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The Annunciation In Three Movements

The angel Gabriel was sent from God to a town of Galilee called Nazareth, to a virgin betrothed to a man named Joseph, of the house of David, and the virgin’s name was Mary. And coming to her, he said, “Hail full of grace! The Lord is with you.”

But she was greatly troubled at what was said and pondered what sort of greeting this might be.

But she was greatly troubled at what was said and pondered what sort of greeting this might be.

Then the angel said to her, “Do not be afraid, Mary, for you have found favor with God. Behold, you will conceive in your womb and bear a son, and you shall name him Jesus. He will be great and will be called Son of the Most High, and the Lord God will give him the throne of David his father, and he will rule over the house of Jacob forever, and of his Kingdom there will be no end.”

But Mary said to the angel, "How can this be, since I have no relations with a man?"

But Mary said to the angel, “How can this be, since I have no relations with a man?”

And the angel said to her in reply, “The Holy Spirit will come upon you and the power of the Most High will overshadow you. Therefore the child to be born will be called holy, the Son of God. And behold, Elizabeth, your relative, has also conceived a son in her old age, and this is the sixth month for her who was called barren; for nothing will be impossible for God.”

Mary said, "Behold, I am the handmaid of the Lord. May it be done to me according to your word." Then the angel departed from her.

Mary said, “Behold, I am the handmaid of the Lord. May it be done to me according to your word.” Then the angel departed from her.

 

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On the Road to BEAUTY: William Morris

“Beauty, which is what is meant by art, using the word in its widest sense, is, I contend, no mere accident to human life, which people can take or leave as they choose, but a positive necessity of life, if we are to live as nature meant us to; that is, unless we are content to be less than men.”

William Morris, 1880

William MorrisBEAUTY

The Gift of Christmas

“The God of love who gave us life sent His only Son to be with us at all times and in all places, so that we never have to feel lost in our struggles but always can trust that he walks with us.

The challenge is to let God be who he wants to be. A part of us clings to our aloneness and does not allow God to touch us where we are most in pain. Often we hide from him precisely those places in ourselves where we feel guilty, ashamed, confused, and lost. Thus we do not give him a chance to be with us where we feel most alone.

Christmas is the renewed invitation not to be afraid and to let him — whose love is greater than our own hearts and minds can comprehend — be our companion.”      Henri Nouwen  

Nativity, Edward Coley Burne-Jones,1888

Nativity, Edward Coley Burne-Jones,1888

“Christ is born to us today, in order that he may appear to the whole world through us.” — Thomas Merton 

The Beauty Collective

Seven Beautiful Paintings by Bouguereau, by Stacy Trasancos Accepting Abundance

Mary, Motherhood, Womanhood, and Faith, by Susan TerbayCatholicMom.com

An Eye for Beauty, by Daniel McInerny High Concepts

Beauty As a Call, by Daniel McInerny High Concepts

The Power of Beauty, by “Sarah” Fumbling Toward Grace

Dolphin Tale’s Positive Portrayal of Homeschoolers, by Peggy Bowes The Integrated Catholic Life

Our Lady of Sorrows

“Simeon blessed them and said to Mary his mother, “Behold, this child is destined for the fall and rise of many in Israel, and to be a sign that will be contradicted and you yourself a sword will pierce so that the thoughts of many hearts may be revealed.” (Lk 2:34-35)

O Mary . . . a terrible sword has pierced your holy soul. Except for God, no one knows of your suffering. Your soul does not break; it is brave, because it is with Jesus.  Sweet Mother, unite my soul to Jesus, because it is only then that I will be able to endure all trials and tribulations, and only in union with Jesus will my sacrifices be pleasing to God. Sweetest Mother, continue to teach me about the interior life. May the sword of suffering never break me. O pure Virgin, pour courage into my heart and guard it. –Prayer of St. Faustina to the Sorrowful Mother (Diary 915)

The Beauty Collective (September)

This is a new feature on one tiny violet. During my infrequent forays into cyberspace, I continue to come across blog posts and articles which focus on the topic of BEAUTY. I decided that since this blog is focused on discovering extraordinary beauty in an ordinary life, it would be worthwhile to showcase these finds in a monthly collective so that others can enjoy them too! If you happen across anything in your own travels through cyberspace that you think might work for The Beauty Collective, please share it with me — post a comment here or email me at 1 tinyviolet at gmail dot com. Enjoy!

