Visual Scripture
02
Facing the rear of the small chapel, looking over the Bible of Borso d’Este
Contents WORDS FROM PASTOR HAUGEN.............. 04
VISUAL SCRIPTURE................................ 06 THE CRUCIFIX........................................ 07 JOHN THE STEADFAST............................. 08 BAPTISM OF CHRIST............................... 10 TRANSFIGURATION OF CHRIST................ 12 THE ADORATION OF THE MAGI................ 14 DESCENT FROM THE CROSS.................... 16 THE BIBLES............................................ 20 STATIONS OF THE CROSS........................ 22 THE WOODEN CROSS............................. 30 THE ORGAN (OPUS 15)........................... 31 LARRY HEYDA........................................32 PAUL DELORENZO...................................33 IMAGES OF EBENEZER.............................34 Copyright © 2017 Ebenezer Lutheran Church. All rights reserved.
03
Words From Pastor Haugen To help us better appreciate the artwork of Ebenezer Lutheran Church and improve our understanding of its connection to the faithful from a spiritual perspective, Pastor Joshua Haugen kindly agreed to provide his insights into not only the works found here, but religious art as a whole. The following are Pastor Haugen’s own words:
I
n general Ebenezer is a sacramental and educational church. What sacramental means is that we are not just engaged in religion being an upper story experience. We try to engage the whole person. The Lord’s Supper engages the eyes, ears, and taste. The music of the church engages the ears and the voice. The artwork of the church engages the eyes. All is part of what makes us who we are. The educational aspect is exemplified in the artwork that is appropriate for us, directing us to Jesus. By knowing the artwork and its story we know the great teachings of the church. As to the impressions of the viewer, religious art has multiple impacts upon individuals. First, it has an anchoring effect. Think in terms of something you
04
hang in your house, it has significance for you and becomes like an old friend. So too, something in your spiritual home can have a very similar effect. Second, religious art helps to lock down certain ideas. When one is standing in the columbarium, surrounded by remains, looking to the cross of Jesus, with the words etched in stone “the resurrection of the body,” it is hard to miss the point that the church confesses eternal life. Every religious piece has a similar emphasizing effect. While the focus on the artwork is prevalent throughout the year, we especially see this focus on specific works at specific times, as in the “Stations of the Cross” gaining precedence during the season of Lent for example.
Emotional responses are often in the eyes of the particular viewer and they are things held deeply in their own heart. But one thing I can say is that every member of Ebenezer in some way has contributed to the beauty of the church. From the direct donations of the artwork to the member who paints the air vents so the space looks loved. Everything in the church speaks to the body of Christ here at this place. It speaks not just of beauty but also of the things held dear together. The idea of sacred space that Ebenezer fosters is something that comes from our history; and from the many people who have stepped up when needed; from Pastor Dan Koenig, from Skip and from countless others. For instance, Charles “Skip� Nilson was head of Property Maintenance at Ebenezer for many years and was instrumental in much of what occurred in the new 1998 structure. Going above and beyond the duties his job title required he historically renovated the
entire chapel in or around 2002 and designed the entire handcarved doorway and all of the other renovations inside the chapel structure. On a special note, Ebenezer Lutheran Church would like to state its appreciation to Norman B. Smith. He has consistently come up to the Church Council and our Board of Worship to bring up orders of business that discuss the beautification of our sanctuary and space. These discussions are just not conversations that most churches are blessed with having. Norman has been a blessing to our love of artwork and the beautification of our sacred space. This impact will have lasting influence upon us as long as we exist on the corner of Walker and Tremont. What we normally experience is that the totality of the space, the sanctuary, chapel, or columbarium, has a deep impact upon people. They are immediately impressed by the solemnity and the overarching flow to the cross.
