Blessed Carlos Manuel Rodríguez

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Blessed Carlos Manuel Rodríguez was beatified thirteen years ago today on April 29, 2001, by His Holiness (now Saint) John Paul II. Furthermore, “he was the first Puerto Rican, the first Caribbean-born layperson and the first layperson in the history of the United States to be beatified.“

At the core of Blessed Carlos Manuel Rodriguez’ spirituality (Pope John Paul II  said) was his faith in the Resurrection. He promoted the Easter Vigil as the defining moment of Christian spiritual life, repeating often, “We live for that night.” (Vivimos para esa Noche)

BlessedCarlosManuel Rodriguez2_vonn hartung
Blessed Carlos Manuel Rodríguez
Oil portrait by A. Vonn Hartung 2001

In 2001 I was deeply honored and humbled to be commissioned by the archbishop of San Juan, Monsignor Roberto González Nieves, to paint the official portrait of Blessed Carlos Manuel Rodríguez. Significantly, it was to be given as a gift from Puerto Rico to the Pontifical North American College in Vatican City. Indeed it is exhibited there in the Hall of Saints.

The Portrait is painted with various symbolic elements. They express a visual prayer that “speaks to the eye”. In other words, what was it that helped bring Blessed Carlos Manuel Rodriguez to such an intimate connectedness to our Lord and Savior? The absolute serenity and joy in Charlie’s look is the faith that we seek. It is the faith that seeks us.

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El Jíbaro Puertorriqueño

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Today is Earth Day. What better moment to pay homage to the noble “El Jíbaro Puertorriqueño”, the Puerto Rican cultural icon! “El Jíbaro” symbolizes to me the “salt of the Earth”

"El Jíbaro" oil portrait by AVonnHartung
“El Jíbaro”
Oil portrait by A.Vonn Hartung

“El Jibaro Puertorriqueño” is a painting inspired by my neighbors who have cultivated the land of their ancestors from the beginning.

Don Pepe represents for me all those who still cultivate the land; living links to our past, sustenance today and hope for abundance and sustainability in the future.

He represents, on the one hand, the constant battle between the so-called permanence of concrete and asphalt which is quickly engulfing our fertile land and drying up our lakes and rivers due to urban sprawl and the overwhelming dominance of the automobile as symbol of impoverished planning.

And on the other hand, the stability and sustainability through cosmic spirituality which, along with intact families, are our guarantee of a healthy, harmonious continuity which must offset the suicidal (or more aptly expressed, planeticidal*) race to deplete our natural resources.

*the killing of our own planet

 

This painting was inspired by my neighbor Don Pepe “el Múcaro” (the Owl) O’Neill, who I am proud to call my friend. May he rest in peace!

(16″x20″ oil portrait, artist’s collection)

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Hoy es “Dia de la Tierra”
¡Que mejor momento para rendir homenaje al noble “El Jíbaro Puertorriqueño”, el icono cultural puertorriqueño!”El Jíbaro” simboliza para mi la “sal de la tierra”

“El Jíbaro” es una obra inspirada por mis vecinos que han cultivado la tierra de sus antepasados desde el principio.

Don Pepe representa para mí todos los que todavía cultivan la tierra; vínculos vivientes con nuestro pasado, sostenimiento hoy y esperanza de abundancia y sostenibilidad para el futuro.

Él representa, por un lado, la batalla constante entre el supuesto permanencia de hormigón y asfalto, que se envuelva rápidamente nuestra tierra fértil y seca nuestros lagos y ríos debido a la expansión urbana y el abrumador dominio del automóvil como símbolo de la empobrecida planificación.

Y por otro lado, la estabilidad y sostenibilidad a través de la espiritualidad cósmica que, junto con las familias intactas, son nuestra garantía de una continuidad sana y armoniosa que debe contrarrestar la carrera suicida (o mejor expresada, planetacida*) por agotar nuestros recursos naturales.

