Mural at Santa Rosa de Lima, Barrio Amelia, Guaynabo, Puerto Rico. Painted in 1997 by A.Vonn Hartung, with the participation of the community, commissioned by Padre Julio Victor Garcia
“The Faith of Santa Rosa de Lima“, central section
This retablo/mural speaks of the faith of Santa Rosa de Lima and her spiritual passion for our Lord and of His presence in all things.
Santa Rosa de Lima
The focus is a visualization of the Crucifixion and His triumph into eternal life: The Resurrection of Jesus Christ.
The composition emanates from the centeredness of Christ and of His sacrifice for our salvation. It conveys a sense of movement in salvation history. It speaks of place, here in Guaynabo across the bay from San Juan. It speaks of salvation, of our sacred Lord hanging from His cross, who beholds us as His people on His planet and as a community, as a church. “God so loved the world He gave His only begotten son” (John 3:16).
The composition is circular, rising from beneath the cross with the law, the Ten Commandments of Moses, and the scrolls of the prophets.
Scrolls of the prophets
Raising upward into the Passion of our Lord, we see His saving power, symbolized in the radical redemption of the crucified thief (Luke 23:39-43), here depicted rising to Jesus’ right, his hand outstretched, the empty cross evidence of his salvation. Also shown here is the church’s first martyr, Stephen, to Christ’s uppermost left (the wounds of his stoning still apparent). Below the cross is Mary, Jesus’ mother, next to young John, kneeling. Rising above him is the mother of James and John, and across from her is Mary Magdalene.
Jesus’ sacred blood drips down and is held in the hands of His saints, as it bursts into holy flame.
Above the arms of the cross, we catch a glimpse of paradise, symbolized by the Easter Lily and the Roses, as their thorns transform into rosebuds, alongside the star-filled dawning sky that stretches to the ends of the earth. Christ’s resurrected power is brought into focus, working through His people, seen on both sides of the retablo.
The first missionaries to the extreme right of Christ are represented by the Dominican Friar riding on his donkey as he brings the holy message of Christ’s salvation and His commandment “have love for one another as I have loved you (John 13:35).
Dominican Friar
Below the Friar on his donkey is the miracle at Lourdes, as expressed in the grotto with Bernadette at the spring of water where she beholds her miraculous vision, here depicted below the statue of the Virgin Mary.
Bernadette at Lourdes
Looking up from the grotto, we witness Christ’s baptism by John the Baptist, and surrounding them, the shadows of Christ’s baptized followers are transfigured into light. Above them and the rocks, Martin de Porres (fellow saint and friend of Santa Rosa) follows faithfully in the path of Jesus, who, on his donkey, descends into the crucible of His trial, conviction, and sentence to death on the cross. Along this path, we see evidence of the Parable of the Sower (…some “seeds fell on good soil and brought forth grain “(Matthew 13).
Baptism
Below Jesus, we see the Ship of Fools, filled with gold bullion, reflecting the fools’ fixation on wealth and worldly power.
On the ship, the captain gazes at his compass, which is painted as a roulette wheel, indicating the uncertainty of their destination. Below the mast, the thief who scoffed at Jesus while on his cross has now descended and is peddling drugs to our innocent children. Looking up, we see his cross with an automatic weapon and the words “El rey de los violentos”.
Above the ship, the barren landscape stretches out, stripped of vegetation, while the sands of our once-beautiful beaches are disappearing due to unchecked, unsustainable growth.
Ship of Fools
Looking to the other side of the retablo and to Christ’s right, is Noah’s ark along with some of the animals saved from the flood. The pronouncement of Christ in letters of brass mounted on the wall, “Vengan a mí todos los que estén cansados y agobiados, que yo los aliviaré…” (Matthew 11:28). And those who do His will and bring His teachings to future generations into the church, symbolized by the priest who receives the child here today. This call is responded to by the community of God’s people, lifting one another into community and His kingdom, and settling in the garden and statue of Santa Rosa de Lima.
Noah’s Ark and community
I have been blessed to be part of this artistic endeavor, alongside the community of Santa Rosa de Lima, Barrio Amelia, which showcases our faith for the greater glory of our Lord and Savior Jesus Christ.