05
A
Visual Scripture
rt, in and of itself, is wildly diverse; not just in the styles or subjects of the various works, but in the emotions it instills in the viewer. The aesthetics, the beauty and sometimes even the ugliness, utilized in the depiction of often intense events can stir the passions within us. Adding the power imbued when the Bible serves as the inspiration, artwork becomes one of the strongest catalysts towards visualizing and understanding the Word of God. If a picture, as it is said, is worth a thousand words and given that the same holds true for paintings, sculptures, carvings and every other type of visual representation, it only stands to reason that few methods have been more instrumental in spreading the Gospel than the virtually limitless array of what can truly be described as visual scripture. Normally, when we think in terms of Biblical art, we envision the old-world settings of some of the great cities of Europe and the century’s old cathedrals and churches found in them. However, few of us ever consider that there are magnificent and important works of religious art in more familiar places, closer to home. Ebenezer Lutheran Church is one such place and it is here where we find one of the most significant and noteworthy permanent collection of religious art in the entire region. Located in Greensboro, North Carolina, and established in the fall of
06
1907, Ebenezer has undergone significant changes throughout the years. While never straying from their core principles, the church and its faithful congregation have managed to adapt to an ever growing, ever changing community and cultural environment. Over time, Ebenezer has expanded from the charming, humble chapel built in 1929 to include today’s much larger and significantly more modern sanctuary completed 1998. Selected not only for their artistry, but also as visual representations of Ebenezer’s Lutheran beliefs and doctrines as explained in the Holy Scriptures, the works here include originals and reproductions, many of which are hundreds of years old; some having undergone painstaking, professional restoration, returning them to their original splendor. Emphasizing the collection’s attention to detail, many of the frames have been carefully restored or hand-crafted to enhance the paintings and complete the overall presentation. Ultimately, the artwork at Ebenezer serves not only to enhance the beauty of the space itself, but also as a learning tool to help us better understand and appreciate His message to us. Collectively, the works offer a glance into the life and deeds of the Savior, bringing all who see them that much closer to His presence. However we are affected by them, we are all better for seeing this visual representation of Scripture.
The Crucifix
L
awrence Heyda first sculpted this crucifix in clay; a mold was then cast into which fiberglass was inserted. It was inspired by a small statuette that Lawrence’s wife, Karen, received as a child in Germany; which was itself modeled after a well-known crucifix in Oberammergau, Germany. It is mounted on a black locust cross, which came from the North Carolina Mountains. Black locust wood does not rot, so there is no likelihood that it will decay with age. The parts of the crucifix form three 120 degree angles extending from arm to arm and then from each arm to the legs, while the cross is in the form of four 90 degree angles. The crucifix has been given a place of distinction and reflection in the columbarium in Ebenezer’s courtyard.
07
John the Steadfast
S
ituated on a stairwell wall, visible to parishioners exiting either the small chapel or large sanctuary, is a small portrait of John the Steadfast, Elector of Saxony. Unlike every other painting enhancing the walls of Ebenezer, this painting does not depict a biblical event, yet remains significant (especially to the Lutheran faithful) for several reasons. In addition to the considerable age of the painting, the studio in which it was created is also relevant. An original work, this portrait was done in 1539 in the studio of Lucas Cranach the Elder. Lucas Cranach was Martin Luther’s best friend and best man at the wedding of Martin Luther and Katherine von Bora. Additionally, Luther and Cranach were the godfathers of each other’s firstborn sons. It can be said with a certain assuredness that the hand of Lucas Cranach the Elder, or one of his sons, Lucas the Younger or Hans, executed at least some of
08
this painting. We can come to this understanding because of the fact that Cranach’s studio was relatively small, with estimates varying from five persons to 15 persons, including, of course, his two sons. Another copy of the same work, including the several lines of poetry at the bottom, can be found in room no. 10 (the “German gallery”) of the renowned Uffizi Gallery in Florence. Several of these similar studio pieces were made and sold to wealthy Lutheran families in the early Sixteenth Century. Similar multiple paintings of Frederick the Wise (John’s older brother) and John Frederick the Magnanimous (John’s son) were also produced by Cranach. These three men were the Electors of Saxony, who protected Martin Luther from the Catholic Church. Without their protection, Luther most likely would have been burned at the stake, not unlike his predecessor, John Hus, in the previous century.
Studio of Lucas Cranach the Elder (German 1472-1553) Portrait of John the Steadfast, Elector of Saxony c. 1539 Oil on Panel
09
10
Baptism of Christ Matthew 3:13-17
O
ne of two reproductions by Paul DeLorenzo, of originals by Giovanni Bellini, the original “Baptism of Christ” was executed in 15001502. It hangs in the Chiesa di Santa Corona in Vicenza, Italy and is four times the size of this copy. The reduction in size was necessary to avoid the much larger size from overwhelming the church. Four crosses can be found on this work of art. The first cross is the figure that is made extending from the head of God the Father down through the feet of Jesus, with the crosspiece consisting of the cloud formations that converge upon the Holy Spirit in the form of a dove. A second cross is found at the tip of the staff of Saint John the Baptist.
