Madonna and Child with Wooden Cross

 “ Then Simon blessed them and said to Mary, His mother:  This Child is destined to cause the falling and rising of many in Israel, and to be a sign that will be spoken against, so that the thoughts of many hearts will be revealed. And a sword will pierce your own soul too.” Luke 2:34-35

The theme of Mother and Child, often called Madonna and Child, is a specific, easily recognized genre of historical Biblical painting, which began in the Fourth Century during the Byzantine period. Throughout the Church age every generation has created its own interpretation of this theme—most of them using iconography and symbolism to convey a particular theological insight. 

The earliest historical paintings portray a schematic Mary holding a Christ child that looks like a miniature man, reminding the viewer that Christ was a man as well as the Son of God.  Some later versions feature Mary holding an unclothed child with all his body parts displayed, thus hoping to counter a gnostic heresy that claimed Jesus was only a spirit. 

Recently, in a captivating sermon Pastor Mike Erre reminded us how greatly Mary suffered for her faith in God.  As an innocent young girl she was doubted by her fiancé and scorned by her community.  Simon prophesized in the temple that she was to carry a “dagger in her heart”; she was to agonizingly witness her son being arrested, brutalized and finally crucified. 

This exhibit includes Mother and Child themed paintings done over the last 5 years. They focus on a Biblically informed speculation on the psychological relationship between Mary and her young son.  To what degree did Mary understand the prophecy that she received from Simon? To what degree did the child Jesus understand the significance of the Cross?  Was it just a curious toy for him but a dark premonition for his mother?  These are the types of questions I asked myself as I studied the Scriptures. The painting process and my imagination suggested various scenarios and interactions. I found myself searching out the human reactions—apprehension, sadness, resignation, wonder—which make relationships come alive.

One of my paintings portrays Mary as “The Second Eve,” tempted by the serpent to doubt God.  Will she be able to undo the curse brought about by the first Eve who offered the forbidden fruit to Adam? Yes, because here Mary holds on to Jesus, not “the fruit of the tree of the knowledge of good and evil.” The fruit remains in Christ’s hand where it symbolizes the promised redemption. 

In another painting Mary is placed under a tree from which a large branch has been cut--possibly to make a large cross? This speculation makes the facial expressions more meaningful. In the remaining paintings the symbol of the cross or a lit candle trigger the emotional dynamic between mother and child. As you encounter each painting, my hope is that the “thoughts of your heart” will also be revealed.