“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.
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)
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.
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 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 a 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, whom I am proud to call my friend. May he rest in peace!
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 Puertorriqueño” 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 la supuesta permanencia de hormigón y asfalto, que 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 está inspirada en mi vecino, Don Pepe “el Múcaro” O’Neill, a quien me enorgullece llamar amigo. ¡Que en paz descanse!
(“El Jíbaro” es un retrato en óleo 16″ x 20″, colección del artista)
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.
