Art in the archives: Nativity scenes
The story of Jesus' birth as told through artworks from the archives at PHS
There are two things you can bet on seeing each Christmas season: glittering Douglas-firs and vignettes of the nativity scene. The journey Joseph and Mary took across miles, the inn with no vacancy, the manger full of hay — the details of this story are known to people across the world, with many opting to display some version of it on their lawns, their mantels, or their greeting cards. Artists across the globe have been drawing, sculpting, weaving, and painting renditions of the nativity story for centuries. Today, we are sharing a few of our favorite Nativity-themed artworks that live in the archives of the Presbyterian Historical Society.
Aside from general manger scenes, where the welcoming of infant Jesus is a crowded affair, artists have also focused on the special relationship between Mary and her new baby. These portraits of the Virgin Mary holding her son are often titled “Madonna and Child,” Madonna meaning “My Lady” in the Italian vernacular. The depiction of mother and child has evolved over time, moving from emulating the two as enthroned, divine figures to more realistic depictions of Mary and her newborn.
The Madonna and Child to the right was created in traditional Chinese style —painted on silk. The art piece was exhibited at St. Joseph’s College for Women in Brooklyn, New York, as part of their special showing of Christian Art in the Far East. The caption shares that the exhibit consisted of “Chinese, Japanese, and Formosan religious art.”
The oil painting at left depicts the Madonna and Child with features characteristic of the Aboriginal and Torres Strait Islander peoples. The two figures leap from the foreground, the stark white of their garments in contrast with the background of traditional Aborigine designs. Most depictions of Mary and the infant Jesus show him cradled in her arms or seated upon her lap. This iteration shows Jesus hoisted atop his mother’s shoulder, in the same way that the Torres Strait Islander peoples, those not from mainland Australia but from a group of about 274 small islands north, would carry their children.
The work, created by visiting artist Karel Kupka, hangs in the sanctuary of St. Mary’s Star of the Sea Cathedral in Darwin, Australia, and is a focal point of the church. Czech-born artist Karel Kupka, who arrived in Australia in the summer of 1956, became a student of the Aborigine culture, the native people of mainland Australia. An artist who matriculated at the Ecole des Beaux-Arts in Paris, Kupka crafted this artwork using his research, studies, and interactions with the indigenous peoples and their history. Czech-born artist Karel Kupka, who arrived in Australia in the summer of 1956, became a student of the Aborigine culture, the native people of mainland Australia. An artist who matriculated at the Ecole des Beaux-Arts in Paris, Kupka crafted this artwork using his research, studies, and interactions with the indigenous peoples and their history. “The Shrine of the Aboriginal Madonna” is visited by many, and serves as a reminder that the message of Christianity is a universal one.
Artist Ben Long IV took a very different approach to his interpretation of the Virgin with Child. The caption of this image of Long, who is perched on the edge of his chair, calls his artwork “a visual rarity" as he "executes a life-size fresco of the Virgin Mary about eight months pregnant.” To his right is the Rev. J. Faulton Hodge, who assists Long in his work. The inspiration behind this portrait is Luke 2:5, which reads “Mary — who was with child.”
Long’s fresco took about four days to complete. He can be seen in this photo painting the figure of Mary into fresh plaster— on the left is the “cartoon,” or the study of the fresco that he is working from. Long’s wife Diane, who was pregnant at the time, served as his model. Mary’s left hand is raised in a spiritual gesture, while her right cradles her stomach. The eclipse above her head signifies the coming event — that event, of course, being the birth of Christ.
The artwork was a gift from Long to St. Mary’s Episcopal Church, a 100-member parish in western North Carolina. The aesthetic of the fresco matched well with the “rustic 19th century roadside church” that the worshippers congregated in. Long, a native of North Carolina, was visiting the church from Florence, Italy, where he was studying under a master fresco artist. Plans were already underway for Long to return the following summer to create another fresco — this one of St. John.
Whether looking at an artist's rendition of the Wise Men, or the "little drummer boy," or Jesus in his manger surrounded by hay, each scene signifies the nativity. Which details are highlighted is the choice of the artist.
"Christian artists from Brazil, Pakistan and Argentina won prizes in this year's Christmas art competition sponsored by Intermedia (formerly the Committee on World Literacy and Christian Literature) of the National Council of Churches." So begins a 1973 press release from the Religious News Service, who covered the event. The winning paintings were reproduced for use as Intermedia's 1973 Christmas cards.
An award was given to Brazilian artist Maria Cecilia Silveira for her artwork showing Mary and Joseph traveling across the desert "under the hot Egyptian sun." The caption tells us that, though the photograph facsimile is black and white, the original art piece is predominated by "brilliant orange and gold" colors. Rather than focus on the moment of respite Mary and Joseph find in the stable, this artist decided to depict the strenuous journey they took to get there.
American artist Jane Palermo went in a different direction, sketching a scene of introduction rather than escape. New mother Mary is seen cradling her infant in the artwork on the right as they are greeted by the three wise men, one of which has fallen to his knees before the child, with hands outstretched.
The painting on the right, titled "Shepherd Boy with Flute," won first prize in the sponsored competition. Of 40 entries from 12 countries, Pakistani artist Joseph Scott's "rendering of a Punjab shepherd boy playing the flute for baby Jesus" captivated judges the most. Though neither Mary nor Joseph nor the three Wise Men are pictured, this beautiful rendition is laced with and inspires awe of the magic of the nativity.
Children typically look to the Christmas holiday and tend to hone in on the Santa of it all, but not little "Leona Martens when she was a fifth-grade student in St. Louis." Instead of using her crayons to draw a velvety red suit, this youngster sketched her interpretation of Jesus in his manger. This "child's view of the classic Christmas theme" is full of joy — how happy and serene Mary's smile is as she mirrors the grin of her child, who gazes up at a bright star with wide-open eyes. This Christmas season, be sure to keep your eyes open to the art and the awe that is all around you.
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