Painting Religion and Mythology in a Global Age

Mythological and religious themes have a long history in the tradition of painting. If one studies the art of the Renaissance for instance, examples of these are quite numerous given the spirit of the time. Artists of that period viewed classical and religious themes in the light of humanistic principles that characterized their time. They represented mythological stories and Biblical narratives in ways that made these relevant to their own experience in place and time. It is not uncommon to see paintings by Raphael or Titian where Roman soldiers in a Passion of Christ scene are represented as Italian soldiers of their own time. In mythological scenes, someone like Botticelli would paint Venus and the graces as women who were considered at the time in Florence to be the most beautiful.  

"Birth of Venus" 

Tempera on canvas by Italian artist Sandro Boticelli 

To find out more about this artist visit:

en.wikipedia.org/wiki/Sandro_Botticelli

So how would an artist today re-interpret old mythological and Christian narratives in the terms of their own time and experience? First of all Christian themes are well known in contemporary western culture to the point that they almost become "cliche". Christian imagery is much more recognizable  than most images from mythology. While Christian Icons have been spread out to the masses, Mythological scenes are mostly found around intellectual circles who enjoy good literature and art. And when mythology leaks out to the general public it does so in the most distorted forms, in films like Disney's Hercules or Clash of the Titans.  When mythological stories are manipulated and distorted we do not suspect a hidden agenda but just lame entertainment. When Christian icons become manipulated and distorted in some way it seems to be done by an artist and with a specific purpose or agenda usually related to the Pop art movement.

 Michael Jackson portrait by American artist David LeChapelle

To see more of this artist work visit

http://www.lachapellestudio.com/

 Last Supper by American artist Ron English

To see more of this artist work visit:

http://www.popaganda.com/blog1.php

From the angels to the Last Supper, contemporary artists have often appropriated and imbued these well known icons with new interpretations and personal meaning. These artworks can question the assumed religious establishment and prevalent beliefs in our society. They can also serve as a reminders of  old celebrations, practices and stories that need to be retold in contemporary terms. These artistic interpretations can make us aware of the value we place upon mass media, consumer objects and the way we experience pop culture day to day.

"Variantes para una crucifixión"
oil on wood by Guatemalan artist Alfredo Garcia Gill

To see more of this artist work visit:

www.artintheamericas.com

 

But what about myths? Even though popularized in film, literature and art, myths seem to belong to a different realm. We do not treat myth in the same way we treat religion. For religion there is a reverence or irreverence  that people choose or not choose to have. Its almost like taboo and it happens with politics.as well. People either keep quite to stay safe or take sides and become passionate about  certain issues. In any case the subject of religion  in art  can become troublesome and uncomfortable to most. This does not seem to be the case with myths. Myths are different. Ancient religions that believed in the existence of many gods are now treated as mythology because no one, except for Neopagans and other New Age sects  truly believes in them.

Pagan high priestess offering a hand shake to a N.C. Bible Believer who refuses her peace gesture while shouting passages of the Bible. For more information on this incident visit:

http://www.religionnewsblog.com/4391/pagans-christians-collide-at-poteet-park

Not only do we refer to ancient religions with many gods as mythology but also other current polytheistic religions as well. Ever wondered why is Krishna and other Hindu deities are found in books on mythology? For a Hindu, Krishna is as real as Jesus. So why not consider Jesus part of mythology too? We can see mythology is a word with negative connotations that we use to distant ourselves from gods and  other divine entities we do not believe in  and negate as possible truths.

"Jesus Land" 

Oil on canvas by American artist Patrick McGrath Muñiz

to see more of my work visit
retabloarts.com

In our modern language we call  myths to anything that is a false story or anything that is not fact. I think this makes a tremendous injustice to the ancient myths of Rome, Greece, Egypt, Mesopotamia and Mesoamerica. Their stories explained natural phenomena and moral teachings with such beauty and wisdom that many of them have deeply influenced our own Judeo-Christian traditions to this day.  For example, the garden of Eden, the devil, the angels, Noah's  ark,  and  a crucified savior born from a virgin along with other stories from the Bible can be traced back to its ancient roots in Babylonian or Egyptian myths. In fact, many of the near eastern religions existing in ancient Rome before and by the time of early Christianity shared similar beliefs and rituals. These religions basically told the same Jesus story with a few variations.  "Mythological" figures such as Orpheus, Mithra, Adonis and Dionysus as well as others had much in common with our Christ including a birth from a virgin, miracles, crucifixion, resurrection and promise of salvation through their sacrifice.
As Saint Augustine once said:  "Whatever has been rightly said by the pagans, we must appropriate to our uses".    