*la matanza de nuestro propio planeta

 

Esta pintura fue inspirada por mi vecino Don Pepe “el Múcaro” O’Neill, que me siento orgulloso de llamarlo mi amigo. ¡Que en paz descanse!

(“El Jíbaro” es un retrato en óleo 16″ x 20″, colección del artista)

 

He is Risen

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"He is Risen" is a carved tabernacle door by A.VonnHartung“He is Risen” is a carved tabernacle door depicting the hillside of Jerusalem where Jesus was buried. The rising sun shows it to be Easter morning as the three women skip down the path together in an expression of great joy upon realizing that Jesus has risen.

The grave is empty, sculpted out to serve as the handle of the door, so each time the priest opens the tabernacle, he must put his hand into the empty tomb.

 

Commissioned in 1992 by Padre Jorge Castillejo Lluisiá for Casa de Niños Manuel Fernández Juncos, San Juan, Puerto Rico

The Agony of Crucifixion

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Agony of Crucifixion wood sculpture by A.Vonn Hartung for St. John's Catholic Church (Montville, Connecticut)
            The Agony of Crucifixion

From noon until three in the afternoon darkness came over all the land. About three in the afternoon Jesus cried out in a loud voice, “Eli, Eli, lema sabachthani?” (which means “My God, my God, why have you forsaken me?” (Mt 27)

I carved this crucified Christ, “The Agony of Crucifixion” after an in-depth study of the book  A Doctor at Calvary by Pierre Barbet M.D.,  a forensic pathologist’s analysis of the Holy Shroud of Turin. It reveals a graphic account of Jesus’s suffering at the hands of the Romans. “A theory attributed to Pierre Barbet holds that, when the whole body weight was supported by the stretched arms, the typical cause of death was asphyxiation. He wrote that the condemned would have severe difficulty inhaling, due to hyper-expansion of the chest muscles and lungs. The condemned would therefore have to draw himself up by the arms, leading to exhaustion, or have his feet supported by tying or by a wood block. When no longer able to lift himself, the condemned would die within a few minutes.”

The main results of the study show in the carving the effects of asphyxiation symptoms where all the muscles of the body cramp up due to lack of oxygen and cause massive cramps resulting in agonizing death.

So precise was this macabre form of torture and death, that in the way the Romans hung the bodies to the cross they could determine how long it would take the victim to die.

 Msgr. Bronislaw Gadarowski commissioned this life-size wood sculpture for St. John’s Catholic Church in Montville, Connecticut. The artist carved it in linden wood (circa 1981)  

NOTE—I remember when I returned to the church a few days after it was installed; it had to be in maybe 1983. When I walked into the church there were at least five people on their knees looking up at the crucifix; they were Polish second generation faithful. A short time afterwards, the priest told me that they were thinking about taking it down and only putting it up during Lent because some parents said it scared their children! Two years later when I visited the church during Lent; there was a newly installed Priest—I think he was from Quebec. I told him about the incident with the Kids. He looked at me and said, “I sit underneath it. I worry it might fall on me.” So it has some provenance!

View video The Passion of our Lord

Ver video La Pasión de nuestro Señor

Two contemplative videos (English and Spanish versions) showing the Passion of our Lord Jesus Christ (his arrest, taking up of the cross, crucifixion, death and burial) through original paintings and wood sculptures by the artist A.Vonn Hartung, accompanied by meditative music.

Madre Dolorosa Sorrowful Mother

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La Madre Dolorosa (Sorrowful Mother) woodcarving by A.Vonn Hartung
La Madre Dolorosa
(Sorrowful Mother)
woodcarving by A.Vonn Hartung

 

Madre Dolorosa Sorrowful Mother, a high-relief wood carving, expresses the agony of Jesus through His mother Mary. Specifically, the betrayal by Judas, the arrest, torturous scourging, trial, carrying of the cross, and finally the agonizing crucifixion and death at Golgotha.

