LISTEN: “Let There Be” by Michael and Lisa Gungor, on Ghosts Upon the Earth (2011)
Darkness hovering Grasping everything it sees Void, empty Absent life and absent dream
Let there be Let there be Let there be Let there be
Angels toil and crack open scrolls of ancient dreams Countless worlds of his Brilliant stars and breath and stream
Let there be Let there be Let there be Let there be Let there be Let there be Let there be light
Let there be light Where there is darkness Let there be light Where there is nothing Let there be light
The opening track on Gungor’s Ghosts Upon the Earth, “Let There Be” narrates God’s creation of the universe. What starts out as ethereal becomes increasingly more solid as the floating notes on piano and guitar coalesce into chords and meld with the cellos. Represented by a small choir, the Triune community voices its fiat: “Let there be . . .” A synthesized xylophone and tremolos from the strings suggest lively activity—“angels toil”—as the cosmos begins to take shape. In the second refrain the voices crescendo to a thunderous climax, a drum beating loud and steady as if laying down a foundation.
While this song is most fundamentally about the Genesis 1 creation story, it can also be read in light of John’s Gospel prologue, where he describes Jesus as light coming into the world, and similarly, Luke’s Annunciation narrative, where “ancient dreams” put down in prophetic scrolls are fulfilled in the conception of Christ in Mary’s womb, initiating a new epoch.
The Advent season begins in darkness. Taking stock of this darkness, we ask for God’s light to break in once again—into our hearts and lives, our communities, our world.
In the beginning the Spirit hovered over the void and breathed life into it. Millennia later the Spirit hovered over a virgin’s empty womb and did it again, making the Word flesh. And into our present lack, into our chaos, the Spirit still is coming, re-creating, so that Christ, the light, might be born in us.
Here’s a recent cover of “Let There Be” by IAMSON, which he combines with another Gungor song, “Crags and Clay”:
I didn’t post an Artful Devotion this week, as I struggled to satisfactorily put together image and song for any of the readings, but I’ve now cycled through all three lectionary years on the blog, which are stored in the archives. For content on Sunday’s lectionary reading from the psalms, Psalm 133, see “When Brothers Dwell in Unity (Artful Devotion)” (featuring a Chicago mural by William Walker and a joyful new psalm setting from the Psalter Project); see also the poem “Aaron’s Beard” by Eugene Peterson.
NEW ALBUM: Quarantine Sessions by Eric Marshall: Eric Marshall is the frontman of and songwriter for the meditative art rock band Young Oceans. During the COVID-19 quarantine he recorded eleven of the band’s old songs acoustically in his home studio—just his voice and guitar—and has released them digitally on Bandcamp. Several music artists have been making lo-fi records during this season, and I’m digging it!
ART COMMENTARIES from ART/S AND THEOLOGY AUSTRALIA
Art/s and Theology Australia is an online publication that aims to provoke public reflection and promote research on conversations between the arts and theology, predominantly in Australian contexts. Here are a few articles from the recent past that I particularly enjoyed.
^^ “Sixteen Earth Bowls” by Penny Dunstan: Soil scientist and visual artist Penny Dunstan has crafted bowls out of topsoil from rehabilitated coal mines in the Hunter Valley in Warkworth, New South Wales, which she exhibits in churches, among other places. “Making earth bowls is a way of thinking about my ethical responses to soil use in a post-mining landscape,” she writes. “It is a way of thinking with my heart and not just my head. As I work with each Hunter Valley topsoil, I come to understand each as an individual, a special part of God’s creation. Each soil behaves according to its own chemical nature and historical past when I fashion it into a bowl shape. . . .
“These soils, full of tiny lives, are responsible for growing our food, making our air and storing atmospheric carbon. Our very lives as humans on the earth depend on them. By fashioning these soils into bowls and placing them in sacred places, I hope to remind us to honour the earth that we stand upon, that earth that speaks to us by pushing back at our feet.” (Note: See also Rod Pattenden’s ArtWay visual meditation on Dunstan’s work.)