2nd century amulet depicting the crucifixion of Greek god Dionysus to learn more about this and other similar myths I recommend watching the first part of the movie Zeitgeist at: http://www.zeitgeistmovie.com/        

 Mythology is very much present in our imagination as well as the way we experience the world today. Many of the stories and archetypes of heroes, villains and gods are still being projected onto celebrities, politicians and even forces in nature. There seems to be a  innate human need to find the divine or supernatural in the  world around us. From comic book heroes to the way we call our our planet, mother Earth, as if we were referring to the ancient Greek goddess Gaea., we not only anthropomorphize nature, we deify it.

"Gaia Altarpiece" Oil on canvas 48" x 48" By French American artist Elsie Russell To see more of the artist work visit: http://www.parnasse.com/erlist.htm      

Monotheistic and Patriarchal religions have repressed polytheistic tendencies in the past but  it has been unable to stop it from reemerging  specially since Neo-platonist  early Renaissance. In this global age that we live in, I cannot think of a better language than that of myths to describe whats happening all around us. If we use the term "myth" in the modern sense, we can say that live in an age of myths. There is the myth of "green corporations"  with their "green washing", the myth of  a "global village", the myth of "borderlines countries"  and the myth of a  illuminated populist leader that will save us all.  Today there are  many myths about beauty, culture, art, justice, war,  sex, food, energy and many other issues that consciously aware artists should address in their work. As a painter who is constantly adapting sacred Icons and symbols to reinterpret old stories in contemporary terms I find the world of myth infinite in sources for inspiration. That is the reason why I have decided to adapt and incorporate the language of myth into my new work and here is one example of what my new work is starting to look like. On my next blog i shall present and explain my current artist statement.

"Obamus, the Light Bringer"

Egg tempera and gold leaf on wood triptych 18" x 13" (2010) 

by artist Patrick McGrath Muñiz

To see more of my work visit my official website at:

www. retabloarts.com    

All text on this blog is  copyrighted material© by the artist and author Patrick McGrath Muñiz

The 7EVEN guiding principles of my art (part 2)

On my last blog entry I started a list of seven principles that guide my painting practices at my studio.  Ideas have been evolving and I must confess that I'm constantly revising myself in order to improve my teaching art philosophy. Some changes have been made to this septenary structure but It keeps evolving. For now I will explain these initial  guiding principles in order to avoid confusion. On future blog entries I shall keep redefining these. 

In art, things that seem quite complex are actually reasonably simple and easy to understand. When it comes to developing a preliminary sketch or study for a painting A thought it born, inspired by a world event, mythology, history or personal experience. I usually find connections between two different stories,  one from the present with one from the past. I draw the general forms and create a composition. Then I make studies of the different parts for this composition. I go to the specifics of it. It’s that simple. These first three steps make up the three first principles or "Trivium" that I have categorized as: thought,  general form and the study of its specific parts. This triadic process defines how mind moves matter and ideas are materialized on paper as preparatory sketches.

 Study of Vitruvian Man with Zodiac Wheel

by Patrick McGrath Muñiz 

  Within the septenary system there is a division between three and four. Three often represents matters of time and spirituality (The Holy Trinity, The past, Present and Future and other similar concepts). Four often represents matters of form, physicality and space (The four cardinal directions the four elements, the four humors and other concepts). This is the reason why I have divided "The 7EVEN guiding principles into two parts. The first three called the "Trivium" concern ideas and preliminary drawings and the last four  called the  "Quadrivium" deals with how I incorporate these drawings and ideas into a painting or finished work.

 The human head divided into three parts face and four parts head

Illustration provided by the artist and author Patrick McGrath Muñiz

Once I’m satisfied with the idea, the composition and its components I proceed to the next sequence of principles to be implemented. I am now ready to paint. The "Quadrivium" is a fourfold stage process of painting that not only illustrates the four parts of my painting practice, it also embodies the four seasons in nature, four cardinal directions and alchemical processes. I shall explain these relations in depth later on. The following remaining four principles are related closely to the process of materializing ideas and fixing them onto a surface as paint.

