Hope United Church of Christ
Sturgeon Bay, WI
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Sermon Reading Isaiah 1:10-18 (The First Testament: A New Translation)
He was a man out of time, much like his magician advisor, the actual king at the turn of the 6th century unsuccessfully defending Britain against invading Saxons. Arthur’s story would be fictionalized, lifted from that context, and reset in the Middle Ages, all knights and chivalry, though with a hint of druids and witches to remind us of the ancient. We can see this anachronism in John Boorman’s 1981 film “Excalibur,” in T.H. White’s “The Once and Future King,” required school reading for my generation, in Lerner and Loewe’s “Camelot,” and above all in the greatest Arthurian masterpiece ever, “Monty Python and the Holy Grail,” which includes a scene where Arthur rides through a town ravaged by the Black Death, the classic macabre scene where the carter cries “Bring out your dead!”
In this swirling space of All Hallow’s Eve, of ghosts and ghoulies, and of Reformation Sunday, commemorating that singular expression of the shift from the medieval to modernity, it seems right to revisit the Black Death, the first and greatest episode of the Bubonic Plague to hit Europe, dropping the world population by an estimated 100 million people during the 14th century. To celebrate the end of the Black Death, Florence, in what is today Italy, decided on new doors for their Baptistry. A grand competition was held, with seven sculptors entering, and Giovanni de’ Medici as the judge. Lorenzo Ghiberti won the competition. Many of us have gazed on those very doors, on Ghiberti’s work, in that city filthy with masterpieces.
One of the other contestants was Filippo Brunelleschi, who, it turns out, was not a particularly graceful loser. His entry drew particular attention, can still be seen today as a Renaissance masterwork in Florence’s Il Bargello. He might have gone on to be a legendary sculptor, but he refused to work in that medium ever again. Instead, he would focus on architecture and optics, designing the groundbreaking dome of the Cathedral of Santa Maria del Fiore, Florence’s Duomo. If that is one particular piece in one particular place, his other great gift to humankind is everywhere, still impacts us today, for he is considered the inventor of linear perspective, that art of creating the illusion of three dimensions in a two dimensional drawing or painting, of using technique to invoke more.
Six centuries later, another approach to multiple dimensions rendered in the flat space of drawing and painting would contribute to the development of cubism, the reduction of objects to basic shapes, often seen from multiple angles at once. It was inspired by Paul Cezanne, who was a living bridge between Impressionism and new forms, his paintings attempting to represent three-dimensional form. The Cubist style took its name from words by Henri Matisse, who described a painting submitted for exhibition by Georges Braque as being made of little cubes. Braque, along with Pablo Picasso, would be most closely associated with the style.
There were folks who despised Cubism, still are folks who despise Cubism, and if I am honest, I personally prefer pre-Cubist Picasso, the Blue Period and the Rose period, but you can already see the trajectory, flat spaces creating angles, even there. There were folks who despised Impressionism too. The Académie des Beaux-Arts had no room for the work of the Impressionists at its annual juried art show, the Salon de Paris, so the young artists eventually showed their work at the Salon des Refusés, the Salon of the Refused.
We know how that story ends. The Impressionists included Renoir, Sisley, Manet, Pissarro, and the artist who painted the painting that would give name to the movement, Claude Monet. Paintings by these “refused” artists rarely come up for sale, so the prices reflect the economic insanity of a particular moment, but Monet’s “Meules,” not one of his best known works, sold for $110 million in May, while Picasso’s cubist “Les Femmes de l’Alger” sold for $179 million in 2015.
Then again, Vincent Van Gogh died broke, so maybe folks aren’t always so good at seeing what is happening, appreciating innovation and vision, in the moment. Continue reading “Brunelleschi to Braque: November 3, 2019”