Creating a Picasso Still Life

art, brain plasticity, Cezanne, change, Creativity, Habits, Healing, Imagination, inspiration, Painting, perspective, picasso, purpose, renewal, Spirituality, vision, war

Einstein never said, “If we do the same thing every time, but expect a different result, this is the definition of insanity.” So why do artists return over and over to the still life? For that matter, why do preachers repeatedly use the same scripture texts for their sermons? Some of my former congregation members might have said I was overly fond of certain verses. The scalawags among them might have thought I did not get my point across the first five times I preached a version of the sermon text. As Jesus was wont to say in Luke 14:34-35 about Salt:

Picasso: Self Portrait, 1907, oil on canvas, National Gallery of Prague

“Salt is good; but if salt has lost its taste,

how can its saltiness be restored?

It is fit neither for the soil nor for the manure pile;

they throw it away.

Let anyone with ears to hear listen!”

I always kept my sermon notes just in case I had a difficult week and might need a backup sermon, but I never used these notes. I wrote each of those sermons for a time and a place, but they were never useful for the current time or the present location. Likewise, an artist brings their emotions and experiences of the present time to each working session in the studio. Sometimes an artist is chock full of energy and power, full of joy and life. Their paintings or works exude these same emotions. At other times, the cares and chaos of the world intrude into the otherwise peaceful precincts of the artist’s workplace. These emotions and troubles will also be visible in their work, for artists are in tune with their times.

Picasso: Still Life with Dead Pigeon, oil on canvas, 1941, Nagasaki Prefectural Art Museum

This year in the adult art class I’m teaching at Oaklawn UMC, the students are getting lessons not only on how to paint, but on awakening their individual creative voice. These lessons are part art history and part “thinking like an artist” by painting in another artist’s style. The week before, we worked on a typical still life painting. For this session, we worked on what we saw in front of us, but tried to make an emotional connection with the objects. When most of our energy is going to getting proportions in proper order, shadows cast in the right direction, following the shape of the objects, and the colors correct, putting our emotions into the work comes in a distant fifth or last.

Morandi still life: he painted the same vessels so often, they became as friends who shared their innermost secret thoughts with him.

To be sure, our class is still analyzing the containers as physical objects more than feeling or experiencing the vessels as objects with personality. We have not yet become friends with the objects, or really gotten to know them on a deep and intimate level. This is also a problem in our society today. We are not willing to know others too deeply, and we aren’t likely to let many others know us too deeply either.

This isn’t a problem confined to older people. For my own demographic, meeting new people seems a mite risky these days in the online world because we never know who is behind that chatbot or Facebook account who seems so charming. For younger people, who sometimes never seem to come up for air from the online world, this online reality can seem more real than the three-dimensional world in which we live. (I was today old years when I learned the latest online AI fad is personalizing your own chatbot companion. I wonder if these chatbots have Asimov’s 3 Laws of Robotics ingrained in their program guardrails.)

Having empathy with inanimate objects is difficult. Artists bring into their own studio the objects which interest them. A teacher brings in objects her students can approach, given their skill level. I will blow that concept out of the water this Friday with some crazy Halloween pumpkins but, if the subject matter is consistently too difficult, many students will give up if the challenge is too far out of reach.

Picasso Still Life, oil on canvas, 1937, private collection.

In the second session when our class saw these same liturgical vessels, we chatted about Picasso and cubism. Cubism had several different forms of expression, but we focused on synthetic cubism, a later phase of the cubist style dating from about 1912 to 1914. It had simpler shapes and brighter colors. Synthetic cubist works also often include collaged real elements such as newspapers and cardboard. These works have interesting designs, such as multiple points of view (perspective), overlapping shapes which make their own patterns, and linear outlines. This style is an outgrowth of the work of Cézanne, who said: “A work of art which did not begin in emotion is not art.”

Gail S. took a cubist vision to our same three pots

If you’ve ever tried to put on your socks in the morning beginning with a different foot than normal, you can begin to appreciate how difficult it is to imagine how to create an artwork in a fresh style. If we were to ever have a stroke or a traumatic brain injury, relearning how to do simple tasks is much the same.

Tim’s first effort. He was one week out from surgery. His body was devoted to recovery, not to thinking about cubism.

Our brains can handle the rebuilding project, but we will feel strange doing it! This is because we are building new neural circuits and pathways in our brains. Going to work or the grocery store by taking a different route also feels strange, as does a golfer trying to reconstruct their swing pattern.

Tim took a second week to elaborate on his still life. It’s a better solution! Amazing what happens when our bodies have extra energy to give to creative projects.

As a comparison, we can look at the great hurricane which came through North Carolina recently and took out the big interstate highway that runs through the mountains and valleys. The sooner the highway construction engineers can come inspect the ground, the better. They must decide if the land is safe for rebuilding and then check the infrastructure also. They may need to redesign the road to current standards and also the underlying roadbed. When the great 1900 hurricane hit Galveston, rebuilding the city took twelve years. People were still living there, and life was going on, but the city began a process of raising the land levels and building a sea wall that took that extensive time.

Cornelia’s overlapping shapes and shifting perspectives

Change doesn’t happen overnight. Every sales or leadership training session I’ve been in has emphasized the idea “Three weeks are necessary to build a habit.” The origin of this myth has nothing to do with habit formation. Instead it comes from a 1960 self-help book Psycho-Cybernetics, in which plastic surgeon Maxwell Maltz wrote how his patients took about 21 days to become used to their new appearance after surgery.

He did no double blind, peer reviewed study to verify this, but his book applied this 21-day timeline to many other wide-ranging aspects of self-transformation in life. He also believed three weeks was the time people needed to adapt to a new house or change their mind about their beliefs. (He also didn’t live with a preteen girl child who enjoyed rearranging the living room every night just to see how her mom negotiated a new obstacle pattern in the dark when she came home from a sales call.)

If artists want to make paintings which are technically proficient and resemble the objects they see, they are only halfway to creating a good painting. They must also bring who they are and allow the voice of God to speak through their hand to make a masterpiece. In this way we separate artists into the good and the great, the ordinary and the masters. Not all of us will be prophets who listen to God’s word, but all of us can and should silence our hearts and minds of the world’s chatter and claims so the word of God can pierce our hearts.

Picasso: Guernica, 1937, 11’ x 25.5’,
Museo Nacional Centro de Arte Reina Sofía (MNCARS), Madrid, Spain

Rabbi Nahum Ward-Lev describes how the ancient prophets listened for God’s liberating word:

“At its heart, the prophetic witness was a way of listening, listening beyond the social norms of the day, listening to the word of the liberating God. The prophets urged the people to listen to God’s word because the discourse of the king, princes, and wealthy landowners was too narrow and was limited to the interests of these elites. This conversation did not include the voices of suffering people. The prophets, in God’s name, offered a much broader discourse, a conversation that listened to and addressed the needs of the poor and the disadvantaged….

The prophetic listening tradition is alive today to inspire people to listen beyond the established conversation. The prophetic tradition challenges us to listen especially to the cries of those who suffer and to listen to the voice of alternative possibility, to the voice of God.”

Picasso: Still Life—fruits and pitcher, oil and enamel on canvas, 10 3/4 x 16 1/8 inches, Guggenheim Art Museum, NYC.

Making a painting is quite different from making a work of art. This is why house painters aren’t called artists. They may cover a surface with color and not make a mess, but their heart and soul isn’t in their work. Learning to risk our vulnerability and emotional expression is also part of art class, just as much as learning what colors to mix to make orange or green. Picasso, quoted in Alfred H. Barr Jr.’s Picasso: Fifty Years of his Art (1946), understood this:

“The artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a scrap of paper, from a passing shape, from a spider’s web.”

We have these same experiences also, but we don’t realize these are part of the artist’s toolbox. These ordinary moments of life are also the extraordinary means of God speaking to us, if only we have ears to hear and a heart and hands ready to be used by God for God’s good purposes.

Joy, peace, and prophecy,

Cornelia

Quote Origin: Insanity Is Doing the Same Thing Over and Over Again and Expecting Different Results—Quote Investigator®. The origin of the quote is misattributed to Albert Einstein, but it originated in the 12-Step Anonymous groups in the 1980’s.

https://quoteinvestigator.com/2017/03/23/same/

Isaac Asimov’s “Three Laws of Robotics”:

A robot may not injure a human being or, through inaction, allow a human being to come to harm.
A robot must obey orders given it by human beings except where such orders would conflict with the First Law.
A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

https://webhome.auburn.edu/~vestmon/robotics.html#:~:text=A%20robot%20may%20not

How Long Does It Really Take to Form a Habit? | Scientific American

https://www.scientificamerican.com/article/how-long-does-it-really-take-to-form-a-habit/

Nahum Ward-Lev, The Liberating Path of the Hebrew Prophets: Then and Now (Maryknoll, NY: Orbis Books, 2019), 133, 134, 135–136.

https://cac.org/daily-meditations/living-presence-liberating-journey/

Meet My AI Friends, by Kevin Roose, NYTimes gift article

https://www.nytimes.com/2024/05/09/technology/meet-my-ai-friends.html?unlocked_article_code=1.Uk4.9sLW.VYS9bW4dc3ib&smid=nytcore-ios-share&referringSource=articleShare

Pablo Picasso – Oxford Reference
https://www.oxfordreference.com/display/10.1093/acref/9780191826719.001.0001/q-oro-

Learning Creativity

adult learning, art, brain plasticity, Children, Creativity, Painting, photography, renewal

Is creativity innate or can we learn creativity? From my experience, children are creative up until about age eight, at which time peer pressure begins to suppress their imagination and willingness to experiment and exercise their own inner truths. About this age, children acquire an understanding of the “real world,” as opposed to the worlds of their imagination. This is when they want to draw “realistic images.” Their skies begin to meet the earth, rather than being a single ribbon of blue across the top of the page. They often attempt textures of clothing and realistic renderings of hair and facial details in their artwork.

This is part of their artistic growth, but not every child grows at the same pace. Because adults often praise these early achievements, those children whose brains haven’t matured often begin to give up on their creative endeavors. We can’t rush brain development. Therefore, we shouldn’t disparage children who don’t progress as quickly. Children all go through predictable stages, but the environment and their innate nature determines how quickly they progress through these levels, or if they quit at some point.

This nature and nurture process is part of what we call “neuroplasticity.” This is a fancy $2 word meaning the brain has the “ability to reorganize pathways, create new connections, and, in some cases, even create new neurons.” At birth, every neuron in the cerebral cortex has an estimated 2,500 synapses. By the age of three, this number has grown to a whopping 15,000 synapses per neuron! Yet the adult brain has only about half that number of synapses. This is because as we gain new experiences, synaptic pruning strengthens some connections in our brains, while others are eliminated. Those we don’t use, we lose.

This is why as we age, we should learn something new everyday. As Mary Oliver, the Pulitzer Prize winning poet said: “Instructions for living a life. Pay attention. Be astonished. Tell about it.”

We are building new brain synapses. Getting out to socialize is also important. While people used to believe the brain became fixed after a certain age, newer research has revealed our brains never stop changing in response to learning. In this sense we are always able to learn, even if we’re a little slower than younger people. As I age, I realize I don’t move as fast, but I’ve never quit waking up and looking forward to the challenge of the day.