 

4.    THE PRINCIPLE OF SPATIAL RELATIONSHIPS

Preliminary drawing for "The Path" Charcoal on gray paper 18" x 24" by Patrick McGrath Muñiz (2008)

 Once all of the parts are solved and a composition is clear and concrete in my preliminary sketches or journal, I measure the elements in my composition; make the proper adjustments and placements in space. This is the part where I make sure everything is in proper proportion and perspective.  I apply the golden mean to my composition and make sure there is a good grade of symmetry, harmony and proportion between the parts. Of course this is more easily said than done and not always one can have it perfectly right but at least try and filter any defects as much as possible at this point. It is of vital importance that every component of the composition including the conceptual core is examined cautiously. All corrections are made as the drawing is not only completed but also transferred onto canvas or panel. This part is known as the "underdrawing". The "underdrawing" is like  a solid structure or inner skeleton that holds everything together.  I may reproduce my drawing accurately on a primed and toned panel or canvas by various means.  A projector, a grid system or transfer paper would do.

 Copy of a Rubens I made for a class I offered on Old Master techniques. Here I used a grid system to transfer my drawing  more accurately.

I like to compare this part of the process with the season of spring, love, air and youth. It is like falling in love and the first kiss. Everything feels new, pure and fresh. It is a very exciting part of the painting process and one of the most enjoyable moments in the birth of a work of art.  A defining element in my work is the sense of humanity, humor and personality in my characters. These qualities are fixed onto the picture at this part of the process. With the principle of spatial relationships I make sure all the parts of my composition live in harmony with each other before moving up to the next principle.

5. THE PRINCIPLE OF ILLUMINATION

The principle of illumination applied to the oil painting  on canvas titled "The Path"

At this stage I start shading and defining the drawn forms  by creating the illusion of the third dimension. It is very important to solve light and shade or value issues before going into color. This was practiced by most academic painters of the 19^th century French Academy. This part of the process is also called an "underpainting". It makes much sense to work on a monochromatic (with variations of a single color) "underpainting" because one is not distracted by many vivid colors that compete with each other for attention and often swallow the well rendered forms. It is better to solve one problem at a time so illumination comes with what is known as a “Grisaille”(French term for an "underpainting" executed with grays).

  "Grisaille" step completed for the oil painting on canvas titled "The Path"

If the "underdrawing" is to a painting what the skeleton is to the human body Then the "underpainting" must be to painting what the muscles are to the body.  With light, shade and the grays in between, the artist endows the drawing with a volumetric body.  By illuminating or lighting a drawing the artist crosses the threshold of linear drawing to  the world of painted forms. I can see the principle of illumination connected to the intense light of the of summer, strength, fire and maturity. When I work with grays I can meditate on the meaning of light and darkness. In my work I often present a visual dialogue between negative and positive forces in history, mythology, religion and politics. The predominant grays reveal that most things in life are not black or white but rather different gradations of either. 

6. THE PRINCIPLE OF CHROMA (Color)

 Finished version of "The Path" Oil on canvas 18" x 24" by Patrick McGrath Muñiz (2008)

Once the "underpainting" or "grisalle" Is fully resolved and dry it is then time to unleash the wild living creature called color.  In Western painting traditional practices, line and drawing have often been associated with the methodic organizing and rational mind. With color it has been the opposite. Color is often seen as life, creation, and pure expression.  Unrestrained color can become chaos and ruin any painting as each color competes with each other and fight to take over the territory . Color is subjective and the perception of it may vary from person to person and culture to culture. If the drawing represents the skeleton, values represent the muscles then color must certainly represent the skin. Its outer appearance, its superficial look may be deceiving. It is like the label or wrapping of a consumer product concealing the true contents.  At the same time color can beautify and enhance the facade of any object. It mesmerizes the senses, sweetens or spices up anything to be blissfully consumed.  A mastery over this principle makes any artist into a master of illusions. 

"Who watches over us" Oil and gold leaf on canvas diptych 20" x 20" by Patrick McGrath Muñiz (2006)

The principles of color can be associated with the multicolored falling leaves of autumn and with water reflecting the color of the sky and a rainbow crossing over the horizon. Color can be applied heavily or thinly as veils of subtle semi-transparent color called “glazes”. I aim towards unity when I use color on my work, so when I apply a color on a specific part, I then spread some of that same color on other parts around that area. Color is emotional, subjective and poetic so imagination and personal associations play an important role in choosing the right palette for you. In my work color is limited and used with moderation. I do not trust color as much as I trust form. But as with anything else, it’s not a matter of how much  of it you apply but rather how well you apply it.

