For as the lightning comes from the east and flashes as far as the west, so will be the coming of the Son of Man.
Then I saw heaven opened, and there was a white horse! Its rider is called Faithful and True, and in righteousness he judges and makes war. His eyes are like a flame of fire, and on his head are many diadems; and he has a name inscribed that no one knows but himself. He is clothed in a robe dipped in blood, and his name is called The Word of God.
LOOK: Jesus Rides a White Horse by James B. Janknegt
LOOK: John August Swanson (American, 1938–), Peaceable Kingdom, 1994. Serigraph, edition of 250, 30 × 22 1/2 in.
John August Swanson, a Los Angeles–based artist of Mexican and Swedish heritage, says his style is “influenced by the imagery of Islamic and medieval miniatures, Russian iconography, the color of Latin American folk art, and the tradition of Mexican muralists.” In this forty-seven-color serigraph (limited-edition screen print), monkeys, frogs and lizards, mice and rabbits, owls and peacocks, a pig and a turtle accompany the wolves, lambs, leopard, goat, lion, ox, and snake of Isaiah 11, a vision of creation restored and at peace.
Congrats to the three winners of the Wounded in Spirit book giveaway. Thank you all for entering. I will be giving away another free book, from Eerdmans, sometime in the next month or two, so stay tuned!
ADVENT ART VIDEO:The Peaceable Kingdom by Edward Hicks: This year I was invited to make a guest contribution to art historian James Romaine’s annual Art for Advent video series on YouTube. For 2018, he is spotlighting paintings from the National Gallery of Art in Washington, DC, my neck of the woods. I chose to write about The Peaceable Kingdomby the nineteenth-century Quaker preacher-artist Edward Hicks, which visualizes the prophecy of Isaiah 11 about predators and prey lying down together in friendship, and a little child leading them. But Hicks’s image of “peace on earth” is not as simplistic as it may seem at first; there is tension. See the video below, and be sure to check back on the Seeing Art History YouTube channel next week for subsequent videos. For more on Hicks and this favorite subject of his, see this post of mine from 2016. Thank you to Rain for Roots for letting me use their wonderfully playful musical rendition of Isaiah 11 from their family Advent album Waiting Songs.
PODCAST EPISODE: “Mary Poppins,”Technicolor Jesus, episode 49: “If you want a movie that really shows the foolishness of the gospel next to what the world thinks is wise and is turned on its head . . . if you want a movie about the great reversals that are present in the kingdom of God, you don’t need to look any further than MaryPoppins,” says Pastor Becca Messman. The oppressive orderliness booming over people’s lives “is contrasted with something unpredictable and joyful—the wind, dancing chimney sweeps, and this beautiful bird woman giving her crumbs away.” The movie is about what happens when both adults and kids relax into joy.
It’s also about charity. Last year Niles Reddick wrote an article about Mary Poppins as the first female Christ figure in American film, and “Feed the Birds” as a “song-parable” that serves as the linchpin of the movie. While the world would have us pile up our coins in a bank vault, Jesus calls us, against the world’s wisdom, to give them away.
I love this movie. My mom says that from a young age she would play it for me, and I would sit mesmerized for the entire 139 minutes. I remember trying to soothe my baby brother many a time by singing “Let’s Go Fly a Kite.” Once we were elementary school–age, we would eagerly await the “Step in Time” scene, at which point we would rush to grab brooms from the garage, using them as props as we danced along with Dick Van Dyke—which sometimes ended in injury . . . Now as an adult, I can appreciate some of the movie’s deeper themes, and pick up on its resonances with the upside-down nature of Christ’s kingdom. Can’t wait to see the new Mary Poppins Returns next month!
WRITING CONTEST FOR UK TEENS:“Write on Art”: In an effort to get teenagers learning and writing about art, Art UK and the Paul Mellon Centre for Studies in British Art are co-sponsoring “Write on Art” for the second year in a row. Any kid between the ages of 15 and 18 who is enrolled in a UK school (Years 10–13) is eligible to enter to win up to £500 by submitting a short personal write-up (400–600 words) on any artwork in the UK’s national collection. “With a disturbing decline in the teaching of art and art history in schools, our Write on Art competition . . . is designed to highlight the importance of art as an academic discipline.” The website includes tips on how to write about art, including where to find relevant vocabulary and other resources. All entries must be submitted by January 31, 2019.
BOOK REVIEW:On Reading Well: Finding the Good Life through Great Books by Karen Swallow Prior, reviewed by Nick Roark: In September, Brazos Press released Prior’s latest book on reading widely and well, which received a starred review and a Best Book of 2018 in Religion from Publishers Weekly. I’m a big fan of her previous Booked: Literature in the Soul of Me, so I’m really looking forward to this one. “Covering authors from Henry Fielding to Cormac McCarthy, Jane Austen to George Saunders, and Flannery O’Connor to F. Scott Fitzgerald, Prior explores some of the most compelling universal themes found in the pages of classic books, helping readers learn to love life, literature, and God through their encounters with great writing. In examining works by these authors and more, Prior shows why virtues such as prudence, temperance, humility, and patience are still necessary for human flourishing and civil society.”
Purchase the book between now and Christmas, and receive a piece of free downloadable art by Ned Bustard. Instructions are on her website, https://karenswallowprior.com/.
NEW ADVENT/CHRISTMAS ALBUMS
Watches of the Night by Matt Searles: “Christian believers are like watchmen, longing to see the first rays of dawn. We long for the darkness of this world to be finally taken away, and the light of Christ to rise in all its splendour. This album is intended to help us as we wait; to lament the brokenness of this world, but to look to the riches of that which is to come. It is an album of longing, but also of profound hope. Light has dawned. Christ has been raised. But we await the full revelation of him in glory. We are still watchmen. Still waiting.
