{"id":851,"date":"2022-04-14T21:28:00","date_gmt":"2022-04-14T21:28:00","guid":{"rendered":"https:\/\/tomfarandasfolly.com\/?p=851"},"modified":"2025-09-29T04:20:41","modified_gmt":"2025-09-29T04:20:41","slug":"good-friday-pieta-by-gustave-moreau-1826-1898","status":"publish","type":"post","link":"https:\/\/tomfarandasfolly.com\/?p=851","title":{"rendered":"Good Friday &#8211; Pieta by Gustave Moreau (1826-1898)"},"content":{"rendered":"\n<p>This is the cover artwork for the Holy Week edition of the <a href=\"https:\/\/us.magnificat.net\/home\">Magnificat prayer book<\/a>.&nbsp; Commentary below the picture.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"641\" src=\"https:\/\/tomfarandasfolly.com\/wp-content\/uploads\/2022\/04\/6a00d834525a2f69e2027880771ab9200d-500wi.jpg\" alt=\"\" class=\"wp-image-12614\" title=\"Pieta-gustave-moreau\" srcset=\"https:\/\/tomfarandasfolly.com\/wp-content\/uploads\/2022\/04\/6a00d834525a2f69e2027880771ab9200d-500wi.jpg 500w, https:\/\/tomfarandasfolly.com\/wp-content\/uploads\/2022\/04\/6a00d834525a2f69e2027880771ab9200d-500wi-234x300.jpg 234w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p><span style=\"font-size: 12pt; color: #ff0000;\"><strong>The Mystery of Mary,<\/strong><\/span><br><span style=\"color: #ff0000;\"><strong><span style=\"font-size: 12pt;\">Mother of Jesus and Our Mother<\/span><\/strong><\/span><\/p>\n\n\n\n<p>Pierre-Marie Dumont<br>Front Cover Artwork<\/p>\n\n\n\n<p>This Piet\u00e0 by Gustave Moreau (1826-1898) was painted in oils in<br>1876 on a small panel of wood. Although a contemporary of the<br>Impressionist movement, Gustave Moreau did not join it. On the<br>contrary, he became the leader of the Symbolists: he painted not<br>what he saw but what he thought, expressing it through signs<br>and symbols. This sketch is presented as the furtive testimony to<br>the spontaneous outpouring of his thought. But make no mis<br>take: behind this instant of genius there is a highly cultured artist<br>and deep preparatory reflection. Every detail of the work echoes<br>traditions corresponding to both pagan mythology and biblical<br>revelation, in the artistic expressions that were given to them over<br>the centuries.<\/p>\n\n\n\n<p><span style=\"color: #ff0000;\"><strong>Balthazar\u2019s gift of myrrh<\/strong><\/span><br>The exquisite composition of the work unfolds starting with a di<br>agonal line running through a mountain pass situated in the depths<br>of a dizzying gorge. Next it follows the edge of the outstretched<br>wing of an angel; then it extends following a line that passes over<br>the knees of the Virgin Mary, on which the shoulders of the dead<br>Christ are resting. This descending diagonal represents the tragedy<br>of human destiny which, after crossing through a valley of tears<br>between two steep mountains, leads inevitably to death. On a rock<br>beneath the angel\u2019s wing gleams the costly golden urn contain<br>ing the myrrh offered by the Magus-king Balthazar, which will be<br>used to embalm Jesus\u2019 body. The depiction of these two figures,<br>the tortured victim and his mother, is strongly reminiscent of the<br>masterpieces of the Italian Renaissance. Mary\u2019s mantle repeats the<br>blue of the angel\u2019s wing, signifying her divine maternity.<\/p>\n\n\n\n<p>Oddly enough, Gustave Moreau shows the Holy Spirit hover<br>ing over the scene in the form of a dove emanating light. Many<br>artists have depicted a bird over the episodes in the Passion from<br>the deposition to Easter morning. This is the case with the last work<br>painted by Titian, a magnificent Piet\u00e0 with the figure of a pelican in<br>the background. It is also the case with the cover illustration of the<br>April issue of Magnificat, where Mantegna depicted an owl. As we<br>explain in our commentary on that work, these are references to<br>Psalm 102, in which the contemplative Psalmist, anguished by these<br>tragic scenes, is compared (mistakenly) to a pelican or (rightly) to a<br>bird in the Strigidae family, depending on the translation.<\/p>\n\n\n\n<p><span style=\"color: #ff0000;\"><strong>An insight inexpressible by words<\/strong><\/span><br>Might Gustave Moreau have been mistaken in repeating here<br>the traditional image of the Holy Spirit as he is represented in all<br>paintings of the Annunciation? That is very unlikely, because both<br>his artistic and biblical culture and the depth of his knowledge of<br>Christian Tradition are above suspicion. More probably the artist<br>meant to convey to us an original message about the deep meaning<br>that he intended to give to his version of the Piet\u00e0. Gustave Moreau<br>repeated here the traditional representation of the Holy Spirit at the<br>moment of the Annunciation in an attempt to express symbolically<br>the fruit of his meditation on the mystery. We could hazard an<\/p>\n\n\n\n<p>approximation, certainly a very imperfect one, of his mystical insight<br>by formulating one of its premises: just as Mary brought Jesus to<br>birth in this mortal life by the working of the Holy Spirit, so too,<br>since Mary was given to us as our Mother at the death of Jesus, in<br>a way, through the working of the Holy Spirit, she will bring us to<br>birth to eternal life in his Resurrection. n<\/p>\n\n\n\n<p>&nbsp;<\/p>\n\n\n\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>This is the cover artwork for the Holy Week edition of the Magnificat prayer book.&nbsp; Commentary below the picture. The Mystery of Mary,Mother of Jesus and Our Mother Pierre-Marie DumontFront Cover Artwork This Piet\u00e0 by Gustave Moreau (1826-1898) was painted in oils in1876 on a small panel of wood. Although a contemporary of theImpressionist movement, [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-851","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/tomfarandasfolly.com\/index.php?rest_route=\/wp\/v2\/posts\/851","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tomfarandasfolly.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tomfarandasfolly.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tomfarandasfolly.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/tomfarandasfolly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=851"}],"version-history":[{"count":2,"href":"https:\/\/tomfarandasfolly.com\/index.php?rest_route=\/wp\/v2\/posts\/851\/revisions"}],"predecessor-version":[{"id":12615,"href":"https:\/\/tomfarandasfolly.com\/index.php?rest_route=\/wp\/v2\/posts\/851\/revisions\/12615"}],"wp:attachment":[{"href":"https:\/\/tomfarandasfolly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=851"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tomfarandasfolly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=851"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tomfarandasfolly.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=851"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}