The Easter Story at the Philadelphia Museum of Art. March 14, 2018 John Immerwahr

First three centuries of Christianity Very little distinctly Christian art and architecture in these early centuries -- Christian communities were often persecuted and were sometimes even hostile to religious images. Few venues for religious art. Also, Christians had not agreed on a particular time of year to celebrate the birth of Jesus -- no celebration of Christmas as an annual festival. Image of crucifixion was perhaps too vivid and real, so symbols of Christianity were more subtle. For example, the fish symbol, since Greek letters for “fish” are first letters in “Jesus Christ, Son of God, Savior.” All this changes in the fourth century, under the influence of Constantine the Great. His story is really the beginning of the story of Christian art.

Tapestry showing the Apparition of the Cross before Constantine Designed in 1632 by Pietro da Cortona Creator: Pietro da Cortona, Italian, 1596-1669 Title: The Apparition of the Cross Work Type: Tapestry Date: 1633 Material: Linen, silk and wool with silver and gold Measurements: 492.8 x 344.2 cm Repository: Philadelphia Museum of Art, Philadelphia, PA Accession Number: Gift of The Samuel H. Kress Foundation Accession Number: 59.78.10 Collection: The Samuel H. Kress Collection ID Number: Kress Number: Barb. 9 Source: Image and original data provided by the Samuel H. Kress Foundation: http://www.kressfoundation.org/ Source: Iconographical subjects provided by the J. Paul Getty Trust's Provenance Index Database: http://www.getty.edu/research/conducting_research/provenance_index/

Tapestry showing the Triumph of Constantine over Maxentius at the Battle of the Milvian Bridge, Peter Paul Rubens Creator: Figural composition designed in 1622 by Peter Paul Rubens, Flemish (active Italy, Antwerp, and England), 1577 - 1640 Creator: Woven at the Comans-La Planche tapestry factory, Paris Creator: Workshop of Filippe Maëcht and Hans Taye, Flemish Title: Tapestry Depicting the Triumph of Constantine over Maxentius at the Battle of the Milvian Bridge Series Title: from the series known as "The History of Constantine the Great" Work Type: Textiles Date: 1623-25 Location: Made in Paris, France Material: Wool and silk with gold and silver threads Measurements: 15 feet 11 inches x 24 feet 5 inches Repository: 1959-78-3 Date 312. defeat of Maxentius, bridge over river Tiber. Makes Constantine emperor of whole roman empire. Maxentius tears down sections of bridge,m replaces with wood, to protect retreat., bridge collapses, Maxentius is upside down with Laurel. Muscles in baroque style. Constantine promised “in this sign you will conquer.” relates to Prometheus.

Tapestry showing the Baptism of Constantine Tapestry showing the Baptism of Constantine. Designed by Peter Paul Rubens, 1622.

The challenges for Christian artists Turning the sparse language of the Gospels into artistic images. Expressing theological ideas in depictions of specific scenes Example: Adoration of the Magi

The Adoration of the Magi: specificity and theology Matthew 2:1. Now when Jesus was born in Bethlehem of Judaea in the days of Herod the king, behold, there came wise men from the east to Jerusalem. 11. And when they were come into the house, they saw the young child with Mary his mother, and fell down, and worshipped him: and when they had opened their treasures, they presented unto him gifts; gold, and frankincense and myrrh. The Adoration of the Magi , Master of the Morrison Triptych Northern Europe 1500,

The majority of Christian artistic images concern The infancy of Jesus, and Mary and Joseph The Passion story Both stories highlight the mystery of incarnation. St Athanasius: “God became man so that man could become divine.”

Altarpiece with Scenes of the Passion (and of the infancy), Northern Europe, 1535

Slow Looking Look for a moment, don’t say anything Talk to a few of your neighbors What catches your eye? What is the painting telling us?

Christ and the Virgin, Robert Campin, 1530

Christ Bearing the Cross Bartolomé Esteban Murillo, 1665-75

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Head of Christ, 1648-56, Rembrandt Harmensz Head of Christ, 1648-56, Rembrandt Harmensz. van Rijn, Dutch (active Leiden and Amsterdam), 1606 - 1669

Rembrandt Campin

The Crucifixion Attributed to Simon Marmion (1470’s) Gallery 206

The Crucifixion, with the Virgin and Saint John the Evangelist Mourning Rogier van der Weyden (c. 1460) Gallery 206

Marmion Van der Weyden

Francisco de Zurbarán (1650) Gallery 258 The Annunciation Francisco de Zurbarán (1650) Gallery 258

The Annunciation * Henry Ossawa Tanner, (1898) Gallery 111

Zurbarán Tanner