We are a small Episcopal Church on the banks of the Rappahannock in Port Royal, Virginia. We acknowledge that we gather on the traditional land of the first people of Port Royal, the Nandtaughtacund, and we respect and honor with gratitude the land itself, the legacy of the ancestors, and the life of the Rappahannock Tribe. Our mission statement is to do God’s Will in all that we do.

Art

Story of a painting – Rembrandt’s “Presentation in the Temple”

Rembrandt returned to the subject, "Presentation of Jesus in the Temple" at least 5 times from 1627 to 1654, two paintings, three etchings.

The subject is the biblical story of Simeon. Jesus was still an infant when Joseph and Mary took him to the temple to be presented to God. There they were approached by Simeon, a devout old man who recognised the child as the Saviour and praised him to God.

The most famous of these works was in 1631 when he was about 25 and still living in Leiden. Later that year he moved to Amsterdam. This painting is the high point of Rembrandt’s Leiden years: it represents the sum total of his artistic abilities at that

Most of his paintings are in very dark tones out of which his figures seem to appear to the foreground. Rembrandt was the master of dark and light and most of his pictures are made in this style of struggle between dark and light, night and day, sorrow and joy.

The key to the picture is how carefully and delicate the figures are painted, even those in the darkest part of the painting. The beautiful contrast, between the light on the central group and the soft dimness of the remoter parts of the cathedral, illustrates a style of work for which Rembrandt was very famous.

Our eyes are drawn to the very emotional Simeon, eyes aglow. As with the priest, his figures are often elongated in this period. The pictures is framed by the two figures behind Mary and Joseph in dark contrasting with Mary’s blue and Simeon’s shimmering robe.

Rembrandt adhered fairly closely to the biblical text. Simeon, with the infant Jesus in his arms, praises God with upturned face. To his left kneels the surprised Mary. Joseph holds the two doves he has brought along to sacrifice. Simeon praises Jesus as ‘a light to lighten the Gentiles’, which is why Rembrandt portrayed the Christ Child as a veritable source of light

However, the picture is not realistic of the temple. He depicts a Gothic Cathedral with the beggars looking at the Christ-child. They were beggars of Amsterdam, and the men seated in the wooden settle at the right were like the respectable Dutch burghers of his acquaintance. His style featured large cavernous spaces.

Read more

“Wedding at Cana” – An Artistic view

"Wedding at Cana" – Paolo Veronese, 1563

The Wedding at Cana is featured only in John’s Gospel but is the first miracle attributed to Jesus in the Gospel of John. In the Gospel account, Jesus and his mother are invited to a wedding, and when the wine runs out, Jesus performs a miracle by turning water into wine.It is considered to have symbolic importance as the first of the Seven signs in the Gospel of John by which Jesus’ divine status is attested, and around which the gospel is structured.

"When the steward tasted the water that had become wine, and did not know where it came from (though the servants who had drawn the water knew), the steward called the bridegroom and said to him, "Everyone serves the good wine first, and then the inferior wine after the guests have become drunk." The most prevalent interpretation is that this is a reference to the appearance of Jesus. The miracle could also be seen as the antitype of Moses’ first public miracle of changing water (the Nile river) into blood.

The exact location of Cana has been subject to debate among scholars.Modern scholars maintain that since the Gospel of John was addressed to Jewish Christians of the time, it isn’t likely that the evangelist would mention a place that did not exist. Villages in Galilee which are candidates for historical Cana are: Kafr Kanna, Kenet-l-Jalil (also called Khirbet Kana) and Ain Qana and Qana in southern Lebanon.

The event has been a topic in art from the beginning of Christianity. You can see the image on sarcophagi from the 4th century, a mosaic from the 6th century and Giotto’s version in the 14th century 

Later works in the Renaissance displayed the event grand scale trying to capture the 1,000 guests. One of the largest attempts was Paolo Veronese (1528-1588). It is on display in the Louvre Museum in Paris and is their largest painting at 22′ 3″ x 32′ 0″. 

Links to the art:

1. Christian Iconography

2. Vernonese work

3. Close-up Wedding Feast at Cana

Arts & Faith: Week 4, Year C

Commentary is by Daniella Zsupan-Jerome, director of ministerial formation at Saint John’s University School of Theology and Seminary.

