Category Archives: #FineArtFriday

#FineArtFriday: Tronie of an Old Man by Rembrandt van Rijn

Tronie of an Old Man by Rembrandt van Rijn is a portrait of Rembrandt’s father, Harmen Gerritszoon van Rijn.  Harmen was a miller in Leiden.

About the word “tronie” from Wikipedia: A tronie (16/17th-century Dutch for “face”) is a common type, or group of types, of works common in Dutch Golden Age painting and Flemish Baroque painting that shows an exaggerated facial expression or a stock character in costume. It is related to the French word “tronche” which is slang for “mug” or head.

Rembrandt’s family was quite well-to-do and as such, young Rembrandt was educated in the best schools, which his father paid for.  Rembrandt’s father encouraged his son’s talent.

To my opinionated eyes, this painting shows Rembrandt’s affection for his father.

Rembrandt resembled  his father, if this portrait was accurate, and I think we can assume it was. As an artist, Rembrandt was unflinchingly honest in the portrayal of his subjects, while always managing to show their humanity.


Credits and Attributions

Tronie of and Old Man by Rembrandt van Rijn

Wikipedia contributors, “Tronie,” Wikipedia, The Free Encyclopedia,https://en.wikipedia.org/w/index.php?title=Tronie&oldid=872242306 (accessed March 15, 2019).

Rembrandt and workshop [Public domain]

Advertisements

Leave a comment

Filed under #FineArtFriday, writing

#FineArtFriday: Portrait of Christian Krohg by Oda Krohg

Today’s image is a portrait of Norwegian artist, Christian Krohg as painted by his wife, Oda Krohg.

What I love about this painting:

We see Christian in his bohemian glory. His lush beard is combed just so; his shoes are shined, and he looks every inch a gentleman of the town, yet he doesn’t look like a dandy. A parade with a brass band is happening in the background, a fanfare for the man himself.

The background details are there in impressionistic strokes, but Christian himself stands out sharply, a man who could never fade into the background. He is good-humored, passionate, a warrior for the underclass–Christian Krohg commands attention.

About the artist, via Wikipedia:

Oda Krohgnée Othilia Pauline Christine Lasson (11 June 1860 – 19 October 1935) was a Norwegian painter, and the wife of her teacher and colleague Christian Krohg. She was the second daughter of public attorney Christian Lasson and Alexandra von Munthe af Morgenstierne. Her maternal grandmother was a Russian princess. She grew up in a liberal-conservative household, along with eight sisters and two brothers. Her brother Per Lasson became a noted composer and her sister Caroline Bokken Lasson a singer and writer.

In 1881 she married the businessman Jørgen Engelhardt (1852–1921), with whom she had two children. She split from Engelhardt in 1883, and divorced him in 1888. In 1885 she became a student of Erik Werenskiold and Christian Krohg, the latter she would marry in October 1888. In 1885, their daughter Nana was born, and in 1889, their son Per, who also would be a notable painter.

Oda was noted for both her talent and her passion for life. She was a champion of social justice and devout bohemian. Her life with Christian was filled with drama, with both having many affairs, but they always returned to each other. The two were reunited in 1909 and remained together until his death in 1925.


Credits and Attributions:

Wikimedia Commons contributors, “File:Christian Krohg av Oda Lasson Krohg OB.01508.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Christian_Krohg_av_Oda_Lasson_Krohg_OB.01508.jpg&oldid=336341196 (accessed February 15, 2019).

Wikipedia contributors, “Oda Krohg,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Oda_Krohg&oldid=871328815(accessed February 15, 2019).

2 Comments

Filed under #FineArtFriday, writing

#FineArtFriday: Rallé: Madonna Without a Child (revisited)

Madonna Without a Child; oil on board by Ralle CC-3.0-SSA

Madonna Without a Child; oil on board by Ralle CC-3.0-SSA

Today I am going back to my first #FineArtFriday post, Madonna Without a Child by Rallé. It was with this original post that I first realized that I could study art and art history, even though I am a middle-aged housewife living in a small town two hours away from the nearest art museum. I can go to the internet and through the wonders of Wikimedia Commons, I have thousands of images of the greatest masterpieces at my viewing pleasure.

I can zoom in to examine the smallest details. I can look up information about the picture itself from both Wikipedia and the worlds finest art museums. If anything is known about the artist I can find that information too.

How fortunate I am to live in a time when a thirst for knowledge can be satisfied so easily.