Mural en Santa Rosa de Lima, Barrio Amelia, Guaynabo, Puerto Rico. Pintado en 1997 por A.Vonn Hartung, con la participación de la comunidad, por encargo del Padre Julio Víctor García.
La Fe de Santa Rosa de Lima
Este mural habla de la fe de Santa Rosa de Lima y de su pasión espiritual por nuestro Señor y de Su presencia en todas las cosas.
Santa Rosa de Lima
Se centra en una visualización de la Crucifixión y su triunfo hacia la vida eterna: la Resurrección de Jesucristo.
La composición emana de la centralidad de Cristo y de su sacrificio por nuestra salvación. Transmite una sensación de movimiento en la historia de la salvación. Habla de lugar, aquí en Guaynabo, al otro lado de la bahía de San Juan. Habla de salvación, de nuestro sagrado Señor colgado de su cruz, quien nos contempla como su pueblo en su planeta y como comunidad, como iglesia. “De tal manera amó Dios al mundo que dio a su Hijo unigénito” (Juan 3:16).
La composición es circular, elevándose desde debajo de la cruz con la ley, los Diez Mandamientos de Moisés y los rollos de los profetas.
Rollo de los profetas
Elevándonos hacia la Pasión de nuestro Señor, vemos su poder salvador, simbolizado en la redención radical del ladrón crucificado (Lc 23, 39-43), aquí representado elevándose a la derecha de Jesús, con su mano extendida, la cruz vacía evidencia de su salvación. Aquí también se muestra al primer mártir de la iglesia, Esteban, en el extremo superior izquierdo de Cristo (las heridas de su lapidación aún son visibles). Bajo la cruz, vemos a María, la madre de Jesús, junto al joven Juan, arrodillado. Sobre él se alza la madre de Santiago y Juan, y frente a ella, María Magdalena.
La sangre sagrada de Jesús gotea y es sostenida en las manos de sus santos, mientras estalla en llama sagrada.
Sobre los brazos de la cruz, vislumbramos el paraíso, simbolizado por el lirio de Pascua y las rosas, cuyas espinas se transforman en capullos, junto con el cielo estrellado del amanecer que se extiende hasta los confines de la tierra. El poder resucitado de Cristo se destaca, obrando a través de su pueblo, visible a ambos lados del retablo.
Los primeros misioneros, a la extrema derecha de Cristo, están representados por el fraile dominico montado en su burro, quien anuncia el santo mensaje de la salvación de Cristo y su mandamiento: «Amaos los unos a los otros como yo os he amado» (Juan 13:35).
Fraile dominicano
Debajo del Fraile sobre su burro, vemos el milagro de Lourdes, tal como se expresa en la gruta con Bernadette en la fuente de agua donde contempla su visión milagrosa, aquí representada debajo de la estatua de la Virgen María.
Bernadette en Lourdes
Al alzar la vista desde la gruta, presenciamos el bautismo de Cristo por Juan el Bautista, y a su alrededor, las sombras de los seguidores bautizados de Cristo se transfiguran en luz.
Bautismo
Sobre ellos y las rocas, vemos a Martín de Porres (compañero santo y amigo de Santa Rosa) siguiendo fielmente el camino de Jesús, quien, montado en su burro, desciende al crisol de su juicio, condena y sentencia de muerte en la cruz. A lo largo de este camino, vemos evidencia de la parábola del sembrador: «Algunas semillas cayeron en buena tierra y dieron fruto» (Mateo 13).
Debajo de Jesús, vemos pintada la nave de los necios, llena de lingotes de oro, lo que refleja la fijación de los necios en la riqueza y el poder mundano.
En el barco, vemos al capitán mirando su brújula, que, pintada como una ruleta, indica la incertidumbre de su destino. Bajo el mástil del barco, vemos al ladrón que se burló de Jesús en la cruz, ahora ha descendido y está traficando drogas a nuestros niños inocentes. Mirando hacia arriba, vemos su cruz con un arma automática y las palabras “El rey de los violentos”.
Sobre el barco está pintado el paisaje devastado, desprovisto de vegetación, ¡y las arenas de nuestras hermosas playas se están agotando debido a un crecimiento insostenible a largo plazo!
La nave de los necios
Mirando al otro lado del retablo, a la derecha de Cristo, vemos el arca de Noé junto con algunos de los animales salvados del diluvio, y la declaración de Cristo en letras de bronce fijadas en la pared: «Vengan a mí todos los que estén cansados y agobiados, que yo los aliviaré…» (Mateo 11:28).