The day might come when we have a stroke, or damage to the brain. At that time, a belief in the ability of our brain to rebuild itself will be important, for recovery of speech or the ability to walk or feed ourselves will be our goal. Art class helps us face small challenges in non-consequential situations and prepares us to have courage and confidence to meet with optimism the greater challenges of life. Art, like life, is a growth process. Because art is a creative experience, we always are working with God’s help, and not by our own power:

“So neither the one who plants nor the one who waters is anything, but only God who gives the growth.” —1 Corinthians 3:7

SCRIBBLE STAGE

The scribble stage is a critical part of early childhood because it helps children develop their hand-eye coordination and fine motor skills. This age is from the child’s ability to hold a crayon to around 4 years old. Characteristics of this initial stage are:

Random scribbling
Purposeful scribbling
Naming scribbles

The best way to encourage these young artists is to ask, “Can you tell me more about this?” This allows children to share all the things they enjoy about their work. Make sure the supplies you use are easy to control, like thick tempera paint, unwrapped crayons, washable markers, and chalk. Children use their imagination, rather than looking at things to copy. Copying is frustrating and confusing for children.

PRE-SCHEMATIC STAGE

This a stage beginning from 3 1/2 years old to 7 years old. Children begin to make patterns in their drawings and label it as a representation of the things they know in their world. They begin to draw human figures by merging the circle with lines. Initially, these figures look like “tadpoles” or “head feet” symbols. Often children’s first figures are unrealistic or lack body parts. Yet this is an important stage in which helps children develop their own sense of identity by allowing them to explore different self-images before they arrive at a satisfactory one. Art plays an important part in defining who we are at this stage. We can encourage our children by asking them to tell us about the stories behind their artworks and not requiring them to match the reality we see.

SCHEMATIC STAGE

Between age 7 to 9, children develop their own symbols for each object they’re trying to create. Their drawings follow a specific pattern: the sky is a strip across the top of the page, just as the ground is a strip across the bottom. Objects no longer float in the middle space, but are attached to the ground. The most important objects are larger than the less important ones. Perspective doesn’t follow any one rule. We can encourage children to look at their environment more closely, but without correcting their artwork. Any corrective actions we make to get our child to progress more quickly than they are capable will just set them back.

PRE-REALISM STAGE

The child’s inner critic awakens between age 8 to 12 years old. They still create images according to their own symbols , but begin to overlap them. They still use flat coloring, but add more details. They begin to care what others think about their work. We can encourage them best by showing them how to do things and not trying to push them into skills beyond their ability.

Young artist, pseudo realism: note everything is a pattern or symbolic representation of reality, but the overall image is flat, rather than three dimensional.

PSEUDO REALISM STAGE

Between 11 to 14 years old, children begin to add shadows and try realistic perspective in their artwork. They look more intentionally at their environment and at individuals, while they attempt to record these details in their art projects. They’re also more critical of their product. Therefore, they need more positive feedback. My rule in middle school art class was, “Say three positive statements about your work before you tell me three negative criticisms.” This helped my students know they had succeeded on some levels before they looked at the areas that needed improvement.

Learning and exploring new art methods are a wonderful way to keep these youths engaged. Not all these youths are ready for perspective, but they can learn to see simple stacked boxes and draw them.

DECISION MAKING STAGE

Beyond the age of 14 is a critical time, for young people will make the decision to continue with art or drop it altogether. Their inner critic combined with the judgement of outsiders (parents, teachers, other influencers) confirms their belief art is a pointless exercise. A few others, who have been rewarded with positive reinforcement, will decide to continue with their art experience by mastering skills, learning perspective, and developing their own personal style. We can encourage all students at this age by reminding them art is important in their everyday lives. When we expose students to art history, we expand not only their cultural awareness, but also show them the possibilities of artistic expression and creativity. We also have to offer opportunities for both visual and haptic (hands on) learners.

As a result, many adults come to art classes at the Pseudo Realism Stage. This isn’t an insult to them, as if saying they’re at “arrested development,” but if they haven’t had training beyond this age, this is a realistic assessment of their skill level. This is why we go through lessons on color mixing, perspective and drawing skills. Each person looks at the image from their own viewpoint and tries to translate their best impression of the three-dimensional world on to a two-dimensional canvas. This skill is the equivalent of translating German into Italian by an English speaker. It’s a learned skill, but one can practice it and develop it over time with repetitive exercises.

The brain actively uses its thinking processes to create a work of art. We always need to remember, this art work isn’t a representation of a thing, but of our experiences with the thing. Our choices of color, line, size, weight, and value all speak volumes of our emotions as we relate to the subject matter. When we look at an artwork that seems dead, but is technically proficient, we know the artist had no emotional connection to the subject matter. Likewise, we can see a more primitive painter who put their heart and soul into their artwork and judge this work to be “fine.” What we artists try to do is keep an open and tender heart and stay emotionally invested in our subject matter so we can allow our work to come alive.

As a teacher, I always hope to discern where each adult student is in their artistic development. The old saying, “Rome wasn’t built in a day,” also applies to building our art skills. The more we work and get positive critiques on how to improve our work (this criticism involves what we did well also), the faster we usually progress. In fact, when we critique our own work, we see what we did well and what we could improve. Our next experience builds on that learning.

One thing I always underestimate is the length of time students take to do a project. Children fly through projects, but many adults have an inner critic who second guesses their decisions. I often say, “Just dab some colors on the tip of your brush and dab them on those trees for leaves. Pretend like you’re the god of your painting, and “let there be leaves!” They laugh at me, but I’m just trying to keep them from painting every single leaf individually. We see trees as a mass of leaves, not as individuals, especially if we look from a distance.

Sometimes I look over at someone working and suggest, “Maybe you might want to work in a different area. Your wet brush is just picking up the paint on your canvas now. Let that area dry and come back later.” Some of my students have been around long enough to have this lesson ingrained in them. If we hit this wall often enough, we learn how futile this behavior is. My old daddy always said, “Experience is the best teacher.” In truth, if we make a mistake often enough, we’ll learn that’s not the right fork in the road to take. Thankfully, we’re not working with electricity.

Our paintings from these two weeks were from photographs which we edited in our phones using the available digital tools. We weren’t trying to work towards a good photograph, but toward an image we could use as a photographic sketch for our painting. Gail S. took two images and blended them together. This is a challenge because each image had a different light and perspective. She solved it by placing the wall behind the tree, rather than using the actual photo image of the wall itself. We also used the color wheel to find a good grey color for the wall. Gail got some good details in the leaf mass. She is more used to creating her images from life.

Gail W. had a spring forest image with a footpath through it. She changed that footpath to a stream. She spent the second session putting shadows and highlights on the trees, as well getting the leaf masses to cover the timber stand. She even used a thin marker to get some dark shadows when she didn’t have a thin enough brush to make those details. Our two Gail’s are putting these lessons to effective use.

I used a photo I took on a recent retreat at Mount Eagle. A photo records everything before it. An artist can use the tools of the camera and the developing room to bring out the best qualities of the scene. My iPhone editing software did its best.

Then I made my painting from it. The great benefit of art is the maker’s decision to include only those parts of the image which stand out. We don’t have to draw every tree in the forest. We only have to paint those who call out to us to be remembered. This decision making action is part of making new neural pathways. Each new experience is a challenge and every challenge is a fresh opportunity for new growth.

The most important achievement we can make at any age is rewriting our brains. Neuroplasticity is the brain’s ability to reorganize itself by forming new neural pathways throughout life and in response to experiences. While the brain usually does this itself in response to injury or disease, when humans focus their attention enough, they can slowly rewire these pathways themselves. We can also do this intentionally by engaging in learning a new language, writing in a journal, doing creative art projects, quilting, woodworking, dancing, or creating new recipes. Anything we do to try a new experience helps to rewire our brains.

After all, we want to be around for many days to say with the writer of Psalms 90:14—

“Satisfy us in the morning with your steadfast love,

so that we may rejoice and be glad all our days.”

Joy and peace,

Cornelia

Neuroplasticity: How Experience Changes the Brain

https://www.verywellmind.com/what-is-brain-plasticity-2794886

Intuitive Color Wheels

adult learning, art, at risk kids, cognitive decline, color Wheel, Creativity, Imagination, inspiration, Lost Cause, Ministry, Painting, renewal, vision

The great and wonderful part of art is exercising imagination and discovering new ways to solve problems. One of my favorite memories in art school was the day our professor came to class with a single red clay brick. Our first thought was this is going to be the most boring drawing class ever, but then he asked us, “How many uses can you find for a brick?”

After we quickly named multiple uses for a single brick—doorstop, paperweight, weapon, counterweight, and bookend—we were at a loss to name much more. As we scratched our heads, our teacher prompted us, “Did I restrict you to a single brick?” And we were off to the races! Wall, fireplace, house, road, sidewalk, planter, sculpture, picnic table, bookshelf, and more. I can’t remember if this was an early morning class or we were just dense, but I’ve come to believe we can teach creativity. At the very least, we need to give people permission to accept “multiple art answers can be true” and give them the opportunity to consider “other possibilities.”

When I taught art years ago, children who were troublemakers in regular classrooms were usually well behaved in art class. I attribute this outcome to their ability to express their own individuality in solving the weekly art assignments. Math always has a right answer; there is no “alternative fact” to 2 + 2 = 4. History is the same: the Confederacy seceded from the Union to keep their economic system of enslavement. There was no “states rights movement,” no matter what the Lost Cause proponents pushed in our state approved textbooks. All we had to do was look at the original source documents from the 1860’s.

Adults usually conform to socially acceptable norms. Helping adults with creative thinking is important because the creative process is more important than the tangible result. Most adults give up the idea they will ever paint the Sistine Chapel ceiling, while children are humble enough to realize they need many more years of practice before they get that kind of opportunity. Also, what we know about creativity can’t be applied in the same way to all creative endeavors because they involve different subjective decisions and processes.

Gino Severini: Expansion of Light. (Centrifugal and Centripetal), ca. 1913 – 1914, Oil on Canvas. 65 x 43.3 cm
Museo Nacional Thyssen-Bornemisza, Madrid

Creative insight depends in part on new combinations of existing ideas, concepts, and perceptions that the brain has stored over time. This is why we begin each class looking at famous art works. We need good art influences and inspiration to “prime our creative pumps” so we can draw up from the pure wellsprings of our own creativity. Just as we need spiritual food for our soul, we need beauty for our creative ideas.

Last year we worked on copying the color wheel and matching it. That is an intellectual skill. To make this into a creative, intuitive activity, we took strings and wrapped our canvases. This made multiple shapes for our colors. Using the primary colors—red, yellow, and blue, plus white—we mixed various combinations and surprised ourselves with the results.

Our first class was lightly attended, due to doctor appointments and vacations, so we still have room for anyone else who wants to come. All skill levels are welcome, for I’ve taught from K-5 to adults. Everyone progresses from their own level, so the longer you sit and think you wish you were good enough for lessons is merely time wasted when you could be working with a practiced teacher! Anyway, the lessons are free; you bring your materials and discover your unknown abilities and gifts. We journey with fellow travelers. Plus it keeps your brain young.

We will continue to work on this project next Friday at 10 am.

Joy and peace,

Cornelia

National Endowment for the Arts: Creativity and the Brain

https://www.arts.gov/sites/default/files/how-creativity-works-in-the-brain-report.pdf

OAKLAWN FRIDAY ART CLASS

adult learning, art, Attitudes, brain plasticity, change, cognitive decline, Creativity, hope, renewal, summer vacation, Uncategorized, United Methodist Church

WE’RE BACK!!!

The older I get, the faster time flies! When I was a child, summers were long and lazy times. I actually got so bored, by the first of August I’d start to play school. I’d line up my brothers and the neighborhood children and pretend to teach them. It was our way of “playing ourselves into a new reality.”

