The intense color is meant to bring this miraculous change into our consciousness.
The colors are super infused with hue. Each color becomes the heightened essence of itself. To the uninformed eye, these “stained glass” windows on the Resurrection might look fantasia-like. They’re meant to be, however, simple in form and basic in color.
Mary Magdalene encounters the risen Jesus.
The figures show emotion in their gestures, their exaggerated movements. This is to show that reality was turned on its head.
Something so unbelievable had occurred that it changed consciousness forever.
The world became full of hope and meaning because death had lost its power and its grip on humanity.
Hallelujah! He has risen!
After the Resurrection, Jesus appears to the women
These 14 Stations of the Resurrection (Via Lucis) adorn the upper reaches of the nave of Capilla San Juan Bosco in Orocovis (Barrio Gato), Puerto Rico. Padre Jorge Santiago Cartagena, SDB, commissioned them. Twelve similar windows were also commissioned by Padre Jose Luis Gómez, SDB for the church San Juan Bosco in Villa Palmeras, San Juan.
In 1998 Father Sabino Palumbieri, Salesian priest and professor of theological anthropology in Rome, “proposed the creation of a new set of stations [to complement the Stations of the Cross] centered upon the resurrection and the events following it to emphasize the positive hopeful aspect of the Christian story which, though not absent from the Stations of the Cross, is obscured by their emphasis upon suffering. The first major public celebration of this devotion was in 1990…”
It was officially sanctioned by the Vatican in 2001. (From Wikipedia-“Stations of the Resurrection”)
The reason for the use of Sacred Art in the Church is to make visible what is invisible, to bring us to a more heightened state of awareness and connection with God and His Saints that we might share more fully in His Glory and Love for us, that we might go forth and DO HIS WILL.
Sacred Places of Jesus’ Life, Death and Resurrection have always been venerated – early pilgrims retraced the Way of the Cross. So it was that the pilgrims brought back from The Holy Land the idea of recreating those sacred places and events to share with the faithful of their home churches.
It is said that Saint Francis of Assisi began the practice of the Stations of the Cross. It then spread throughout Italy and Europe. It was his practice to reproduce in a realistic way the events of our Lord’s life and deeds (an example, is his reported installation of the stable and manger with live animals and people in commemoration of the birth of Jesus).
In a similar way I conceived these Stations of the Cross to bring immediacy to the Passion of our Lord.
Each one measures 4-ft x 8-ft. This is because of the cavernous size and interior simplicity of the nave of the church, Santa Rosa de Lima, in the town of Guaynabo, Puerto Rico. Intimacy was achieved by the use of local people as models and customs, so that the faithful might better identify with the trials that Our Lord and Savior suffered and died for because of His Love for us.
Here we see Jesus, centered, surrounded by many but COMPLETELY alone, only those admitted from the status quo on both sides (although we see Flavia, wife of Pilate and perhaps Nicodemus who represent a small group of inside sympathizers).
In the midst of a crowded room He is a lonely figure. All signs point to Him, the columns, the center aisle and all who gesture, single Him out in accusation. He is The One! The cause of all their troubles, indignation and hatred! He must DIE!
“Apparition of Our Lady of Guadalupe with St. Juan Diego” painting by AVonnHartung
Today we celebrate the Feast of Our Lady of Guadalupe, Patroness of Mexico and Empress of the Americas…today December 12, the day that she left her image imprinted on Juan Diego’s tilma. (translation from La Palabra Entre Nosotros)
This painting also celebrates St. Juan Diego, whose Feast Day is December 9th.
In 2003 I was commissioned by Parroquia San Ignacio (9:30 Community) in San Juan, Puerto Rico, to paint “Our Lady of Guadalupe with St. Juan Diego” to be given as a gift to Father Donald Vega SJ, on the occasion of his 50th anniversary as a priest. (She is his personal patron saint)
I added a personal detail by including his dog Luigi in the foreground. Luigi and Lola were orphaned dogs taken in by Father Vega. They would lie down before the altar and in the first pew everyday as he celebrated mass.
El Buen Pastor / Good Shepherd painting by A.VonnHartung
When Padre Jaime Vázquez commissioned this painting, “El Buen Pastor / The Good Shepherd”, as part of my research I visited Ochoa Agrícola (agricultural store) in Caguas, Puerto Rico. They have scores of sheep, mostly lambs and yearlings.
I worked among them getting close-up sketches and the feel of them.
It is such an important part of bringing what we paint to life, to know as much as possible the essence of what it is we are making visible, which in reality is merely a thin film of paint on a two-dimensional canvas.
Closeup detail of painting “El Buen Pastor” (4 x 8-feet) by AVonnHartung, commissioned by Padre Jaime Vázquez Rojas in 2003 for “Parroquia El Buen Pastor” in Guaynabo (Apolo), Puerto Rico
VIEW THE VIDEO—“My sheep hear my voice, and I know them. They follow me and I give them eternal life… (Jn 10:27) In this video A.Vonn Hartung speaks to a group of parishioners about his painting “El Buen Pastor”— In 2015 the parishioners of his church, San Ignacio de Loyola in Puerto Rico, under the leadership of Dra Señora Laura Gorbea organized a CARAVAN OF CARS to begin to make the rounds to see the Churches with Sacred Art that he had completed. We started with three churches in the metropolitan area. The painting in this video was commissioned by Padre Jaime Vázquez Rojas (may he rest in peace) of the Church of El Buen Pastor on Ave. Apolo in the town of Guaynabo.
NOTE: Due to the low resolution of this video, optimal viewing would be on a smartphone rather than a desktop computer.
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.
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 begins to melt away his own cruelty and indifference.
See how he marvels at the deep and complete faith of Veronica as she wipes the face of our Lord. Furthermore, others are also 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.
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.
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.
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.
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.