El Arca de Noé y la comunidad
Y a quienes hacen su voluntad y llevan sus enseñanzas a las futuras generaciones a la iglesia, simbolizadas por el sacerdote que recibe al niño hoy. A este llamado responde la comunidad del pueblo de Dios, elevándose unos a otros hacia la comunidad y hacia su reino, y estableciéndose en el jardín y la estatua de Santa Rosa de Lima.
He sido bendecida de haber podido, junto con la comunidad de Santa Rosa de Lima, Barrio Amelia, ser parte de este esfuerzo artístico mostrando la fe para mayor gloria de nuestro Señor y Salvador Jesucristo.
The following are works of art by A.Vonn Hartung in Catholic Churches, in Puerto Rico, Connecticut, Florida, and the Vatican (Pontifical North American College, Hall of Saints).
Paintings, portraits, wood sculpture (high relief and full statues), murals, mosaics, “stained glass” windows
Casa de Niños Manuel Fernández Juncos (capilla), Miramar, San Juan, Puerto Rico
—La Madre Dolorosa, High Relief Wood Sculpture, 33 x 27 inches, Pau Lope wood, commissioned by Padre Julio Victor Garcia, 1991
—Sagrario “He is Risen” 20 x 14 x 12-inches, high relief wood sculpture on the door of Sagrario, commissioned by Padre Jorge Castillejo, 1992
—Altar and Ambo, high relief wood sculpture, Pau Lope wood, commissioned by Padre Jorge Castillejo, 1992
La Madre Dolorosa
Parroquia San Francisco Javier, Urb Fairview, Trujillo Alto, Puerto Rico
—San Francisco Javier Baptizing, painting on wood panel, 7 x 11 feet, altarpiece (retablo), commissioned by Padre Julio Victor Garcia, 2002
Hermanas Misioneras del Buen Pastor, Caguas, Puerto Rico
—El Buen Pastor / The Lost Sheep, painted mural on canvas (after Alfred Soord, The Lost Sheep), 9 x 12 feet, Sanctuary of Capilla, commissioned by las Hermanas Misioneras del Buen Pastor, circa 1986
—Las Huellas del Buen Pastor, oil painting (small mural), 40 x 60 inches, commissioned by las Hermanas Misioneras del Buen Pastor, 1995
El Buen Pastor / The Lost Sheep
Parroquia El Buen Pastor, Guaynabo (Apolo), Puerto Rico
—El Buen Pastor, a painting on wood panel, 4 x 8 feet, commissioned by Padre Jaime Vazquez Rojas, 2003
El Buen Pastor
Parroquia Santa Rosa de Lima, Guaynabo (Barrio Amelia), Puerto Rico
—A Mural of Faith: Art in the Light of Christ, a painted mural in the Sanctuary, 29 x 65 feet, commissioned by Padre Julio Victor Garcia, 1997.
—Stations of the Cross, 14 painted panels, each 4 x 8 feet (gilded with gold and copper leaf) in the nave, commissioned by Mons. Antonio “Tito” José Vázquez, 2001
—Cordero2, wood carving (for Sagrario), commissioned by Padre José Gregorio Guaipo
—Beato Carlos Manuel Rodríguez Santiago, large giclee print on canvas, Padre José Gregorio Guaipo
Jesus takes up his cross
Parroquia Maria Auxiliadora, La Cantera, Hato Rey, Puerto Rico
—La Misericordia de San Juan Bosco, painting on wood panel, 3 ½ x 8 feet, commissioned by Padre Nicolás “Colacho” Navarro SDB, 2011
—San Juan Bosco blesses his successor, Blessed Michael Rua, painting on a wood panel, 3 ½ x 8 feet, commissioned by Padre Nicolás “Colacho” Navarro SDB, 2011
—Santo Domingo Savio (4 paintings on wood panels), in the side altars of the Sanctuary, commissioned by Padre Nicolás “Colacho” Navarro SDB, 2014
—Forever Young, a 27 square foot painting for the students of Colegio San Juan Bosco at Parroquia Maria Auxiliadora, commissioned by Padre Jorge Santiago Cartagena SDB, 2017
—Fourteen Stations of the Resurrection, large giclee prints on wood panels, commissioned by Padre Nicolás “Colacho” Navarro SDB, 2018
Siempre Jóven / Forever Young
Colegio Maria Auxiliadora (in capilla), Santurce, Puerto Rico
—Mi Vida es para los Jovenes, vitral (oil paint on Lexan), commissioned by Sor Estela Baez y las Hermanas Salesianas, circa 2003.
