESCHI (1563–1639)

See http://www.getty.edu/art/exhibitions/gentileschi/ for the source of the picture of the painting and for some excellent notes on the moral dillemna which the scene poses.

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If You Must Escape, Don’t Look Back!

Genesis 19:1-26 tells of the story of Lot escaping Sodom.  Lot’s wife looked back, the account says, and she could go no further: she became a pillar of salt.

Lot and His Daughters CORTE (1597-c. 1660)

See http://www.lib-art.com/artgallery/8569-lot-and-his-daughters-juan-de-la-corte.html for the source of the above photograph.

We see here the old story as rendered in early Baroque style  and cast outside a medieval-looking city.  For the Baroque period, I suppose, that would portray an ancient city and setting.

The Baroque style is characterized by a sense of drama.   In music that dramatic affect is addressed by the Doctrine of Affections which holds that music can affect the emotions by association of mode, key or character; in art it is often depicted in storms of nature (See El Greco’s View of Toledo) and scenes of destruction depicted by a sense of chaotic motion.  Here we see the holy conflagration of fire and brimstone visited upon Sodom and cities of the plains. That chaotic, supernatural effect from the hand of God is amplified by the use of chiaroscuro, a sense of dramatic light bring the viewer’s eye to the flames that consume the city and tornadic activity upon the planes.  In the dark, somber, foreground we see a way of safe passage provided from the city. But it is not joyful.  The angel of God, in providing them escape from God’s anger and rage that destroyed Sodom and Gomorrah, had warned Lot and his family not to look back as the went.  We see Lot and his daughters grimly press on, keeping there solemn gaze forward, only, as they were instructed.  They dare not look back that Lot’s wife, their their mother looked back.  She has become a pillar of salt as punishment.   They must abandon her, else they also be punished.  One of the two angels who came to warn Lot leads the way and the other guards the rear, save the pillar of salt.

 

Lot Fleeing With His Daughters From Sodom ALBRECHT DURER (c. 1498)

See http://www.wga.hu/frames-e.html?/html/d/durer/1/02/08lotdau.html for the source of the above photograph of the painting and a description of it.  Albrecht is known for his engravings.  I am particularly fond of the Renaissance characteristics of the painting.  For his biography and his contributions to the world of art, see http://www.wga.hu/frames-e.html?/html/d/durer/1/02/08lotdau.html .

Having posted this, I see that WordPress has offered the following blog as a related site.  Keep Moving Forward explores in greater depth and detail and on a more personal level my suggestion in this blog.  In the event wordpress changes the related posts, I want to preserve and refer you to it: http://bobbyquitain.wordpress.com/2009/06/30/keep-moving-forward/

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Sarah Laughed

Genesis 18:9-15 tells of the three angels visiting Abraham, one of whom told Abraham that he and Sarah would have a child.  Sarah and Abraham were both very old, and “Sarah laughed within herself.”

Abraham, Sarah and the Angel PROVOST

See http://www.angelfocus.com/studiesprovost.htm for the source of the above photograph and a description of the painting, including interesting symbolism from a Christian interpretation of the story.

Genesis 21:1,2 tells us, “And the LORD visited Sarah as he had said, and the LORD did unto Sarah as he had spoken.  For Sarah conceived, and bare Abraham a son in his old age, at the set time of which God had spoken to him.”

The Angel Appears to Sarah TIEPOLO (1726-28)

See http://www.artbible.info/art/large/468.html for the source of the above photograph of the painting.  Whether Tiepolo intended to comment so or not, the commentator appears to take the view that the “Lord” appears to humans only through angels.  The commentator interprets “visiting Sarah” as akin to the common Biblical interpretation of a man “knowing” a woman, as inseminating, her.  The commentator comes to that interpretation on the premise that if Sarah was too old to conceive of a man, and God is represented in the flesh as an angel, she conceived only by divine intervention and that via an angel.

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Abraham and the Three Angels

Genesis 18:1-15 tells the story of the three angels visiting  Abraham.  We begin with Marc Chagall’s representation and interpretation of that story in a Jewish tradition.

Abraham and the Three Angels CHAGALL (1960-1966)

See http://www.musees-nationaux-alpesmaritimes.fr/pages/page_id17998_u1l2.htm for the source of the photograph of the above painting.

See http://en.wikipedia.org/wiki/Marc_Chagall for biographical information on Marc Chagall and a general description of his art.

Abraham and the Three Angels EECKHOUT (1656)

See http://www.wga.hu/frames-e.html?/html/e/eeckhout/abraham.html for the source of the above photograph of the painting and a description.  Eeckhout is also a Dutch painter, a student of Rembrandt.  He has cast the Bible story in a scene contemporary to him.