The Sorrowful Mother contemplates the seven sorrows of her life, represented by the seven swords piercing her heart.

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Stations of the Cross

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THESE STATIONS OF THE CROSS paintings show the process of conversion as Jesus was put to the test and tormented. Indeed, his persecutors came to understand who he was.

[Spanish translation follows]

Accordingly, the stations express a perspective that emphasizes the effect Jesus had on those present during his ordeal of carrying his own cross to his crucifixion on Calvary. Specifically, as the bystanders are pulled into his suffering we follow by observing closely, the actual Revelatory conversion of the principal Roman soldier.  Moreover, we see how the outpouring of grief and compassion of others around him begin to melt away his own cruelty and indifference.

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Jesus takes up his cross, ViaCrucis station 2 painting by A.Vonn Hartung

See how he marvels at the deep and complete faith of Veronica as she wipes the face of our Lord. Furthermore, others also are going through the steps of conversion from confusion and despair to an awakening clarity. Significantly, we see this most clearly in the others behind Veronica.

Veronica wipes the face of Jesus.ViaCrucis station 6 painting by A.VonnHartung

Thus we understand how the soldier at the foot of the cross could finally come to the realization that they had indeed crucified “The Son of God”.  (Mk 15:39)

 

 About the paintings

The artist painted these Stations of the Cross for Santa Rosa de Lima Church in Guaynabo (Barrio Amelia), Puerto Rico.  In fact, he conceived them with the community in mind. Moreover they include much of the spiritual and cultural qualities of Puerto Rico. Each Station measures 4-ft by 8-ft, painted in acrylic and gilded in copper and gold. They surround and crown the nave of the church.

Read More about these paintings

View contemplative video of these Stations of the Cross

See video The Passion of our Lord

Ver video La Pasión de nuestro Señor

 

Commissioned by Padre Antonio “Tito” José Vázquez

Photos by Greger Norrevik

 

Las pinturas de estas ESTACIONES DE LA CRUZ muestran el proceso de conversión cuando Jesús fue puesto a prueba y atormentado. Sus perseguidores llegaron a comprender quién era.

De hecho, las estaciones expresan una perspectiva que hace hincapié en el efecto que Jesús tuvo en los presentes durante su terrible experiencia de llevar su propia cruz a su crucifixión en el Calvario. A medida que los transeúntes son arrastrados a su sufrimiento, seguimos observando de cerca la conversión Revelatoria real del principal soldado romano. Vemos cómo el torrente de dolor y compasión de los que le rodean comienzan a disipar su propia crueldad e indiferencia.

Jesus takes up his cross, ViaCrucis station 2 painting by A.Vonn Hartung

Vea cómo se maravilla de la fe profunda y completa de Verónica mientras limpia el rostro de nuestro Señor. Otros también están pasando por los pasos de conversión de la confusión y la desesperación a una claridad que despierta, como se ve más visiblemente en los otros detrás de Verónica.

Veronica wipes the face of Jesus.ViaCrucis station 6 painting by A.VonnHartung

Así entendemos cómo el soldado al pie de la cruz pudo finalmente darse cuenta de que habían crucificado al “Hijo de Dios”. (Marcos 15:39)

 

Acerca de las pinturas

Estas Estaciones de la Cruz fueron pintadas para la Iglesia Santa Rosa de Lima en Guaynabo (Barrio Amelia), Puerto Rico. El artista los concibió con la comunidad en mente e incluyen gran parte de las cualidades espirituales y culturales de Puerto Rico. Cada estación mide 4 pies por 8 pies, pintada en acrílico y dorada en cobre y oro. Se rodean y coronan la nave de la iglesia.

Leer más acerca de estas pinturas

Ver videos contemplativos—

Stations of the Cross

 The Passion of our Lord

 La Pasión de nuestro Señor

Compre impresiones giclée de estas estaciones

 

Encargo del Padre Antonio “Tito” José Vázquez

Fotos por Greger Norrevik