Art and the Bible /arts (그림설명)

Christ in the House of Martha and Mary (마르다와 마리아)

바이블엔명화 2016. 3. 9. 23:46

 

 

 

 

(눅 10:40) 마르다는 3)준비하는 일이 많아 마음이 분주한지라 예수께 나아가 이르되 주여 내 동생이 나 혼자 일하게 두는 것을 생각하지 아니하시나이까 그를 명하사 나를 도와 주라 하소서

 

 

 

 

 

Pieter Aertsen 1507/08 – 1575

Christ in the House of Martha and Mary

oil on canvas (200 × 126 cm) — 1553

Museum Museum Boijmans Van Beuningen, Rotterdam

Pieter Aertsen biography

 

This work is linked to Luke 10:40

 

In the background a small group listens quietly to Jesus. The kitchen in the foreground is buzzing with activity. All sorts of food are on the tables.

Aertsen used the contrast betweeen the spiritual and the earthly to illustrate the story of Jesus' visit to Martha and Mary. Mary was listening to Jesus, leaving it to Martha to labour in the kitchen. Yet Jesus says that Mary made the right choice

 

 

 

 

 

Diego Rodríguez da Silva y Velázquez 1599 – 1660

Christ in the House of Martha and Mary

oil on canvas (60 × 103 cm) — ca. 1620

 Museum National Gallery, London

Diego Rodríguez da Silva y Velázquez biography

 

This work is linked to Luke 10:40

 

Martha is busy in the kitchen while her sister Mary listens to Jesus' stories. In a moment, Martha will make it clear to Mary that help would be appreciated. Yet, she already seems to know who has made the better choice.

In Aramaic, Martha means something like 'lady of the house'. St Martha is the patroness of housewives.

 

 

 

 

Johannes Vermeer 1632 – 1675

Christ in the House of Martha and Mary

oil on canvas (160 × 142 cm) — ca. 1654

 Museum National Gallery of Scotland, Edinburgh

Johannes Vermeer biography

 

This work is linked to Luke 10:40

 

An early work by Vermeer. It is the largest surviving painting he made. It is likely that he freely borrowed elements from mostly Italian masters, including Jesus' face and the gesture he makes with his right hand.

Mary listens attentive while her sister Martha presents the bread. Jesus says that Martha had better do like her sister.

Vermeer used the subjects' gazes and gestures to compose a strong cohesion among them.