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.
En la exposición Vonn Hartung presenta el enfoque de su obra, en la cual se refleja el amor por la naturaleza, la búsqueda de los valores fundamentales de los seres humanos y la afirmación de la presencia espiritual en todo lo creado.
La exhibición incluye obras en óleo, esculturas en madera, dibujos y bocetos de murales realizados en diversas iglesias en Puerto Rico, además de serigrafías.
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In the exhibition, Vonn Hartung presents the focus of his work, which reflects his love of nature, the search for fundamental human values, and the affirmation of the spiritual presence in all creation.
The exhibition includes oil paintings, wood sculptures, drawings, and sketches of murals created in various churches in Puerto Rico, as well as silkscreen prints.
“Toques de fe” al igual que en las cuevas del sur de Europa de hace unos 30,000 años, expresan el lenguaje humano del cuento a través del arte y el simbolismo.
Los primeros artistas expresaron lo que era más significativo para ellos, ya sea para exaltar, aplacar o comunicarse con poderes más allá de su control o simplemente para celebrar la necesidad humana de expresión. Aunque pueden surgir controversias acerca de la corrección y legitimidad y aceptación de la expresión colectiva e individual, es y será siempre central en una sociedad vibrante,libre y atenta a las necesidades humanas.
Mientras la humanidad pondera y experimenta con sus propios significados y relevancia, se nos confronta con la pregunta última y básica de quiénes somos, de dónde venimos y hacia dónde vamos, “D’où Venons-nous / Que Sommes-nous / Où Allons-nous”; tal como Paul Gauguin tan punzanamente planteara este misterio de la existencia en su pintura del siglo 19 del mismo título.
Aunque algunos de los “Toques” son eclesiásticos (encargados por la iglesia), muchos de ellos son revelaciones propias recibidas en la oración y en el acto de su creación. Es posible que Dios hiciera que el significado de la vida fuera paradójico por diseño, pero nos regaló la fe para que obráramos la gracia al encontrar el significado y la alegría en la seguridad que da el conocer su amor y promesa de salvación en su hijo Cristo Jesús.
“Toques de fe” explora esas imágenes de la fe tal como yo las entiendo e intento hacerlas visibles en sus manifestaciones interiores y externas. Cedo mi lugar a mis propias obras para alcanzar entendimiento, ya que ellas comunican de manera universal a través del lenguaje del arte y el simbolismo. Con la esperanza de que abra ventanas y puertas hacia esa luz brillante que he encontrado por medio de la fe en la belleza de las imágenes que hablan el lenguaje del espíritu.
Me parece muy apropiado ponderar estos “Toques de fe: bajo la superficie” durante esta época crucial en nuestra búsqueda de significado y realización.
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Reflections by the artist
on his exhibit “Toques de fe”
“Toques de Fe” (Touches of faith), as in the caves of southern Europe some 30,000 years ago, express the human language of storytelling through art and symbolism.
Early artists expressed what was most meaningful to them, whether to exalt, appease, or communicate with powers beyond their control, or to celebrate the human need for expression. While controversies may arise about propriety, legitimacy, and acceptance of collective and individual expression, it is and always will be central to a vibrant, free, and responsive society.
As humanity ponders and experiments with its own meanings and relevance, we are confronted with the ultimate and fundamental question of who we are, where we came from, and where we are going, “D’où Venons-nous / Que Sommes-nous / Où Allons-nous”; just as Paul Gauguin so poignantly posed this mystery of existence in his 19th-century painting of the same title.
Although some of the “Toques” are ecclesiastical (commissioned by the church), many of them are self-revelations received in prayer and in the act of their creation. God may have designed the meaning of life to be paradoxical, but he gave us faith to work with grace by finding meaning and joy in the security that comes from knowing his love and promise of salvation in his Son, Jesus Christ.
“Toques de Fe” explores these images of faith as I understand them and attempts to make them visible in their inner and outer manifestations. I surrender to my own works, allowing them to achieve understanding, as they communicate universally through the language of art and symbolism. In the hope that it will open windows and doors to that brilliant light, I have found faith in the beauty of images that speak the language of the spirit.
I find it very appropriate to ponder these “Touches of Faith: Beneath the Surface” during this crucial time in our search for meaning and fulfillment.
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.
In this wood carving, “Epiphany of the Miracle of the Eucharist”, I express the Epiphany of the Miracle of the Body and Blood of Jesus Christ in the Holy Eucharist.
As is revealed to us concerning the Last Supper (Matthew 26:26-28)— While they were eating, Jesus took bread, and when he had given thanks, he broke it and gave it to his disciples, saying, “Take and eat; this is my body.”Then he took a cup, and when he had given thanks, he gave it to them, saying, “Drink from it, all of you.This is my blood of the covenant, which is poured out for many for the forgiveness of sins.