Children practice life lessons during their play experiences. We can also play our way into learning a new skill in art class. All we need is a “beginner’s mind.” The Japanese Zen term shoshin translates as ‘beginner’s mind’ and refers to a paradox: the more you know about a subject, the more likely you are to close your mind to further learning. As the Zen monk Shunryu Suzuki put it in his book Zen Mind, Beginner’s Mind (1970): “In the beginner’s mind there are many possibilities, but in the expert’s there are few.”

Jerzy Nowosielski: Landscape with a vision of the Sun, oil on canvas, 1965, National Museum of Krakow, Poland.

In a similar vein, Picasso once said, “When I was young, I could paint like Raphael, but it took me my whole life to learn to draw like a child.” Part of our art class experience is to learn to suspend our adult ego’s need to constantly be ranking, besting, and giving into our competitive natures. We learn more when we give up our egos and our needs to protect our false selves, and allow our true selves to learn. This story in Luke 9:46-48 on “True Greatness” speaks to this:

“An argument arose among them as to which one of them was the greatest. But Jesus, aware of their inner thoughts, took a little child and put it by his side, and said to them, “Whoever welcomes this child in my name welcomes me, and whoever welcomes me welcomes the one who sent me; for the least among all of you is the greatest.”

Mary Delaney, Xanthium Spinosum, from an album (Vol.IX, 98). 1778. Collage of coloured papers, with bodycolour and watercolour, on black ink background
© The Trustees of the British Museum

Our first meeting will be Friday, September 6, at 10 am in the old Oaklawn UMC fellowship hall. Bring your own acrylic paints, brushes, and a canvas or canvas panel to paint on. We begin with a short visual inspiration from some great art works, so that we can wonder and be filled with awe at some great artists’ works.

I’ll give some direction on the skill we’ll work on in the session, and then everyone is free to bring their own unique expression to their paintings. We don’t copy my work and judge how well a person can match it. Instead, we learn from the masters or from real life. We can learn to stretch our own skills to create something new.

Of course, making great art isn’t our first purpose. As we age, the harsh truth is we will lose our ability to learn new skills until we lose our memory of what we just ate for breakfast or how to work the tv remote. Challenging our brains is one of the best ways to keep our brain cells firing and “chatting with one another.” We can actually grow new neurons as we grow older. Our brains don’t have to shrink like a cotton shirt washed in hot water. Socialization and encouragement also helps to keep our brains young. Teaching this class helps me stay young! We help each other in this matter.

Of course, making art means we have to give up our desire to be perfect. Children always have a “beginner’s mind,” so they are free to explore and experiment. Artists quickly learn perfection comes from practice, or working at it. Every baby stumbles and falls as they learn to walk, but we dotting adults still encourage every trembling step. This is what art teachers also do. I’ve always had a rule in my classes, especially when I taught in middle school:

“No Negative Talking about People or Art.”

This includes a student’s own art works. My students always had to give at least three positive comments about their work before they spoke about the negative. “My work needs improvement” is better than saying, “My work stinks!” After all, this way of thinking is more positive than negative and helps to build confidence in a person.

God would post your art on Heaven’s Refrigerator

Of course, we’ve all grown up and worked in environments where negativity is the rule. Art class is a place of grace because this is how life should be. If we can transform a blank canvas into a field of color, why can’t we transform our communities and our world into fields of hope, joy, and love?

Perhaps because we try to make everyone copy/fit into our idea of the proper end product, rather than allow everyone discover their own creative response to the given subject of the day. The museums of our world are richer and more vibrant because artists have listened to the Spirit of the Creating God. We might do well to realize God’s creative energies are varied and vibrant also, just as Isaiah wrote about his vision of God’s Glorious New Creation:

“For I am about to create new heavens and a new earth;

the former things shall not be remembered or come to mind.

But be glad and rejoice forever in what I am creating;

for I am about to create Jerusalem as a joy, and its people as a delight.” (65:17-18)

I hope to see you there. I don’t charge for the class sessions, since this is one of my ministries as a retired elder in the United Methodist Church. As John Wesley once said, “The World is my Parish.” When we grow in confidence in the joys of creating, we find more beauty in the created world. Optimism is one of the side benefits of the creative life, not fame or riches, and sometimes not even accomplishment. Just the act of being a co-creator with the creating God helps us to find more peace in life.

Joy and Peace,

Pastor Cornelia

How to foster ‘shoshin’ | Psyche Guides

https://psyche.co/guides/how-to-cultivate-shoshin-or-a-beginners-mind

The Hand Rewrites the Brain

adult learning, art, brain plasticity, cognitive decline, Creativity, Faith, Health, inspiration, Lassen Volcanic National Park, Ministry, Painting, Pergamum, perspective, Turkey, vision

Aristotle once said, “The hand is the tool of tools.” Our hands with their opposable thumbs are an evolutionary miracle. Our opposable thumbs evolved around two million years ago, even before humans began to make tools. Our hands helped us to develop language and procure nourishment, as well as create mysterious images on cave walls which united the physical and spiritual worlds of our distant ancestors.

Hands at the Cuevas de las Manos (Cave of Hands) upon Río Pinturas, near the town of Perito Moreno in Santa Cruz Province, Argentina (2005) (image by Mariano via Wikimedia Commons)

Richard Rohr, the Catholic priest and spiritual writer, notes “only the contemplative mind can help bring forward the new consciousness needed to awaken a more loving, just, and sustainable world. We need a practice that touches our unconscious conditioning where all our wounds and defense mechanisms lie. That’s the only way we can be changed at any significant or lasting level.”

We have many spiritual practices to change our hearts and minds, such as prayer, meditation, contemplation, reading Scripture, and hearing the word preached. Attending holy communion and practicing the presence of God are other ways to be transformed. In art or faith, we don’t take anything at face value, but we seek the deeper meanings in the experiences we have with life.

Image I took while walking downtown. I paid attention to the composition when I took the photograph.

As one who slacked off my weight training over the pandemic, the gym rat saying holds true: “Use it or lose it.” We can lose muscle tone and aerobic capacity in just a few days if we’re older or recovering from injuries. Even if we’re young and healthy, we may lose capacity in a week or so. Likewise, some of us get our diplomas and never read a book again. For instance, 42% of college graduates never read another book after college and only 32% of the US population over the age of 16 reads books for pleasure.

One of the problems even in the USA is 52% of adults read at a 7^th grade level or below, and 48% read at an 8^th grade level and above. Yet reading has many benefits for keeping the brain healthy:

Reading for just six minutes daily can reduce stress levels by 68%.
Reading can increase empathy and emotional intelligence.
Reading can improve sleep quality.
Reading can increase vocabulary and improve writing skills.
Reading can improve mental focus and concentration.
Reading can reduce the risk of developing Alzheimer’s disease.

When we connect the brain and the hand, this results in increased activation of the nerve cells in the sensory and motor hand representational areas. As a consequence, the hand expands its representational area in the cortical hand map because it requires more brain resources, more ‘brain space’. Thus, the hand can ‘shape’ the brain; in other words, the brain is functionally shaped based on the hand’s experiences.

“Crop Doctor, Agronomist or Crop Doctor for Yardup. Checking on crops for disease, insects and nutrition.” © Phoebe Milne

If the hand, in contrast, is passive and immobile for a long time, its representation in the brain decreases and may totally disappear. Quite simply, the hand has to be active to maintain its representation in the brain: “use it or lose it.” On the other hand, we know the hand representation in the brain can be re-established by training and manual activities.

What sort of activity rebuilds the brain? The brain cortex contains more than 100 billion nerve cells and innumerable synaptic connections. The cortical body map is not fixed or hardwired, but can rapidly become reorganized as a result of a strengthening or weakening of the synaptic connections. Moreover, repetitive movements can overwhelm the hand and cause trauma, such as writer’s cramp. We need to find ways to exercise our hand, so we cause no harm, but build the brain pathways.

The hand has been called the “outer brain.”

In aging samples, for instance, there’s evidence to indicate that age‐related cognitive decline may be partly driven by a process of atrophy. Some studies have shown that adopting a less engaging lifestyle across the lifespan may accelerate loss of cognitive function11, due to lower “cognitive reserve” (the ability of the brain to withstand insult from age and/or pathology)12. Some emerging evidence indicates that disengaging from the “real world” in favor of virtual settings may similarly induce adverse neurocognitive changes.

Extensive media multi‐tasking during childhood and adolescence could also negatively impact cognitive development through indirect means, by reducing engagement with academic and social activities, as well as by interfering with sleep35, or reducing the opportunity to engage in creative thinking36, 37. I remember telling my schoolteacher mother, “Listening to the radio helps me concentrate on my homework.” She wasn’t buying that argument at all, and radio silence prevailed.

An important aspect of instant access to the internet is our ability to get information online, which has caused us to become more likely to remember where these facts could be retrieved, rather than to remember the facts themselves. This results in our becoming reliant on the Internet for information retrieval. For instance, most people no longer memorize telephone numbers anymore, but depend upon their phones to maintain their contact lists through the cloud, just as we once stored them on the internal SIM card. I personally don’t know anyone’s phone number anymore because I depend on my phone’s contact list. If it ever died on me, I’d be out of luck! The cloud better recognize me if I ever need to replace my phone.

Asklepion, Pergamum, Turkey: site of healing waters, temples, and cultural events, for pilgrims who would often stay for weeks. The ancients believed healing was a sacred art and people’s souls needed to be mended as well as their bodies.

Art and healing are intimately connected. The new Alice Walton School of Medicine in Bentonville, Arkansas, will integrate the arts in an intentional way. The students will be classically trained medical doctors who also will be equipped with knowledge to address all areas of wellness, whether it’s spiritual, emotional or social.

The science of neuroaesthetics is detailed in Susan Magsamen’s book, Your Brain on Art. She said the field can be described as the study of how art measurably influences the brain, body and behavior. The study of neuroaesthetics is “neuroarts.” Magsamen said the pursuit of creative expression is as important to humans as nutrition, sleep and exercise.

There are four parts of neuroaesthetics and “the aesthetic mindset:”

■ Being open to curiosity.

■ Playful exploration.

■ Sensory experiences.

■ Becoming a maker and beholder.

We discover this in art class when we want to draw or paint a picture beyond our skill level or the time limits of the work period. In seminary, we’d have three-hour final exams. Some of our fellow students would prepare six-hour answers to the advance sample questions our professors gave us to study. I always practiced the “triage method” of reducing everything we learned to the essentials. If we pick out the most important facts, we can best make our points in the time limits given. In the emergency room, doctors treat the most important issues first to save the patient’s life and tend to the details once the patient is out of the woods. No one can give a 6 hour answer in a 3 hour time limit. Ask yourself, “What’s the most important question here?”

The same idea works in drawing or painting. We need to find the main forms and sketch them in before we get carried away with the tiny details. Mike showed me a great photo he took of the corvettes in Memphis. I suggested if he wanted to do this painting in a single class meeting, he needed to simplify it by enlarging it, so it had much less detail or plan on taking two classes to finish it. He chose to paint a mushroom in the wild instead. Even then he noticed his mushroom cap lacked the perspective to look realistic on a two-dimensional surface. We’ll have to pick up some perspective lessons in the fall again.

This is a drawing from memory I made on my iPad. I stripped Mike’s photo down to the barest essentials. The vehicles may not even be recognized as sports cars, but they are convertibles. I do remember the great steel triangles of a bridge or other structure where the cars were parked. I did this in about 15 minutes, but I have over half a century of experience of seeing and drawing practice.