—Santa Maria Mazzarello, vitral (oil paint on Lexan), commissioned by Sor Estela Baez y las Hermanas Salesianas, circa 2003.
Mi Vida es para los Jóvenes
Parroquia San Juan Bosco, Villa Palmeras (Calle Lutz), San Juan, Puerto Rico
—Ten Stations of the Resurrection, vitrales (oil paint on Lexan), commissioned by Padre Luis Gomez SDB, circa 2005.
He saw and believed
Parroquia San Juan Bautista, Orocovis (pueblo), Puerto Rico
—La Vida y Profecia de San Juan Bautista (The Life and Prophecy of St. John the Baptist), mosaic mural, 500 square feet in three arches, Sanctuary, commissioned by Padre Jorge Santiago Cartagena SDB
—Last Supper (oil paint on Lexan), in Santisima Chapel, commissioned by Padre Jorge Santiago Cartagena SDB
—El Pan y el Vino (two “stained glass” windows, oil paint on Lexan) in Santisima Chapel, commissioned by Padre Jorge Santiago Cartagena SDB
—Resurrección (stained glass window) in Santisima Chapel, commissioned by Padre Jorge Santiago Cartagena SDB
—El Nacimiento de San Juan Bautista (three “stained glass” windows, oil paint on Lexan) in Sacristy, commissioned by Padre Jorge Santiago Cartagena SDB
La Vida y Profecía de San Juan Bautista
Capilla San Juan Bosco, Orocovis (Barrio Gato), Puerto Rico
—El Sueño de las Dos Columnas (Dream of the Two Columns), a painted mural in the Sanctuary of Capilla, 18 x 50 feet, commissioned by Padre Jorge Santiago Cartagena SDB
—FourteenStations of the Resurrection, “stained glass” windows—oil paint on Lexan, commissioned by Padre Jorge Santiago Cartagena SDB
—Two large “vitrales” (theme of the mural “Dream of the Two Columns”), oil paint on Lexan, commissioned by Padre Jorge Santiago Cartagena SDB
El Sueño de las Dos Columnas
Capilla Divino Niño Jesús, Orocovis (Botijas), Puerto Rico
—San José con el Niño Jesús, acrylic painting on wood panel, in the Sanctuary, commissioned by Padre Demetrio Coello SDB and the Salesian community.
—Jesús Resucitado, acrylic painting on wood panel, in the Sanctuary, commissioned by Padre Demetrio Coello SDB and the Salesian community.
—Maria Auxiliadora, acrylic painting on wood panel, in the Sanctuary, commissioned by Padre Demetrio Coello SDB and the Salesian community.
San José con Niño Jesús
Catedral San Juan Bautista, Viejo San Juan, Puerto Rico
—Stations of the Resurrection, 14 paintings on wood panels, 24 x 24 inches, 2015, on loan from the artist, A.Vonn Hartung, to Mons Roberto Gonzalez Nieves, 2018 (NOTE: Giclee prints of these paintings are on display in several churches in Puerto Rico.)
—Carved Andas, (for processions) commissioned by Mons Roberto Gonzalez Nieves with liturgical consultant Hector Balvanera, 2015
—Misericordia, a painting on wood panel, 2015, commissioned by the Archbishop of San Juan, S.E.R. Monseñor Roberto González Nieves, for the arch above the main doors of Catedral San Juan Bautista in San Juan, Puerto Rico, to commemorate Pope Francis’ declared Extraordinary Jubilee Year of Mercy 2015-2016. Liturgical consultant Hector Balvanera.