7. THE PRINCIPLE OF CONTEMPLATION

 With a simple painted ball I have illustrated the three previous principles  

With the Principle of spatial relationships I create an "underdrawing"

with the Principle of Illumination I create an "underpainting" or "grisaille"

and with the Principle of chroma I have added color

As we move on to the seventh principle, the painting or drawing in question should be completed. The principle of contemplation reenacts a part of the story of the creation In the book of Genesis when in the Seventh day of creation God decided it was time to rest. I find it highly rewarding to sit back after a long day of studio work and contemplate my creation. It is also a good time to analyze and study the work under proper light conditions. Sometimes I feel compelled to make a few touches here and there, add a detail, a glaze or darken an area. In any case, these changes are minimal as they are given at this point.   

Detail of "The Judgement" by Patrick McGrath Muñiz

As a basic rule, I will not photograph a painting or take it to a show unless I feel proud of the piece.  By contemplating the work for an hour of so I make sure the work has the right hues, with right elements in the right values and right relations with each other. The focal point of the composition is located at an interesting strategic point of the space and it is full of purpose and meaning. When everything seems right, I sign the work and consider it done. I like to think of this part of the process as old age, winter, earth, and history. It's related to the fact that I am moved by the past as much as by the present and the work itself becomes a part of history. The work I produce remits to the work of many of the old masters and it is to these and other ancient sources that I owe much of my inspiration.  

"The Judgement"  Oil and gold leaf on carved wood triptych 23" x 24" By Patrick McGrath Muñiz (2009)

I found this latin quote quite interesting and relevant to this last principle:

“respice, adspice, prospice" (Examine the past, examine the present, examine the future)

 

 Detail of "The Judgement" by Patrick McGrath Muñiz

This concludes the seven guiding principles to my art which I'm sure will be useful to other artists as well. They are an attempt to reconcile many different philosophical and art practices I have studied and followed throughout my life. As I have said before, ideas keep evolving and the more I study and research, the more sense these principles make. From the seven chakras, to the seven days of the week named after the pagan gods I find many interesting connections that have enriched my life and art with mystical implications and deeper meaning hidden behind every creative act in my studio. As I see it, painting is truly a ritualized magical practice that elevates the soul on a seven step ladder toward s the heavens. It is a reenactment of divine creation that brings us closer to God.

All material including text and images on this blog post is copyrighted material© by the artist and author Patrick McGrath Muñiz. This  material may not be reproduced by any means without the artist permission

The 7EVEN guiding principles of my art (part 1)

The number seven is a number that has captured my imagination and deeply resonates in me.  There are so many philosophical systems and religions that have given this number a special place that there must be something sacred about it. Just to give a few examples: SEVEN is found 735 times in the Bible. SEVENFOLD is mentioned 6 times and SEVENTH is found 119 times. In Genesis, in the Seventh day of creation God decided it was time to rest, relating the number with completion and perfection.  There are seven deadly sins, seven virtues and seven liberal arts. Seven were the wonders of the ancient world and seven are the Hermetic principles. Issac Newton identified 7 colors of the rainbow: red, orange, yellow, green, blue, indigo and violet. Seven are the notes of the western musical scale and there are seven chakras or energy centers in the human body. The recurrence of this number goes on and on across ages and cultures and areas of study. 

 

 The seven Chakras with their corresponding colors located in the human body.

In 2007 I remember painting my first series of saints. They were seven in total. That year I got legally married on July 27 and then by the Church on August 17. My wife and I did not choose these dates, they were the dates available for us to get married. Mysterious number 7 seemed to be following me.

 In 2008 I decided to explore the different relationships of the number starting with the seven days of the week named after the gods and seven astral bodies known to the ancient world. Since my paintings always relate and react to our times and being our time defined by this phenomenon called “Globalization”, I decided to address seven global issues that I thought were of key importance (Energy sources, The Environment, Wars, Migration, Corporate power, Media and Consumerism). I related these with seven archetypal figures that are a syncretism between classical mythology and Christian iconography. This is how the work “Syncretisms” was born.