^^“The Cross and the Tree of Life” by Rod Pattenden: “One of the pressing questions for the Church is how we see Christology being renewed in the face of climate change and the potential for the quality of life on this planet to decline,” writes art historian Rod Pattenden [previously]. “Who is Jesus for us in the midst of the profound changes that are occurring to the earth, water, and air of our world? . . .
“Andrew Finnie’s image The Body of Christ, The Tree of Life”—a large-scale ecotheological digital collage—“is an attempt to re-imagine the figure of Christ in conversation with the earth and the networks that sustain human life in all its thriving beauty. Here, the traditional figure of the cross has become entwined in the roots of the tree, a tree of life that is giving form to the variety and beauty of the natural world.”
SONG: “Kadosh” by Wally Brath, sung by Nikki Lerner: The Kedushah is part of the Amidah, the central prayer of the Jewish liturgy. Its first verse is taken from the song of the seraphim in Isaiah 6:3: “Holy, holy, holy, is the LORD of hosts; the whole earth is full of his glory!” (Kadosh means “holy.”) In this original composition for voice, piano, and string quartet, Wally Brath [previously] has combined this Hebrew exclamation from the book of the prophets with an English excerpt from the Lord’s Prayer taught by Jesus in Matthew 6:10: “Thy kingdom come, thy will be done on earth as it is in heaven.” [HT: Multicultural Worship Leaders Network]
The performance captured in this video, featuring Nikki Lerner, took place at Winona Lake Grace Brethren Church in Winona Lake, Indiana, on July 11, 2020. A full list of performers is given in the YouTube description.
CONCERT FILM: Amen! Music of the Black Church: Recorded before a live audience at the Second Baptist Church in Bloomington, Indiana, and airing April 26, this PBS special explores the rich traditions, historical significance, and meaning of black church music. Dr. Raymond Wise leads the Indiana University African American Choral Ensemble in twenty-one spirituals, hymns, and gospel songs, showing how black church music is not monolithic. He demonstrates the stylistic spectrum you can find among black church communities using a song text derived from Psalm 24:7–10 (“Lift up your heads . . .”): one performed with the European aesthetic preferred in more affluent congregations, one a classical-gospel hybrid, and one pure gospel. One thing I learned from the program is that there is a tradition of shape-note singing in the black church! (See, e.g., The Colored Sacred Harp.) [HT: Global Christian Worship]
Here’s the set list:
“We’ve Come This Far by Faith” by Albert Goodson
“Run, Mary, Run”
“What a Happy Time” by J. M. Henson and J. T. Cook
“Amazing Grace” by John Newton
“Ain’t Got Time to Die” by Hall Johnson
“I’ve Been ’Buked”
“Lift Up Your Heads” by Emma Louise Ashford, arr. Lani Smith
“Lift Up Your Heads” by Clinton Hubert Utterbach
“Lift Up Your Heads, All Ye Gates” by Raymond Wise
“Glory, Glory, Hallelujah”
“Jesus on the Mainline”
“I Need Thee Every Hour” by Annie S. Hawks and Robert Lowry
“You Can’t Beat God Giving” by Doris Akers
“Come to Jesus” by E. R. Latta and J. H. Tenney
“We Shall Overcome” by Charles Tindley
“Lord, Keep Me Day by Day” by Eddie Williams
“Lord, Do It for Me” by James Cleveland
“Oh Happy Day” by Edwin Hawkins
“I’ve Got a Robe” by Raymond Wise
“Hallelujah, Praise the Lord, Amen” by Raymond Wise
On September 15 I was invited by North Decatur Presbyterian Church in Georgia to lead a visio divina exercise during their morning worship services. Visio divina, or sacred seeing, is the practice of gazing on an image and opening yourself up to receive the gift that it holds. I approach images this way all the time, and while some people formalize the practice with a set of steps to follow, timed silences, restrictions, and such, my approach is a bit looser.
Because Pastor David Lewicki was preaching on Genesis 2, I chose Aaron Douglas’s painting The Creation. The leadership had already programmed in a reading of the James Weldon Johnson poem that directly inspired the painting, so introducing this visual corollary seemed particularly appropriate.