Matthew 3:13-17 Although difficult to see, on close inspection behind the figure of Saint John the Baptist, can be discerned a grotto, which could be regarded as either the stable that was the birthplace of Christ or his sepulcher and which is separated from the outside by
a short palisade consisting of two upright pieces and one horizontal piece, thus forming the third and fourth crosses. The parrot in the foreground likely symbolizes the repetitive nature of the Gospels. The figures to the left of Jesus are said by many art historians to represent the three theological virtues, Faith, Hope and Charity. This explanation, however, is inconsistent with Bellini’s not using allegorical human figures in his religious paintings. A better explanation of the three female figures is that they depict the Blessed Virgin and two half-sisters of Jesus. The one representing the Blessed Virgin is the closest to Christ and is clothed in royal colors. She appears to be about 45 years of age, which would be appropriate. The two half-sisters appear to be in their 20’s, again reasonable ages at this time for them. Jesus’ four half-brothers are named in Matthew 13:5 5 and Mark 6:3. In the immediately succeeding verses, the half-sisters of Jesus are mentioned, but are neither named nor numbered. 11
Transfiguration of Christ Matthew 17:1-8 Mark 9:2-8 Luke 9:28-36
A
nother reproduction by Paul DeLorenzo, this one is the exact size of the original work by Giovanni Bellini. Completed in 1487 the original is currently on display in the Museo de Capodimonte in Naples, Italy. As with the aforementioned “Baptism of Christ”, four crosses can also be seen in this work, except that these consist of the intersections between the vertical and horizontal fencing pieces in the foreground of the painting. Much like the “The Baptism” this painting is also rich in scriptural iconography. For instance, in the background the tree on the left side lacks
12
leaves, while the tree on the right side is fully leaved. The buildings on the left side in the background appear to be in a crumbling dilapidated state, while the buildings in the right background appear to be newly constructed. These features represent the old religion, which is in decay, and the new religion, which has become vigorous. The tree without leaves, of course, is not dead but is depicted during its dormant stage of the year. The leafing of the other tree comes in spring, which is associated both with the conception of Jesus by the Blessed Virgin and with the events of Easter.
The figures flanking Jesus are Moses on the left, and Elijah on the right. One might ask how they came to be present, since the Gospel of Matthew 27:52-53 records that the graves opened up and the old saints were seen walking around Jerusalem immediately after the Crucifixion. Of course, Elijah was taken up to heaven by a chariot of
Matthew 17:1-8
fire and a whirlwind, as recorded in 2 Kings 2:11. The situation with Moses is a little more complicated. Deuteronomy 34:5-6 records that he was buried in a certain valley, but it is not stated that Moses was buried in the ground, and it is stated that the location of his grave is unknown. The ninth verse of Saint Jude’s Epistle discloses that the Archangel Michael and Satan struggled over the body of Moses in heaven. Thus, rather than being trapped in their graves, these two Old Testament figures had already been taken up into heaven
and could descend to be with Christ at the Mount of Transfiguration.
Mark 9:2-8
The three figures at the feet of Jesus are the disciples Saint James the Elder, Saint Peter, and Saint John the Evangelist. The departure of Moses and Elijah from Jesus’ company symbolizes the triumph of the Gospel over the Law and the Prophets. This is a very Trinitarian piece, since there are three principal figures and three witnesses, as well. Consistent with the Trinitarian theme, the three witnesses constituted the inner circle of Jesus’ disciples, who
Luke 9:28-36
were with him without any others, not only at the Transfiguration, but also at the raising of Jairus’ daughter, Mark 5:37-42, and the agony in the Garden of Gethsemane, Matthew 26:36-37.