To all the art historians of the world whose research is out there on the internet, I say thank you. I was unable to study this subject in college, but I am neck deep in it now because of your efforts.

And now, my original post.


(Via Wikipedia) Rallé, also known as Master of the Town of Consuls (MTC), is an American artist whose work has most recently been shown in the Meisel Gallery[1][2] and the Bruce R. Lewin Fine Art[3] in New York City. His paintings have accompanied several articles in the magazine Omni, and appeared as covers of several books. Rallé’s work has also been featured in Time Life Books,[4]Esquire, Penthouse, Gulf-Commentator, Toronto Life, Graphics Annual and American Illustration 3.[5]He published an autobiography in 2003, which won the 2004 Sappi European Printer of the Year gold award.

Viewing art inspires my personal creativity as much as listening to music or reading does. The eye of the artist sees things from a different angle, is inspired by things we might at first see as mundane or inconsequential. This is also true about literature, and music.

For me as an author and would-be poet, the world is comprised of myriad different genres, styles, and interpretations of the diverse forms of art. I think this is because all art, whether created of words, paint, images, or sound is filtered through the mind of the artist, photographer, composer, or author and is interpreted by the mind of the beholder.

Inspired by what I behold, I become a creator.

The late Surrealist Artist, René Magritte, said, “The searching intelligence sharpens when it Sees the meaning in poetic images. This meaning goes with the moral certainty that we  belong to the World. And so, this actual belonging becomes a right to belong. The changing content of these poetic images tallies with the richness of our moral certainty. It does not happen at will, it does not obey any system, whether logical or illogical, rigid or fanciful.”


Quote from Literary Hub:  Poetry is a Pipe: Selected Writings of René Magritte ©  René Magritte September 29, 2016

Selected Writings of René Magritte,  Copyright © 2016 by Kathleen Rooney and Eric Plattner, University of Minnesota Press

Quote from Rallé (Artist) Author: Wikipedia contributors / Publisher: Wikipedia, The Free Encyclopedia.

3 Comments

Filed under #FineArtFriday

#FineArtFriday: The Proposition by Judith Leyster 1631

What I love about this painting is how honest Judith Leyster is when detailing the realities of life in her time and in her city. Here, a young woman is pressured to enter into a relationship with a man she has no interest in. He clearly feels he has the right to compel her to sell her virtue, and she clearly ignores him.

Male artists of the time, Leyster’s husband, Jan Meinse Molenaer included, rarely painted genre pictures of young women other than in taverns or other low-life situations. Commissioned portraits of noble and merchant class women they painted in great abundance, but simple, modest women of good virtue? Rarely.

Leyster, on the other hand, had both the talent and because she was a woman, she had the freedom to paint whatever she wanted. As long as she managed the house and raised the children, she could paint whatever moved her.

The artistic talent of women has been so disregarded historically that, despite her signature, her art and her talent were attributed (after her death) to her husband and to Franz Hals.

About the Painting (Via Wikipedia):

“The Proposition” is a genre painting of 1631 by Judith Leyster, now in the Mauritshuis in The Hague, who title it “Man offering money to a young woman.” It depicts a woman, sewing by candlelight, as a man leans over her, touching her right shoulder with his left hand. He is offering her coins in his right hand, but she is apparently ignoring the offer and concentrating intently upon her sewing.

The man wears dark clothing, and the dark tones, as well as his shadow cast behind him and across his face from the angle of the candlelight, give him a looming appearance. In contrast, the woman is lit fully in the face by the candlelight and wears a white blouse.

It is an early work by Leyster, who was only 22 years old in 1631.

Also, From Wikipedia:

(The painting’s) most distinctive feature is how different it is to other contemporary Dutch and Flemmish “sexual proposition” paintings, many falling into the Merry company genre. The convention for the genre, a common one at the time, was for the characters to be bawdy, and clearly both interested in sex, for money. The dress would be provocative, the facial expressions suggestive, and sometimes there would be a third figure of an older woman acting as a procuress. Indeed, in The Procuress by Dirck van Baburen, an example of the genre, that is exactly the case.

In contrast, in The Proposition the woman is depicted not as a whore but as an ordinary housewife, engaged in a simple everyday domestic chore. She isn’t dressed provocatively. She does not display her bosom (but rather her blouse covers her all of the way to her neck). No ankles are visible. And she displays no interest in sex or even in the man at all. Contemporary Dutch literature stated the sort of activity in which she is engaged to be the proper behaviour for virtuous women in idle moments.[2] Kirstin Olsen observed that male art critics “so completely missed the point” that the woman is, in contrast to other works, not welcoming the man’s proposition that they mistakenly named the painting The Tempting Offer.