Note: I disagree with the popular notion, perpetuated by Johnson, that God created humanity because he was lonely; because he is in himself a loving community of Three, he did not lack companionship. Lewicki addresses this concern somewhat in his sermon and rightfully notes how the Genesis 2 creation account presents a God who is closer to humanity and the created world (he digs in the dirt!) and more vulnerable and improvisational than the God we meet in Genesis 1. I don’t believe Johnson’s beautiful poem should be scrapped because of those two (in my opinion) theologically problematic lines, but discretion should be used before presenting it in a worship context. For example, this wouldn’t fly at my church. The NDPC congregation, however, is more welcoming of imaginative engagements with the biblical story that might challenge traditional readings, so those lines were not for them impediments to worship, and I appreciated that Lewicki commented on them in his sermon, wondering about the “holy longing” the Creator must have felt for us.
Below are Johnson’s poem, Douglas’s image, and the transcript of my contribution, which I peppered with substantial pauses. To promote a better visio divina experience on your computer, I’d recommend right-clicking the image and selecting “Open link in new window,” then split-screening that window with this one; that way, you can more easily reference the image while you read. (In the future, I will try to produce audio for exercises like these.)
“The Creation”by James Weldon Johnson
And God stepped out on space,
And he looked around and said: I’m lonely— I’ll make me a world.
And far as the eye of God could see
Darkness covered everything,
Blacker than a hundred midnights
Down in a cypress swamp.
Then God smiled,
And the light broke,
And the darkness rolled up on one side,
And the light stood shining on the other,
And God said: That’s good!
Then God reached out and took the light in his hands,
And God rolled the light around in his hands
Until he made the sun;
And he set that sun a-blazing in the heavens.
And the light that was left from making the sun
God gathered it up in a shining ball
And flung it against the darkness,
Spangling the night with the moon and stars.
Then down between
The darkness and the light
He hurled the world;
And God said: That’s good!
Then God himself stepped down—
And the sun was on his right hand,
And the moon was on his left;
The stars were clustered about his head,
And the earth was under his feet.
And God walked, and where he trod
His footsteps hollowed the valleys out
And bulged the mountains up.
Then he stopped and looked and saw
That the earth was hot and barren.
So God stepped over to the edge of the world
And he spat out the seven seas—
He batted his eyes, and the lightnings flashed—
He clapped his hands, and the thunders rolled—
And the waters above the earth came down,
The cooling waters came down.
Then the green grass sprouted,
And the little red flowers blossomed,
The pine tree pointed his finger to the sky,
And the oak spread out his arms,
The lakes cuddled down in the hollows of the ground,
And the rivers ran down to the sea;
And God smiled again,
And the rainbow appeared,
And curled itself around his shoulder.
Then God raised his arm and he waved his hand
Over the sea and over the land,
And he said: Bring forth! Bring forth!
And quicker than God could drop his hand,
Fishes and fowls
And beasts and birds
Swam the rivers and the seas,
Roamed the forests and the woods,
And split the air with their wings.
And God said: That’s good!
Then God walked around,
And God looked around
On all that he had made.
He looked at his sun,
And he looked at his moon,
And he looked at his little stars;
He looked on his world
With all its living things,
And God said: I’m lonely still.
Then God sat down—
On the side of a hill where he could think;
By a deep, wide river he sat down;
With his head in his hands,
God thought and thought,
Till he thought: I’ll make me a man!
Up from the bed of the river
God scooped the clay;
And by the bank of the river
He kneeled him down;
And there the great God Almighty
Who lit the sun and fixed it in the sky,
Who flung the stars to the most far corner of the night,
Who rounded the earth in the middle of his hand;
This Great God,
Like a mammy bending over her baby,
Kneeled down in the dust
Toiling over a lump of clay
Till he shaped it in his own image;
Then into it he blew the breath of life,
And man became a living soul.
We are filled with the divine breath; we breathe God.
Take a moment to meditate on Aaron Douglas’s painting The Creation, made in response to the James Weldon Johnson poem that was just read.
What colors do you notice? What shapes? What movement? What shimmers for you in this image? Whatever it is, fix your eyes there. Now expand your gaze to encompass the whole image.
