WOMEN IN THE BIBLE

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            MARTHA AND MARY

They go to it, and Jesus tells them to pull away the great stone that seals the entrance. They are loathe to do this since Lazarus' body will have begun to rot - they can smell it already. But Jesus insists. When the stone is moved Jesus prays, then calls out 'Lazarus, come out!' And Lazarus, still with the stinking strips of burial cloth hanging off him, comes out of the tomb - alive. 

The third episode:  Martha, Mary and Lazarus give a dinner for Jesus. During the dinner, Mary takes some vastly expensive perfume and smoothes it over Jesus' feet, then wipes his feet with her long hair. One of Jesus' friends, Judas Iscariot, objects to the waste of money, but Jesus again sides with Mary, defending her action.

Painter:  Vergilius Master

Year:  1410

Incident shown:   If you look carefully you will see this is a composite picture - and a rather confusing one at that. Martha of Bethany is hard at work preparing food for her guests (right) and you would therefore expect the woman on the left to be her sister. It is not. It is Mary Magdalene, kneeling at Jesus' feel on the morning of the Resurrection - the wounds in Jesus' side, hands and feet make it clear that this scene is post-Resurrection. 

Bible reference:  Luke 10:38-42

Information:  Is this just a medieval slip-up? One explanation might be that the artist was making a point: that Jesus through his death had made himself the Bread of Life, and so early bread such as the loaves made by Martha were now (at least in a theological sense) superceded.

Painter: Joachim Beuckelaer, (circa 1533-1574)

Year: 1565

Incident shown:  Martha sits beside a most un-Jewish fireplace, plucking a plump fowl. She has two assistants, but her expressions suggests she is dispirited, and overwhelmed by the amount of work she is expected to do. Mary, meanwhile, sits gracefully in another room, listening to Jesus. Who wouldn't be fed up by this situation?

Bible reference:  Luke 10:38-39

Information:  Beuckelaer specialized in market and kitchen scenes, celebrating the bounty of Nature. His pictures were said to contrast worldly and spiritual values, and warn of the pleasures of the flesh, but isn't there a certain ambiguity in this painting. Where, for example, do the artist's sympathies lie? With the overburdened workers (Martha's expression says it all) or with the several women listening to Jesus?

Painter:  Vincenzo Campi (c. 1536 - 1591)

Year:  unknown

Incident shown:  Martha is in the kitchen, her own personal kingdom. She is strong and able, which is just as well since the quantity of food suggests she will have her work cut out for her, preparing a meal for Jesus and his retinue of disciples. In the background sits Mary, listening to Jesus.

Bible reference:  Luke 10:38

Information:  Campi came from a family of painters in Cremona, and was therefore surrounded by artistic creativity from birth. The trick was to find his own style. This he did by concentrating on pictures of food - luscious, plentiful food. The women he painted, too, were bountiful goddesses, and his image of Martha is of someone dedicated to the pleasures of the kitchen. Martha is often portrayed as disgruntled, but Campi's Martha looks as if she is in her element, happy if somewhat overworked.

Painter: Tintoretto (1518-1594)

Year: 1580

Incident shown:  Martha has left a well-stocked 16th century kitchen (in the background), and is now remonstrating with her sister Mary. They have a lot of guests - can't Mary come and help with the preparations of food? Mary seems hardly to hear her sister, so focused is she on the face and words of Jesus. Her luminous face becomes the heart of this painting.

Bible reference:  Luke 10:40

Information:  Tintoretto became famous for his use of light and perspective - both qualities evident in this painting. Mary's radiant face and Jesus' expressive hands are both highlighted - the hands with a background of light that seems to emanate from Jesus himself, and Mary's face against the rich darkness of Martha's dress.

Painter:  Diego Rodriguez de Silva Velázquez (1599-1660)

Year:  1618

Incident shown:  Martha's face is clearly unhappy. She has been left with the preparation of a meal, while her sister Mary sits entranced at the feet of their honored guest, Jesus. There is a second figure in the foreground, not mentioned in the gospel story. 

Bible reference:  Luke 10:38-39

Information:  This painting is given an air of ambiguity by the figure standing behind Martha. Who is she, and what is she meant to represent? Is she pointing towards Mary in the next room, and feeding Martha's resentment at the unfair load of work she has to carry? Or is she pointing to Jesus, telling Mary that she too should be listening, instead of wasting these precious moments in the kitchen? Velázquez was a court painter who was paid to make his courtly subjects appear impassive - a detached demeanor was de rigueur for royalty. On the other hand, he could show emotion in a biblical subject's face. But what emotion is this girl showing? And what is the old woman saying?

