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SHEPHERDS ARE FIRST TO SEE THE SAVIOR

Good Morning, Dan. :-)

Adoring our Savior with you, Mary-Lou!

Good morning! Favorites are #3 by Mengs, #8 by Georges de La Touue; #23 by van Honthorst; the splendid Ghirlandaio at #43 and finally the relief at #48.

For me the shepherds represent the sweetest part of the Nativity It shows the love of God for everyone and it reminds me of what a 19th c. Biblical scholar wrote: “”These men who watched the sheep meant for the slaughter received a divine message about the ultimate Lamb who would take away the sins of the world through His death and resurrection.”

https://www.youtube.com/watch?v=2-QV_I-xseA

Hallelujah Chorus, informal version

For me the shepherds represent the sweetest part of the Nativity

I had not considered that previously, Alba, but you have certainly persuaded me. That is altogether lovely.

“For me the shepherds represent the sweetest part of the Nativity It shows the love of God for everyone”

Amen to THAT! I think it is also very important to consider the fact that the news of the Saviour being born was NOT first revealed to the “Religious Leaders.” You might think that this astonishing event, the birth of the Messiah, would be told FIRST to the Chief Rabbai, who in turn would reveal it to the people. NOT so ! Something has changed - a new era had begun.

Jesus would often speak of Himself as the Good Shephard and His followers were His sheep who knew His voice. This event sets the stage for His Ministry as the Lamb of God.

You might also think that if those “religious leaders” had been up on their toes (considering the Bible predicted where and when), they would have beaten the shepherds (who needed an angelic annunciation) to the manger. Why hadn’t they welcomed Joseph and Mary when they first arrived in Bethlehem?

I just love the way the artists depict light! Particularly Mengs in #3, and Reni in #19.
Van Honthorst is good in #22 & #23, and so is #46 & #47… Mengs just “glows” to me. Wonderful.

..and speaking of wonder…

Here we go! 50% have the ox/donk symbolism; even in the great Wallbaum (silver?) at #48 and FRONT & CENTER in Ghirlandaio at #43!
45% have the lamb/trussed lamb symbolism,
and 31% have the ‘flying scroll’.

#’s 4, 5, and 36 have all 3 symbols! (Most of them have two of the symbols)

Domenichino at #46 is magnificent for its ‘movement’. I’ve come to believe these works are meant to be studied, contemplated, and it feels like I could for hours!

The one that ‘got me’ in this batch is Strozzi at #7. Go look at it for a bit. The unsettling element is very prominent, isn’t it? Gloomily foreshadowing a foul death.

The “cross” weave of the basket is prominent too.

a fowl death?

I am the farthest thing from being an artist, but if I were, and if I had Biblical events to illustrate, I hope I would find ways like Strozzi did to enrich my works spiritually for the viewers, so that folks like you, John, are blessed by them.

*grins*

Notice how he used the light-stroke above the man's left shoulder to suggest a cross...and notice his finger is actually pointing, as if to delineate that "you too will someday 'hang'".

Remarkable, really.

Happy Day to you Dan, and what wonderful responses, each of you!

You’ve chosen so many fine ones; again, I love the multiple submissions from the same artists.

#11 & #12 Rubens; similar yet the scene changes.
#22, #23 & #24 Van Honthorst- they’re like snapshots, taken a moment apart. New people step in, others turn, some are still. Surely, that’s how it was. #24 is almost a different style, yet the same painter- What flexible skills.

#46 Domenichino is remarkable; even several children and angels. Note many paintings show a lamb trussed...

Thank you Dan; these indeed beg further study.

We can learn a lot from you. I’m looking more carefully now. Thank you.

Very Well Said, and thank you for each of your submissions- they’re greatly appreciated.

I love the multiple submissions from the same artists.

In ten days we'll be fleeing to Egypt, and we'll see Orazio Gentileschi's three versions of the holy family resting, painted over the span of a decade-plus. It just kept nagging at him, I guess. Should I include the donkey, or not? If I don't, how do I arrange what is left?

By the same token, this is what differentiates Tissot and Doré. They never spend their effort repeating; rather, they move on to the next incident, and in doing so they've each produced several hundred biblical works.

It’s a good mix Dan, just keep on as you’re doing. RE: Gentileschi’s works- yes, some topics touch us more deeply than others.

I really never knew Tissot or Dore’ until I found them here. Their muted tones may be nearer to the reality of those days; dye was expensive. Look forward to seeing more of them.

Look forward to seeing more of them.

Seldom do I post a thread where I don't find worthy contributions by one or both of them.