For me, what shimmers are the purples and blues, and especially the hand of God that reaches through the undulating atmosphere. In this image, creation swirls and dances, rises and rolls—the colors river every which way. Eight spheres—the planets, perhaps—float playfully like bubbles. It’s all a wondrous, dynamic, primordial burst of life, and we’re a part of it.
At the bottom, man emerges plant-like from the shadows, his face extending into an arc of light, the light of God. His feet are planted in the soil of earth, but heaven blazes all around him. He is an amphibious creature, belonging to both worlds, which here are united.
The poet uses maternal language to describe God’s ultimate creative act, saying that he knelt down at a riverbank and gently scooped up clay from its bed—then, like a mother coddling her baby, he formed humanity. Majesty stooping down in tenderness.
“Then into it he blew the breath of life,
And man became a living soul.
VISUAL MEDITATION: Pentecost by Andrew Wyeth, written by Victoria Emily Jones: In 2017 I took a day trip up to Chadds Ford, Pennsylvania, to attend the major Andrew Wyeth retrospective organized by the Brandywine River Museum of Art. Though some critics dismiss him as a “regional nostalgist” who, in sticking to realism, failed to keep with the times, I was enthralled by his hundred-plus paintings on display, not least of which was Pentecost. Created in 1989, it shows a pair of old fishing nets blowing in the wind on the Maine island his wife purchased and revitalized. Wyeth was not religious, but he was fascinated by the supernatural, and his paintings are often celebrated for their spiritual quality, for the sense of presence they evoke. Click on the link to read my reflection on this painting, named after the annual Christian feast that the church celebrates today (June 9) in honor of the Holy Spirit’s descent.
SONG: “Come, Holy Ghost,”arranged and performed by Nichlas Schaal and friends: The ninth-century Latin invocation “Veni Creator Spiritus,” attributed to Rabanus Maurus, has been translated into English more than fifty times since the English Reformation, under such titles as “Come, Holy Ghost, our souls inspire” and “Creator Spirit, by whose aid.” Originally seven verses sung in Gregorian chant, the hymn is usually condensed to four verses in modern hymnals and paired with one of three tunes. This super-fun arrangement by the Schaals, so full of joy (and “la-da-da-das”!), uses a nineteenth-century translation by Edward Caswell and tune by Louis Lambillotte. I’ve been listening to it on repeat all week as I’ve been gearing up for Pentecost. [HT: Liturgy Letter]
Come, Holy Ghost, Creator blest,
And in our hearts take up thy rest;
Come with thy grace and heav’nly aid
To fill the hearts which thou hast made,
To fill the hearts which thou hast made.
O Comforter, to thee we cry,
Thou heav’nly gift of God most high,
Thou fount of life, and fire of love,
And sweet anointing from above,
And sweet anointing from above.
O Holy Ghost, through thee alone
Know we the Father and the Son;
Be this our firm unchanging creed,
That thou dost from them both proceed,
That thou dost from them both proceed.
Praise we the Lord, Father and Son,
And Holy Spirit with them one;
And may the Son on us bestow
All gifts that from the Spirit flow,
All gifts that from the Spirit flow.
DANCE PERFORMANCES: Grounds That Shout!, curated by Reggie Wilson: It interests me to see how sacred spaces, especially Christian ones, inspire new artistic creations. Here’s one example from last month: “Curated by award-winning choreographer Reggie Wilson, Grounds that Shout! (and others merely shaking) is a series of performances that respond to the layered histories of Philadelphia’s religious spaces through contemporary dance, reflecting on the relationships and connections between practices of movement and worship. Over two weeks, eight choreographers and performance groups . . . perform[ed] in four historic Philadelphia churches, drawing from site and spirit to present original and re-situated works of dance.”