Suffering ‘A Precious Thing,’ by Roxane Salonen (CatholicMom.com)

The Dignity of Cinderella, Sleeping Beauty, and Snow White, by Diane Schwind (CatholicMom.com)

A Recommended Book for Young Children, David Clayton (WayofBeauty.com)

A Room of Her Own, by Celeste Behe (CatholicMom.com)

Only Beauty Will Save Us, by Sandro Magister (chiesaespresso)

Beauty Break: The Stuff That Dreams Are Made Of

I am fascinated by the process of art: how a fragment of a dream in the mind of an artist is conceived and brought to eventual fruition. So often, I think, we encounter great masterworks, whether they be paintings, musical pieces, or novels, and perhaps fail to take into account everything that had to happen for this work to come into being. It is a rare privilege to peek into the inner workings of the mind or eye of the artist, to see his hand at work in the process of creating beauty.

The Huntington Library and Botanical Gardens in San Marino is offering just such a rare peek into the work of creating waking dreams of beauty. The exhibit “Pre-Raphaelites and Their Followers: British and American Drawings From the Huntington’s Collection” is on view through September 26 and is worth a beauty break if you are in the area. Incidentally, if you are unfamiliar with the Pre-Raphaelites and their distinctive contribution to 19th century arts and letters, Stephanie Pina provides a brief but excellent overview, along with some helpful links, on her lovely website dedicated to all things Pre-Raphaelite.

One of the primary goals of the Pre-Raphaelite Brotherhood (PRB), which included the artists Dante Gabriel Rossetti, William Holman Hunt, and John Everett Millais, was to renew British art and literature, in particular through the faithful observance of nature. Many people think their influence was limited to the United Kingdom; this exhbit dispels that idea, showing clearly how the theories, techniques, and philosophy of the PRB moved across the pond and found great sympathy among a group of American artists, architects, and geologists who formed their own group — The Society for the Advancement of Truth (SAT) — modeled after the PRB. 

Though tiny — only 37 drawings — the exhibit was a revelation. There were careful studies of larger, more well-known works by the British artists which revealed the detailed and painstaking processes involved in making the dreams in their minds come to life. Most of the American artists represented focused on landscape painting, everything from the domes of Yosemite in the Sierras, to the Hudson River Valley, and beyond to Florence. There were  also two small detailed landscape studies by Walter Crane. Several American Pre-Raphaelites in fact had a very close relationship with the British critic John Ruskin, an artist in his own right, who was credited with spreading the philosophy of Pre-Raphaelitism through his many writings and patronage. Two of these American Pre-Raphaelites, Henry Roderick Newman and Esther Frances (Francesca) Alexander, were represented in the exhbit. Ruskin’s own drawing of the crumbling castle walls of Kenilworth was on view as well.

Highlights included “Andromeda,” by Edward Burne-Jones as part of a study for his larger The Rock of Doom in his Perseus Cycle.  A head study of a woman by Rossetti and another series of studies by Frederick Sandys were significant. There were four gorgeous miniature studies for The Lady of Shallot, by William Holman Hunt. These in particular give a sense of how the artist tries to conceive of the image from different viewpoints. And many times, as in this case, the end result looks nothing like the original conceptualization. Finally, in juxtaposition, one of the few original existing copes of the first volume of the PRB’s journal The Germ: Thoughts Toward Nature in Poetry, Literature, and Art displayed next to its American sister SAT publication The New Path: A Monthly Art Journal.

It was hard to choose any one piece as a favorite, but I suppose there were three that absolutely stood out for me. Charles Allston Collins “Beati Mundo Corde” was almost photographic in its precision of the young nun’s facial features.

“Isabella Boccaccio,” by John Riley Wilmer alludes to the 14th century Italian poet Boccaccio’s The Decameron, a favorite of the Pre-Raphaelites. The piece might also be a reference to John Keats’ poem “Isabella and the Pot of Basil,” which is itself derived from The Decameron.  Incidentally, Holman Hunt painted his own Isabella. I tend to like the layered quality of the narrative paintings of the Pre-Raphaelites — every picture tells a thousand stories and there are so many details to linger over.

Finally, this “Head of a Girl,” a study in gold tip on prepared paper by John Southall is simply breathtaking. She is truly a glimpse of the ideal of Pre-Raphaelite beauty in every way.

On reflection, this small but important exhibit does what it set out to do and reflects the fulfillment of the Pre-Raphaelite vision in creative communities on both sides of the Atlantic in their effort to “see everything, small and large, with almost the same clearness.”

 

“Know once and for all, that a poet on canvas is exactly the same species as a poet in song….”  John Ruskin, Pre-Raphaelitism, 1851

Beauty Break Bonus: One gallery in the Huntington’s British Art Museum holds original furnishings, textiles, and ceramic tile pieces by William Morris and Co. Be sure to sneak a peek down the staircase at the end of the gallery for a floor to ceiling Morris stained glass, with art work by Edward Burne-Jones. I was unable to photograph this, but here is a link to a lovely photo taken by someone else. Gorgeous……..