The foot warmer, whose glowing coals are visible beneath the hem of the woman’s skirt, was a pictorial code of the time, and represented the woman’s marital status. A foot warmer wholly under the skirt indicated a married woman who was unavailable, as it does in The Proposition. A foot warmer projecting halfway out from under the skirt with the woman’s foot visible on it indicated one who might be receptive to a male suitor. And, a foot warmer that is not under the woman at all, and empty of coals, indicated a single woman. This code can also be seen in Vermeer’s The Milkmaid and Dou’s The Young Mother.

About the Artist:

Judith Jans Leyster (also Leijster) (c. July 28, 1609[1]– February 10, 1660) was a Dutch Golden Age painter. She painted genre works, portraits, and still lifes. Her entire oeuvre was attributed to Frans Hals or to her husband, Jan Miense Molenaer, until 1893 when Hofstede de Groot first attributed seven paintings to her, six of which are signed with her distinctive monogram ‘JL*’. Misattribution of her works to Molenaer may have been because after her death many of her paintings were inventoried as “the wife of Molenaer”, not as Judith Leyster.

She signed her works with a monogram of her initials “JL” with a star attached: JL* This was a play on words; “Leister” meant “Lead star” in Dutch and was for Dutch mariners of the time the common name for the North Star. The Leistar was the name of her father’s brewery in Haarlem.

(Only occasionally did she sign her works with her full name.)

She specialized in portrait-like genre scenes of, typically, one to three figures, who generally exude good cheer, and are shown against a plain background. Many are children; others men with drink. Leyster was particularly innovative in her domestic genre scenes. These are quiet scenes of women at home, often with candle- or lamplight, particularly from a woman’s point of view


Sources and Attributions:

Wikipedia contributors, “The Proposition (painting),” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=The_Proposition_(painting)&oldid=851982429 (accessed February 1, 2019).

Wikipedia contributors, “Judith Leyster,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Judith_Leyster&oldid=820769951(accessed February 1, 2019).

1 Comment

Filed under #FineArtFriday

#FineArtFriday: Three Fisher Girls, Tynemouth by Winslow Homer

In Three Fisher Girls, Tynemouth,  Winslow Homer captures the personalities and the youth of the girls who comb the cold beach for shellfish. The viewer wonders, are they good friends, or perhaps sisters? Rain has darkened the day and scarves protect their ears from the wind, yet they’ve rolled their sleeves up and fish in their ordinary work dresses. These hardy young women feed their family, and perhaps they gather enough extra to sell.

About this Image, Via Wikipedia:

Homer spent two years (1881–1882) in the English coastal village of CullercoatsTyne and Wear. Many of the paintings at Cullercoats took as their subjects working men and women and their daily heroism, imbued with a solidity and sobriety which was new to Homer’s art, presaging the direction of his future work. He wrote, “The women are the working bees. Stout hardy creatures.” His works from this period are almost exclusively watercolors. His palette became constrained and sober; his paintings larger, more ambitious, and more deliberately conceived and executed. His subjects more universal and less nationalistic, more heroic by virtue of his unsentimental rendering. Although he moved away from the spontaneity and bright innocence of the American paintings of the 1860s and 1870s, Homer found a new style and vision which carried his talent into new realms.

About the Artist, via Wikipedia

Winslow Homer never taught in a school or privately, as did Thomas Eakins, but his works strongly influenced succeeding generations of American painters for their direct and energetic interpretation of man’s stoic relationship to an often neutral and sometimes harsh wilderness. Robert Henri called Homer’s work an “integrity of nature”.American illustrator and teacher Howard Pyle revered Homer and encouraged his students to study him. His student and fellow illustrator, N. C. Wyeth (and through him Andrew Wyeth and Jamie Wyeth), shared the influence and appreciation, even following Homer to Maine for inspiration.  The elder Wyeth’s respect for his antecedent was “intense and absolute” and can be observed in his early work Mowing (1907). Perhaps Homer’s austere individualism is best captured in his admonition to artists: “Look at nature, work independently, and solve your own problems.”


Credits and Attributions:

Three Fisher Girls, Tynemouth, by Winslow Homer 1881 [Public domain] watercolor over graphite on wove paper, via Wikimedia Commons (accessed January 25, 2019).