Iconography Common to Both Bellinis Both of the Bellini paintings contain the trademark signature of the artist on a white marker near the bottom of the work, inscribed Giovanis Bellinis. The two Bellinis have in common that these occasions are the only recorded ones in which God the Father spoke in the New Testament, where, of course he speaks at great length through His Son. At the Baptism and the Transfiguration, God proclaimed that this was his Son with whom he was well pleased. Another feature in common of the two Bellinis is a stump with a fresh growing sprout at the left on the Transfiguration and at the right on the Baptism, representing the Messianic prophecy found in Isaiah 11: 1. “There shall come forth a shoot from the stump of Jesse”, father of David, who shall be the Messiah. The two Bellinis are hung at Ebenezer Lutheran Church to the left and right of a large wooden cross. As can be seen from the shadows on the paintings, the source of light on The Baptism on the left is from the cross, and the source of light on The Transfiguration on the right is also from the cross. 13
This painting is a copy with some variations from the original, which was executed in 1638 and hung in the residence of a prominent Catalan family until it was sold at Sotheby’s Old Master Sale in 2010. The event depicted here is referenced in the Gospel of Matthew 2: 1-12
The Adoration of the Magi Matthew 2:1-12
14
T
he original was painted by Peter Paul Rubens in two stages. The first stage, which produced a complete painting, was executed in 1611-1612. It was commissioned by the city council of Antwerp, and it hung in the Stadhuis there initially. It was seen by a high member of the Spanish government by the name of Calderon. He was so attracted by the painting that he offered to receive it and a couple of other works of art in exchange for a share of the spice trade from the East Indies. Calderon carried the painting off to Madrid. When King Philip II found out about this, he determined it was bribery. Consequently, Calderon was garotted, and his personal property including this painting was forfeited to the Crown.
Matthew 2: 1-12 Philip II engaged Rubens himself to come to Madrid and rework the painting in 1628-1629. While the original painting may have been executed in large part by Rubens’ studio workers, Rubens himself did the reworking. The reworking consisted almost entirely of changing the presentation of the Blessed Virgin. Because a copy of the original state of the painting was made and has been kept in London all these years, we know what the painting looked like initially. Whereas the Blessed Virgin was initially portrayed as somewhat slender, looking uncertain,
pale cheeked, clothed in light colored garments, and her gaze being fixed entirely on the infant Jesus, the reworking portrayed the Blessed Virgin, as seen in this copy today, full-figured, with an air of confidence, clothed in royal colors, rosy cheeked, and looking both at the infant and at the viewer. The reworking of the Blessed Virgin at King Philip’s direction obviously was part of the Counter-Reformation process. The Blessed Virgin had been diminished greatly, even in a Catholic country like the Spanish Netherlands under the influence of the Reformation, but is later restored to her former glory and majesty. Although our copy does not prominently treat this aspect of the painting, a large white column was painted above the Virgin’s head in the reworking, to symbolize that she was the pillar of the Church. The opinion has been frequently stated that this painting was to Rubens one of the most important, if not the most important, of all his works. Rubens’ attachment to the painting is demonstrated by the presence of likenesses of his two sons in our copy (the older one of about 20 years of age being to the right of the red-robed Magus, and the younger son of perhaps ten years of age being to the left of this figure). In the original, but not in our copy, there is also a small self portrait of Peter Paul Rubens himself.
Image, opposite page: The Adoration of the Magi in its home above the altar in the small chapel 15
This mesmerizing work, a copy by Lawrence Heyda, is the exact size and shape of Rogier van der Weyden’s original which hangs in the Prado Museum in Madrid. At a rather large 86.6 x 103.1 inches, the original was painted somewhere between 1430 and 1435; a date confirmed with certainty due to the use of dendrochronology (the study of tree growth rings). As the date of felling the tree can be confirmed, the only variable is the amount of time the seasoned piece of lumber remained in a wood yard inventory. Van der Weyden’s years were 1399 to 1462, so this, certainly his most masterful piece, was executed quite early in his career.
Descent John from the Cross 19:38-42
16
R
eplete with a storied provenance, the painting was commissioned by the Great Crossbowmen’s Guild (as evidenced in the filigree work at the upper left and upper right comers of the painting, where small depictions of crossbows are present) for Our Lady’s Chapel in Louvain in modern-day Belgium. Queen Anne of Austria saw and acquired it, passing it on to Phillip II, King of Spain, who had it taken to Madrid.
