Jacopo Tintoretto (Jacopo Robusti), The Nativity, Italian, late 1550s (reworked, 1570s)
Nativity scenes may not be historically accurate, but we love them; the scenes featuring Mary and Joseph, three wise men, shephards, donkeys, and farmyard friends gathering round the open stable with the baby Jesus. This “modern” version of the Nativity that we have today was started by St Francis of Assisi in 1223.
“St. Francis got permission from Pope Honorious III to set up a manger with hay and two live animals—an ox and an ass—in a cave in the Italian village of Grecio. He then invited the villagers to come gaze upon the scene while he preached about ‘the babe of Bethlehem.’ (Francis was supposedly so overcome by emotion that he couldn’t say ‘Jesus.’) Bonaventure also claims that the hay used by Francis miraculously acquired the power to cure local cattle diseases and pestilences.” (St. Bonaventure, The Life of St Francis of Assisi)
Later scenes began incorporating dioramas and life actors, and the cast of characters gradually expanded beyond Mary, Joseph and baby Jesus, to include an entire village.
Some of you know that the familiar cast of characters in today’s creche —the three wise men and the shepherds—is not biblically accurate. In the New Testament Gospels, only Matthew and Luke describe Jesus’ birth. Matthew includes wise men, while Luke notes shepherds. But nowhere in the Bible do shepherds and wise men appear together. And to take all the fun right out of our holiday petting zoo, no one anywhere in the Bible mentions donkeys, oxen, cattle, or other farmyard friends in conjunction with Jesus’ birth. But what would a nativity scene be without them? Luckily for us, the holy folks did wear fluffy angel wings, terry cloth robes, and slippers.
Below are nativity scene paintings before and after our “modern” version.
Unknown Master, Nativity Scene in Castelseprio (9th century)
Unknown Master, Nativity Scene in Cappello Palatina Palermo (1150)
On break from directing his Nativity play, St Francis sings “Tuppins” to his feathered friends (Painting by Giotto 1276-1337)
Giotto di Bondone, Nativity Scene in the Lower Church of San Francesco d’Assisi (1304 und 1306)
Duccio di Buoninsegna, The Nativity with the Prophets Isaiah and Ezekiel (1308-11)
Gentile da Fabriano, Adoration of the Magi (1423)
Rogier van der Weyden, Bladelin Triptych (1445-48)
Francesco di Giorgio Martini, Nativity (1460)
Piero della Francesca, Nativity (1470-75)
Hugo van der Goes, Portinari Altarpiece (c.1475)
Geertgen tot Sint Jans, Birth of Jesus (1484-90)
Lorenzo Costa, Nativity (1490)
Sandro Botticelli, The Mystical Nativity (1500-1501)
Jan Gossaert, The Adoration of the Kings (1510-15)
Albrecht Altdorfer, Nativity (c.1513)
Matthias Grünewald, Concert of Angels and Nativity (1515)
Pieter Bruegel the Elder, Anbetung der Heiligen drei Könige (1564)
El Greco, The Nativity (1603-05)
Michelangelo Merisi da Caravaggio, Nativity with San Lorenzo and San Francesco (1609)
Georges de La Tour, L’adoration des bergers (c.1645)
[image_with_animation image_url=”11503″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] Many new artists feel they need an original idea for every artwork, but most experienced artists get a lot of creative mileage out of one idea (especially a simple idea), repeated in iterations. Here is a great example: Temple Dogs, a series of 8 by Ralph Kiggell. Each illustration is …
Frohsin is another painter on the list of Carlos San Millan’s favorites. He had talked about wanting to develop his work into more flat color fields, a move towards the abstract. These paintings by Frohsin and others are his inspirations. I liked these abstracted figures so much I did some research and found more of …
I was thankful for the break after the end of 30 days straight in January! I’m restarting the posts now, picking up where I left off with 30SAL Challenge Day 14: Make a transcription of Nicholas Poussin’s The Triumph of Pan. In the original post I mention how Poussin didn’t make detailed sketches of his figures …
The following is text from my interview of Fran O’Neill, Oct 6, 2020. I asked Fran to share some of the historical artworks she regards as masterworks. She talked about what she sees as the magic of transcriptions. “There’s a whole mystery that is incredible about works from the past, and unlocking some of that …
Nativity Scene Cures Pestilence
Nativity scenes may not be historically accurate, but we love them; the scenes featuring Mary and Joseph, three wise men, shephards, donkeys, and farmyard friends gathering round the open stable with the baby Jesus. This “modern” version of the Nativity that we have today was started by St Francis of Assisi in 1223.
“St. Francis got permission from Pope Honorious III to set up a manger with hay and two live animals—an ox and an ass—in a cave in the Italian village of Grecio. He then invited the villagers to come gaze upon the scene while he preached about ‘the babe of Bethlehem.’ (Francis was supposedly so overcome by emotion that he couldn’t say ‘Jesus.’) Bonaventure also claims that the hay used by Francis miraculously acquired the power to cure local cattle diseases and pestilences.” (St. Bonaventure, The Life of St Francis of Assisi)
Later scenes began incorporating dioramas and life actors, and the cast of characters gradually expanded beyond Mary, Joseph and baby Jesus, to include an entire village.
Some of you know that the familiar cast of characters in today’s creche —the three wise men and the shepherds—is not biblically accurate. In the New Testament Gospels, only Matthew and Luke describe Jesus’ birth. Matthew includes wise men, while Luke notes shepherds. But nowhere in the Bible do shepherds and wise men appear together. And to take all the fun right out of our holiday petting zoo, no one anywhere in the Bible mentions donkeys, oxen, cattle, or other farmyard friends in conjunction with Jesus’ birth. But what would a nativity scene be without them? Luckily for us, the holy folks did wear fluffy angel wings, terry cloth robes, and slippers.
Below are nativity scene paintings before and after our “modern” version.
Have a safe and happy holiday, everyone!
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I was thankful for the break after the end of 30 days straight in January! I’m restarting the posts now, picking up where I left off with 30SAL Challenge Day 14: Make a transcription of Nicholas Poussin’s The Triumph of Pan. In the original post I mention how Poussin didn’t make detailed sketches of his figures …
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