Misericordia
Capilla María Auxiliadora, Carolina (rural), Puerto Rico
—Saint Joseph, Protector, carved statue, approximately 3 feet high, in Capilla, commissioned by Padre Rafael de Jesús Gonzalez Ayala CRL, 2017
—Beato Carlos Manuel Rodríguez Santiago, giclee print on canvas, Padre Rafael de Jesús Gonzalez Ayala CRL, 2017
St. Joseph, Protector
Catedral Dulce Nombre de Jesús, Caguas, Puerto Rico
—Cordero, wood carving for Beato Carlos Manuel Rodriguez’s tomb, commissioned by Mons. Ruben Antonio Gonzalez Medina CMF, 2001
Cordero de Dios
Parroquia Maria Madre de mi Señor, Guaynabo, Puerto Rico
—Before Birth: Mary at the Manger, acrylic painting on canvas, 24 x 36 inches, commissioned by Padre Jairo Granados, 2021
Before Birth, Mary at the Manger
Parroquia Corazón de Jesús, Guaynabo, Puerto Rico
—Fourteen Stations of the Cross, Giclee prints mounted on wood panel, commissioned by Padre Phillip (Felipe) Nuñez, 2020
— Fourteen Stations of the Resurrection, Giclee prints mounted on wood panel, commissioned by Padre Phillip (Felipe) Nuñez, 2020
Via Crucis / Via Lucis
Parroquia San Ignacio de Loyola, San Juan, Puerto Rico
—Replica of high relief ceramic sculpture St Benedict of Nursia, 32 x 11 x 3 inches, Forton Hydrocal (architectural stone), Rev. Ron Gonzales, SJ
—Replica of high relief ceramic sculpture, St Francis of Assisi, 32 x 11 x 3 inches, Forton Hydrocal (architectural stone), Rev. Ron Gonzales, SJ
—Replica of high relief ceramic sculpture, St Ignatius of Loyola, 32 x 11 x 3 inches, Forton Hydrocal (architectural stone), Rev. Ron Gonzales, SJ
Six Carved Saints (Paul, Peter, Matthew, Mark, Luke, and John), high relief wood sculptures, tropical cedar (12-inches x 33-inches x 3-inches) for the ambo, commissioned by Pastor Doug Halsema with liturgical consultant Steven Schloeder, 2008
St. John Evangelist
The Holy Family, high relief wood sculpture, tropical cedar, 42 x 44 inches, commissioned by the Unanue Freeborg family, Miami, Florida, 2012
The Holy Family
Pontifical North American College, Vatican
Beato Carlos Manuel Rodriguez Santiago, painting on canvas, 34 x 26 inches, in the Hall of Saints, commissioned by Mons Roberto Gonzalez Nieves, Archbishop of San Juan, 2001
When I learned of the COVID-19 pandemic, I realized I would be isolated, possibly for a long time. Therefore, I began thinking of a project that would address the situation and hold my own interest in considering how we arrived at this point in our history.
Having worked on environmental issues for over 50 years, I was deeply concerned about what was happening to our climate and specifically how we as humans have contributed to the dangerous outlooks being projected for the future concerning carbon dioxide (CO2) emissions into the atmosphere.
“On Earth as it is in Heaven” oil painting 42-inches x 57-inches
As an artist, I had addressed the issue in a painting, “On Earth as it is in Heaven,” back in the early 1990s when I was a member of the Justice and Peace commission of the Catholic Church in San Juan, Puerto Rico. The painting made its rounds through a half dozen churches and some public displays. Still, it made little impact at the time that I was aware of.
When Pope Francis published his Encyclical “Laudato Si’: on Care for our Common Home” in 2015, it inspired me to keep evangelizing with the painting and continue my contacts with people who were also interested in the problem of our collapsing ecosystem.
Because of the imbalance that was becoming evident in the climate crisis, it seemed inevitable that some pandemic would eventually appear.
Eve and Adam (closeup detail)—a high relief woodcarving 19 x 44 x 3 inches
When the virus intensified and curfews and restrictions were announced in Puerto Rico on March 15, I began this woodcarving to express what I believe is the forbidden fruit that we are now tempted to harvest, or conversely, to desist from our addiction to it.
Consequently, this project is a culmination of my many years of witnessing and agonizing over our declining natural world; more importantly, it is a prayer of hope and healing for a healthy future. Moreover, as a prayer, I consider it a work of Sacred Art.
Eve and Adam(a high relief woodcarving, 19 x 44 x 3 inches)
Cuando me enteré de la pandemia de COVID-19, me di cuenta de que estaría aislado, posiblemente durante mucho tiempo. Por lo tanto, comencé a pensar en un proyecto que abordara la situación y que me interesara personalmente, considerando cómo llegamos a este punto de nuestra historia.
