Stanley Spencer: Christ in the Wilderness (pt 2)

This is the 2nd blog about a series of Paintings by Stanley Spencer, 1891-1959, which are very appropriate for Lent. As I mentioned I  only just discovered them in a book at Offa House Diocesan Retreat Centre.   

They are powerful images of Christ's humanity in his (Lenten) 40 days in the Wilderness.   The text is taken from a brochure produced by the Art Gallery of Western Australia which houses all the painting. Only 8 paintings were ever completed, although here were apparently 16 sketches, all owned by the AGWA.  But Stanley's intention was to create a grid of 40 paintings, one for each day in the wilderness.......

I particularly like these 4 images as they are all interactions with the natural world and show a fascination with, even adoration of creation. 

The foxes have holes 1939 

‘ And Jesus saith unto him, the foxes have holes and the birds of the air have nests; 

but the Son of man hath not where to lay his head.’ Matthew 8:20 

The strong structure of the work is demonstrated by the composition in which the triangle formed by the foxes is interlocked with the triangle of the figure which opposes it. Christ is seen living in complete harmony with nature.

Christ in the wilderness: the hen

‘...how often would I have gathered my children together, even as a hen gathereth her chickens under her wings...’ .Matthew 23:37
a relaxed Christ encircles and gives shelter to the Hen as she succours and shelters her chicks. 

The scorpion 1939 

‘Behold, I give unto you the power to tread on serpents and scorpions, and over all the power of the enemy: 

and nothing shall by any means hurt you.’ Luke 10:19 

The undulating surface of the figure relates to the hills seen behind, Christ is made one with the geology. 

Spencer marvelled at the empathy between such dangerous creatures as the scorpion and the power of love.

Consider the lilies 1939 

‘And why take ye thought of raiment? Consider the lilies of the field, how they grow; 

they toil not neither do they spin; And yet I say unto you , 

that even Solomon in all his glory was not arrayed like one of these.’ Matthew 6:28-29 

The bulky form of Christ which fills the canvas, is centrally placed amongst wildflowers, which are found in Cookham, Spencer’s home town.

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Stanley Spencer (1891-1959)

A significant and eccentric British artist whose altering circumstances and condition are reflected in his artworks. His strong sense of place during his early years in Cookham and the sense of disorientation during World War II are both demonstrated in his very personal vision of Christ in the wilderness series. These works, which were painted between 1939 and 1954, may appear deceptively simple but on closer observation, they reveal a classical order where shapes and colours achieve a harmony. Spencer’s communication of his religious beliefs often over- rode the accuracy of his highly personal depiction of Christ.

Stanley Spencer: Christ in the Wilderness Pt 1

The series of Paintings by Stanley Spencer  1891-1959 are very appropriate for Lent. I have only just discovered them in a book at Offa House Diocesan Retreat Centre !   I also came across a blog with the images and I have unashamedly taken a lot of these thoughts from there.  But I will deal with them in 2 blogs  of 4 images each.

They are powerful images of Christ's humanity in his (Lenten) 40 days in the Wilderness.   The text is taken from a leaflet produced by the Art Gallery of Western Australia which houses all the paintings.

Driven by the Spirit  into the wilderness (1942)  

And immediately the Spirit driveth him into the wilderness.’ Mark 1:12 

In 1916, Spencer served with the Field Ambulances in Macedonia.This experience had a profound effect on the artist, the memories of war infiltrated his spirit - the massive figure strides through a bleak and desolate land with the promise of resurrection in the figure of Christ.

Rising from sleep in the morning  (1940)  

‘I will arise and go to my Father, and will say unto him, Father, I have sinned against Heaven and before thee.’ Luke 15:18

In this work Christ appears like a flower opening, offering itself for pollination in the light of the new day. The circular composition of the figure is continued in the rocky lining of the pit in which Christ kneels.

He Departed to the mountain to pray (1939)

‘And when he had sent them away he departed into a mountain to pray.’ Mark 6:46 

Look at the simple but monumental composition where the enlarged arms and hands encourage the focus on the praying figure which fills the picture plane, pushing out the edges. Notice the similarity of the treatment of the robes and the altar which adds to the unity of the composition.

The Eagles   (1943) 

‘For wheresover the carcase is, there will the eagles be gathered together.’ Matthew 24:28 

There is a definite bitter note in The Eagles where Christ looks away while the scavenging birds peck at the carcases. In the background a broken branch completes the pessimistic atmosphere. It also reflects the artist’s over-riding acceptance and respect for all natural life.

There is something very engaging about the images, Christ's humanity and homeliness, his largess and the way his dominates and fills the square canvas. The attention to detail, the sense of movement, the variety of postures. I think they are wonderful and hope you enjoy them too ...