Episode #7 of 33

LINKS TO PREVIOUS EPISODES:
#1—JESUS’ VERY INTERESTING GENEALOGY
#2—GABRIEL'S AMAZING NEWS FOR ZECHARIAH
#3—GABRIEL'S AMAZING NEWS FOR MARY, Part 1
#4—GABRIEL'S AMAZING NEWS FOR MARY, Part 2
#5—GABRIEL'S AMAZING NEWS FOR MARY, Part 3
#6—MARY VISITS HER COUSIN ELIZABETH, Part 1

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Catholics flock to Mary, knowing full well her singular role in salvation history, justifiably heedless of all naysayers.

Got Mary?

Merry CHRISTmas.

Merry Christmas.

Mary Christmas too, lol, jk

Lovely collection. I especially liked #25, in which they exchange video tapes. ;-)

You have to remember, that was 2,000 years ago, before there were DVDs.

You have excellent powers of observation.

Merry Christmas.

Interesting to note here is that the first person to recognize Jesus was an unborn child.

As for Mary worship, don’t.

the first person to recognize Jesus was an unborn child

Well-noticed--thanks. John was indeed His forerunner.

Merry Christmas!

They’re all wonderful, if I had to pick one that stands out to me, it would be nos. 23 & 23a.

I definitely love the stained glass windows and #5 by Riemenschneider. Great choices.

Thanks, Pete. It reveals their age difference so well.

Merry Christmas!

Kind of a different sort of presentation today. So many talented artists with so many wonderful skill-sets which they employ in presenting various facets of the Gospel.

Merry Christmas, Alba!

A lot of sculpture in this tranche of Mary meets Elizabeth.

I did see another way to portray Elizabeth’s age, through a larger nose. Our noses keep growing all through our lives.

With portraits or sculpture, when you depict a scene, which moment do you depict? The moment Elizabeth cries out to Mary? (See Bloch). Or the moment they embrace and feel each other’s belly?

Once you pick a moment, how do you best show the emotion? The action? The characters?

I’m full of admiration for all these artists!

I've been broadly impressed by Tissot's thoughtfulness in doing just that--selecting which moment to illustrate. I'll post thirty paintings of a scene--twenty-nine showing the usual elements, and Tissot's, who has thought harder and found what no one else has. Again and again....

Once you pick a moment, how do you best show the emotion? The action? The characters?

You've well described a cinematic director, who takes the screenwriter's script--in this case, the script is Script-ure and the Screenwriter is about forty guys collaborating with the Studio Owner--and thinks through how best to deliver it, on-screen, in marble, on canvas. I was fortunate to have roomed with a cinema major at USC who passed on to me some of what he was learning.

Haha!