"The Holy Family with Angels" by Sebastiano RicciPhoto:
Metropolitan Museum of Art
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"The Resurrection" by Perugino
Posted on 12/06/2015 7:41:00 AM PST by ETL
A Manhattan man is suing the Met, claiming it's committing sacrilege by depicting Jesus as a blond.
"Racist" paintings portraying Christ as an "Aryan" male should be removed from the walls of the Metropolitan Museum of Art, Justin Renel Joseph argues in his Manhattan Supreme Court lawsuit.
The masterpieces are "offensive aesthetic whitewashing" of the reality that the Savior, as a native of the Middle Eastern region, had "black hair like wool and skin of bronze color," says Joseph, 33, who is acting as his own lawyer.
He says he suffered "personal stress" after viewing "The Holy Family with Angels" by Sebastiano Ricci; "The Resurrection" by Perugino; "The Miracle of the Loaves and Fishes" by Tintoretto; and "The Crucifixion" by Francesco Granacci.
They are especially offensive to him, he claims, because he himself has "black hair like wool and skin of bronze color."
(Excerpt) Read more at nypost.com ...
https://drive.google.com/file/d/0B65ufYrlm_aPR2l6OWZjZl96ZFJNOHRVcUpERTZqYVN5Nl9v/view?pli=1
"The Holy Family with Angels" by Sebastiano RicciPhoto:
Metropolitan Museum of Art
______________________________________________
"The Resurrection" by Perugino
Ben Carson has a painting of a black Jesus.
...He says he suffered "personal stress" after viewing "The Holy Family with Angels" by Sebastiano Ricci; "The Resurrection" by Perugino; "The Miracle of the Loaves and Fishes" by Tintoretto; and "The Crucifixion" by Francesco Granacci.
Are Mssrs Perugino, Tintoretto, and Granacci also named in this lawsuit? How about the patrons that sponsored their works?
“They completely changed his race to make him more aesthetically pleasing for white people” - Justin Renel Joseph
I thought Isaac Hayes was the Black Moses?
Follow the money far enough, and it probably leads to the man across the street from the Met.
Soros.
“Mr. Joseph who is of African and Hebrew descent and a Christian says that by permanently displaying the historically inaccurate racist depictation of a ‘blonde haired, fair-skinned Aryan male’ makes him feel ‘rejected’ and ‘unacepted’ by society. #WhiteMansBurden”
‘He says he suffered “personal stress”’
Give that man a pacifier.
So I guess the Met is no longer a “safe place”. I thought only people who objected to seeing naked people had a problem going to art museums.
Somebody needs to explain to that putz that it’s art.
Like The Black Madonna.
Every country has their own depiction of Jesus and the Blessed Virgin. In European countries, therefore, they are blond and blue eyed, in Mexico they look Hispanic, in Africa I am sure they are black, and I wouldn’t be surprised in the Orient they look oriental. It’s called artistic liberty.
While Jesus may not have looked like a Nordic blond, it’s equally unlikely that he looked like a sub-Saharan black. He most likely looked like present-day Sephardic Jews, or anyone else from people native to that region.
I always thought that Jesus took after his Father.
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"The Holy Virgin Mary is a painting created by Chris Ofili in 1996. It was one of the works included in the Sensation exhibition in London, Berlin and New York in 1997-2000.
The subject of the work, and its execution, caused considerable controversy in New York, with Rudolph Giuliani - then Mayor of New York City - describing Ofili's work as "sick".[1]
In 1998, Ofili was the first black artist to be awarded the Turner Prize. The painting was sold for $4.6 million in June 2015.
On a yellow-orange background, the large painting (8-feet high and 6-feet wide) depicts a black woman wearing a blue robe, a traditional attribute of the Virgin Mary.
The work employs mixed media, including oil paint, glitter, and polyester resin, and also elephant dung, map pins and collaged pornographic images.
The central Black Madonna is surrounded by many collaged images that resemble butterflies at first sight, but on closer inspection are photographs of female genitalia; an ironic reference to the putti that appear in traditional religious art.
A lump of dried, varnished elephant dung forms one bared breast, and the painting is displayed leaning against the gallery wall, supported by two other lumps of elephant dung, decorated with coloured pins: the pins on the left are arranged to spell out 'Virgin' and the one on the right 'Mary'. Many other works by Ofili in this period - including No Woman No Cry - incorporate elephant dung, particularly as supports for the canvas, inspired by a period that Ofili spent in Zimbabwe.[2]
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