Museum of the Moon at Ely Cathedral: Today’s the last day to see Luke Jerram’s Museum of the Moon installation at Ely Cathedral in Cambridgeshire, a twenty-three-foot replica of the moon that utilizes high-resolution NASA satellite imagery and a sound composition by Dan Jones. The internally lit spherical sculpture hovers under the cathedral’s painted nave ceiling and is the main attraction of the cathedral’s science festival, “The Sky’s the Limit,” celebrating the fiftieth anniversary of the first moon landing (July 16, 1969). Jerram has produced several moons, which are touring the world, hoisted up in churches and other spaces, indoor and outdoor. For some really stunning photos as well as a tour schedule, check out https://my-moon.org/.
Jerram has also created replicas of Earth, scaled down by a factor of 1.8 million and titled Gaia. They are currently being displayed inside Salisbury and Liverpool cathedrals and will thereafter continue their world tours. (The bronze font by William Pye at Salisbury, designed to reflect and extend the surrounding architecture, makes for some truly amazing photographs of Gaia! Not to mention the significant meaning generated by the interaction of the two.)
Dandelions by The Art Department: From May 11 to 12, a decommissioned building at the Laguna Bell electrical substation in Commerce, California, was transformed into a “wish-processing facility,” where visitors submitted their wishes for questioning and analysis before taking a dandelion and blowing its seeds down a chute. Part installation, part performance, Dandelions was put together by the anonymous collective The Art Department. When asked to define wish, the collective replied, “For some, a wish is a prayer fulfilled by a higher power. For some, a wish is an aspiration imbued with rational optimism. For some, wishes represent unfulfilled longing.”
Art often gives us occasion to confront who we are and what we desire, and with this piece, that was done in a playful way, with a mock bureaucracy that included the Department of Small Things That Float and various logistical assessments. View more photos and read an interview with the creators at My Modern Met, and see also the Hyperallergic review.
EXHIBITION: “Renewal: Icon Paintings by Lyuba Yatskiv”: Through June 30, the Iconart Contemporary Sacred Art Gallery in Lviv, Ukraine, is hosting a solo show of new work by Lyuba Yatskiv, one of the country’s several experimental iconographers. Among the subjects on display are the Creation of the World (he’s got the whole world in his hands!), Noah’s Ark, David the Psalmist, the Annunciation, the Flight to Egypt, John the Baptist, and the Holy Women at the Tomb.
Articlesandessays have been pouring forth from the web in tribute to the poet Mary Oliver since her passing on January 17. America’s most-read contemporary poet by far, Oliver approached the world with open-eyed wonder and delight, writing simply about nature and spirituality. “When it’s over, I want to say: all my life / I was a bride married to amazement,” she wrote in “When Death Comes.”
Although Oliver won a National Book Award and a Pulitzer Prize, she has been dismissed by many poetry critics as trivial, unsubtle, just an old-fashioned romantic. But that’s precisely what so many of her readers love about her: her uncomplicated free verse that finds beauty and mystery in the ordinariness of the natural world. She always insisted that poetry “mustn’t be fancy”; it should be clear, so as to be understood.
The subjects of most of her poems are the flora and fauna of, most especially, New England, where she lived most of her adult life. Herons, egrets, swans, geese, goldfinches, owls, loons; turtles, snakes, and toads; foxes, porcupines, moles, bears, deer, and dogs (a whole volume on dogs!); ants and grasshoppers, beetles and bees; whelks and whales and sea mice; daisies and goldenrod, roses and poppies and peonies; and so forth.
Oliver, though influenced by the Christianity of her youth, did not ultimately join the church. But, like Whitman and Thoreau before her, she perceived an unseen, transcendental Presence within the natural world. She even sometimes called that Presence “God” and even “Lord,” especially in her later poems. She carried on the long tradition of reading with relish the “book of nature”—nature as a source of divine revelation, a teacher of spiritual lessons. For example, in “Some Herons,” she describes the bird as “a blue preacher,” and in “The Chat,” she writes,
what a lesson
you send me
as I stand
to your rattling, swamp-loving chat
of his simple, leafy life—
how I would like to sing to you
in the dark
just like that.
Oliver’s “How the Grass and the Flowers Came to Exist, a God-Tale” is one of my favorite Creation poems, and this isn’t the only poem of hers that acknowledges a Creator God. “Spring at Blackwater: I Go Through the Lessons Already Learned” opens tenderly, sweetly, “He gave the fish / her coat of foil, / and her soft eggs.”