John 19:38-42
In 2016 the director of a new museum in Madrid, which collects items formerly in the possession of the royal family, asked the director of the Prado to transfer this painting to him, but the latter curtly responded, “Hell will freeze over before this painting leaves the Prado.” Among the extraordinary properties of this painting is its tendency to pull the viewer toward and into it. Particular points of interest include the precision detail work of the robe of Nicodemus and the unshaven stubble on his face, as well as the fur collars and hair on figures in the painting. The two figures in the upper left are Saints Mary and Martha. Below them is Saint John the Evangelist, as he attempts to comfort the Holy Virgin, who has fainted away. Joseph of Arimathea is cradling the body of the dead Christ with the assistance of Nicodemus. Saint Mary Magdalene grieves at the right of the painting. The belt she wears, perhaps modeled after a chastity belt, bears the words “Jesus et Maria,” a somewhat enigmatic refer-
ence to her relationship with Christ. Saint Joseph, the stepfather of Christ, is standing just behind Nicodemus. He is holding a flask, which perhaps contains frankincense. This supposition is based on the notion that of the three gifts from the Magi, the gold had most likely been given away to the poor by the Blessed Virgin, and myrrh was not needed because Nicodemus had brought 75 pounds of aloe and myrrh according to John 19:30. Perhaps the Holy Family’s myrrh had been given for the burial of their kinsman St. John the Baptist, who must have died a pauper. Finally, the figure at the top of the painting may be the young Saint Mark, who is perhaps autobiographically mentioned in Mark 14:51-52, as a young follower of Jesus who fled away naked when a gang of men grabbed him by his cloak, just before Jesus was led away to His trial. Note that this young man has African features, which would be consistent with Mark’s being from Cyrene of presentday Libya. If Mark indeed was present with Jesus during this time, then three of the Gospels would have been written in the first person, rather than only the Gospels of Matthew and John. The ladder, an instrument of the passion, is large and prominent in this painting. It is to be recalled that Jacob’s ladder on which the angels moved up and down from heaven to earth was located at Mount Moriah (see Genesis 28:10-17) and is the same as Temple Mount, where the Crucifixion took place. This representation is surely meant to stress the closeness of the cross as a connector between heaven and earth, just as was Jacob’s ladder. 17
The Bibles
The Gutenberg Bible.
U
20
ndeniably history’s most famous Bible, the Gutenberg is also the first major work to have been mass produced using “movable type�. When Johannes Gutenberg fashioned it using this new technology in about 1460 A.D., he ushered in the age of printing. The copy at Ebenezer Church is a facsimile done in Munich in 1977. About 360 copies of the original Gutenberg Bible were made, some on paper and some on vellum. It is notable that the first page of each Bible book contains illuminations. For example, the first page of Genesis has six bubbles representing the six days of creation. In the original the illuminations were made with oil paint and gold leaf. Therefore, while the printed parts of the Gutenberg Bible were impressions from movable type, the illuminations were all original works of art, more than 23,000 altogether.
La Bibbia Borso d'Este
W
idely considered the most beautiful and sumptuously illuminated Bible ever produced. Every Bible story and narrative is depicted in one of the paintings of the Bibbia. Commissioned by the Marchese Ferrera, it was begun in 1455 and completed in 1461. The illuminations are by the painters Taddeo Crivelli and Franco dei Russi. The two volume facsimile copy at Ebenezer Church was produced in Milan in 1937. The original Bibbia is now in the Estense library in Modena, Italy.