Wikipedia contributors, “Winslow Homer,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Winslow_Homer&oldid=877771053 (accessed January 25, 2019).

Comments Off on #FineArtFriday: Three Fisher Girls, Tynemouth by Winslow Homer

Filed under #FineArtFriday

#FineArtFriday: Saint George and the Dragon by Paolo Uccello 1470

The above painting by Paolo Uccello, from around 1470,  is a surreal, stylized retelling of the legend of Saint George and the Dragon. The legend tells of the knight slaying a dragon that demanded human sacrifices. With the slaying of the dragon, the hero has saved the princess who was chosen to be the next offering.

Nothing looks real except the dragon. I love how hyper-heroic Uccello portrayed horses. The people are pallid, with no personality to their features. The dragon and the horse are alive, as if the scene is about them only. All the passion of the moment converges in the dragon and the horse.

Done in oil on canvas, the painting was one of the last of Uccello’s creations.

According to Wikipedia, the Fount of All Knowledge: The narrative (of Saint George) has pre-Christian origins (Jason and MedeaPerseus and AndromedaTyphon, etc.),[1] and is recorded in various saints’ lives prior to its attribution to St George specifically. It was particularly attributed to Saint Theodore Tiro in the 9th and 10th centuries, and was first transferred to Saint George in the 11th century. The earliest narrative record of Saint George slaying a dragon is found in a Georgian text of the 11th century.

About the Artist (via Wikipedia)

Born Paolo di Dono, his nickname, Uccello (of the birds), came from his fondness for painting birds. He worked in the Late Gothic tradition, emphasizing colour and pageantry rather than the classical realism that other artists were pioneering. His style is best described as idiosyncratic (eccentric or unique), and he left no school of followers.

With his precise and analytical mind, Paolo Uccello tried to apply a scientific method to depict objects in three-dimensional space. In particular, some of his studies of the perspective foreshortening of the torus are preserved, and one standard display of drawing skill was his depiction of the mazzocchio.[10]

In the words of G. C. Argan: “Paolo’s rigour is similar to the rigour of Cubists in the early 20th century, whose images were more true when they were less true to life. Paolo constructs space through perspective, and historic event through the structure of space; if the resulting image is unnatural and unrealistic, so much the worse for nature and history.”[11]

The perspective in his paintings has influenced many famous painters, such as Piero della FrancescaAlbrecht Dürer and Leonardo da Vinci, to name a few.


Credits and Attributions:

Wikimedia Commons contributors, “File:Paolo Uccello 047.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Paolo_Uccello_047.jpg&oldid=308602797  (accessed January 18, 2019).

Wikipedia contributors, “Paolo Uccello,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Paolo_Uccello&oldid=873078862  (accessed January 18, 2019).

4 Comments

Filed under #FineArtFriday

#FineArtFriday: A Guardroom by Abraham Teniers

I have often said that to write about medieval and pre-industrial revolution societies, you must go to art to get the facts. This painting, attributed to Abraham Teniers, is a symbolic piece showing the transience of life and the certainty of death.

He shows us a guardroom. Abraham Teniers served as a captain of the local civil militia of Antwerp and was fond of painting guardroom scenes.

This particular scene is intriguing to me, because of the way the jumble of disjointed metal armor completely dominates the painting. In the foreground, in the light, we see flintlock pistols, muskets, breast plates, leg guards, vambraces, a drum, swords and other steel weaponry, and several helmets—all cast into a corner.

Almost unnoticed in the background, peasant soldiers are shown smoking and drinking before a fireplace. They are deliberately kept in the background of the picture, an allegory for the fleetingness of life.

The armor depicted in the two pictures was of a style no longer in use at the time it was painted. Metal armor was falling out of use by the time Abraham Teniers was born. Plate had lost its effectiveness as guns became the weaponry of choice. It is the allegory representing death.

Abraham is not the most famous of the Teniers family, but he was a talented and skilled painter. In this scene, he makes good use of chiaroscuro, strong contrasts between light and dark.

About the artist (from Wikipedia):

Abraham Teniers (1 March 1629 – 26 September 1670) was a Flemish painter and engraver who specialized in genre paintings of villages, inns and monkey scenes. He was a member of artist family Teniers which came to prominence in the 17th century. He was also active as a publisher. He was responsible for the publication of the Theatrum Pictorium (‘Theatre of Paintings’), the project initiated by his brother David to make a set of engravings of the entire art collection of Archduke Leopold Wilhelm.