Habiendo trabajado en temas ambientales por más de 50 años, estaba profundamente preocupado por lo que estaba sucediendo con nuestro clima y específicamente cómo nosotros como humanos hemos contribuido a las peligrosas perspectivas que se proyectan para el futuro con respecto a las emisiones de dióxido de carbono (CO2) a la atmósfera.
“On Earth as it is in Heaven” oil painting 42-inches x 57-inches
Como artista, abordé el tema en una pintura, “Así en la Tierra como en el Cielo“, a principios de la década de 1990, cuando era miembro de la comisión de Justicia y Paz de la Iglesia Católica en San Juan, Puerto Rico. La pintura recorrió media docena de iglesias y algunas exposiciones públicas. Aun así, tuvo poco impacto en aquel momento, que yo supiera.
Cuando el Papa Francisco publicó su encíclica “Laudato Si’: sobre el cuidado de la casa común” en 2015, me inspiró a seguir evangelizando con la pintura y a mantener el contacto con personas interesadas en el problema del colapso de nuestro ecosistema.
Debido al desequilibrio que se hacía evidente en la crisis climática, parecía inevitable que eventualmente surgiera alguna pandemia.
Eve and Adam (closeup detail)
Cuando el virus se intensificó y se anunciaron toques de queda y restricciones en Puerto Rico el 15 de marzo, comencé esta talla en madera para expresar lo que creo es el fruto prohibido que ahora estamos tentados a cosechar, o por el contrario, a desistir de nuestra adicción a él.
En consecuencia, este proyecto es la culminación de mis muchos años de presenciar y agonizar por el deterioro de nuestro mundo natural; más importante aún, es una oración de esperanza y sanación por un futuro saludable. Además, como oración, la considero una obra de Arte Sacro.
Inauguración del Centro de Bellas Artes Alejandro Cruz Ortiz
Guaynabo, Puerto Rico
26 marzo a 26 junio 1998
Exposición—Obras de A. Vonn Hartung
2021 Visión: Paisajes de Nuestra Tierra
Estas obras representan para mí la transmisión de una visión artística, una visión que va desarrollándose, que yo experimento en el cosmos en comunión espiritual con la cultura y la vida natural con mis vecinos.
El arte me define la puerta a esta profunda realidad: en un mundo que se mueve con demasiada rapidez, el arte es el mecanismo que nos desacelera, la luz que nos dirige, el punto que da equilibrio a nuestra estabilidad. En un mundo de ciencia enajenante y tecnología efímera, es nuestro vínculo íntimo con nuestro Creador.
Lo que me interesa es la belleza y sus tensiones: la libre caída del movimiento, los aspectos pasajeros de lo permanente, la verdad total de la cual carecemos, nuestro extraño danzar con la oscuridad, nuestro anhelo por la luz, y nuestra capacidad de fe. Lo que exploro aquí es esa belleza y sus tensiones, sus balances, sus cualidades conocidas y desconocidas. Para mí, el arte es un acto de salvación.
These works represent to me the transmission of an artistic vision. This vision is unfolding, one I experience in the cosmos through spiritual communion with the culture and natural life of my neighbors.
Art defines for me the gateway to this deeper reality: in a world that moves too fast, it is our braking mechanism, the searchlight of our direction, the balance point of our stability. In a world of detached science and ephemeral technology, it is our intimate link with our Creator.
It is beauty and its tensions that interest me: the free-falling part of motion, the fleeting aspects of permanence, the completeness of truth which we lack, our curious dance with darkness, our longing for light, and our capacity for faith. I am exploring here that beauty and its tension, its balances, its known and unknown qualities. For me, art is an act of salvation.
En exhibición permanente en la Catedral de San Juan
por S.E.R. Mons. Roberto González Nieves
para inspirar esperanza tras la devastación del huracán María.
El momento en que Jesús resucitó de entre los muertos es el momento
en que el mundo cambió. Él se convirtió para nosotros en el Cristo.