Title:  Christ in the House of Martha and Mary  

Painter:  Peter Paul Rubens (1577-1640) and Jan Brueghel the Younger (1601-1678)

Year:  1628

Incident shown:  Jesus and Mary of Bethany have been talking. Now Martha leaves the kitchen in the right rear of the painting and comes to remonstrate with her sister. Jesus turns to listen to her, but his posture shows that he is still preoccupied with the conversation he has been having with Mary. What is a monkey doing (see foreground of painting) in this biblical scene? Introducing a note of levity?

Bible reference:  Luke 10:40

Information:  This painting is a collaborative effort of two great painters, Rubens and Jan Brueghel the Younger. The faces, figures and perhaps the original design for this painting have been done by Rubens. Everything else has been done by Jan Brueghel. The colors are more flamboyant than is usual in a religious painting - Rubens was noted for his sensual colors, which lend an air of vibrancy to the scene. The setting is European, not Judean. There is no attempt at historical accuracy, because it was the message of the painting that was important to the viewer of the time.

Painter:  Jan Vermeer van Delft

Year: 1654

Incident shown:  Martha is in the act of voicing her grievance to Jesus, but the atmosphere does not seem to be strained. The reverse, in fact. This is quiet family discussion at its best, with each person gently expressing what they feel..

Bible reference:  Luke 10:38-42

Information:  Vermeer painted very few religious pictures, and it is typical of him that when he did he used an intimate, rather homely setting. Jesus is relaxed, quiet, and Martha and Mary are comfortable, at ease in their own home. This is not as accomplished a painting are most of Vermeer's, and so it is assumed that he painted it when he was still only a young man, experimenting with different painterly techniques..

Title:  Martha rebuking Mary for her Vanity 

Painter:   Guido Cagnacci (1601-1681)

Year:  1660

Incident shown:  An angel seems to be driving out the demon of Vanity while Mary, for some reason known only to herself, has taken off most of her clothes. Martha quite rightly is telling her to go and put something on, for heaven's sake. Or something like it...

Bible reference:  None that I know of.

Information:  Some people can make anything salacious and Cagnacci was one of these - as is only too apparent in this painting of Martha and Mary. There is no mention anywhere in the authentic gospel story of Martha rebuking her sister for being vain, but since Cagnacci specialized in painting female nudes, he dreamt up one such scenario. Magnificent as the painting is, it has more to do with the fantasies of a young artist who is said to have enjoyed cross dressing.

Title:  Martha and Mary

Painter:  William Blake (1757-1827)

Year: circa 1800

Incident shown:  Martha, at right in the painting and carrying a plate, has already complained to Jesus about the unfair burden she has had to carry. Her sister Mary stays aloof from the situation that has developed. Jesus points to Mary, suggesting that it is she who is the wise one.

Bible reference:  Luke 10:42

Information:  Blake believed in the equality of the sexes, and perhaps he emphasizes this by depicting more women than men at the dinner in Martha's house. Blake also vigorously opposed scientific materialism, part of which argued against the unprovable existence of a  supernatural deity, in other words, God.

Title:  'Christ in the House of Martha and Mary'

Painter:  Henryk Siemiradzki (1843-1902)

Year:  1886

Incident shown:  The moment captured by this painting is not the famous scene of complaint, but the event mentioned immediately beforehand in Luke's gospel. Mary sits at Jesus' feet, listening. None of the other dinner guests has yet arrived. But Martha approaches to make her complaint. She too would like to sit and listen, if only she could.

Bible reference:  Luke 10:39

Information:  The Polish painter Siemiradzki often used sunlit Utopian scenes to depict the lives of early Christians - even his painting of the horrific burning of early Christian martyrs ('Nero's Torches') is bathed in sunlight. Here his painting of Jesus and Mary is similarly idyllic - all is calm, beautiful and peaceful in the garden of Martha's house - the way the world could be, rather than is.

Painter:  Nathan Greene, born 1961

Year:  unknown

Incident shown:  Martha has made her complaint, and Jesus is responding. His left hand points towards Mary, as he suggests she focus on what is really important. The disciples in this crowded little room listen intently to what he is saying.

Bible reference:  Luke 10:41

Information:  Nathan Greene is a contemporary painter of scenes from the Bible - not an overcrowded field these days. His paintings show meticulous attention to detail - not only in brushwork and realism, but in something that the great masters of the Renaissance and Counter-Reformation considered unimportant - historical realism. The people in Greene's paintings wear Middle Eastern designs and fabrics similar to those of the biblical period; their houses and furniture are authentic to the time. Modern minds, affected by scientific realism, appreciate this attention to detail in his powerful images.

Title:  'Martha and Mary'

Painter:  He Qi

Year:  not known

Incident shown:  In both these paintings of the scene in Luke 10, Martha is bent over by the burden of housework she does not enjoy. In the first painting (top left) Jesus is a sublime teacher who gazes ahead, apparently unaware of her misery. Mary is engrossed in his words. In the second painting (bottom left) Jesus seems more aware of Martha - is his hand cupped to his ear to listen to her words? Martha may have Jesus' sympathy, but the Spirit is descending onto Mary.