“This is not a loud album. It is one I hope you might be able to listen to if you lie awake unable to sleep, as I so often find the case. I pray it is an album that might help you – like David in Ps 63:6 – to meditate on God in the watches of the night. An album that will orient you to the future, and help you increasingly be someone whose mind is set on the city that is to come. Songs to help you fix your eyes on Christ, and long above all else for his return when we see him face to face.”
After the Longest Night: Songs for Advent, Christmas, and Epiphanyby Steve Thorngate: These fourteen songs are a mix of originals, including settings of the Lukan Canticles (the songs of Zechariah, Mary, and Simeon), and traditionals: “Creator of the Stars of Night,” “What Child Is This,” “Bright Morning Stars,” and “Let the Light of Your Lighthouse Shine on Me.” Best $7 I’ve spent in a while! (Purchase even includes lead sheets.)
In honor of Martin Luther King Jr. Day, I’d like to highlight the work of one who shared Dr. King’s vision, but whose microphone was a canvas.
The painting Holy Mountain III by self-taught African American artist Horace Pippin depicts the peaceable kingdom that’s prophesied about in the biblical book of Isaiah, chapter 11. When the Messiah establishes his rule on earth, writes the prophet,
The wolf shall dwell with the lamb,
and the leopard shall lie down with the young goat,
and the calf and the lion and the fattened calf together;
and a little child shall lead them.
The cow and the bear shall graze;
their young shall lie down together;
and the lion shall eat straw like the ox.
The nursing child shall play over the hole of the cobra,
and the weaned child shall put his hand on the adder’s den.
They shall not hurt or destroy
in all my holy mountain;
for the earth shall be full of the knowledge of the Lord
as the waters cover the sea. (vv. 6–9)
In spring 2013, this painting was featured in the exhibition “Ashe to Amen: African Americans and Biblical Imagery,” curated by the now-defunct Museum of Biblical Art in New York City. A MOBIA commentator pointed out the shadows of violence in the forest: a lynched black man (left), planes dropping bombs above a graveyard of crosses (center), and two armed soldiers and a tank (right). Yet, the commentator writes, Pippin chose to foreground the Holy Mountain, demonstrating his hope that such a scene would one day be actualized: “Rather than turning a blind eye to the painful realities of a sad and violent world, Pippin presents a vision of mankind moving out of the shadows and into the brilliant light of a peaceful clearing.” Continue reading “MLK, Pippin, and the Holy Mountain”→
The wolf shall dwell with the lamb, and the leopard shall lie down with the young goat, and the calf and the lion and the fattened calf together; and a little child shall lead them. The cow and the bear shall graze; their young shall lie down together; and the lion shall eat straw like the ox. The nursing child shall play over the hole of the cobra, and the weaned child shall put his hand on the adder’s den. They shall not hurt or destroy in all my holy mountain; for the earth shall be full of the knowledge of the Lord as the waters cover the sea.
This passage describing the peaceable kingdom of the Messiah was, according to biblical scholar John F. A. Sawyer, popularized by the Quaker preacher-artist Edward Hicks, born in Bucks County, Pennsylvania, in 1780. He painted it sixty-two times during his career: predators and prey lying down together in harmony, and a little rosy-cheeked child—the Christ child—leading them.
When Edward was just eighteen months old, his mother died. His father was unable to support him financially, so he sent him to board with family friends David and Elizabeth Twining, who exposed him to Quakerism. From ages thirteen to twenty Edward lived with local coach maker William Tomlinson, for whom he worked as an apprentice, developing a talent for ornamental painting. When his apprenticeship ended in 1800, he went into business for himself, now painting with decorative motifs not only carriages but also signs, furniture, and household objects. Some of his signboard compositions would later prompt commissions for easel paintings.
During this time Edward was attending religious meetings with increasing regularity, becoming an official member of the Society of Friends in 1803. But he encountered criticism from many of his fellow Friends for his choice of vocation, which was at odds with the Quaker values of simplicity and utility. Painting is a worldly indulgence, they said. Taking their rebukes to heart, Edward gave up painting for a time and tried his hand at farming, but this venture was unsuccessful.
Edward struggled to reconcile his love of painting with his faith; he was passionate about both. In 1811, at age thirty-one, he set up a painting shop in Newtown, Pennsylvania, and also became a minister, which meant that he was often called away to other states to preach. Quaker ministers were not paid for their services, so it was necessary for Edward to maintain a source of income to support his wife and four (soon to be five) children.
“Of all the types of paintings Edward produced during his lifetime, none was repeated as often or with greater attention to change and refinement than the Kingdom pictures,” writes Carolyn J. Weekly in The Kingdoms of Edward Hicks, the catalog for the major exhibition she organized in 1999 for the Abby Aldrich Rockefeller Folk Art Museum in Williamsburg, Virginia. Edward pursued this subject not for commercial reasons (records suggest that he gave the Kingdom paintings as gifts to friends and family) but to express his yearning for unity and peace, especially in light of the 1827 Hicksite-Orthodox schism within the Society of Friends, the first in the denomination’s history. (Edward’s cousin Elias led the liberal faction that split from the mainstream.) His Kingdom paintings reference the schism through a blasted tree trunk, which doubles also as a reference to the “stump” of Jesse out of which Christ sprung up (Isaiah 11:1).
Only a few Peaceable Kingdom images before Hicks’s time have been documented worldwide, among them an early nineteenth-century engraving designed by Richard Westall. Hicks borrowed directly from Westall in his “Peaceable Kingdom of the Branch” compositions, replacing the Christ child’s loincloth with a little jumper suit fashionable among Friends at the time.