 Drawing and painting  inspired in the figure of the Virgin Mary and part of the work Syncretisms

  Today my ideas keep evolving but I’m still deeply inspired by the mystery of the number seven and how to make this ancient mystery more relevant to my art studio practice. After studying and reconciling different religious and philosophical traditions that dealt with the septenary system, I started to think of my work in seven terms. Not only have I identified certain qualities that describe the work, I’ve also identified these with seven stages of the creative process. So I came up with an ordered sequence of seven principles that apply to my own art practice experience. Even though related, these in no way are modeled after the systems studied. These are rather redefined according to how my own art studio practice and the way it has worked for me almost every time, freeing it from any constraining theory. These are my first three guiding principles in art:

1. The principle of Thought 

“Mens agitat molem” The mind moves the matter - Virgil

Often in popular culture cartoons and comics an idea is depicted by a light bulb above a characters head. It is not difficult then to connect ideas with light. It is the inner Sun light that we all carry within our minds

I like to think of my creative work starting not as a line or brushstroke on a surface but in the mind as an abstract idea. Art is primarily an idea before becoming matter. For this reason a healthy creative mind must be nourished with vital intellectual pursuits such as reading, writing and drawing.  Keeping an art journal, brainstorming regularly and jotting down ideas either as drawings or writings keeps the mind busy and productive.  An art journal is the womb where great works of art gestate. 

 My art journal

 Most of my ideas come from studying history and contemporary culture. I often quote both historical and present day figures in my work. Someone like Leonardo Da Vinci would perfectly exemplify the practice of keeping an art journal. I would suggest drawing and writing every day to keep the ideas in constant flux. I am reminded of Pliny the elder's aphorism “Nulla Dies Sine Linea” (Do not let a day go by without a line).

 Detail of "Alternative Energy Sources under the Sign of the Sun" Work by Patrick McGrath Muñiz 

 2. The Principle of Form

“As above, so below”  - Hermes Trimegistus

 In a drawing form is composed by lines and governed by both the mind and hand. A line is an idea taking on a physical dimension on paper or any other surface and becoming a word or a drawing. A line can be described as point A connecting with a point B, therefore we can understand it as a means to connecting. 

In this second stage I start finding interesting correspondence between my idea and the way I represent it formally. I build up and organize a composition, conceptually as well as formally. At this point I also study the relation between the negative and the positive forms in my composition. 

Disneyfied saints, graphite on paper by Patrick McGrath Muñiz

 These first two principles occur in the journal and separate preliminary sketches. The first is a thought. The second is thought becoming matter and finding new ways to relate with each other. 

 Preliminary sketch for "Magna Regina" (Great Queen) work by the artist

 In my work I frequently bring together icons from different times and cultures.  To bring together and reconcile past and present times, cultures and beliefs into a harmonious unity is one of my aims in art. Two is the number that eloquently expresses this creative approach.

The Moon seems to embody this second principle as it may be seen as both a thin curved line and then as a fully formed circle. It is the principle of line becoming form.  We are able to see  the Moon  thanks to the reflected light of the Sun. In the same way the principle of thought defines the principle of form.

3. The principle of Anatomy (the study of the parts)

"The kingly crowned head, the vigilant eye, the counsellor heart, the arm our soldier, our steed the leg, the tongue our trumpeter." - Shakespeare

  Anatomical charcoal study for "Insula Ignominiae" work by the artist

 

On this third stage of the process I then proceed to take notes of the anatomy for my models. Being the human figure the main protagonist in my paintings I find it very important to dedicate myself to the study of their parts, from bones to muscles to clothing.  When I refer to anatomy I do not limit the term to just human anatomy but I go beyond the human body to also study animals, trees and what humans wear. 

 Study of camera man and coin symbols for Magna Regina work by the artist

There are basically three types of drawings: contour, gesture and modeled drawings, that is with light and shade.  These are the three types of approaches I take with my anatomical studies.  By doing so, I learn how to represent my characters accurately endowing them life. My primary interest here is to focus on how the line expresses personality and vitality.  

Portrait charcoal study for "Insula Ignominiae" work by the artist

 While drawing or painting from photographs I regularly refer back to classical models, nature as it appears and my mental image of how things should look like. These three sources inform my work. While the first principle was about the creative thought and the second about the thought becoming form in a whole composition, the third principle guides me through the specific parts of the composition. By focusing on specifics I also make sure there is diversity in forms and ideas within  the whole of my composition.

 Sanguine study for "Exodus Exvoto Profugus" work by the artist

This concludes my first part dealing with the guiding principles of my art. These first three principles can be applied to drawing as well as paintings but most of the time they are reflected in sketches and writings contained in my art journal. They serve as the basis for all of my work. On the next four guiding principles I will talk more about issues that concern finished work and completing paintings.

All text on this blog is  copyrighted material© by the artist and author Patrick McGrath Muñiz