Internet image of corvettes on Beale Street

I sometimes forget my hand and brain have been trained to see the basic shapes “instantly.” Not because of some DNA of pure sight, but because I’ve practiced looking, dissecting, and memorizing what I see. Some of my experiences are blind drawing, which means I only look at the object, but never the drawing itself. This trains the hand to only go as far as the eye can “see.”

Gail had the class over to her home and we were glad to see her in recovery mode. Since she’s still homebound, we took advantage of the good weather and her front porch to exercise our brains and hands.

Ansel Adams: Old Faithful Geyser, Yellowstone National Park, 1933-1942

Gail had a mountain landscape image from a screenshot she wanted to work with. The focus of our class was taking our camera photographs and using the editing software to heighten our images. Once we’d done that, we would see more clearly what was important in our image. The current theme in social media is “no filter,” but the great photographers of history always gone to the dark room to develop their photos and dodge the whites lighter or burn more black. Ansel Adams was a master at this.

Cornelia: Prang 8 color box on Arches paper, from original photograph

Notice on my short watercolor study, I didn’t bother to include the whole photograph image. I “triaged” the details I couldn’t complete in our short class time. I mixed my own blacks, rather than using the pan color available. This gave me much richer colors and more variation in my shadows. I had outlined my basic shapes in yellow, but got to talking about the others’ directions and let the paint dry too much, or I would have picked it up better. It would have been less noticeable. I see now some of my lights could have been lighter. I can go back with a clean brush full of water and pick up some of that front face of the archway.

Of course, my eye sees more than most people can see, and it’s both a curse and a blessing. I’m always graceful with my students and try to give at least half as much grace to myself. We mustn’t get discouraged, but keep pressing upward! We don’t have to be a master at something to be a maker; we just have to do it. Having no fixed expectations of an outcome is the best way to exhibit creative expression. Following the less traveled path can lead to new destinations and new discoveries.

Art has the capacity to heal, to cross-fertilize, and to challenge fixed ideas. Art can’t be confined to gallery spaces or the walls of our homes. Art can not only renew our brains, but also the practice of art can renew how we see the world because we learn to see it afresh. Sometimes for the first time, we see it as we’ve never seen it before, and then we bring our own experience and expression to what we have seen. That’s when we become artists, creators, and cocreators guided by the hand of God. As we are made in the image of the creating God, God heals us as he cares for the creation:

“I have seen their ways, but I will heal them;
I will lead them and repay them with comfort,
creating for their mourners the fruit of the lips.
Peace, peace, to the far and the near, says the LORD;
and I will heal them.” ~~ Isaiah 57:18-19

Joy and peace,

Cornelia

The Tool of Tools and the Form of Forms – 3 Wisdoms | Scott Randall Paine

The Tool of Tools and the Form of Forms

59 Reading Statistics and Facts You Should Know

https://www.abtaba.com/blog/59-reading-statistics

What’s the latest U.S. literacy rate?

What’s the latest U.S. literacy rate?

How the Hand Shapes the Brain, Hand Surgery Department of Clinical Sciences, Malmö Lund University Skäne University Hospital, Malmö, Sweden

How the Hand Shapes the Brain

NOTES FROM—The “online brain”: how the Internet may be changing our cognition –https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6502424/

11. Hultsch DF, Hertzog C, Small BJ et al. Use it or lose it: engaged lifestyle as a buffer of cognitive decline in aging? Psychol Aging 1999;14:245‐63. [PubMed] [Google Scholar]

12. Small BJ, Dixon RA, McArdle JJ et al. Do changes in lifestyle engagement moderate cognitive decline in normal aging? Evidence from the Victoria Longitudinal Study. Neuropsychology 2012;26:144‐55. [PMC free article] [PubMed] [Google Scholar]

25–Uncapher MR, Wagner AD. Minds and brains of media multitaskers: current findings and future directions. Proc Natl Acad Sci 2018;115:9889‐96. [PMC free article] [PubMed] [Google Scholar]

35. van Der Schuur WA, Baumgartner SE, Sumter SR et al. The consequences of media multitasking for youth: a review. Comput Human Behav 2015;53:204‐15. [Google Scholar]

36. Altmann EM, Trafton JG, Hambrick DZ. Momentary interruptions can derail the train of thought. J Exp Psychol Gen 2014;143:215‐26. [PubMed] [Google Scholar]

37. Baird B, Smallwood J, Mrazek MD et al. Inspired by distraction: mind wandering facilitates creative incubation. Psychol Sci 2012;23:1117‐22. [PubMed] [Google Scholar]

Researcher Talks of Arts Benefits

https://ao.pressreader.com/article/281908778227901

The Hand: How Its Use Shapes the Brain, Language, and Human Culture,

By Frank R. Wilson

https://www.washingtonpost.com/wp-srv/style/books/reviews/hand.htm

Music of the Spheres

adult learning, Aristotle, art, color Wheel, Creativity, Faith, Holy Spirit, Horeb, Icarus, Imagination, nature, Painting, Prayer, Pythagorean Cosmology, Silence, Spirituality, vision

One of my favorite hymns growing up in the church was “This Is My Father’s World,” by Maltbie D. Babcock, a Presbyterian minister. Written in 1901, to the tune Terra Beata, or Blessed Earth, the song was originally a traditional English folk tune, but composer Franklin L. Sheppard arranged a variation specifically for this text. This hymn and “The Church in the Valley in the Wildwood” were my mother’s and my grandmother’s two favorites to sing. I loved them both also because of their location in nature.

This is my Father’s world,
And to my listening ears
All nature sings, and round me rings
The music of the spheres.
This is my Father’s world:
I rest me in the thought
Of rocks and trees, of skies and seas–
His hand the wonders wrought.

As Paul wrote in Romans 1:20—

“Ever since the creation of the world (God’s) eternal power and divine nature, invisible though they are, have been understood and seen through the things (God) has made.”

Tracing history backwards from the 1st CE, the Pythagoreans (active from the late 6th to the mid 5th century BCE) thought the music of the spheres was an ethereal harmony produced by the vibration of the celestial spheres.

Aristotle said the Pythagoreans believed things are numbers or they are made out of numbers by noticing more similarities between things and numbers than between things and the elements, such as fire and water, as adopted by earlier thinkers. The Pythagoreans thus concluded things were numbers or were made of numbers. Therefore, the principles of numbers, the odd and the even, are the principles of all things. The odd was limited and the even was unlimited.

Aristotle criticized the Pythagoreans for being so enamored of numerical order that they imposed it on the world even where it wasn’t suggested by the phenomena. Thus, appearances suggested there were nine heavenly bodies orbiting in the heavens but, since they regarded ten as the perfect number, they supposed there must be a tenth heavenly body, the counter-earth, which we cannot see.

Pythagoreans presented the principles of reality as consisting of ten pairs of opposites:

1. limited—unlimited

2. odd—even

3. unity—plurality

4. right—left

5. male—female

6. rest—motion

7. straight—crooked

8. light—darkness

9. good—bad

10. square—oblong

In art we have similar categories which we use to create dynamic images. If our painting is all of one value—all white, all black, or all middle value—it lacks visual interest. We are drawn to images which have contrasting values covering multiple values. As with everything, too much of a good thing can become a bad thing! In medicine, a small dose of Botox can make wrinkles disappear, but a large dose could poison a person. As I tell folks, some things require experts, not DIY practitioners.

The Middle Path is safest and best—
Unknown Artist: The fall of Icarus., Fresco of the Third style from Pompeii, 50—75 CE. (H. 35.5, W. 34.5 cm.),
London, British Museum.

I’ve probably mentioned before my encounter with the Hostess chocolate cupcakes. When I realized I could buy a whole box for slightly more money than a package of two tiny cakes, of course my starving art school student budget sprung for the box. That’s when I ate chocolate cupcakes for breakfast, lunch and dinner. By the end of that box, I was cured of my chocolate cupcake desire for a very long time. This is a classic case of “too much of a good thing,” or “knowing when to stop.” The Greeks recognized the need to curb human behavior of our “all or nothing” thinking by prescribing the idea of the Golden Mean, or “nothing to excess.” I definitely went to excess on my cupcake journey.

Mies van der Rohe’s Tugendhat Armchair was designed for the Tugendhat House in Brno, the Czech Republic in 1929 and is one of several different furniture pieces designed for the home of Greta Weiss and Fritz Tugendhat. In the design of the home, Mies designed nearly every detail down to the furniture used. He also prescribed the placement of each furniture piece in the home to maintain spatial composition.

Mies van der Rohe, whose architecture and furniture design exemplified his style, “less is more,” never reduced his work to nothing. His work was faithful to the new industrial materials of steel and glass being used in skyscrapers. Our excess in art is never to nothingness, but we don’t over elaborate or over decorate, just for the sake of filling the space.

So, what do we do and how we proceed? When faced with the challenge of all we see before us, what do we select to make our images? I believe this is where the creating Spirit comes into play, for we can walk past a tree all day long, but on a certain day, the tree comes alive for us. When Moses was herding his father-in-law’s sheep out in the wilderness, his mind was on the sheep, his current family, and his past life and deeds. Scripture doesn’t tell us how long the bush burned on that mountain before Moses noticed it and said, “I must turn aside and look at this great sight, and see why the bush is not burned up.” (Exodus 3:3)

Likewise, we walk past inspiring images daily when we’re preoccupied with our day-to-day concerns. We also have difficulty finding time to create because others want our attention first. One of my seminary professors lectured us in class about taking time to keep our spiritual lives front and center as we moved through school and our church appointments. She said our spouses and children would want to be first, plus our congregations also would want to be first. We’d most likely want to put our careers first to get a bigger steeple or to please our supervisors. However, if we put anything or anyone before God, our spiritual lives would suffer, and like dominos, everything else would fall also. “Many are called, but few are chosen,” as Jesus says in Matthew 22:14.

In art as in life, we need to be deeply rooted in the life of the Spirit. I can tell when I’m going through the motions, but I keep on painting, for I figure I’ll at least learn something from my adequate work, so I’ll be found ready when the creative Spirit strikes. Sometimes I’m more present to the cares and concerns of this world and my work suffers for it. Other times, I’m under the creating power of a Greater Power and my work is altogether more inspired because of that energy. We’d all be more vigorous and creative in our everyday lives if we spent more time in prayer, contemplation, and searching the scriptures to hear God’s voice speak in the silent corners of our hearts and minds.

Last week, only Mike and I showed up for art class. Everyone else was either tied up with doctor appointments or at home with rehab or otherwise occupied. Mike and I explored making different colors with the 8 Color Prang Watercolor Set. We can make interesting colors by combining the complementary colors or the tertiary colors. Mike’s first landscape painting got the energies of his competing needs out of the way.

As in journaling, we often need to make a habit of writing our thoughts so our deepest feelings can get expressed. He began a second painting with more focus on the goal of mixing new colors.

I started my painting with the circles by using yellow watercolor to outline intersecting circles of the same size on my paper. Then I mixed some primary colors together, some secondary colors together and some tertiary colors together. I painted different sections of the overlapping circles. Some of the paint I thinned to a wash, and others I laid on fully. When I got home, I painted in the background, allowing some areas to be a wash and other parts to be thicker.

Music of the Spheres: Creation Energy, acrylic

I finished at home an acrylic painting, which explores some of the same themes as the watercolors we’ve worked on in class. In this I used various material with different textures for my spheres. One of the circles is more three dimensional because it’s from a handmade cloth mask left over from the pandemic. I painted parts of it, also. The background has lines of “energy” all about.

