 in the press Wise guys
Christmas, while considered a universal festival acknowledged, if not necessarily celebrated, around the world, is based on the New Testament stories of the birth of the Jesus Christ. So traditional Christmas art is, or at least should be, nativity art. In ecclesiastic art, the term Adoration of the Magi is often given to the depiction of the infant Jesus, surrounded by his parents, a grouping of animals and worshipping humans. Artistically speaking, the highlights of these scenes tend to be the three Magi or three Wise Men from the East, clad in their exotic robes, who have given their name to the topic. They are represented as three kings or leaders, who found their way to the holy baby by following a particularly bright star, and bringing with them gifts of gold, frankincense and myrrh (two fragrant resins once used as much-needed scents in those malodorous times). The star is the Star of Bethlehem (much featured in our Christmas cards and topping our Christmas trees), known more informally as the Christmas Star. Scientists these days, however, are debating that the star may, in fact, have been a planet. According to the Gospel of St Matthew, the Magi were `from the East', as in the familiar 1857 carol by the Rev John Henry Hopkins: ``We Three Kings of Orient are, bearing gifts we traverse so far, following yonder star, westward leading.'' These three figures, in their Eastern robes, with wonderful gifts in caskets, have allowed many generations of artists much scope for imagination and decoration. Some even ditched the poor carpenter, Joseph, and the simply clad shepherds, in order to do full justice to the magnificent Magi. Of course, the presence of the Magi at the birthing stable was highly unlikely, since travelling over `field and fountain, moor and mountain' makes their presence there somewhat of an anachronism. The Magi were depicted in birth scenes mostly to emphasise to the illiterate viewers of the time that Jesus was, from his earliest days, a divine King, to whom other kings (the Magi) bowed in homage. Quite often, therefore, the baby was not depicted as a newborn, indicating that the Magi visit was later. So we have the little Jesus shown sitting up nicely and issuing smiles and even blessings. In the earlier works, the Magi tended to be pictured wearing classic Persian dress or classic Turkish caps. Later Byzantine images show the Magi wearing small, round pillbox hats, not unlike those favoured by Jackie Kennedy in the 1960s. But later artists found these uninspiring, and the garments were upgraded to medieval crowns and elaborate robes. Also, in early art, the three were depicted as much the same age, until someone in the Middle Ages had the bright idea of allegorising the theme, and presenting the trio as Three Ages of Man, introducing added artistic licence. A classic example can be seen at the Cathedral of Orvieto, Italy. Later the Magi were again re-cast, this time made to represent the three known parts of the world: Balthazar as the young Moor (Africa), Caspar depicted with Oriental features/costume (Asia) and elegant Melchior (Europe). One is tempted to ask if the modern artist might take the artistic licence of adding an Indian chief in feathered regalia (for America), and an Aboriginal elder (Australia). By the 15th century, the Adoration of the Magi theme was beginning to be used as a `bravura piece', that is a virtuoso performance of art, painted primarily as a vehicle for showing off the artist's particular skills. What a marvellous opportunity it represented for the handling of a complex, crowded scene, involving humans, animals, silks, furs, embroideries and jewels. A Magi scene gives an artist a magnificent platform for real grandeur. This complex subject also provides a chance to contrast the opulence of the three kings against the simplicity of the stable, the straw manger and the rough clothing of Joseph and the poor shepherds. This is perhaps another reason why they are sometimes all crammed into one picture. No wonder they loved the topic. Most artists though could never quite bring themselves to dress Mary as a simple carpenter's wife, but tended to show her in the traditional Madonna robes of bright colours - most often red and blue - rich fabrics and fine veils. It is hard to know if this decision was one of reverence or of aesthetics. The scenes often display a nice diversity of fauna: the ox, the ass and the sheep usually but we can sometimes find horses, camels, dogs, and birds. One of the most interesting renditionsis by the productive Leonardo da Vinci. His large, somewhat damaged Adoration of the Magi measures a substantial 2.7 by 2.4m and is crammed with figures. Da Vinci was commissioned in 1480 to paint this work for the main altar of a monastery near Florence. He was to complete it in 30 months, which, as it turns out, was not enough. The work remained unfinished, when Leonardo moved to Milan. He was notoriously unreliable about completing works and would spend months planning content and composition, which is what interested and challenged him, but would quickly tire of the actual work of painting. Somewhat isolated stands a young shepherd boy, thought to be a self-portrait of Leonardo in youth. This is quite possible, as it was common for painters of that time to include themselves somewhere in their works. Another famous Adoration of the Magi is the 1496 painting by