Like his brother David before him, Abraham found appreciation at the court in Brussels and the art-loving Archduke Leopold Wilhelm of Austria – then the governor of the Southern Netherlands and a resident of Brussels – appointed him as court painter.


Credits and Attributions:

Wikimedia Commons contributors, “File:Abraham Teniers – Een wachtlokaal, 1 (Prado).jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Abraham_Teniers_-_Een_wachtlokaal,_1_(Prado).jpg&oldid=267098550 (accessed January 3, 2019).

Wikipedia contributors, “Abraham Teniers,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Abraham_Teniers&oldid=871305163 (accessed January 3, 2019).

Comments Off on #FineArtFriday: A Guardroom by Abraham Teniers

Filed under #FineArtFriday

#FineArtFriday: Tavern with a pair of dancers by David Teniers II

About the Artist, from Wikipedia:

David Teniers II was known as a hard worker who was extremely prolific. About two thousand paintings are thought to have been painted by the artist. He was extremely versatile and tried his hand at all the genres then practiced in Flanders including history, genre, landscape, portrait and still life.

Teniers is particularly known for developing the peasant genre, the tavern scene and scenes with alchemists and physicians. He also painted many religious scenes among which stand out his many compositions treating the subjects of the Temptation of St Anthony and hermit saints in grottoes or deserts.

A major influence on David Teniers the Younger’s early work was the work of the Flemish painter Adriaen Brouwer.

The personal style of Teniers was visible from the outset. An important distinction was that, unlike Brouwer who placed these genre scenes mainly indoors, Teniers gradually moved his scenes into the open air and started to give the landscape a major place in his work from the 1640s. This was a common development in Flemish painting at the time. The smoky and monochrome tonality of the interiors from the 1630s was replaced by a luminous, silvery atmosphere, in which the peasants sit at their ease, conversing or playing cards. These paintings show a radical move towards a more positive attitude towards country life and the peasantry than was reflected in his earlier satirical pieces influenced by Brouwer.

In the 18th century, Parisian collectors eagerly competed to lay their hands on Teniers’ works. They knew the artist chiefly for his idealized scenes of rural life, paintings of village feasts, interiors with peasants and guardroom scenes. Teniers’ work was very much admired by French painters of that time.


Credits and Attributions

“Tavern with a pair of dancers” by David Teniers II. Oil on canvas. Munich, Germany. Bavarian State Picture Gallery via Wikimedia Commons

Wikimedia Commons contributors, “File:David Teniers II Taverna s paroi Tanz (1645).jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:David_Teniers_II_Taverna_s_paroi_Tanz_(1645).jpg&oldid=222921557 (accessed December 28, 2018).

Comments Off on #FineArtFriday: Tavern with a pair of dancers by David Teniers II

Filed under #FineArtFriday

#FineArtFriday on a Monday: Vintage Christmas Card, by Jenny Nystrom

Merry Christmas from my home to yours! The above image is a quintessential Swedish Christmas card, illustrated by Jenny Nystrom, (1854 – 1946).

Jenny Eugenia Nyström (13 or 15 June 1854 in KalmarSweden – 17 January 1946 in Stockholm) was a painter and illustrator  who is mainly known as the person who created the Swedish image of the jultomte on numerous Christmas cards and magazine covers, thus linking the Swedish version of Santa Claus to the gnomes of Scandinavian folklore. [1]

While in Paris, she discovered the booming postcard market, and tried to persuade the Swedish publishing house Bonnier to start producing postcards, but they declined. Lille Viggs äventyr på julafton (“Little Vigg’s Adventures on Christmas Eve”), written by the author Viktor Rydberg inspired Jenny Nyström. She made drawings accompanying this tale. Viktor Rydberg saw them and suggested the Bonniers publishing company to release the book. After they declined, publisher S. A. Hedlund released it in 1871. The short Christmas tale for all ages was widely printed and has since become a Christmas classic in Sweden. Jenny Nyström eventually became Sweden’s most productive painter and illustrator. For many years, her illustrations were distributed by Strålin & Persson AB in Falun .


Credits and Attributions

Wikipedia contributors, “Jenny Nyström,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Jenny_Nystr%C3%B6m&oldid=837676901 (accessed December 24, 2018).

Wikimedia Commons contributors, “File:Nystrom God-Jul 21.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Nystrom_God-Jul_21.jpg&oldid=260790882 (accessed December 24, 2018).

