Lucas Cranach, our contemporary

Paul McCain points to even more critical acclaim for our man Lucas Cranach, whose art is being featured in a major exhibit at the Royal Academy in London. Listen to Laura Cumming marvel at how modern, how new, how relevant Cranach seems. She even says he is “our contemporary”:

It is hard to believe there could be any great masters of the past still waiting to be rediscovered, in this country at least, but so it is with German painter Lucas Cranach. Apart from a tiny glimpse of him at the Courtauld last year, this is the first show ever mounted in Britain. Exhilarating, dramatic, humorous and harrowing by turns, Cranach turns out to be an artist for our times, despite being 500 years old, and with 70 works representing his amazing range, this is an almost perfect exhibition. . . .

It is easy to make a modern figure out of Cranach, about whom an unusual amount is known. Thrice mayor of Wittenberg as well as its richest citizen, property developer and founder of the first licensed pharmacy, in his considerable career – he died in 1553 at 81 – he worked for three successive Electors of Saxony. He introduced colour to printmaking, printed Luther’s version of the New Testament and depicted all of the major public intellectuals of the day, often many times over with the help of assistants, leading to the crass misconception that his studio was something like Warhol’s Factory.

But Cranach’s is a singular imagination, shining clearly even in works begun by other hands. It is in his sympathy for women, children and peasants, in his narrative elan, his penetrating empathy and his uncommon use of humour to emphasise horror. . . .

The overwhelming revelation of this show is of an artist who believed that nothing – no emotion, no experience, no vision – was beyond figurative depiction, from the most primitive instinct to the most numinous ideal. And the whole spectrum is there, above all, in his paintings of Christ. On the one hand, he is all warmth, not just blessing but kissing the little children. On the other, in an image as direct as a photograph, he stares straight back at you, devastatingly close but worlds away: God made Man, yet forever unknowable.

Unknowable? It sounds like Cranach knows Christ very well. The critic also says that he is religiously complex because he painted also for Catholic patrons, but she doesn’t understand that there were not “two churches” in the early days of the Reformation, but that the expectation is that the true gospel would spread all the way to Rome.

But this is what these critic’s response to Cranach’s art tells me: If Cranach’s art resonates today, I maintain that his theology would resonate today. His freedom and the exuberant life the critic senses comes from Cranach’s grasp of the gospel of that Christ he portrays so powerfully.

Cranach’s faith, grounded as it is in doctrine and expressed in his vocation, is what the emerging church is looking for. His is the true ancient-future worship.

I think that we stodgy and out-of-touch Lutherans–though I’m not talking just about Lutherans–can amaze the postmodernists just like Cranach does this art critic.

Born-again conservative

David Mamet is one of the few contemporary playwrights and screenwriters whose work, in my experience, is always worth taking in. He has announced, in an essay in the Village Voice, no less, that he has experienced a change of heart and is now a conservative. The piece is entitled Why I Am No Longer a ‘Brain-Dead Liberal’.

Caution: some bad language, always a Mamet weakness.

Cranach’s utter coolness

The artist, that is, not the blog. A big tip of the beret to Paul McCain’s Cyberbrethren for alerting me to this story from England about a big Lucas Cranach exhibit at the Royal Academy. The art critic goes on and on about the creativity, the “unruly talent,” and the darting imagination of Luther’s crony at Wittenberg. From “Cranach’s flashes of inspiration” in the London Times Online :

The fantastical religious paintings that surround The Martyrdom of St Catherine in the first outburst of his career confirm the impression that a momentous and unruly talent has been unleashed. Familiar subjects – the Crucifixion, the stigmatisation of St Francis – are reinvented outrageously by an artist determined not to do anything the way others did it. If the religious convolutions in the foregrounds are too complex for you, there are always the backgrounds to enjoy. Cranach was a superb landscapist who always set his biblical duels in recognisable stretches of Upper Franconia, where tottering Harry Potter castles wobble atop mysterious riverside crags.

Because his imagination darted about so much, there wasn’t much he didn’t try. There are portraits, altarpieces, bits of contemporary genre pictures that tug your heartstrings and ones that make you laugh. His woodcuts throb and squirm with events, like an angler’s worm tin. And a gorgeous nocturnal Nativity sets him the tough task of painting candlelit reflections at night. Nowhere does his art settle on a standard look.

Darting from one thing to another, tugging your heart strings, making you laugh, throbbing and squirming with events, religious convolutions, biblical duels. Maybe that DOES describe this blog in his honor!

Nothing to say about the Oscars

Contrary to my usual custom, I really don’t have anything to say about the Academy Awards. I tried to watch some of the show, but I found it insufferable and had to turn away. Which raised another question in my mind: Is it really true lately that movies influence the culture? I think we are seeing the dysfunction evident in the rest of the arts, in which the “high culture” of the artsy elite has become culturally irrelevant, while the “pop culture” of the money-makers simply conforms to whatever trends are out there.

Cranach painting updates

Paul McCain has put up some more material on his blog devoted to that Lucas Cranach altarpiece.  He includes some exposition of the figures in the painting and what they mean.  Note the self-portrait of Cranach, who shows the blood of Christ shooting out from His wounds upon himself.  That’s a powerful confession of faith from the great artist.  Go to A Painting That Preaches Christ.

A Cranach painting gets its own blog

A thousand thanks to Paul McCain, who has started a whole blog in honor of Lucas Cranach’s Weimar altarpiece!  It is called A Painting That Preaches Christ.The first post is an enormously enlightening summary, filled with priceless quotations, about Luther’s defense of using art in church.  The site promises more and more resources exploring this masterpiece of the Reformation. Cranach's Weimar Altarpiece