It stopped us in our tracks. Christ and the two disciples are at a table talking in the far background. The boy appears anxious to get the food on the table and is looking at the girl as though urging her to get on with it. The boy and girl are serving the food. No longer outside observers, they — and we — are welcome guests. An early work, executed under the strong influence of Caravaggio, it seems to have been painted in 1622–23, before Velázquez left Seville for Madrid. Christ and the two disciples are at a table talking in the far background. Kitchen Maid with the Supper at Emmaus circa 1618. First Queen of King Philip IV (1613 - 1660), The Education of the Virgin (ca. Hands he’d laid on the dying and made them well? The First of the Two Paintings . Portrait of a Man with a Goatee Diego Velázquez • 1620-1622. The man they’d crucified for sedition and blasphemy. Find more prominent pieces of religious painting at Wikiart.org – best visual art database. In these two paintings the artists have, perhaps unwittingly, offered a new reading of the Emmaus story. I stood for a number of minutes looking at it and praying. The Supper at Emmaus, by Velázquez. In the 20th century, artists such as Pablo Picasso, Salvador Dalí and Francis Bacon paid tribute to Velázquez by re-interpreting some of his most iconic images. Verhängung der Messgewand zu San Ildefonso Diego Velázquez • 1620. taking the platter of bread from hers just now? She is standing still, a platter of fish in her hands. The Emmaus story has always been one of my favorite New Testament stories. Sorry, your blog cannot share posts by email. The disciples, their brows furrowed, are in animated discussion with Christ. The picture illustrates the Gospel according to Saint Luke (24:30–31), and shows the moment at which the Disciples recognize the Risen Christ ("And as He reclined at the table with them, He took bread, blessed and broke it, and handed it to them; then their eyes were opened and they recognized Him"). The quiet of the church drew me in, and my first discovery was the Madonna and Child. It stopped us in our tracks. Pingback: COCU33A.Easter 3A.30April2017 | pilgrimwr.unitingchurch.org.au. The man it was rumored now some women had seen this morning, alive? The journey did not disappoint; we were hungry and thirsty travelers, listening for insights and connections, and she invited all of us to the table. He began to paint in a precise tenebrist style, later developing a freer manner characterized by bold brushwork. The focus is on a young Moorish girl, a servant, standing at the kitchen table. As the account unfolds, I think we quickly feel that we could be one of those disciples — sad, perplexed, needing to talk, amazed that anybody could be in the neighborhood and not know what has been going on. Several years ago I was part of a tour group in Bruges, and I wanted to wander a bit on my own. You may also want to read the poem, “The Servant-Girl at Emmaus (A Painting by Velázquez),” by Denise Levertov, in the collection Breathing the Water (New Directions Publishing, 1987). July 5, 2003 The Bricklayer’s Lunch Break, July 7, 2003: On Reading William Blake’s “The Sick Rose”, July 8, 2013: Upon Reading ‘The Eye Altering Alters All’, My Maternal Ancestors: Gallant, Arsenault, Shepard, Binns, Great Aunt Marjorie Mary Gallant 1929-2005, Great Aunt Mary Millicent Gallant 1932-2004, Great Auntie Adeline Gallant (Fardy) 1909-1988, Great Uncle Bruno Edward (Wart Gabe) Gallant 1915-2000, Great Uncle Earl ‘Gabe’ Gallant 1925-2016, Great Uncle Henry Pius (Pyouche) Gallant 1921-1987, Great Uncle Jean Philippe Gallant 1912-1995, Great Uncle Joseph Alfred (Fred) Gallant 1919-1981, Great-Uncle Joseph Emmanuel Gallant 1907-1944, My Paternal Family Maternal Side: Elliott, Burrows, Ward, Gamelin, George Elliott and Mabel Burrows: My Great Grandparents, My Paternal Family Paternal Side Archives: Moors, Haddow, South, Agnes Mary (Mae) Haddow South (1877 – 1940), Grace Rebecca Moors (nee Porter) 1843-1927, Paintings: Gorilla House LIVE ART Battles, Joane Cardinal-Schubert: The Writing on the Wall, Cheery Song Composed by David Dick Slater (1869-1942), Clorinda: Lyric by John Bledlowe and Music by R. Orlando Morgan, I’ll Take You Home Again, Kathleen by Josef Locke, Jesus Only: Written by Frances K. Havergal and Music by A. Ratoli, Passing By: Written by Robert Herrick, Music by Edward Purcell, Prayer Perfect poem by James Whitcomb Riley; Music by Ervine J. Stenson, Schubert: First Vocal Album For High Voice, The Creation: An Oratorio composed by Joseph Haydn, The Holy City Text: F.E. She is listening intently, aware that something very much out of the ordinary is happening. I think also that the intimacy in this story — walking together, talking together, and sharing a meal — draws us in. He was an individualistic artist of the contemporary Baroque period. This study locates Velázquez's Supper at Emmaus (c. 1617/18) within early seventeenth‐century debates on the Christian conversion of Seville's African slaves.Through a careful analysis of writings by Sevillian clerics, the essay argues that Velázquez gave pictorial form to discourse on African spiritual ‘illumination’ and developing theories of skin colour. (Gallery label). ‘Supper at Emmaus’ was created in 1620 by Diego Velazquez in Baroque style. I was recently at a retreat centre in L’arche North Ireland called Drumalis. Then, as I turned to leave, my eye caught the Emmaus painting, a large work once attributed to Caravaggio. Saint John the Baptist in the Wilderness (ca. As Nancy spoke of invitation and welcome, revelation, and transformation, I remembered two paintings I had seen of the Emmaus supper. 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