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I promised a beautiful painting of Jesus for Easter and here is one of my favorite altarpieces from the Met.  This wonderful painting is “The Crucifixion with Saints and a Donor.”  It was largely painted by Joos Van Cleve (with some assistance from an unknown collaborator) and was finished around 1520.  The painting is very lovely to look at! Joos Van Cleve endowed each of the saints with radiant fashionable beauty and energy.  From left to right, we see John the Baptist with his lamb and coarse robe; Saint Catherine with her sinister wheel (yet looking splendid in silk brocade and perfect makeup); Mary is leftmost on the main panel in royal blue; Saint Paul holds the cross and touches the head of the donor (whose money made all of this possible); and Saint John wears vermilion garb and has a book in a pouch as he gesticulates about theology. On the right panel are two Italian saints, Anthony of Padua and Nicholas of Tolentino.  Probably this altarpiece was an Italian commission or maybe the Flemish donor had business or family connections in Italy.

But van Cleve’s delightful saints are only half of the picture. In the background, the unknown collaborator has painted a magnificently picturesqe landscape of cold blue and lush green.  Fabulous medieval towns come to life amidst prosperous farmlands.  Rivers snake past forboding fortresses and great ports.  The distant mountains become more fantastical and more blue till they almost seem like surreal abstraction in the distance.  You should blow up the picture and let your spirit wander through this landscape (I think WordPress has discontinued that feature in a bid to frustrate users, however you can go the Met’s website and zoom into the painting and step directly back into 16th century northern Europe).

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Somewhat lost in this pageant of visual wonders is, you know, Jesus.   The painting’s lines don’t even really point to him. He suffers on his cross in emaciated, gray-faced anguish, forgotten by the richly robed saints and the wealthy burghers of the low country. Only the Virgin seems particularly anxious. Yet, though Van Cleve has de-emphasized the savior within the composition, he has painted Christ with rare grace and feeling.  The viewer can get lost in the landscape (or looking at Catherine’s lovely face) but then, as we are craning our neck to see around the cross, the presence of a nailed foot reminds us this is a scene of horror and divinity.  I have spent a long time looking at this painting and I found the the juxtaposition of wealth, industry, fashion, and riches, with the overlooked figure of Jesus naked and suffering to be quite striking. It is a reminder to re-examine the story of Jesus again against the context of more familiar surroundings. I am certainly no Christian (not anymore) but it seems like there might even be a lesson here for America’s ever-so-pious evangelicals.  With all of the excitement of wealth and political power and 24 hour Fox news and mean supreme court justices and billionaire golfers and super models and what not, I wonder if there is anyone they are maybe forgetting…

Chinese blue and white kraak dish, Wanli (1573-1619), flying birds and flowering peonies in a rocky landscape with  border roundels of peach and misc flowers.

Chinese blue and white kraak dish, Wanli (1573-1619), flying birds and flowering peonies in a rocky landscape with border roundels of peach and misc flowers.

Peonies are a favorite flower of Chinese gardeners.  The flower has been cultivated there since before the dawn of history and it bears the title “huawang”, king of flowers, (as well as the equally lofty name “fùguìhuā” flower of riches and honor).  Thriving in Northern China and the Yangtze Valley, the peony is a symbol of love, affection, good fortune, beauty, and riches. The flower’s appeal is extremely broad.  In China, the peony is the consummate representative of the season of spring (summer is represented by a lotus; fall by a chrysanthemum; and winter by the wild plum).

Chinese blue and white kraak, Wanli (1573-1619), a peony emerging from rockwork

Chinese blue and white kraak, Wanli (1573-1619), a peony emerging from rockwork

Because the peony represents such universally esteemed ideals, it is a symbol which can be found everywhere in Chinese art.  As May ends, this year’s peony season is swiftly passing away, but to remember the beautiful king of flowers, here are 3 Ming dynasty platter-bowls which feature peonies which have survived unblemished for centuries.  The first two are Wanli Kraaks–pieces which were made in the late sixteenth and early seventeenth century–possibly for export.  The final piece is older and rarer: it is a Yongle reign platter made at the turn of the 14th & 15th centuries for a domestic patron.  Look at how beautiful and elegant the brushstrokes are in comparison with the more hastily produced later work.

Charger with two Peony Blossoms Early 15th century (Yongle Reign)

Charger with two Peony Blossoms Early 15th century (Yongle Reign)

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