Images Opposite page top: The Genesis 1 page of the Gutenberg Bible. Opposite page bottom: The Gutenberg’s intricate hand-made cover. This page top: The cover of La Bibbia Borso d’Este. This page bottom: An example of the illuminations that fill La Bibbia Borso d’Este. 21
Stations of
A
s captivating as Bellini’s works are, the pièce de résistance (at least in my humble opinion) resides within the original chapel. From the hand carved and expertly restored entrance door to the high, beamed ceilings and delicate yet time-tested stained glass, this small tranquil setting is charming to say the least and in itself an inspirational oeuvre. The original main sanctuary, this space is now used primarily for reflection and meditation as well as the pastor’s bible classes, while proving to be the perfect place to display some of the churches most awe inspiring pieces. Here, with the light gracefully falling through the stained glass, we find one of the area’s only fully restored, complete sets of the famous “Stations of the Cross” paintings, a group of fourteen works depicting Christ carrying the cross to his crucifixion. There are 14 paintings in this complete set (although on occasion there can be a 15th depicting the Resurrection) of works depicting Jesus as he carried the cross to Mount Calvary. In each set, each station is always the same; for example, Veronica’s Veil is always the sixth Station of the Cross. These paintings were found in a condition of disrepair and dirtiness at a Greensboro antique shop. They were skillfully cleaned, restored, and reframed by Jackson Mayshark of Ambleside Gallery. They probably were painted around 1895, by Joseph M. Kavanagh, an Irish
22
artist of the Barbizon School. He studied in Belgium and France and probably associated with, and certainly was influenced by, Millet, Courbet and CamilleCorot. Kavanagh was the most important Irish artist of his day. He became the Keeper of the Hibernian Academy in Dublin, the most highly ranked position at that institution. Over 250 of his works were on display at the Academy. While he was at work there on Easter morning, 1916, the Irish Revolution broke out in the streets below. Cannon fire ignited a wooden structure adjacent to the Academy, and the flames quickly spread to the Academy itself. Kavanagh was able to escape only with a few personal possessions, and none of his paintings were saved. He walked into a hail of gunfire and became so thoroughly demoralized that he never picked up a paint brush again, dying in a nursing home two years later. Because of the destruction of so many of Kavanagh’s paintings at the beginning of the Irish Revolution, his works are rare today, and his name is not as widely known as it most certainly would have been had his works survived. Besides religious paintings, he painted scenes of the Irish countryside and of the streets of Dublin, in addition to Irish family gatherings. Most likely, this set of Stations of the Cross hung in an Irish Catholic church for many years before being imported to this country.
the Cross
Station I
Jesus is condemned to death
Mark 15: 1-15, Matthew 27: 23-31
Station II
Jesus takes up the Cross John 19: 13-17, John 19: 5
23
Station III
Jesus falls for the first time*
Station IV
Jesus meets His mother
John 19: 25-27
24
Station V
Simon of Cyrene is forced to carry the cross
Mark 15: 21
Station VI
Veronica wipes the face of Jesus* *Indicates these stations are not referenced in canonical scripture.
25
Station VII
Jesus falls the second time*
Station VIII
Jesus consoles the women of Jerusalem
Luke (23: 27-31)
26
Station IX
Jesus falls the third time*
Station X
Jesus is stripped of his garments
John 19: 23-24 *Indicates these stations are not referenced in canonical scripture.
27
Station XI
Jesus is nailed to the Cross
Luke 23: 33-43
Station XII Jesus dies on the Cross
28
John 19: 28-37, Matthew 27: 50
Station XIII
Jesus is taken down from the Cross
John 19: 38-40
Station XIV Jesus is laid in the Tomb
Mark 15: 46-47
29
The Wooden Cross
O
n the rear wall of the sanctuary, between the Transfiguration of Christ and the Baptism of Christ, resides a large wooden cross, hand-crafted by longtime church member and retired engineer, Joe Eckerd. Winner of the 2012 LCMS Art and Architecture Award for the Best Ecclesiastical Art Entry, this piece holds a special place in the hearts of Ebenezer members. In total, the 61� x 160� work consists of 20 different types of wood donated by 207 members. The mosaic part of the cross is comprised of 357 individual pieces in all, each with a personal meaning to the donor. For instance, one of the pieces came from an old Lutheran church on Fees Ridge in Grayson County, VA, that is no longer standing. Yet, through this cross it remains, at least in part, still with us. Similar stories abound in this deeply personal monument to remembrance, love and faith.
30
The Organ - “Opus 15�
N
ot all artwork is painted or sculpted, an observation that applies to Ebenezer as well. Take for example the organ pipes in the main sanctuary. Although beautiful paintings adorn the walls, when entering one’s eyes are immediately drawn to the dramatic view of these majestic cylinders. A custom creation from renowned manufacturer, Parkey Organ Builders of
Marietta Georgia, what the company refers to as Opus 15 consists of 1320 pipes ranging from the smallest, which is about the size of a standard pencil to the largest, a full 17 feet long. Not only is the instrument striking in appearance, the heavenly sounds it produces adds exponentially to the overall artistic presentation it engenders, almost invariably causing an emotional response in the listener.