Bible reference:  Luke 10:40-42

Information:  He Qi uses a mixture of Chinese traditonal style and Western contemporary art to illustrate moments from the biblical stories, blending Chinese folk customs and traditional  painting techniques with the western art of the Middle Ages and modern world. One of his core beliefs is that when God said 'Let there be light', God made a colorful world - so using brilliant colors expresses God's purpose. The vibrant colors of his paintings lend energy and immediacy to these ancient stories.

Painter:  Giotto di Bondone (1267-1337)

Year:  1304

Incident shown:  The portrayal of Lazarus makes no allowance for squeamish stomachs. He is dead, and his body has begun to decay. Jesus raises a commanding hand to him with the loud words "Lazarus, come out!". The people around him are overcome with fear and consternation.

Bible reference:  John 11:43-44

Information: This is one of the superlative frescoes from the Arena (or Scrovegni) Chapel in Padua - Giotto's greatest work. The whole of this chapel is lined with scenes from Christ's life, painted for the private chapel of a rich citizen who wanted to atone for his father's sin of usury (taking interest on borrowed money was considered a sin at the time...). Giotto was one of the first artists to try to sho human emotion in the facial expressions and gestures of the people in his paintings.

Painter:  Caravaggio (1571-1610)

Year:  1608-9

Incident shown:  Jesus commands Death to give up the body of Lazarus. The onlookers are full of confusion, even panic, as they try to come to grips with what is happening.

Bible reference:  John 11:43-44

Information:  Caravaggio's Jesus possesses magnificent power, and his pointing arm speaks with unanswerable authority. A friend supports Lazarus' body, and the two sisters Mary and Martha stand at his head. But already life is pouring back into Lazarus' body, evident from his raised right hand. The onlookers cannot look away from Jesus' majestic face. Painted almost at the end of Caravaggio's life, this painting has the dramatic naturalism for which he is famous.

Painter:  Jan Pynas (1583-1631)

Year:  1615

Incident shown:  Jesus has raised Lazarus back to life, and he now gazes gently at his resurrected friend. The consternation of the onlookers is evident in their expressions and raised hands. One of Lazarus' sisters kneels nearby - this must be Mary who earlier was described as kneeling before Jesus, reproaching him for not arriving sooner.

Bible reference:  John 11:43-44

Information:  Very little is known about this Dutch artist, but his brother, with whom he worked closely, was probably a tutor of Rembrandt's. This painting is notable for the unusual grouping of the figures, and for the depiction of Jesus as a gentle rather than a commanding figure. The red of his cloak vibrates with energy and life, and the outstretched hand seems to transmit some of this energy to the slumped figure of Lazarus.

Painter:  'Guercino' (the cross-eyed man) - Giovanni Francesco Barbieri (1591-1666)

Year:  1619

Incident shown:  Lazarus has come back to life at Jesus' bidding, but seems a little dazed and uncomprehending. Now Jesus leans forward in an informal way to grasp his friend's hand and pull him to his feet.

Bible reference:  John 11:43-44

Information:  Guercino's paintings are rich, crowded, sensuous. Note his technical skill and the balanced composition in this painting. The colors are intense and saturated, and there are strong contrasts of light and shadow. We feel as if we have been brought right into the space of the painting, and are part of what is happening.

Title:  'The Raising of Lazarus'

Painter:  Rembrandt van Rijn

Year:  1630

Incident shown:  Jesus faces Death full on, commanding it to set Lazarus free. His whole body is charged with imperious energy. Lazarus' body by contrast seems fluid, almost like a puppet, as he is pulled upwards by an unseen force, an invisible line seeming to stretch between his body and Jesus' raised hand.

Bible reference:  John 11:43-44

Information:  The central focus in Rembrandt's painting is Jesus himself, who is the conqueror of Death. This picture prefigures the resurrection of Jesus, anticipating his victory over his own death. There is something almost exasperated in Jesus' raised hand. The people around him still doubt him, and have wondered why he did not prevent Lazarus' death. Their lack of understanding and belief seem to fill Jesus with frustration.

Title:  'The Raising of Lazarus'

Painter:  William Blake

Year:  1800

Incident shown:  Jesus, a regal, otherworldly figure bathed in light, commands Death to retreat from the languid body of Lazarus. This is Christ as the Light of the World, and his figure dominates the painting. The disciples cower away from the majesty of Jesus. Overcome by awe and amazement, the women have sunk to their knees. 

Bible reference:  John 11:43-44

Information:  Blake's paintings were not about technical virtuosity or painterly flair. His draftsmanship was not particularly good, as this painting all too clearly shows. What interested him, and why he is important, was the mystical reinterpretation of religious ideas. He wanted to focus on spirituality rather than hard-and-fast dogma. This approach was revolutionary for his time, coming as it did in the heyday of the Industrial Revolution, when pragmatism and common sense ruled.