While the Pythagoreans attempted to see unity and harmony in the creation in numbers, our Judeo-Christian faith recognizes God as creator of nature and nature revealing the Creator. One of the best texts to understand this distinction is 1 Kings 19: 11-13, in which Elijah meets the LORD on the mountain at Horeb:

(God) said, “Go out and stand on the mountain before the LORD, for the LORD is about to pass by.” Now there was a great wind, so strong that it was splitting mountains and breaking rocks in pieces before the LORD, but the LORD was not in the wind; and after the wind an earthquake, but the LORD was not in the earthquake; and after the earthquake a fire, but the LORD was not in the fire; and after the fire a sound of sheer silence.

When Elijah heard it, he wrapped his face in his mantle and went out and stood at the entrance of the cave. Then there came a voice to him that said, “What are you doing here, Elijah?”

No one has ever heard the music of the spheres, and the voice of God arrives in the sound of sheer silence. Perhaps that “polar opposite” of the Pythagorean’s world view was on to something after all. If we’re very quiet and still, we may hear both the music of the spheres and the voice of God in the great silence.

Joy and peace,

Cornelia

This Is My Father’s World | Hymnary.org

https://hymnary.org/text/this_is_my_fathers_world_and_to_my

Counterfeit Version of Botox Found in Multiple States | FDA

https://www.fda.gov/drugs/drug-safety-and-availability/counterfeit-version-botox-found-multiple-states

Pythagoreanism (Stanford Encyclopedia of Philosophy)

https://plato.stanford.edu/entries/pythagoreanism/

Total Eclipse of the Heart

adult learning, arkansas, art, Astrology, cosmology, Creativity, Faith, Great American Eclipse, Imagination, inspiration, Light of the World, Love, mystery, nature, Painting, photography, shadows, Spirituality, Travel, Uncategorized, vision

In the Bonnie Tyler song, “Total Eclipse of the Heart,” her rock and roll soul pines for a young man as she sings:

“Every now and then

I know there’s no one in the universe

As magical and wondrous as you.”

Love struck teen heart ballads tend to elevate the beloved to a high pedestal, while hymns lift the praises of God to the highest heavens. If we look at John Wesley’s Notes on the New Testament, one of the doctrinal standards of the United Methodist Church, his commentary on 2 Corinthians 4:6 (KJV) is instructive:

“For God, who commanded the light to shine out of darkness, hath shined in our hearts, to give the light of the knowledge of the glory of God in the face of Jesus Christ.”

We might be more familiar with this verse in the NRSV, a more modern translation, which wasn’t available in the middle of the 18^th century:

For it is the God who said, “Let light shine out of darkness,” who has shone in our hearts to give the light of the knowledge of the glory of God in the face of Jesus Christ.

Bailey’s Ring, from an earlier total eclipse over the South Pacific Ocean

Wesley’s commentary in his Notes on this text is succinct:

For God hath shined in our hearts—The hearts of all those whom the God of this world no longer blinds.
God who is himself our light; not only the author of light, but also the fountain of it.
To enlighten us with the knowledge of the glory of God—Of his glorious love, and of his glorious image.
In the face of Jesus Christ—Which reflects his glory in another manner than the face of Moses did.

What do the Total Eclipse of the Heart and Paul’s words to the Corinthian community have to do with art and faith? We’ve just experienced, what was for most of us, was a once in a lifetime experience. The last time a total solar eclipse was visible across the entire continent was in June 1918, when a total solar eclipse was visible from Washington to Florida, according to the US parks service. Nearly 100 years passed until this present Great American Eclipse.

At the 1878 total eclipse, Maria Mitchell led the Vassar College eclipse party, an all-female expedition from that pioneering women’s institution, which came to Denver in an era when science was a male bastion. Even higher education was deemed risky for the “fairer sex.” In 1873, the prominent Boston physician Edward H. Clarke had warned in an incendiary book titled “Sex in Education,” that the recent push for female colleges and coeducation could undermine women’s health by taxing their brains and causing their reproductive organs to atrophy — leading to “a dropping out of maternal instincts, and an appearance of Amazonian coarseness and force.” Nearly 150 years later some men still concern themselves with outmoded and 19th century views on women’s health concerns.

I drove over four hundred miles to Kentucky in 2017 for the prior Great American Eclipse and got to stay home to see this second Great American Eclipse in my own front yard. Some folks couldn’t have been bothered about this current grand event, while others were convinced God was informing America of her impending doom. Moreover, multiple conspiracy theories abounded, none of which came true, of course. For instance, the world didn’t come to an end and our cell phones still work. Even the electric grid held up, even though the sun didn’t shine for all of a few minutes as the shadow traveled at over 1,600 miles per hour as it raced along the path of totality. This wasn’t even Y2K, which we all remember was a nonstarter at least and a dud at best.

In art class Friday Tim and I talked about the experience of this celestial event. We humans often elevate our own importance when we measure ourselves against one another and the works of our hands. When we go out into nature, we’re faced with the grandeur of God’s creation, especially when we visit the Grand Canyon or Niagara Falls. In Psalms 19:1, we read:

“The heavens are telling the glory of God; and the firmament proclaims his handiwork.”

We see the beauty of nature and feel a warmth in our hearts. Our spirits soar. This intimacy with nature is one of the reasons we send our children to our United Methodist Church Camps, not just because they’ll have a great Christian experience, but because they’ll have that faith experience in nature with trusted leaders. I still remember my adventures and experiences in nature at those camps as part of my spiritual journey.

Even in seminary, when I was having difficulty with some of my courses, I could go for a walk on the campus under the tree lined walks and search the skies for hopeful signs. Sometimes I saw the towering cumulus clouds in the Texas sky as a sign God was with me “in the cloud by day.” In those times of difficulty, even the cloistered realm of preparation seemed like a wilderness journey, but I was glad for a guide.

Bill Maxey, from Nebraska, taken at Hot Springs, AR.

When I was actively serving as a pastor, sometimes I just had to get away. I’d drive until I found some nature, a national park, national forest, or some fields outside of town. If it was a hot summer, I looked for some deep woods and cool shade to shelter me. In the cool spring, I drove until I found flowers. Maybe this is why I retired to a lake in a national park. I don’t need a big house, since I’d rather go out into nature instead.

Totality on Lake Hamilton, with sunset in the west, outside the path of totality

It was the heat of summer in 2017, so you’d think I’d remember the temperature drop right before the eclipse was halfway through. This year I was on Lake Hamilton, and the breeze off the lake combined with the cooler air was decidedly noticeable. When we entered totality, the lights on the Highway 70 bridge and at Bubba Brews automatically came on. The distant sky in the southwest, outside the path of totality, looked like a summer sunset. My neighbors and our visitors from afar were cheering.

Bill Maxey: multiple exposure of the Great American Eclipse, 2024

Not everyone can make an artwork that expresses their emotions as well as the shapes of the image. We can learn the rules of perspective and color, but then we have to learn to let our heart rule our head. This is what I call an “artistic leap of faith.” When we were young, we accepted the basic ideas of Christianity. As we got older, life happened, and we might have begun to struggle with our childhood beliefs not being equal to our adult needs. If we keep our childlike faith, we risk losing our faith. If we are able to wrestle with our faith and find a new and more mature faith, we can handle the major challenges of later life. As Paul says in 1 Corinthians 13:11-12—

“When I was a child, I spoke like a child, I thought like a child, I reasoned like a child; when I became an adult, I put an end to childish ways. For now we see in a mirror, dimly, but then we will see face to face. Now I know only in part; then I will know fully, even as I have been fully known.”

Tim’s Partial Eclipse painting using red, blue and brown to build the sky

Tim experimented with mixing colors to get richer depth. Using the Prang watercolor palette, he mixed the red, blue, and brown to get the black sky of the eclipse event. The red orange of the sun has some brown in it too. He layered the colors with multiple strokes, with a nod to Van Gogh. He worked from a photograph I brought. I pulled many of them off the internet, and many of my friends sent me some too.

I worked on an image I’d taken from my iPhone. I had placed one of my eclipse glasses over the lens and was wearing another pair. It wasn’t that easy to get the sun lined up with all that blocking! My image looked a lot like a fried egg or an eyeball. I used several jar lids to get the circles painted cleanly. My dark sky is red, blue, and violet. The shape of the corona was not distinct, due to the quality of my camera. NASA has a very high-resolution image, which breath taking. Our tax dollars at work are bringing great scientific research and development to benefit us in everyday life, such as solar panels and heart implants.

NASA: High Resolution Image of the Total Eclipse

Thomas Merton, in No Man is an Island, in a chapter called “Being and Doing,” wrote—

“We cannot be happy if we expect to live all the time at the highest peak of intensity. Happiness is not a matter of intensity but of balance and order and rhythm and harmony. Music is pleasing not only because of the sound but because of the silence that is in it: without the alternation of sound and silence there would be no rhythm.”

I was a bit exhausted after all the excitement of this big event. I’d met new people from three different states, visited around our patio, and been gifted crystals that had been dug from Mt. Ida and “energized by the eclipse.” I’m not a crystal person, but I understand from those that are these crystals are “special.” I was feeling every bit of my new age as the calendar flipped over for another year.

Bourbon Codex: Aztec priestly document recording astronomical observations: eclipse

But today is another day, I had a night to sleep, and we had fun in art class. As long as we find joy in life, we know we’re alive. Our joys aren’t just collections of peak experiences, but some are the joy of the assurance of God’s enduring presence in our later lives when our youthful vigor has left us. We need to remember just as the moon eclipses the sun, once it passes, it also reveals the sun’s glory. One day this Bible verse from Philippians 3:21 will be true for each one of us, who has a heart full of love for God and neighbor:

“He will transform our humble bodies that they may be conformed to his glorious body, by the power that also enables him to make all things subject to himself.”

Joy and peace,

Cornelia

Bonnie Tyler – Total Eclipse Of The Heart Lyrics | AZLyrics.com

https://www.azlyrics.com/lyrics/bonnietyler/totaleclipseoftheheart.html

John Wesley: Explanatory Notes on the New Testament (With Active Table of Contents) [Kindle Edition], first published 1757

John Wesley: Wesley’s Notes on the Bible – Christian Classics Ethereal Library—online free edition of this book

https://ccel.org/ccel/wesley/notes/notes.toc.html

The Solar Eclipse Is the Super Bowl for Conspiracists | WIRED

https://www.wired.com/story/solar-eclipse-conspiracies/

Solar Eclipse 2017: Sun and moon put on celestial performance – CBS News

https://www.cbsnews.com/news/2017-eclipse-dazzles-million-watch-celestial-performance-sun-moon/

Thomas Merton—“No Man is an Island” in a chapter called “Being and Doing” [TMHI]: 1955

A Woman in Eclipse: Maria Mitchell and the Great Solar Expedition of 1878

https://undark.org/2017/08/17/wilo-maria-mitchell-astronomer-eclipse/

NASA: Benefits Stemming from Space Exploration

https://www.nasa.gov/wp-content/uploads/2015/01/benefits-stemming-from-space-exploration-2013-tagged.pdf?emrc=ca90d1#:~:text=Overcoming%20the%20challenges%20of%20working,information%20technology%2C%20and%20industrial%20productivity

Eclipse T-Shirts

adult learning, art, Children, cosmology, Creativity, Faith, Good Friday, Great American Eclipse, Habits, Icons, Imagination, incarnation, inspiration, mystery, nature, Painting, Philosophy, Spirituality, vision

Friday in art class we painted our own unique designs on t-shirts for Monday’s Total Eclipse of the Sun. Anticipation of an event is characteristic of young children, while adults often feel over saturated with the early build up of attention given to an important event. By the time it gets here, we go, “Wow, what a letdown.” Children, who have fewer years of experience and anticipation comparison, can still marvel at the alternate reality of the total eclipse.