Some things I’ve learned from Mary Oliver: Gratitude. Awe. Silence. Prayer. Attention. And these five qualities are all interconnected. Her personal manifesto can be summed up by the fourth section of her poem “Sometimes”:
Instructions for living a life: Pay attention. Be astonished. Tell about it.
If you’d like to read Mary Oliver, I highly recommend her final book, Devotions (2017), a compilation of 200+ previously published poems selected by Oliver herself and put out by Penguin. Spanning her career of more than fifty years, the book, though not exhaustive, presently serves as the definitive collection of her work.
Coincidentally, I was in the middle of reading this volume when I found out about Oliver’s death. Several of her poems confront mortality, the transience of life, and many of her obituary writers have been fond of recalling those oft-quoted final lines of “The Summer Day.” But I am drawn to her “Prayer,” which when I read it instantly made me think of my play-full, wonder-full aunt whose ashes, too, now dance in the ocean:
May I never not be frisky,
May I never not be risqué.
May my ashes, when you have them, friend,
and give them to the ocean,
leap in the froth of the waves,
still loving movement,
still ready, beyond all else,
to dance for the world.
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One of the joys of blogging at Art & Theology is being introduced to new artists by my readers. I was pleased to receive in the mail recently, as a gift from one such reader, a color booklet and a 2018 documentary on the art of Dom Gregory de Wit (1892–1978), a Dutch artist and Benedictine monk who between 1938 and 1955 lived in the United States painting murals for Catholic churches and monasteries. This was the first time I’ve encountered the artist, and I enjoyed getting to know him better through these materials.
All photos in this post are provided courtesy of Edward Begnaud or Stella Maris Films.
Gregory was born Jan Aloysius de Wit on June 9, 1892, in Hilversum, Netherlands. He entered the monastic life in 1913 at age twenty-one, joining Mont César Abbey in Leuven, Belgium, and there taking the name Gregory. (His interest in liturgy and ecumenism is what drew him to that particular abbey.) de Wit was passionate about art making since a young age, and his order encouraged him to further develop his talent as a painter. He therefore studied at the Brussels Academy of Art, the Munich Academy, and throughout Italy. In 1923 he exhibited at The Hague and ended up selling forty-five paintings in one month! He then went on to fulfill three sacred art commissions—one in Bavaria, two in Belgium—while continuing to live as a monk.
In 1938, Abbot Ignatius Esser of Saint Meinrad Archabbey in southern Indiana met de Wit in Europe and invited him to design and execute paintings for the abbey’s church and chapter room—which he gladly accepted.
Here he started to develop his own style, which would come to be marked by brilliant (sometimes garish) colors, bold outlines, distortion or disfiguration (e.g., disproportionate hands), and “overlapping” perspective.
In Christus, Jesus is borne upward by a red-winged chariot. In his right hand he holds a victory wreath, and in his left, an open book that declares, EGO SUM VITA (“I am the Life”). The three small Greek letters in the rays of his halo, a traditional device in Orthodox iconography, mean “I am the Living One,” a New Testament echo of God’s “I am who I am” in Exodus 3:14.
Shortly after de Wit arrived in the US, World War II broke out, and even after he completed his work at Saint Meinrad, he couldn’t return to Belgium. Luckily, another stateside commission came his way, from the newly builtSacred Heart Catholic Church in Baton Rouge, Louisiana. The parish priest, Father Dominic Blasco, hired him to paint a series of murals, which resulted in de Wit’s most polarizing work: his Christ Pantocrator in the apse behind the altar. Many of the parishioners hated it (and I have to say, I’m not partial to it). A humorous anecdote in the documentary recalls Maria von Trapp, who had once visited the church, expressing her horror at the image to de Wit, not knowing he was its artist!
Not only did de Wit’s art garner dislike, but so did his temperamental personality and sometimes irreverent behavior. For example, while at Sacred Heart, he smoked while he painted, dropping cigarette butts onto the floor during services. Although he did have his supporters, he was eventually fired from Sacred Heart. The last painting he did for the church was of the Samaritan woman at the well—descried as “pornographic” by the sisters of the school because of the suggestive way her dress clings to her forwardly posed thigh.