Painter:  Franciszek Zmurko (1859-1910)

Year:  1877

Incident shown:  Lazarus is in the tomb, but the light shining on his body suggests that the stone blocking its entrance has been partially pulled away. He is unconscious, perhaps still dead, but he also seems to be listening. Does he hear the voice of Jesus, calling his name?

Bible reference:  John 11:43-44

Comment:  Zmurko specialized in paintings in which the subject seemed half-awake, half-asleep. The person in this painting, Lazarus, is not bothered by thoughts, but rests in an unconscious state. His muscles are shrunken in death but his face has a look of utter peace - and why not? He has led a good life and been a friend of Jesus - could he ask for more?

Painter:  Vincent van Gogh

Year:  1890

Incident shown:  The universe seems filled with radiant light and energy as Lazarus rises from his tomb. The life force re-entering his body illuminates Lazarus as well as those around him, the people present at his resurrection. The woman closest to him, presumably Mary of Bethany, is dressed in green, the liturgical color of new life.

Bible reference:  John 11:43-44

Information:  This is Van Gogh's only painting of a biblical subject, and it was made while he was in the mental asylum at Saint-Rémy. It is a variation on a section of Rembrandt's etching of the Raising of Lazarus. The figure of Lazarus in Van Gogh's painting has a ginger beard and hollow cheeks, much like Van Gogh's own, and the painting may suggest that the painter felt that he himself was struggling back to life after something that was for him a type of death, mental illness.

Title: 'Resurrection of Lazarus'

Painter:  Henry Ossawa Tanner (1859-1937)

Year:  1897

Incident shown:  Jesus and the people around him have stepped out of a darkened background into an area permeated with light. Lazarus still lies motionless, but Jesus has put out his hands and is calling to his friend to come back from Death and accept Life.

Bible reference:  John 11:43

Information:  Tanner was from an affluent African-American family, and his first paintings were efforts to improve the image of his people, who were usually treated in a derisive way in popular art. He spent some years painting images that focused on the dignity of African Americans. However, he later turned to biblical subjects, and his paintings show a fascination with the real and symbolic power of light.

Title: 'Lazarus, come forth' - 'Lazare, veni foras'

Painter:  Salvador Dali (1904-1989)

Year:  1964

Incident shown:  Lazarus emerges from his tomb still covered with the loose-fitting shroad. Dark red-green patches on the shroud suggest the decay of his rotting body beneath the cloth.

Bible reference:  John 11:44

Information:  As with all of Dali's work, there is a dream-like quality here. His image of Lazarus appeals to the fear of death and decay within all living creatures, but has an energy that speaks of life as well. Dali is known for his use of symbolism, but there is not much that is symbolic in this picture. It is more impressionistic, suggesting as it does both death and life in a single image.

Painter:  Lucas Moser

Year:  1432

Incident shown:  The episode involving Mary is at the top of the picture at left. She has pushed aside a chair so that she can reach Jesus' feet, poured the ointment, and is now wiping his feet with her unbound hair.

Bible reference:   It is likely that this scene is taken from the Synoptic stories of this event, rather than John's gospel (John 12:1-8) which names the woman as Mary of Bethany. The rest of the altarpiece refers to events in the life of Mary Magdalene. However, the woman at the right of the picture serving the meal could be Martha of Bethany, sister to Mary. If this is so, the painting would be a composite image drawing upon all four gospels.

Information:  Virtually nothing is known about Lucas Moser, except that he painted this altar piece for the in the parish church in Tiefenbroon in south-west Germany.

Painter:  Unknown

Year:  Unknown

Incident shown:  The meal at Bethany appears to be finished. Mary has come forward with a vial of perfume, which she pours over Jesus' feet.

Bible reference:  The figure at right may be Simon the Pharisee. If this is so, this icon may represent an amalgam of the stories set in Bethany.

Information:   Icons were popular (and still are) in the Eastern Orthodox churches. The figures are stylized, there is a liberal use of gold leaf, and the settings are simple. They have a strong dramatic and visual impact on the viewer.

Painter:   Meyer's Studios, Munich

Year:  1899

Incident shown:  Mary pours the expensive ointment onto Jesus' feet. Her hair is unbound, leaving is free, so she can use it to wipe his feet.

Bible reference:  This may or may not represent the passage from John 12:1-8. The figure on the right may represent Simon the Pharisee, and if this is so the passage would be from the Synoptic gospels, not John's.

Information: The gospels offer four different episodes in which a woman anoints Jesus' feet. A gesture of veneration or hospitality like this on  was not uncommon, and certainly may have happened on more than one occasion. In only one of the gospels, John's, is the woman identified as Mary of Bethany.