In the sixth century BCE, Anaximandros believed “the moon has a false light and is illuminated by the sun, and the sun isn’t smaller than the earth and it is pure fire.” The Greeks in 290 BCE knew the moon was unlike the sun. Anaximenes wrote it “didn’t shine with its own light, but with the reflected light of the sun,” as Eudimos wrote in his book History of Astronomy. The Chinese also studied the skies and stars. They used bones heated in fires to divine messages from their deceased ancestors as early as the 12^th century BCE.

Chinese oracle bone depicting lunar eclipse of 12/27-28/1192 BCS.

The Death of Jesus in the Synoptic Gospels has the record of an eclipse occurring during the time of the crucifixion. John’s Gospel, which comes from a different source, doesn’t mention this time of darkness.

Egon Schiele, Crucifixion with Darkened Sun, Oil on Canvas, 1907.

When it was noon, darkness came over the whole land until three in the afternoon. ~~ Mark 15:33

From noon on, darkness came over the whole land until three in the afternoon. ~~ Matthew 27:45

It was now about noon, and darkness came over the whole land until three in the afternoon, while the sun’s light failed; and the curtain of the temple was torn in two. ~~ Luke 23:44-45

When Jesus had received the wine, he said, “It is finished.” Then he bowed his head and gave up his spirit. ~~ John 19:30

Yet the Gospel of John tells us more about the miracles of Christ and his dual nature (both human and divine), so that we might believe and have everlasting life through him. New Testament scholar Ernst Käsemann is correct when he says of the Fourth Gospel: “Judged by the modern concept of reality, our Gospel is more fantastic than any other writing of the New Testament.”

Bruce Metzger, noted New Testament scholar and lead translator of the NRSV said, “The more often you have copies (of biblical texts) that agree with each other, especially if they emerge from different geographical areas, the more you can cross-check them to figure out what the original document was like. The only way they’d agree would be where they went back genealogically in a family tree that represents the descent of the manuscripts.[104]

Tim’s Eclipse T-shirt: very simple due to his rehab from arm surgery. He uses his arm until it hurts and then he rests. We do what we can, not what we can’t.

We modern folks are used to looking at the world through the eyes of science and education. We look for repeatable patterns and consistent evidence. We have “grown up minds” with calendars, schedules, to do lists, and multiple people who make demands on our time. Often, we are thinking about our next meeting or chore before we even finish the one we’re currently working on at the moment.

We aren’t practicing Brother Lawrence’s admonition to “Practice the present moment.” Our constantly chiming cell phones don’t help us be present, even though we could set our notifications to silent. Indeed, we’re never present or still enough to know the peace of the God whose name means “I AM.”

Lauralei’s Eclipse T-shirt: experimenting with fabric paint

What is “reality?” How can we know the present moment and come closer to God? With the advent of photography people began to think super realism in painting was preferred to some degree of emotional expression. Today, with the introduction of Artificial Intelligence, we can make computer generated photos and paintings that go beyond our wildest dreams! This means our new generations may likely begin using tactile materials and hand-built techniques to create future art works. Instead of fantastic other worlds, they might find their inspiration in the environment or in social justice concerns.

Gail W’s Eclipse T-shirt: first stage in class. She came with a design in mind and brought her sewing chalk also.

Gail W’s Eclipse T-shirt: the finished product.
Some of our inspirations are too grand to be completed in a few hours. We need to have the desire to carry the effort forward to meet our goal.

As with the icon, the artwork is only a reflection of the image which is painted. The icon isn’t holy, but the person depicted is holy. As the writer of Hebrews 1:3-4 says:

“He is the reflection of God’s glory and the exact imprint of God’s very being, and he sustains all things by his powerful word. When he had made purification for sins, he sat down at the right hand of the Majesty on high, having become as much superior to angels as the name he has inherited is more excellent than theirs.”

I didn’t get a photo of Mike’s “Crawford Law Eclipse T-shirt.” Work called and he had cats to herd. He was generous as usual to bring fabric paints for the group to share. We used old newspapers inside our T-shirts to keep the paint from bleeding through to the backside. We had an opportunity to share stories and eat my birthday doughnuts which Tim blessed me with.

Cornelia’s Eclipse T-shirt: I collapsed all the moments of occlusion into three, so I could finish in one sitting.

If we take time to practice our art, we may realize our own works may be only a reflection of the glory of what we saw, but we we can continue to practice our skills in prayer, for God will bring us ever closer to perfection if we commit our work to God’s glory.

Leonardo da Vinci: Study of the technique for observing solar eclipse, Codex Trivulzianus, 1487–1490

Also, Marilyn, who was working with some other ladies of the church on the potato bar posters, had brought the warm-gooecrescent roll-cream cheese-vanilla-cinnamon-sugar dessert. If you ever have a chance to put this into your mouth, you will be transported into an alternate reality. This is the stuff from which dreams and visions arise! If you eat it, and you merely remark, “Good,” my thought is you’re dead to this world or you’ve lost your sense of taste. The child in me screamed for MORE!! The adult in me will see if I can reduce the calories with no depreciation in taste.

Paul Nash: Eclipse of the Sunflower, 1945

I hope we get a break from the clouds on the Great American Eclipse Day. The last one I traveled to in 2017 was very impressive and worth the journey. Watch it on television if you can’t be outside. Only look at the sun with certified eclipse glasses. Some experiences are such that we can only say “Awe!” And we may want to stop time forever, but time will march on, for we can’t move the sun either forward or backwards. No matter how important we are, we aren’t gods, and we aren’t even Time Lords. If we manage to grasp only a portion of the holiness and beauty of God’s creation in this one event, we will better experience the joy of the passing glory of our God:

“When I look at your heavens, the work of your fingers, the moon and the stars, that you have established, what are human beings that you are mindful of them, mortals that you care for them?” ~~ Psalm 8:3,4 (NRSV)

View of the Great American Eclipse 2017 at
Lake Barkley through a pinhole

Joy and peace,

Cornelia

Eclipses and the Ancient Greek Philosophers

By H. Rovithis-Livaniou and P. Rovithis

https://articles.adsabs.harvard.edu/cgi-bin/nph-iarticle_query?bibcode=2007ASPC..370..115R&db_key=AST&page_ind=0&data_type=GIF&type=SCREEN_VIEW&classic=YES

How Ancient Humans Studied—And Predicted—Solar Eclipses | Scientific American

https://www.scientificamerican.com/article/how-ancient-humans-studied-and-predicted-solar-eclipses/

Historical Reliability of the Gospels, Encyclopedia MDPI

https://encyclopedia.pub/entry/29465

https://handwiki.org/wiki/Religion:Historical_reliability_of_the_Gospels

104. Strobel, Lee. “The Case for Christ”. 1998. Chapter three, when quoting biblical scholar Bruce Metzger

In Memoriam: Bruce M. Metzger (1914-2007) | Bible.org

https://bible.org/article/memoriam-bruce-m-metzger-1914-2007

Bruce Metzger was the master of several ancient and modern languages and ended up teaching at Princeton for 46 years after he received his PhD there. As one of the editors of the standard Greek New Testament used today and the senior editor of the NRSV, his scholarship has proved to be almost impeccable. His specialty was New Testament textual criticism, the field whose primary goal is to ascertain the wording of the original text. Many considered him the finest NT textual critic of the 20th century. His death in 2007 left giant footprints for the next generation to come.

Paul Nash, British Military artist, died in 1946 of complications from asthma. He didn’t see the total eclipse, but knew of it and was very connected to nature.

Read about him in A landscape of mortality | Tate

https://www.tate.org.uk/art/artists/paul-nash-1690/landscape-mortality

Map of the 1945 eclipse: SE1945Jul09T.gif 1,121×1,452 pixels

Time Travel and Iconography Experiments

adult learning, art, Creativity, Faith, Hagia Sophia, Holy Spirit, hope, Icons, Imagination, inspiration, Leonardo da Vinci, Medical care, Painting, Pantocrator, renewal, Spirituality, Turkey, vision

Every once in a while, I like to go on journeys. Sometimes they’re actual trips, such as my recent vacation over spring break to visit family down in Texas, but other times I like to “time travel.” The best way to time travel today, since I don’t have access to a DeLorean, is to study history. Buckle your seatbelts, we’re in for a ride through Christian and art history.

Right before spring break, our art class tried some experimental techniques with chalk, watercolor pencils, and pan watercolor with brushes. I also brought some images from the beautiful church of Hagia Sophia of the ancient capital of Constantinople, which I brought home from a pilgrimage I made several years ago.

The church was sponsored by the first Christian emperor Constantine, so it has exceptional mosaics and frescoes decorating all its surfaces. We each chose an image to use as a starting off place and went from there. Inspiration comes not only from what we see, but from the materials we use. Combining new images with new materials can bring new directions.

Desis Icon, Hagia Sophia, Constantinople, Turkey

Our primary images were the archangel Michael, the enthroned Christ, the decorative jewel designs, and the cross. All of these designs figure in prominence in Hagia Sophia or the Basilica of Holy Wisdom, the primary seat of Christianity in the Eastern Church during the Byzantine era.

Unknown Artist: Moschophoros, The Calf Bearer, 165 cm high, Limestone, 570-560 BCE, Acropolis Museum, Athens, Greece.

Early Christian art took its themes from contemporary Greco-Roman subject matter, but repurposed it for its own religious significance.

The Good Shepherd, the Catacomb of Priscilla, Rome, Italy, 250–300 CE, adopts the standard form of Apollo statues.

The archangel Michael was connected in the 4th CE with Constantine as a divine messenger and intermediary between heaven and earth. Michael was not only the guardian angel of the nation of Israel, but other nations have adopted his protection also. In this same century one of the doctors of the early church, St. Basil of Caesarea, known as “the Great,” said:

“Beside each believer stands an angel as protector and shepherd, leading him to life.”

Constantine felt the presence of the mediating angelic hand in his vision of the cross in the sky at the Milvian Bridge, at his baptism, and in his role as Emperor of the Eastern Christian Empire. Constantine was actually baptized twice: once to cure him from leprosy and again on his death bed. In the early days of Christianity, various sects prevailed and the doctrine of one baptism as sufficient for all times hadn’t yet taken hold. After all, it’s not the water, the place, the church, the location, or the priest that makes a baptism effective, but the work of God through the Holy Spirit. As Ephesians 4:4-6 says,

“There is one body and one Spirit, just as you were called to the one hope of your calling, one Lord, one faith, one baptism, one God and Father of all, who is above all and through all and in all.”

Constantine’s Vision of the Cross: Bibliothèque nationale de France, Illustrated painted parchment Greek manuscript (879-883 AD) of the homilies of Gregory of Nazianzus in the Bibliothèque nationale de France.
(BnF MS grec 510) folio 440r.
https://gallica.bnf.fr/ark:/12148/btv1b84522082/f891

Constantine’s first cross apparition took place at the beginning of his military campaign in Italy. The young emperor realized that the tyrant Maxentius, who controlled Rome at that time, had set a trap at the Milvian Bridge over the Tiber. Fearing his rival’s machinations, Constantine had sought the aid of the God worshiped by his father, Constantius Chlorus (r. 305–6). While he marched on to a field together with his troops, he saw the sign of the cross revealed in the afternoon sky, shinning brighter that the sun, alongside an exhortation inscribed “by means of a starry form: By this you shall conquer, Constantine!”