Henry Ossawa Tanner’s realist depiction of the Visitation invites us around Elizabeth’s table at her house, at the moment when Mary arrives and greets her. The setting is spare, except for the table, which is covered in a white cloth and has bread, wine, and an ample bowl of fruit awaiting consumption.

Mary is just entering the house. Her face is kind and joyful, her bodily presence already humming the Magnificat before she utters the words that will come to sing her praise to the Lord. She is a familiar Mary, a relative to us all, and her warm presence recalls the homecomings and joyful arrivals of loved ones that we experience, especially around the holidays.

Elizabeth’s expression welcoming Mary is complex. In light of Tanner’s realist style, we would expect her rising from the table, moving toward Mary in anticipation of a warm embrace—and that is sure to come. But Tanner catches Elizabeth here in a moment of awe instead. If Mary’s body sings the Magnificat, Elizabeth embodies her words of awe and wonder: “How does this happen that the mother of my Lord should come to me?” Her upheld hands are in a position of prayer honoring the presence of God in their midst, in her home, around her table. Elizabeth’s expression is one of serene reverence, a total response to the divine presence she senses in the core of her being, confirmed by the stirring of the child in her womb. “Blessed are you, Mary”—this Elizabeth knows, utters, and prays.

The meeting between Mary and Elizabeth teaches us about the holy. Tanner shows us that we encounter the holy in the everyday moments of our lives—an arrival, a homecoming, a table set for a meal. But Elizabeth’s expression reminds us that while we find holiness in this world, it is not of this world, that finding holiness is a glimpse of God’s magnificent otherness that beckons us to draw close, but also fills us with wonder and awe. May we find and welcome holiness in these last days of Advent as we await the light of Christ.

Saylor Nativity Collection

The Saylors brought their nativity collection to St. Peter’s for Advent in 2021. They are in the windows. Jan has been collecting since the early 1990’s. The photo above took a character (or group) from each of the 8 countries represented in their collection.

Top Row, left to right – Bolivia, US, Indonesia, Peru

Second Row, left to right -Dominican Republic, Zambia, Colombia, and Haiti

There is a story behind each piece of art. Some of the art was bartered (Dominican Republic, Haiti) and others bought from Ten Thousand Villages a nonprofit fair trade organization (Indonesia, Peru, Colombia). Some of the pieces from Zambia and Dominican Republic reflect their overseas travels. Closer to home the US piece came from Jan’s family home. We thank them for sharing this treasure with St. Peter’s.

We have a photo gallery of the exhibit.

Arts and Faith- Advent 1, relating art and scripture

Wassily Kandinsky’s The Last Judgment invites us into the Advent season with an emotional tour de force expressed in color, line, and form. An example of abstract art, The Last Judgment is not narrative or descriptive, but rather expressive. It shows emotion and force and invites the viewer to experience them visually.

The Last Judgement is a composition of bright primary colors, opaque black shapes, and heavy black lines. The lines overlap the colors rather than contain them. Throughout the image, the black lines and the flow of primary colors produce a composition of contrasts.

Although abstract art is generally non-representational, Kandinsky does offer a bridge into his work to help the viewer frame the experience with a narrative clue. On the right center of the image, we see a blue angelic form holding a yellow trumpet. This is an iconic image of the Last Judgment, or the end of days that we hear about in Luke’s Gospel. The angel is a unique element of the painting in which color, form and line converge in a traditional way. The black lines form the boundaries around the colors to give us the silhouette of the angel and the trumpet. An interesting detail about the angel is his wings. One is made of blue color, while the other is entirely made of black lines. Everywhere else in the image, line and color separate, overlap, or even clash. With dual wings, the angel unites within himself the two separate elements of the composition. Recalling Luke chapter 21, we are in a scene that is frightening but redemptive, tumultuous but glorious. We are invited to feel the tension that animates us toward hope.

The Last Judgment is meant to evoke feeling and emotion. The colors of the image, particularly near the center, resemble watercolor and have an ethereal, transcendent, and uplifting quality. The upward flow of the two forms left of center, red and blue as they reach into the bright white center of the image, represent this theme. By contrast, the two solid black shapes near the center have a harshness and heaviness that weighs down and overwhelms the viewer. The overlap of light transcendence and dark heaviness throughout the rest of the image is a visual expression of Luke’s passage and also demonstrates the complexity of the spiritual life.

As Luke reminds us, we are called to prayer and vigilance. We are called to resist that which weighs us down, and make way instead for that which elevates us to stand before the Son of Man.