I carved Mary, Mother of Jesus, at the foot of the Cross in the moment of Epiphany of the Miracle of the Eucharist!
Mother Mary receiving the body and blood of Jesus, her son, into the form of the Holy Eucharist is, to me, the fulfillment of the Incarnation.
The original use of the word Epiphany is associated with the Divine Revelation in the visit of the Magi at the birth of our Lord, baby Jesus, at Bethlehem. This signifies that God came to Earth in human form for “the Gentiles and their kings and to the people of Israel.” (Acts 9:15)
En esta talla de madera, “Epifanía del Milagro de la Eucaristía,” expreso la Epifanía del Milagro del Cuerpo y Sangre de Jesucristo en la Santísima Eucaristía.
Como se nos revela respecto de la Última Cena (Mateo 26:26-28)—
Mientras comían, Jesús tomó pan y lo bendijo. Luego lo partió y se lo dio a sus discípulos, diciéndoles:—Tomen y coman; esto es mi cuerpo. Después tomó una copa, dio gracias y se la dio a ellos diciéndoles:—Beban de ella todos ustedes. Esto es mi sangre del pacto que es derramada por muchos para el perdón de pecados.
¡He tallado a María, Madre de Jesús al pie de la Cruz en el momento de la Epifanía del Milagro de la Eucaristía!
La Madre María recibiendo el cuerpo y la sangre de Jesús, su hijo, en la forma de la Sagrada Eucaristía es, para mí, el cumplimiento de la Encarnación.
El uso original de la palabra Epifanía está asociado con la Revelación Divina en la visita de los Reyes Magos en el nacimiento de nuestro Señor, el niño Jesús en Belén. Esto significa que Dios vino a la Tierra en forma humana para “los gentiles y sus reyes y para el pueblo de Israel”. (Hechos 9:15)
It testifies to the revelations, dreams, miracles, and prophecy of the divine events leading up to and beyond the Incarnation of our Lord and Savior Christ Jesus. It is subtitled “The Faith of St. Joseph”, as it is in Faith that we hope and have our being in the triune God of the Father, the Son, and the Holy Spirit.
The Holy Family
Like ancient Christian sacred art, whether found in the catacombs of Rome or icons from the 5th century, sacred Christian images are still made today as testimony to the Incarnation of God in our Lord Jesus Christ and the holiness of the saints in the history of Salvation.
“The Holy Family”, a wooden sculpture, represents Jesus, Mary, and Joseph in the temple environment of Luke chapter 2.
Jesus, Mary, Joseph
Its composition is inspired by architectural elements, and its images and symbols are artistically constructed in Catholic churches, taken from the Sacred Liturgy, showing various miracles, revelations, and Prophecies from the Bible.
Mary’s awareness of who Jesus is, Jesus’ unity with his Father, and Joseph’s deep faith expressed through his closed eyes (John chapter 20 verse 29: “Blessed are those who have not seen and believed”), and with the lion and the lamb taken from the prophecy of Isaiah, chapter 11.
The Annunciation
Represented here is Mary’s direct encounter with the angel Gabriel at The Annunciation (Luke, chapter 1).
Wedding at Cana
Her understanding of Jesus’ divine power will be revealed in the first miracle at the wedding at Cana (John chapter 2).
The Gospel says little of St.Joseph. “It does not record even one word spoken by Joseph, the carpenter of Nazareth. And yet, even without words, he shows the depth of his faith, his greatness.” (Pope Saint John Paul II)
Joseph’s faith instead comes through dreams, first in the angelic council at the time of his marriage to Mary (Matthew chapter 1) and again in Bethlehem when the angel of the Lord warns him to flee to Egypt away from the murderous jealousy of King Herod (Matthew, chapter 2).
Depicted here is a scene (extra-biblical) that shows Jesus, as an adult and before beginning his ministry, in his family’s home and in their carpentry shop with the tools of his trade.
Sacred Christian Art is not achieved by the artist alone, but with the Holy Spirit and the believer who looks in contemplative prayer, beyond matter to transcendence.Some of this I know from my own interaction with works of Sacred Art and my personal prayerful struggle to bring the Word to life, to make visible what would otherwise remain as thought.
“La Sagrada Familia” es una talla de madera en alto relieve iluminada en cedro tropical y caoba que mide 42 por 44 pulgadas.
Da testimonio de las revelaciones, sueños, milagros y profecías de los eventos divinos que condujeron a la encarnación de nuestro Señor y Salvador Cristo Jesús y más allá de ella. Se subtitula “La fe de San José”, porque es en la fe que esperamos y tenemos nuestro ser en el Dios trino del Padre, del Hijo y del Espíritu Santo.