The painting at Sacred Heart that I’m most intrigued by is the Pietà in the narthex, which shows Mary holding her dead son. Genesis 3 is invoked by the thorns that not only crown Christ’s brow but that rise up all around him, symbolic of the curse. What’s more, a half-bitten apple rolls from his limp hand; he, like his forefather, Adam, has tasted death. And this he did willingly out of love, signified by the fiery, thorn-enwrapped heart of his that he holds in his right hand, whose glow illuminates the darkness.
Because de Wit painted this image during the war, it is contextualized with a soldier on one side and the soldier’s wife and three children on the other, praying for his safe return. Why do they belong in this scene? Some wartime artists drew parallels between Christ and the soldiers’ sacrificial laying down of their lives (cf. John 15:13). I’m uneasy with this comparison for several reasons, not least of which is my Christian pacifism. But de Wit’s painting seems, rather, to use the soldier and his family as a representation of war and to suggest that Jesus, the Suffering Servant, is with us in our present suffering. He entered our world, after all, and died to redeem us from its evils—sin and death and all their extensions. The presence of Mary, Our Lady of Sorrows, must have been a comfort to the mothers at Sacred Heart whose sons were overseas fighting.
Moreover, even though its hieratic style may be off-putting to some, I also really like the crucifix de Wit created for Sacred Heart (but which is now at St. Paul the Apostle Catholic Church, also in Baton Rouge). The corpus is painted on solid mahogany, with real nails driven through the hands. Continue reading “The Art of Dom Gregory de Wit”→
Bless the LORD, O my soul!
O LORD my God, you are very great!
You are clothed with splendor and majesty,
covering yourself with light as with a garment,
stretching out the heavens like a tent.
He lays the beams of his chambers on the waters;
he makes the clouds his chariot;
he rides on the wings of the wind;
he makes his messengers winds,
his ministers a flaming fire.
He set the earth on its foundations,
so that it should never be moved.
You covered it with the deep as with a garment;
the waters stood above the mountains.
At your rebuke they fled;
at the sound of your thunder they took to flight.
The mountains rose, the valleys sank down
to the place that you appointed for them.
You set a boundary that they may not pass,
so that they might not again cover the earth.
You make springs gush forth in the valleys;
they flow between the hills;
they give drink to every beast of the field;
the wild donkeys quench their thirst.
Beside them the birds of the heavens dwell;
they sing among the branches.
From your lofty abode you water the mountains;
the earth is satisfied with the fruit of your work.
You cause the grass to grow for the livestock
and plants for man to cultivate,
that he may bring forth food from the earth
and wine to gladden the heart of man,
oil to make his face shine
and bread to strengthen man’s heart.
The trees of the LORD are watered abundantly,
the cedars of Lebanon that he planted.
In them the birds build their nests;
the stork has her home in the fir trees.
The high mountains are for the wild goats;
the rocks are a refuge for the rock badgers.
He made the moon to mark the seasons;
the sun knows its time for setting.
You make darkness, and it is night,
when all the beasts of the forest creep about.
The young lions roar for their prey,
seeking their food from God.
When the sun rises, they steal away
and lie down in their dens.
Man goes out to his work
and to his labor until the evening.
O LORD, how manifold are your works!
In wisdom have you made them all;
the earth is full of your creatures.
Here is the sea, great and wide,
which teems with creatures innumerable,
living things both small and great.
There go the ships,
and Leviathan, which you formed to play in it.
These all look to you,
to give them their food in due season.
When you give it to them, they gather it up;
when you open your hand, they are filled with good things.
When you hide your face, they are dismayed;
when you take away their breath, they die
and return to their dust.
When you send forth your Spirit, they are created,
and you renew the face of the ground.
May the glory of the LORD endure forever;
may the LORD rejoice in his works,
who looks on the earth and it trembles,
who touches the mountains and they smoke!
I will sing to the LORD as long as I live;
I will sing praise to my God while I have being.
May my meditation be pleasing to him,
for I rejoice in the LORD.