4 Comments

Filed under #FineArtFriday

#FineArtFriday: A Christmas Carol, revisited

Today’s images are two illustrations by John Leech from the first edition of A Christmas Carol, by Charles Dickens,  published in book form in 1843.  The body of this post first appeared here on Dec, 23, 2015. This is the first time I have included the original art of John Leech, which Dickens himself chose to include in the book.

From Wikipedia: John Leech (29 August 1817 – 29 October 1864 in London) was a British caricaturist and illustrator.[1] He is best known for his work for Punch, a humorous magazine for a broad middle-class audience, combining verbal and graphic political satire with light social comedy. Leech catered to contemporary prejudices, such as anti-Americanism and antisemitism and supported acceptable social reforms. Leech’s critical yet humorous cartoons on the Crimean War help shape public attitudes toward heroism, warfare, and Britons’ role in the world.[2][3]

Four of John Leech’s etchings were included in the first edition of A Christmas Carol.


Another Christmas is about to join the Ghosts of Christmas Past–although, until December 26th, it is still the Ghost of Christmas Present. And as always, I want to talk about my favorite Christmas story of all time, A Christmas Carol, by Charles Dickens.

Charles Dickens was a master when it came to creating marvelous hooks and using heavy foreshadowing. Let’s have a look at the first lines of this tale:

“Marley was dead, to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it. And Scrooge’s name was good upon ‘Change for anything he chose to put his hand to. Old Marley was as dead as a doornail.”

In that first paragraph, Dickens  tosses out the bait, sinking the hook, and landing the fish (the reader) by foreshadowing the first plot point of the story–the visitation by Marley’s ghost. We want to know why Marley’s definite state of decay was so important that the conversation between you the reader, and Dickens the author, was launched with that topic.

He picks it up and does it again several pages later, with the little scene involving the door-knocker, where Scrooge sees the face of his late business partner superimposed over the knocker.

At this point we’ve followed Scrooge through several scenes introducing the subplots. We have met the man who, as yet, is named only as ‘the clerk’ in the original manuscript, but whom we will later know to be Bob Cratchit, and we’ve met Scrooge’s nephew, Fred.

These subplots are critical, as our man Scrooge’s redemption revolves around the ultimate resolution of these two separate mini-stories–he must witness the joy and love in Cratchit’s family, who are suffering but happy in the midst of grinding poverty for which Scrooge bears a responsibility. We see that his nephew, Fred, though orphaned is well off in his own right, but craves a relationship with his uncle with no thought or care of what he might gain from it financially.

All the characters are in place. We’ve seen the city, cold and dark, with danger lurking in the shadows. We’ve observed the way Scrooge interacts with everyone around him, strangers and acquaintances alike. Now we come to the first plot point in Dickens’ story arc–Marley’s visitation. This is where the set-up ends and the story begins to take off.

I love tales of redemption–and A Christmas Carol by Charles Dickens remains one of the most beloved tales of redemption in the Western canon. Written in  1843 as a serialized novella, A Christmas Carol continues to inspire adaptations, in both movies and books.

This is a short tale, but it is a deeply moving allegory of the Christian concept of redemption that remains pertinent in modern society.

In this tale, Dickens asks you to recognize the plight of those whom the Industrial Revolution has displaced and driven into poverty, and the obligation of society to provide for them humanely. This is a concept our society continues to struggle with, and perhaps will for a long time to come.

It is that deep, underlying call for compassion that resonates down through the centuries, a call that is, unfortunately, timeless.


Credits and Attributions:

The Art of Foreshadowing: Charles Dickens, first appeared here on Life in the Realm of Fantasy, on Dec. 23, 2015.

Wikipedia contributors, “John Leech (caricaturist),” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=John_Leech_(caricaturist)&oldid=871947694 (accessed December 21, 2018).

Wikimedia Commons contributors, “File:Christmascarol1843 — 040.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Christmascarol1843_–_040.jpg&oldid=329166198 (accessed December 21, 2018)

A colourised edit of an engraving of Charles Dickens’ “Ghost of Christmas Present” character, by John Leech in 1843. Wikimedia Commons contributors, “File:Ghost of Christmas Present John Leech 1843.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Ghost_of_Christmas_Present_John_Leech_1843.jpg&oldid=329172654 (accessed December 21, 2018).

 

2 Comments

Filed under #FineArtFriday, writing