31
Larry Heyda
L
awrence Heyda is not your average artist. Educated in engineering and art, he is uniquely qualified to create not only wonderfully intricate works of art but the specialized equipment needed to bring them to fruition as well. While both talents would work very well independently, it is the combination of artistry and technological acumen that make Mr. Heyda stand apart. Take, for instance, a bronze bust of President Ronald Reagan he created for the Reagan Presidential Library. To capture the President in as much detail as possible, he crafted a rig onto which he mounted eight
32
cameras, synced to fire simultaneously, which provided him with the photos he needed to make the sculpture. Upon seeing the bust for the first time, Mrs. Reagan said it was the best likeness ever done of her husband. Similarly, Lawrence’s latest work for Ebenezer, “Descent from the Cross”, utilized his technological innovation to recreate a replica to the exact dimensions of van der Weyden’s original. In doing so, he built a 12’ x 12’ freestanding workshop to hold the specially crafted seven-foot “scroll” rig for the canvas that could be raised, lowered and turned as needed. While technology helps, when it comes to art, it’s really all about the artistic talent, which Lawrence has in abundance. Sculpting miniatures for companies such as the Franklin Mint were but a prequel to the seven-foot crucifix he recently crafted. The exquisite fiberglass-cast work in Ebenezer’s columbarium is further proof of the versatility and depth of his talent.
Creativity at this level requires talent, but there’s more; it requires a certain fervor, or as Lawrence puts it, “When I began painting ‘Descent from the Cross’, I had not painted for twenty years. This work reawakened my love of oils and realistic rendering and revived a deep feeling, a passion for portraiture that has always been there. Consequently, I am planning to do grand portraits of families in the style of the large canvases by John Singer Sargent, Sir Joshua Reynolds and Sir Thomas Lawrence; that captured the personalities of each individual”. Whatever it is, there are many who can’t wait to see what Lawrence Heyda creates next.
Paul DeLorenzo
P
aul DeLorenzo painted two of the more notable works at Ebenezer. His reproductions of Giovanni Bellini’s “Transfiguration of Christ” and “Baptism of Christ”, hang prominently on the back wall of the sanctuary on either side of the large wooden cross. Born in Brooklyn, NY in 1947, Paul possessed a keen, curious and expressive mind. Leaving art school to find what he considered a more “meaningful” education, he began copying old masters in the museums of Boston. His gambit paid off as he was quickly noticed by R.H. Ives Gammell and invited to join his studio where his study of the classics intensified. Considered a “Classical Realist”, Paul moved to Minneapolis with Richard Lack as the first full-time student in Atelier Lack’s inaugural group.
Returning to the northeast after four years, Paul soon established himself as a noted still life and portrait painter, receiving honors from among other notable artistic organizations, the Newington Award from the American Artists Professional League Grand National Exhibition. The two paintings at Ebenezer would be the last that he would complete. Sadly, Paul passed away unexpectedly on Saturday, March 9, 2013, at his home in Greensboro, a mere two weeks after completing the “Transfiguration”. In reflecting on Paul, Pastor Haugen commented that “Paul’s life, like many artists, was full of some fairly difficult things, some of which were of his own creation. In Paul’s long term engagement with the church, particularly in the painting of those two works, he began to be a Christian; as evidenced in the work, most specifically in the face of Christ. The first painting is a little non-descript, but when Paul’s conversion began to take hold he was painting Christ on the Mount of Transfiguration. There his brush strokes are much more defined, one could even say loving”. Paul’s artwork and especially Paul’s presence will be sorely missed. 33
Images -This Page: Above: Ebenezer Lutheran Church, beautiful even in winter. Clockwise from below-left: -The hand-carved door to the small chapel. -The Gutenberg Bible at home below one of the stained-glass windows and two of the “Stations�. -Facing the rear wall of the small chapel. Notice the intricate woodwork and stained glass.
34
Images of Ebenezer
Images -This Page: Top: Facing the front of the sanctuary (note “Descent from the Cross” on the left). Above-Left: The sanctuary altar. Above-Right: It took a group effort (including Eric, Dan, Jeff, Josh and Christy) to hang “Descent”. Below: The “Stations of the Cross” adorn the walls of the small chapel.
35
Ebenezer Lutheran Church
310 South Tremont Dr. Greensboro, NC 27403 Phone: (336) 272-5321 • Fax: (336) 272-5320 www.ebenezerlutheranchurch.com