Filippino Lippi, while Allesandro Botticelli in his version also managed a good crowd. Botticelli's Mystic Nativity (1500) at the National Gallery, London, has a nice thatched stable and a veritable choir of angels. Another who put angels on his roof was Robert Campin in his Nativity circa 1425-1430 held at Musee des Beaux-Arts, Dijon. He even added a few musical instruments. His baby is a tiny newborn, Mary is young and virginal in white, but for some reason his version holds a couple of fashionably dressed ladies. Perhaps patrons of his work? In the Pieter Aertsen rendition, held in Amsterdam, the infant Jesus is sitting on the lap of his mother, holding his hand up in a blessing. Before him kneels Melchior. The background ruin, as in the Leonardo work, represents the old, pre-Christian world, behind the new, Christian world. This work was originally the centre of a three-panel altarpiece, but sadly the two side panels, featuring the two other kings, have long been lost. It is interesting to note it was from the 15th century that the topic of the Adoration of the Magi was often teamed with the Adoration of the Shepherds, allowing the artistic opportunity of great human and animal diversity. These were later to become known more informally as nativity scenes. Perhaps the nicest compositions were the triptychs, (such as the partially surviving Aertsen) with the middle panel showing the Holy Family, and the Magi and the shepherds contrasted in the two side panels. A good example is the handsome Hans Memling triptych, The Nativity, The Adoration of the Magi, and The Presentation in the Temple, circa 1470, at the Prado, Madrid. It was not unknown for artists to also place their favourite saints into their nativity scenes, such as Caravaggio's Nativity with Saints Francis & Lawrence (1609) - total anachronisms but with good intent. But it is the incomparable Giotto, whose work strikes the most human chord in his version The Nativity & Adoration of the Shepherds (1304-1306). The fresco, held in Padua, Italy, is simple and realistic. The new mother is shown lying down, as would any woman who has just given birth. Of course there are other wonderfully simple nativity paintings, which show the birth in the stable with just the couple and their child, such as Nicolas Poussin's 1650s The Nativity in Munich. It shows Joseph as a hefty young man, with thick brown hair and the arms of a man used to working with wood. There is only one animal and the couple look bemused and adoring, with Mary suitably pale following long travel, uncomfortable lodgings and the trauma of giving birth. Simple or opulent, realistic or fanciful, there is little doubt the subject allowed centuries of artists to give themselves technical and compositional challenges making the Nativity or the Adoration of the Magi a favourite subject of Christian art. But not all such art is historic. There are many charming early 1900s biblical illustrations, both traditional and modern. Of course, not all are charming. There is, for example, the disturbing Gottfried Helnwein Nazi Dreaming, featuring a group of SS officers grouped around a blonde Madonna, on whose lap stands a naked child, with a noticeable resemblance to Hitler. Or there is the Modern Nativity by Nigel Parry, created as a prayer for a single mother. This nativity scene, features Wanted posters. Above sits Joseph, where the captive Mary cannot see him. A rather confronting work.
A more cheering one is the 1970s Boston-based Theodore Barbarossa round nativity sculpture of doting parents admiring their new baby. Nativity art is becoming a popular theme in Australia. In Adelaide is a charming ceramic creche, featuring the traditional cast of Bethlehem, but with the figures depicted as kindergarten children dressed up to take part in a nativity play. Their sweet little faces, looking both proud and shy, playing roles such as Mary, Joseph and the shepherds create a delightful nativity image. On the Gold Coast, Queensland Royal Art Society member Christine Liebke has done a non-figurative, mixed media work on paper entitled Journey of the Magi presenting the Magi as three dominant crowns. Another local interested in religious iconography themes is Shayle Flesser whose initial interest began at university. Whatever the era and whatever the artistic reasoning, the nativity theme will continue to interest and challenge artists around the world. Despite the usual Christmas art, ranging from decorated fir trees to jolly Santas, the real art of Christmas remains religious, depicting the birth and early days of Jesus Christ. 
more from this section  • Israeli ultra-rightist protested in Pittsburgh, Walter Smolarek, PSLWeb.org, Thursday, February 11th, 2010  • PULSE: 20 Top Global Media Figures of 2009, PULSE, Thursday, December 31st, 2009 • Wise guys, Marina Saint Martin, The Gold Coast Bulletin, Sunday, December 20th, 2009 • Video: National Special Security Events and Independent Media, Our World In Depth, Monday, December 14th, 2009 • So who is the idiot here?, Doron Rosenblum, Ha'aretz, Sunday, November 1st, 2009 • Image Problem, Marty Levine, Pittsburgh City Paper, Thursday, October 15th, 2009 • Live on KPFK Pacifica Radio's "Indymedia On Air" program, KPFK, Monday, October 12th, 2009 • G20 Press Conference at the Thomas Merton Center in Pittsburgh, FluxRostrum, Monday, September 28th, 2009 |
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