For brief biographical information on Eeekhout and other paintings by him on biblical subjects, see http://www.biographybase.com/biography/van_den_Eeckhout_Gerbrand.html

This story of Abraham and the Three Angels is carried to the sublime height of Christian theological interpretation inTrinity by Alexander Rublev, the fifteenth-century Russian painter of icons in the  Christian orthodox tradition.

Trinity RUBLEV

See http://tars.rollins.edu/Foreign_Lang/Russian/trinity.html for the source of this photo of the painting and further information on it and Rublev.

In her book, The Case for God, Karen Armstrong describes the symbolism of this painting and its theological significance to the Russian Orthodox Church at pp. 117-118:

One of the most famous icons of all times is The Old Testament Trinity by the fifteenth-century Russian painter Alexander Rublev…based on the story of Abraham and the three strangers, whom Rublev depicts as angels, messengers of the unknowable God. Each represents one of the Trinitarian “persons”; they look interchangeable and can be identified only by their symbolically colored garments and the emblem behind each one. Abraham’s table has become an altar, and the elaborate meal he prepared has been reduced to the Eucharistic cup. The three angels sit in a circle, emblem of perfection and infinity, and the viewer is positioned on the empty side of the table. Immediately Rublev suggests that Christians can experience the truth of the Trinity in the Eucharistic liturgy, in communion with God and one another, and—recalling the Genesis story—in a life of compassion. The central angel representing the Son immediately attracts our attention, yet he does not return our gaze but looks toward the Father, the angel on his right. Instead of returning his regard, the Father directs his attention to the figure at the right of the painting, whose gaze is directed within. We are thus drawn into the perpetual circling motion described by Gregory of Nazianzus. This is not an overbearing deity, demanding exclusive loyalty and total attention to himself. We meet none of the prosopoi [persons] head-on; each refers us to the other in eternal personal dispossession. There is no selfhood in the Trinity. Instead there is silence and kenosis [emptying of self].

A similar view of the three men who visited Abraham, reinterpreted as two angels and the personage of God, is expressed in the below painting:

God and the Angels visit Abraham DE GELDER (1685)

See http://www.artbible.info/art/large/541.html for the source of the above photograph of the painting.  That site also describes some interesting background of the painting and the local Calvanistic objection to it as violating the second commandment.

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Abraham: Father of Many Nations (and Religions)

We have seen that the early stories of Genesis are joined by similar stories in other ancient societies of that region.  We now proceed with Abraham.  Although we have one story of Abraham to my knowledge, that told in the Jewish writings of the Pentateuch, that one account is claimed by three great religions, each of which claims Abraham as their father: Jews, Christians and Muslims.

We often think of his first son, Ishmael, and his second, Isaac.  Genesis also tells us that Abraham had six boys with his wife, Keturah.  And several times Genesis tells us that God promised to make of Abraham great nations.  Genesis 15:1-17:27; 21:1-21.  At Sarah’s insistence after Isaac was born, Abraham reluctantly sends Hagar and Ishmael away.  God does not abandon them, however, but promises Hagar to make of Ishmael a great nation.  Genesis 21:16-21.

Our first art on the subject of Abraham is another panel of the Gates of Paradise by Ghiberti.

The Story of Abraham – LORENZO GHIBERTI (1425-52)
Gilded bronze, Baptistry, Florence

See http://www.wga.hu/frames-e.html?/html/g/ghiberti/paradiso/5abraham.html for the source of the photograph of the panel and a description.  It is interesting that Ghiberti interprets the life of Abraham as a Christian, using it to foreshadow the sacrifice of Jesus, even the trinity and the eucharist.  I am unaware of how Muslims interpret the story,and I am unaware of any Muslim art interpreting it.  No Muslim art is likely to exist since I understand that Islamic tradition prohibits artistic representation of a person as risking idolatry.

Call to leave Ur and Go to Canaan

Genesis 12:1-9

Abraham’s Journey to Canaan LASTMAN

See http://cgfa.acropolisinc.com/l/p-lastman1.htm for the source of the photograph of the above painting.

I noted previously the Flemish or Dutch painters’  characteristic style of placing Bible subjects in their own contemporary locations and times.  That is again evident in this painting.  One still gets the message that when Abraham left his homeland for Canaan it was an act of great faith.

For all the faith of Abram, later named Abraham, it is interesting that he was willing to give Sarah, his wife, to the powerful leaders of lands through which he passed for his own and his property’s protection.  Genesis 12:10-20; 20:1-17.  In the latter passage, King Abimilek is punished for taking Sarah on Abraham’s representation that she was his sister; he took her into his harem.  God tells Abimilek in a dream that she is Abraham’s wife.  He returns her to Abraham and gives to Abraham many sheep and much money to get them out of his country so he can be relieved of the threat of punishment.  My mother would say that demonstrates that God uses ordinary people with faults, meaning, therefore, God can use us, too.

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