Note the use of common materials in Mike’s work. The circle is the same size as a foam plate, the cross from the table decorations fits just inside it, and he embellished the outer and inner spaces with a bilateral and balanced design. He’s getting more skilled to “eyeball those proportions” from across the room. Plus, he enjoys making these designs.

The ancient writers Eusebius and Euthymios both mention the emperor’s troops also witnessed this miracle. The significance of the vision was subsequently clarified by Christ, who appeared to Constantine in a dream advising him to carry a cross-shaped banner before his armies in order to defeat Maxentius.

Byzantine hagiographical works, or the writings about the lives of saints, name this apparition of the cross as a decisive step toward Constantine’s conversion to Christianity. This first episode is part of a faith narrative, which runs through the tale of Constantine’s leprosy and his miraculous healing through his first baptism, which was officiated by Pope Silvester.

The depiction of Pope Sylvester in the church decoration, a leading figure in the iconography of Roman popes in Byzantine art, deserves special comment. Sylvester was born in Rome and was pope between 314 and 335, succeeding pope Miltiades. Both the Latin and Orthodox rites honor Silvester as a saint and the patriarchate of Constantinople commemorates him on 2 January. The fictional account of his life, Actus Silvestri, written in the 4th-5th century, records the story of his curing Constantine of leprosy and then baptizing him.

It was during this first baptism Constantine had another vision which converted him to Christ. Constantine’s baptism is narrated in the Greek Life of Silvester in a verbatim translation of the story by Zonaras. Having recovered his health by means of the sacramental bath, the now Christian basileus (king) donned a bright garment and “said to the bystanders that he had felt a hand: It had stretched out from above and touched me while I was descending into the font.”

The visualization of St. Michael’s involvement in Constantine’s baptism has no direct precedent in Byzantine and Balkan iconography. Similar descriptions appear in the shorter ninth-century vita of the hierarch and in the lives of Constantine. In the “Guidi” legend, the emperor’s confession is specifically addressed to the pope: “Servant of God, as I was standing in [the water] of the holy baptism, I felt a hand touching me and cleaning the sickness of the flesh.”

Unlike the hagiographical account by Zonaras, this fragment from the “Guidi” vita is not attested in the manuscript culture of the East-Carpathian environment. Even if it doesn’t include this passage in the section on Constantine’s baptism, the encomium (eulogy) by Patriarch Euthymios contains an allusion to the motif of God’s hand:

Upon waking up from the dream in which SS Peter and Paul offered him the cure of baptism, the emperor dismissed the pagan healer ( ) who attended him and said that: “(…) from now on, I need no human help, for the hand of God Almighty ( ) helped me.” Although it anticipates the king’s baptism, this statement is merely a symbolic reference to the divine power which came to Constantine’s aid, not a description of a miracle occurring during the ceremony.

The Slavonic translation of the Life of Silvester by Zonaras remains the only account that constitutes a plausible narrative background for St. Michael’s involvement in the scenes at the Romanian churches of Rădăuți and Bălinești. We don’t know if these fresco designers used a specific copy somehow related to the manuscript at the Neamț monastery. Yet once it had been integrated into the liturgy, the legend of Pope Silvester might have developed an independent circulation through storytelling. Perhaps the local audience interpreted Constantine’s confession about the divine hand that touched him in the water as a sign of the ethereal presence of the Archangel as pictured in the compositions of Constantine’s baptism.

*Creation: The Nuremberg Chronicles* (1493), written by Hartmann Schedel and illustrated with woodcuts by Michael Wolgemut

Perhaps these tales seem strange to our modern scientific minds, colored as we are by notions of “pictures, or it didn’t happen!” We want proof, repeatable and documented evidence, not just some such nonsensical woo-woo about visions and dreams. After all, we are more likely to think these voices could be drug induced or anxiety provoked, but we aren’t so familiar with God speaking to mortals, as it was back in the days when the boy Samuel was ministering to the LORD under Eli:

“The word of the LORD was rare in those days;
visions were not widespread.” (1 Samuel 3:1)

We aren’t big on either voices or angels, but God does still work in supernatural ways. While some may see prayer as supernatural healing, others may see God’s healing hand at work in guiding doctors, nurses, and caregivers to bring people to get the medical attention that brings them to better health. God gives us the heart for healing and compassion for the suffering, which then sets us out to discover new medicines and treatments for dread diseases. These wonderful advances would appear as magic to those from a century ago, or even a few decades before.

Take the miracle of cystic fibrosis advances. In the 1980’s, the life expectancy for a CF patient in the United States was only 12 years and 20 years in Canada. By 2017, with new medications and therapies, the median life expectancy for CF patients was 47. Because new medications and improved treatment of respiratory infections and other complications have extended the predicted life expectancy of CF patients to almost 50 years, some are now living well into their sixth and seventh decades. I call this a miracle, even if others call it mere “science.” It means I have a grand nephew who likely will have a full lifetime and even enjoy his own children.

Humanists will give all the glory to the human creature. They are self-made men and women in love with their own creation. People of faith will give all the glory to God for the gifts of their hearts, minds, bodies, and spirits. We have been given much, so we give much to others.

Just as the earliest Christian art works repurposed secular and mythological Roman themes, so later Christian art used Greco-Roman mythological imagery. The angels are based on the female winged victories, such as the famous Nike of Samothrace. In the early fourth century, angels suddenly appeared as figures in Christian iconography, usually without feet and dressed in garments of a white pallium over a tunic. This was a large rectangular cloak worn over a tunic, as worn by Greek philosophers and religious teachers. In the earliest Christian art works, angels were depicted as wingless, but wings became normative by the fifth century. By the High Middle Ages, angels were more elegantly garbed (depending on their station in the hierarchies) and appeared to be androgynous.

The first known Christian depiction of winged angels does not appear until this splendid 4th century marble ‘Prince’s Sarcophagus’. It was discovered after a fire in Sariguzel, near Istanbul in the 1930s

The word for Angel, mal’akh in Hebrew and angelos in Greek, simply means messenger, which is the job description of the Angel, who acts as an intermediary between humans and God. The Bible never says angels have wings, but we all imagine angels with wings. Perhaps we assign them wings because angels can travel from the “heavens above to the earth below.”

Egypt’s Red Monastery, The church of Anba Bishay and Anba Bigol

The church of Anba Bishai and Anba Bigol, known as the Red Monastery, is the most important extant early Christian monument in Egypt’s Nile Valley. It’s one of the most significant historical sites of the period in the Mediterranean region. Created in the 4th and 5th CE, this fine painted Coptic Christian image of Christ surrounded by angels has survived multiple restorations of the church building.

Leonardo da Vinci: Annunciation, 1472, oil on canvas, Uffizi Gallery, Florence, Italy.

Although the principle of angels being sexless continued, later renaissance artists presented them as male figures with fashionably delicate facial features and long hair, dressed in contemporary garments (making them more approachable to the common era). As the lines between the angelic spheres became blurred, along with the renaissance adaptation of classical Greco-Roman art, plump little children with wings began showing up in Christian art. We know these as cherubs.

Cornelia’s Watercolor Angel from Hagia Sophia

I used a mix of pastels and watercolor on this painting, working from a 1.5-inch square image of the Archangel Michael. The contrast of light and dark shows up in the naturalist wings and hair, with the glowing and reflective gold mosaic pieces.

Regarding his rank in the celestial hierarchy, opinions vary. St. Basil in his homily Angels, as well as other fathers, place St. Michael over all the angels. They say he is called “Archangel” because he is the prince of the other angels. Christian tradition gives St. Michael four offices:

To fight against Satan.
To rescue the souls of the faithful, from the power of the enemy, especially at the hour of death.
To be the champion of God’s people, the Jews in the Old Law, the Christians in the New Testament.
Therefore, he was the patron Saint of the Church; he is considered to be the protector of Christians against the devil.

Christ between St. Peter and St. Paul, Catacomb of Sts. Marcellinus and Peter on the Via Labicana, Rome, 4th CE.

This image of Christ on the Throne, dating to the 4th century, shows Michael between St. Peter and St. Paul. It was painted in the Catacomb of Sts. Marcellinus and Peter on the Via Labicana in Rome, located near a villa that used to belong to Emperor Constantine. Below the main figures of the painting—Jesus, Peter and Paul—we find Gorgonius, Peter, Marcellinus, and Tiburtius, four martyrs who had been buried in that catacomb, and are depicted as they point to the Lamb of God on his heavenly altar.

Zeus: Archaeological Park of Campi Flegrei at the Castle of Baiae on the Gulf of Naples, Italy

The enthroned Christ follows the thematic form of Zeus, king of the gods, seated on his throne. A good example is statue from the Archaeological Park of Campi Flegrei at the Castle of Baiae on the Gulf of Naples. This statue of Zeus Enthroned is a 29-inch-high marble statue dating to the 1st century B.C. and is likely of Greek manufacture.

It was inspired by the colossal gold and ivory statue of the god at the temple of Zeus at Olympia made by sculptor Pheidias in 430 B.C. It was one of the Seven Wonders of the ancient world. Just as the angels were repurposed from the Nike victory statues, so the Christ Enthroned statues were re-envisioned from the ruler of the gods and humans statues. Art and artists can be put to work for whoever is in power at the moment. We need to eat and pay bills in every age.

Zeus: fresco, 62-79 CE, Casa dei Dioscuri, Pompeii (VI, 9, 6-7, atrio corinzio 37), Museo Archeologico Nationial, Italy.

A lovely fresco from Pompeii, found in the House of the twins, has a glowing red background and shows Jupiter or Zeus, the king of the gods, seated on his throne. A sphere lies beside him, an eagle at his feet, and a rectangular base is at his feet. In the same manner, the icon of the enthroned Christ places his feet on a rectangular base, representing his lordship over the four corners of the world.Gail W used the pastels in the clothing and background.

From one of the royal figures, Gail S chose one of the jeweled embellishments for her focus. Gail enjoys ordered designs, so finding an image with a regular pattern was right up her alley. The outer circle with an inner square is divided along the diagonals by red lines, as if the cross were tilted on its side. The circle and square give unity to the design, as does the monochrome cross. The triangles are balanced by colors. The outer blue rim holds it all together. Gail tried the watercolor pencils out along with the pan watercolor washes.

While nothing is ever new in art, we artists keep reimagining the old patterns in new ways. After all, the basic elements of design never change, but we see the world with fresh eyes in every generation. Using our hands to create restores us and recreates us by reducing our anxieties and giving us a sense of accomplishment. We each serve the God of beauty and joy as God reveals God’s self to each of us. Doing any creative work with our hands is good for the mind, spirit and soul.