¡El milagro de la Resurrección de nuestro Señor y Salvador Cristo Jesús es la esperanza que tanto se necesita en nuestro mundo hoy, especialmente los jóvenes! Para realizar esta esperanza necesitamos el Misterio Pascual COMPLETO que conduce a nuestra salvación, el cual es incompleto sin una comprensión profunda de la verdad revelada de la Resurrección. Esta verdad—nuestra creencia en la Resurrección, el Amor de Dios por cada uno de nosotros por toda la eternidad, es lo que nosotros necesitamos en nuestro turbulento mundo de hoy.
Las Estaciones de la Resurrección fueron aprobadas y promulgadas para la Piedad Popular por la Santa Sede en 2001. Siguen las visitaciones de nuestro Señor Resucitado a Sus discípulos durante los 50 días de Pascua hasta Pentecostés. Estas estaciones equilibran y complementan el Vía Crucis, los 40 días de Cuaresma, y confirman la victoria de Cristo sobre la muerte y la culminación de Su misión para nuestra redención y salvación. La sección inferior de cada estación habla visualmente de la escatología y el Juicio Final; la colina vacía del Gólgota y la Cruz vacía—el puente desde nuestro mundo finito hacia la eternidad. Estas estaciones están basadas en los 4 Evangelios y los Hechos de los Apóstoles.
Fourteen beautiful prints, printed with high quality Giclée technology,
from original paintings by Catholic artist, A.Vonn Hartung.
Permanently installed in the Cathedral of San Juan de Puerto Rico
by archbishop Mons. Roberto González Nieves
to inspire hope after the devastation of Hurricane Maria.
The moment Jesus rose from the dead is the moment the world changed! He became for us the Christ.
The miracle of the Resurrection of our Lord and Savior Christ Jesus is the hope so desperately needed in our world today, especially the youth! To realize this hope we need the FULL Paschal Mystery leading to our salvation, which is incomplete without a deep understanding of the revealed truth of the Resurrection. This truth—our belief in the Resurrection, God’s Love for each one of us for all eternity is what we need in our troubled world today.
The Stations of the Resurrection were approved and promulgated for Popular Piety by the Holy See in 2001. They follow the visitations of our Risen Lord to His disciples during the 50 days of Easter up to Pentecost. These stations balance and complement the Stations of the Cross, the 40 days of Lent, and confirm Christ’s victory over death and the completion of His mission for our redemption and salvation. The bottom section of each station—the empty hill of Golgotha, speaks symbolically of the end of history and the Last Judgment. Christ’s empty cross is the bridge from death to eternal life. These stations are based on the 4 Gospels and the Acts of the Apostles.
Painting (acrylic) on canvas, 60 x 36-inches. The Angel Gabriel descends in divine glory and declares the message from God the Father. After pondering deep in her heart, the words and their meaning, Mary gives her consent. At that very moment she is filled with the luminous light of grace as she vows to fulfill the will of the Father and to deliver His only Son incarnate as Jesus Christ into the world according to His divine plan for our salvation. The painting is an interpretation of the visions received by Blessed Anne Catherine Emmerich (Augustinian Nun) in 1821, with some added symbolism by the Artist to enhance and clarify the spiritual and prophetic consequences of the Annunciation Event. READ MORE.
Painting (acrylic) on wood panel, 48 x 96-inches. THESE STATIONS OF THE CROSS paintings show the process of conversion as Jesus was put to the test and tormented. They 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. As the bystanders are pulled into his suffering, we follow by observing closely, the actual Revelatory conversion of the principal Roman soldier; we see how the outpouring of grief and compassion of others around him begin to melt away his own cruelty and indifference. READ MORE.
The Agony of Crucifixion
Wood Sculpture, life-size (120 x 50-inches), Linden Wood with Mahogany cross.
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?”
(“My God, my God, why have you forsaken me?”) Mt 27.
I carved this crucified Christ 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. READ MORE.
Forgive them Father, Wood Sculpture, 70 x 48-inches, Linden Wood (detail of full size sculpture)
High Relief Wood Sculpture, 33 x 27-inches, Pau Lope wood
Expresses the agony of Jesus through His mother Mary; 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. READ MORE.