Let sinners be consumed from the earth,
and let the wicked be no more!
Bless the LORD, O my soul!
Praise the LORD!
SONG: “Psalm 104” | Text: Psalm 104:1–5 (Hebrew) | Traditional Jewish Babylonian melody, arranged by Yonnie (Jonathan) Dror | Performed by Yamma Ensemble, 2012
An ancient setting of the first five verses of Psalm 104, composed by the Jewish diaspora community in Babylon and passed down aurally, is refreshed through this modern arrangement by Yamma Ensemble, whose instrumentation blends the old and the new. It opens with a virtuosic oud solo by Sefi Asfuri. At 1:13, the other instrumentalists come in, creating rhythmic complexity: Yonnie Dror (clarinet and flute), Aviad Ben Yehuda (darbuka), and Avri Borochov (double bass). The lead vocalist, Talya G.A Solan, enters at 2:00. At 3:48, all the instruments drop out, and male vocals are added.
While this particular performance is from 2012, an earlier one, from 2011, can be heard on the album Yamma under the title “Bless the Lord, O My Soul.” The lyrics are on YouTube.
Yamma Ensemble presents original contemporary Hebrew music in which group members stay true to the character of the Middle East, the region where they were born and raised. The soulful, exotic music is accompanied by ancient musical instruments (kopuz, duduk, ney, oud, shofar, hand drums), which are typical of the Middle East. In addition to this unique art, Yamma also performs the traditional music and material of the various Jewish diasporas. We present songs of the Jewish communities from Yemen, Babylon, and Sefarad, as well as Hasidic music, with the fascinating forms and rhythms that have been preserved by generations of Jewish traditions. [source]
The manuscript illumination above is one of ten from Barbara Wolff’s unbound cycle Psalm 104:You Renew the Face of the Earth. The artist writes (in the third person),
The 104th Psalm is a song in celebration of all creation. The psalmist marvels at the infinite variety of life on earth. With words that reflect a deep awareness of our finitude and an implicit faith in the eternity of creation, we are reminded of the intricate web which connects all living creatures. In the ten illuminations which comprise Psalm 104: You Renew the Face of the Earth, Barbara Wolff has attempted to reflect some of the light and brilliance of this word picture of the cosmos and illuminate its profound sense of reverence for all creation. In a number of the paintings she has portrayed flora and fauna which the ancient Psalmist would certainly have known, and which still may be found in the land of Israel today. She has included the flowers and grasses of its fields and forests, birds which pass through the land each spring and fall, and sea creatures of the Mediterranean, from a precious Murex snail to the great whales.
Prior to pursuing a career in fine art, Wolff spent many years illustrating natural science texts, honing her eye to see and her hands to reproduce the miniscule details of different plant, animal, and insect species. In the early 2000s, on a whim, she took a course on medieval manuscript illumination, learning, among other things, how to work with parchment, gesso, mineral pigments, and precious metal leaf (silver, gold, and platinum). “It just changed by life,” she said. She has since devoted the bulk of her time to illuminating Jewish texts, a focus made possible by individual and institutional patrons. Her Psalm 104 and RoseHaggadah were commissioned by philanthropists Daniel and Joanna S. Rose and subsequently donated to the Morgan Library and Museum in New York City. Other patrons of hers include the Israel Museum and the Jewish Theological Seminary of America.
Psalm 104 is about beauty. It is about other things as well, true, but it starts with beauty and returns to it as a touchstone. It describes the world with rapturous metaphor. God, who is “clothed with glory and majesty,” who covers himself with “light as with a garment, who stretches out the heavens like a curtain,” has made the world in his image.
When you [see Wolff’s illumination cycle], you are surrounded by the wild precise beauty of that creation, in rich, lush, exquisite, witty, masterfully detailed, controlled miniatures. To [view these paintings] is to be stunned by beauty.
To view all ten illuminations from Wolff’s Psalm 104 cycle and to purchase facsimiles, visit http://www.artofbarbarawolff.com/projects.php?psalm. To learn more about the materials Wolff uses and to read commentaries on individual folios, see the links below.