As our hand grows in competency with the media and our eye is better able to discern shape and patterns, we come under the Holy Spirit’s inspiration of creating power and we make art! We may start from the ancient wisdom, but then we go onto find the wisdom for today. After all, God is always in a rebuilding mode, for that which God created, God will preserve:

“When you send forth your spirit, they are created;
and you renew the face of the ground.” ~~ Psalms 104:30

Joy and Peace,

Cornelia

Diane Apostolos-Cappadocia : Why Ukraine Calls Upon Michael the Archangel, Christianity Today, April 12, 2022, https://www.christianitytoday.com/ct/2022/april-web-only/michael-archangel-ukraine-kyiv-patron-saint.html

Saint Mamas at Exeles: An Unusual Case of Ritual Piety on Karpathos
Katsioti, Angeliki; Mastrochristos, Nikolaos. Arts; Basel Vol. 12, Iss. 4, (2023): 176. DOI:10.3390/arts12040176
Saint Mamas at Exeles: An Unusual Case of Ritual – ProQuest https://www.proquest.com/docview/2856776246?sourcetype=Scholarly%20Journals

The Historical Evolution of CF Treatments and Understanding
https://cysticfibrosisnewstoday.com/news/cf-treatments/

Life Expectancy with Cystic Fibrosis (CF)
https://www.nationaljewish.org/conditions/cystic-fibrosis-cf/life-expectancy

ARCHANGELS MICHAEL AND GABRIEL
https://www.stjohnarmenianchurch.org/archangels-michael-and-gabriel/

Archangel Michael
https://www.etd.ceu.edu/2023/dumitrescu_andrei.pdf

It’s Not Under Control!

adult learning, art, Attitudes, bottles, brain plasticity, Cezanne, Creativity, failure, Family, Fear, Healing, Lent, Marcus Aurelius, Painting, perspective, Ralph Waldo Emerson, renewal, risk, samuel Beckett, shadows, Stress, Super Bowl

All things will renew themselves in good season, yet we have only the present moment before us. We can’t live in the past, nor can we control the future. We have to recognize even our present moments aren’t always in our control, as we witnessed in the big Super Bowl game last Sunday.

Random Actions Often Determine the Outcomes of Sporting Events

Who would ever believe a punt would hit a receiving teammate’s foot, and suddenly become a live ball? Then get recovered by the Chiefs for a quick touchdown? If you think you can control your circumstances or the actions of others, just watch the NASCAR races at Daytona this weekend. The wonder is they don’t wreck in every turn, but only occasionally during the 500 mile race on Sunday.

Cezanne Watercolor “Mont Sainte-Victoire (La Montagne Sainte-Victoire vue des Lauves)”( 1902–06) by Paul Cézanne. (The Museum of Modern Art, New York/Photo © 2021 MoMA, NY)

Watercolor is more difficult medium to manage than acrylic paints because it’s wetter and refuses to dry as quickly as we want to paint in that same area. It’s not being obnoxious; it’s just being its own true self. Cezanne used watercolors to think out his ideas beforehand, and then worked in oils. Often, he tossed aside the watercolor work, sometimes even leaving it out in the landscape which he’d just painted. He’d learned all he could from it and now was ready to paint his new image, but not a copy of the original painting. This mountain shows up in sixty of Cezanne’s artworks.

Paul Cézanne: La Montagne Sainte-Victoire, 1888, oil, The Stedelijk Museum, Amsterdam.

The stoic philosopher and Roman Emperor Marcus Aurelius wrote a series of meditations on life. In one he speaks of all life experiences as being the same. This attitude keeps him from getting too high or too low about what happens in his life. He takes it as it comes. Even death, which some fear as a loss, doesn’t bother him, for if he isn’t bothered about the present, he can’t be bothered about losing that too. Marcus Aurelius wasn’t a Christian, but his quest for equanimity is admirable. Take life as it comes and worry not:

“First, that all things in the world from all eternity, by a perpetual revolution of the same times and things ever continued and renewed, are of one kind and nature; so that whether for a hundred or two hundred years only, or for an infinite space of time, a man see those things which are still the same, it can be no matter of great moment. And secondly, that that life which any the longest liver, or the shortest liver parts with, is for length and duration the very same, for that only which is present, is that, which either of them can lose, as being that only which they have; for that which he hath not, no man can truly be said to lose.”

When we work in watercolor, we have to take what the watercolor gives us. While we can plan, design, and control the outcomes to a certain extent, watercolor often goes its own way. If we work over the whole surface, rather than noodling around in one little space like a puppy sniffing a single spot while out on its morning constitutional walk, we get more done, just as the puppy is more likely to get its “business” done.

One of the reasons we work in a new medium is for the challenge. In school, when I was bored, I’d take notes in class by writing upside down. When that got too easy, I began using my left hand to write upside down. This was a true challenge! I didn’t have any ingrained pathways in my brain for left-handedness, much less the upside-down images. I was truly bored, however, so I struggled on until I got serviceable images. This was the year in which I went to art school as a midyear junior and was taking a freshman level history course.

Tim has voluntarily switched to his left hand because he will have surgery on his right side, which will knock out his ability to use that arm for several months as he recovers. This is a good effort for his non dominant hand. You can tell he focused on the scoop, for it has the most detail. Training our alternate hand to do the work of our dominant hand requires resetting the brain to prefer the new hand. If you try brushing your teeth with your other hand, you’ll see exactly how strange it feels to use a different hand. This is because you have no well-worn pathways in your brain circuitry that makes this routine effort possible.

The fancy pants word for this is neuroplasticicy. We meet this concept with stroke survivors who do physical therapy to rewire their brain connections to make new pathways so they can speak, write, or walk. Everyone who tries a new game, learns a new language, or tries a new hobby also builds new pathways in their brains. Be learners for life, if you want to keep your mind healthy.

Our still life was challenging today. It had solid shapes, a clear bottle, and a metal scoop. Not only were there multiple colors, but textures and transparency also. Gail has had several years of drawing under her belt, so she was able to render the perspective of the still life well. Note the clear blue bottle, which has a wonderful oval bottom. The lemons and limes are distinct also. The grey shape is an antique scoop, sans the handle.

In 2008, J.K. Rowling spoke at the Harvard commencement exercises, telling the graduates, “Talent and intelligence never yet inoculated anyone against the caprice of the Fates.” Because we don’t know what tomorrow will bring, taking care for today is the best preparation for the future. Rowling studied the Classics at Harvard, a subject most people would consider useless for this modern era. Yet after a divorce, as a single parent working for Amnesty International, she began writing her wizard novels. Harry Potter is now part of our cultural heritage.

As Jesus said in Luke 12:25-26–

“And can any of you by worrying add a single hour to your span of life? If then you are not able to do so small a thing as that, why do you worry about the rest?”

Worry is stressful, for sure, and it’s an example of “bad stress,” along with traumatic events, such as adverse childhood experiences (ACE), disease, divorce, and death of a loved one. We also endure “good stress,” as when we challenge ourselves to lift heavier weights, cook a new recipe, or learn a new language. As Ralph Waldo Emerson wrote in his 1841 essay Heroics, paragraph 14:

“The characteristic of a genuine heroism is its persistency. All men have wandering impulses, fits and starts of generosity. But when you have chosen your part, abide by it, and do not weakly try to reconcile yourself with the world. The heroic cannot be the common, nor the common the heroic. Yet we have the weakness to expect the sympathy of people in those actions whose excellence is that they outrun sympathy, and appeal to a tardy justice. If you would serve your brother, because it is fit for you to serve him, do not take back your words when you find that prudent people do not commend you.

“Adhere to your own act and congratulate yourself if you have done something strange and extravagant, and broken the monotony of a decorous age. It was a high counsel that I once heard given to a young person, —”Always do what you are afraid to do.”

When I was in high school, the ancient Latin teacher, who had taught my daddy when he went to school, tossed out the challenge, “No one has ever made 100% on my final Latin exam.”

I bit on that challenge like a starving dog bites on a bone, even if it has no scrap of flesh remaining on it. I made flash cards and studied for an hour every night before bed, I was so determined to be the exception to the rule. On the test, I got all the Latin correct, but lost ½ point for misspelling an English word. I never followed up on her retirement, but I fully expect her record remained unblemished. Also, I’m still spelling challenged. I’m thankful for SpellCheck in our writing apps.

Gail W. paid attention to the still life and took care to lay down a close image in a pale wash before she began to add darker washes of color. Her left lime is most successful, with at least six shades of green and yellow in the shape. I also like the highlight on the central lemon. These two images capture the essence of the watercolor medium. Her perspective on the bottle bottom indicates it sits well on the cloth.

Failure teaches us what we don’t know, so we can improve the next time. This is what we call resilience. When I taught art, my students had to find three things they did well in their work before they named anything they needed help on. This was to build up their confidence. For some of them, just making a mark on the page was a start. If we fear making a mistake, we can sketch in a pale-yellow wash. This is very forgiving, like a whisper in the wind. If it’s not quite right, the next few marks may be nearer our desired outcome.

This Is Fine—Leave Me Alone, I’m Having a Crisis

Our mindset is what controls how we react to events in our lives. As one of my friends would remind me, “Not everything is a hair on fire moment.” Of course, when I was a young teen, the least slight or distress caused me to fling myself over my bed in a paroxysm of sobs, wailing loudly, “I’m going to die!” My parents would look at each other and shrug, “What boy is it now?” Fifteen minutes later I’d be in the kitchen looking for a snack, having cried my eyes out, and now I was on to the next thing. As I had more experiences, I learned to roll with the moment. Sometimes you need to wait for the next wave to rise before you take your ride. God’s timing is always right, for our experiences, both the failures and successes, prepare us for what comes next in our lives.

I had some of the same perspective problems as everyone else, especially with the base of the bottle. Actually, it’s a challenge to get a “transparent three-dimensional object on a flat surface” to appear as if it’s actually sitting on a flat surface in two dimensions. Learning some shading techniques and remembering a round bottle bottom becomes an ellipse helps to bring off this sleight of hand. I got my paint too dark on the front of the bottle base and had to let it dry so I could come back in with some clear water and an almost dry brush to pick up the color. This gave me the highlight I needed.

When I got home, I noticed my eyesight seems to be going amiss with my increased age. Lately I’ve not been careful to paint my verticals straight. Either I’m being lazy, or I’m tilting my head as I look at the subject. Maybe my neck injury has something to do with it. I duplicated the photo and used the Apple Pencil to straighten up the bottle and even up its symmetry. I also touched up a few of the lemons and limes. Maybe I’m still the puppy that likes to noodle around and sniff about until I can wrest all I can get from a work. This way I learn all I can from it. Like a kindergartner, if my work ends up a huge grey blob, I can say, “That was a great learning experience!”

My grandmother, who painted portraits and still lifes, kept a saying written on the back of an envelope, near her easel: “Ever tried. Ever failed. No matter. Try again.” She passed in 1970. Years later, Samuel Beckett, in his 1983 story, Worstword, Ho wrote:

“Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.”

We need to be like great artists and athletes, or the Michelin chefs who just keep trying, falling short, until they get close enough to qualify for their stars. Persistence makes all things possible, and if we “fail,” we’re only getting closer to perfection.

I hope for you a blessed Lent,

Joy and peace,

Cornelia

Emperor of Rome Marcus Aurelius: Meditations, XII https://books.apple.com/us/book/meditations/id396136148

Neuroplasticity: re-wiring the brain | Stroke Association

https://www.stroke.org.uk/effects-of-stroke/neuroplasticity-rewiring-the-brain

10 Brain Exercises to Help Boost Memory

https://www.everydayhealth.com/longevity/mental-fitness/brain-exercises-for-memory.aspx

Neurobiological and Systemic Effects of Chronic Stress – PMC

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5573220/

“Try Again. Fail Again. Fail Better”: Beckett’s unlikely Mantra – Goethe-Institut Los Angeles – USA

https://www.goethe.de/ins/us/en/sta/los/bib/feh/21891928.html

The Project Gutenberg eBook of Essays, by Ralph Waldo Emerson

https://www.gutenberg.org/files/16643/16643-h/16643-h.htm#HEROISM

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