St. Luke the Evangelist
High relief wood sculpture (33 x 12 x 3-inches), one of the six saints carved by A.Vonn Hartung for the Ambo of St. Paul’s Church in Pensacola, Florida. Artistically I have placed St. Luke the Evangelist in the center of his mission; I have conveyed, a feeling of the harmony brought to him through the gift of the Holy Spirit. READ MORE
High Relief Ceramic Sculpture (32 x 11 x 3-inches)
Ora et labora (Pray and work)—refers to the Catholic monastic practice of working and praying. St. Benedict viewed prayer and work as partners and believed in combining contemplation with action. St. Benedict is shown here writing; this is significant for two major reasons. READ MORE
Oil portrait on canvas (34 x 26-inches). Blessed Carlos Manuel Rodríguez was beatified on April 29, 2001, by His Holiness (now Saint) John Paul II. 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). This portrait hangs in the Hall of Saints at the Pontifical North American College, Vatican, commissioned by Monseñor Roberto González Nieves, Archbishop of Puerto Rico. READ MORE.
St. Dymphna, Wood Sculpture, life-size statue, Spanish Cedar
Saint Dymphna, patron saint of mental illness, was martyred in the 7th century for her faith. At 14 years old she was beheaded by her father, a minor king, for her refusal to marry him and become his queen. She presents the Gospel of the Lord, her declaration of faith, and her shield. READ MORE.
I dedicate this painting and poem, “Deviled Eggs”, in memory of all the brave souls who have died sacrificing their lives for a better world.
As part of my series “Cry of Creation,” this work focuses and shines a light on the existential and spiritual threat we face as humanity confronts our own extraordinary power to tip the climate into an imbalance that threatens the future of the world as we know it. We are all important and all uniquely indispensable! Yes—You and Me!
For the love of money is the root of all evil… (1 Timothy 6:10)
Some prioritize financial gain over the health of our planet and its people. They understand they are creating a dystopian imbalance in nature, and yet if we do not change their thinking on this dynamic, we will succumb to this biblical truth.
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Dedico esta pintura y poema, “Deviled Eggs”, a la memoria de todas las almas valientes que han muerto sacrificando sus vidas por un mundo mejor.
Como parte de mi serie “Grito de Creación“, esta obra se centra y arroja luz sobre la amenaza existencial y espiritual que enfrentamos a medida que la humanidad confronta su propio y extraordinario poder para desestabilizar el clima y amenazar el futuro del mundo tal como lo conocemos. ¡Todos somos importantes y todos singularmente indispensables! ¡Sí! ¡Tú y yo!
Porque el amor al dinero es la raíz de toda clase de males (1 Timoteo 6:10)
Algunos priorizan las ganancias económicas sobre la salud de nuestro planeta y su gente. Entienden que están creando un desequilibrio distópico en la naturaleza, y sin embargo, si no cambiamos su manera de pensar sobre esta dinámica, sucumbiremos a esta verdad bíblica.
The truth IS, God gathers, the devil scatters!
La verdad ES, Dios recoge, el diablo dispersa!
Deviled Eggs
Mammon (Devil of Greed) would deceive us saying— “We’re entitled! All on Earth is ours for the taking!” then turn and make our world an Omelet of Deviled Eggs!
From the spoils of our addiction, to profits quarterly earned, is spun the myth of Utopia! While Greed clear-cuts timber, and ancient forests burn
Priceless black blood lies in the womb of our Sacred Earth. The Blood of Dinosaurs and giant Ferns. As we—Sucking-up on it like Mother’s Milk— We as Combustion Burn!
The myth of endless growth slurps up— “me thinks” the broth of Sacred Life, eons ago gone Extinct.
Yet we reward extravagantly reckless greed. We make no shame, but tribute pay, to those who would pay-out our future lives away. To what extent and how far down are we drilling and willing to ignore, the council of our Wisdom that makes up Freedom’s Core.
What has blinded our good sense? That binds us to our folly. knowing it will be at our future world’s expense.
What has hobbled our humility and morphed it into Pride? Who has turned us off our path and broken up our stride?
We sing and shout the chant of Mammon “If I can buy it, it’s mine! If I can do it, I will!
Oh Stupid! Oh, Self-Deceived Fallen One We follow! Down our hole we Go?
No! Let us ransom our Earthly Mother— from out the skillet—set her free! So she can spin and twirl in dance, Blue Mother Dancing Free!
Lord God has let us ride through this our space and time, a ride given to us FREE. It’s where Earth has always been for us and where She always wants to be.