The Holy Family / La Sagrada Familia
Al igual que el antiguo arte sacro cristiano, ya sea el encontrado en las catacumbas de Roma o en iconos del siglo V, las imágenes sagradas cristianas aún se elaboran hoy como testimonio de la Encarnación de Dios en nuestro Señor Jesucristo y de la santidad de los santos en la historia de la Salvación.
«La Sagrada Familia», una escultura de madera, representa a Jesús, María y José en el entorno del templo del capítulo 2 de Lucas.
Jesús, María, y José
Su composición se inspira en elementos arquitectónicos, imágenes y símbolos construidos artísticamente en las iglesias católicas, tomados de la Sagrada Liturgia, que muestran diversos milagros, revelaciones y profecías de la Biblia.
La conciencia de María de quién es Jesús, la unidad de Jesús con su Padre y la profunda fe de José, expresada a través de sus ojos cerrados (Juan capítulo 20, versículo 29: «Bienaventurados los que no vieron y creyeron»), y con el león y el cordero tomados de la profecía de Isaías, capítulo 11.
La Anunciación
Aquí se representa el encuentro directo de María con el ángel Gabriel en la Anunciación (Lucas, capítulo 1).
Las bodas de Caná
Su comprensión del poder divino de Jesús se revelará en el primer milagro en las bodas de Caná (Juan capítulo 2).
El Evangelio dice poco de San José. No se registra ni una sola palabra de José, el carpintero de Nazaret. Y, sin embargo, incluso sin palabras, muestra la profundidad de su fe, su grandeza. (Papa San Juan Pablo II)
La fe de José, en cambio, se manifiesta a través de sueños, primero en el concilio angélico en el momento de su matrimonio con María (Mateo, capítulo 1) y de nuevo en Belén, cuando el ángel del Señor le advierte que huya a Egipto para huir de los celos asesinos del rey Herodes (Mateo, capítulo 2).
Se representa aquí una escena (extrabíblica) que muestra a Jesús, ya adulto y antes de comenzar su ministerio, en la casa de su familia y en su taller de carpintería con las herramientas de su oficio.
El Arte Sacro Cristiano no lo logra solo el artista, sino con el Espíritu Santo y el creyente que mira en oración contemplativa, más allá de la materia hacia la trascendencia. Algo de esto lo sé por mi propia interacción con obras de Arte Sacro y mi lucha personal de oración para dar vida a la Palabra, para hacer visible lo que de otra manera permanecería como pensamiento.
I carved this icon in American Linden wood. It is an interpretation influenced by the tradition of Eastern Orthodox Iconography. Saint Michael the Archangel stares down the evil one, whom he has pinned with his staff. I carved the two fallen angels in the upper corners as they shrink away in shame from His divine power.
“Saint Michael the Archangel, defend us in battle. Be our protection against the wickedness and snares of the devil; May God rebuke him, we humbly pray; And do thou, O Prince of the Heavenly Host, by the power of God, thrust into hell Satan and all evil spirits who wander through the world for the ruin of souls. Amen.”
Esculpí este icono en madera de tilo americano. Es una interpretación influenciada por la tradición de la iconografía ortodoxa oriental. San Miguel Arcángel mira fijamente al maligno que ha inmovilizado con su bastón. Esculpí en las esquinas superiores a los dos ángeles caídos mientras se alejaban avergonzados de Su poder divino.
San Miguel Arcángel, defiéndenos en la lucha. Sé nuestro amparo contra la perversidad y acechanzas del demonio. Que Dios manifieste sobre él su poder, es nuestra humilde súplica. Y tú, oh Príncipe de la Milicia Celestial, con el poder que Dios te ha conferido, arroja al infierno a Satanás, y a los demás espíritus malignos que vagan por el mundo para la perdición de las almas. Amén.
“It does not record even one word spoken by Joseph, the carpenter of Nazareth. And yet, even without words, he shows the depth of his faith, his greatness.” (Pope Saint John Paul II)
St. Joseph, man of deep Faith. He received his revelations through DREAMS. Hence, I carved him with his eyes closed; the revelation that Mary was to be the mother God (Mt 1:20), his dream that they should flee to Egypt to escape the murderous wrath and jealousy of King Herod (Mt 2:13)
Shown here, in celebration of St. Joseph’s Feast Day, is my high relief wood sculpture “Holy Family” (42 x 44-inches)
The setting is the Temple (Luke 2:41-50)
The Holy Family
Joseph, the central figure, his eyes closed, deep in prayer, is the picture of humility through blind faith.
Depicted here is a recollection of Joseph’s prophetic dream (Mt 2:13) when the angel instructed him to flee to safety in Egypt, from the murderous jealousy of King Herod.
Depicted here is a scene in the family’s carpenter shop at Nazareth, with Jesus as an adult with Joseph and Mary, the eve before leaving to begin his ministry (extra biblical)
Today, San Jose Church in San Juan, Puerto Rico, is reopening after a massive reconstruction that took nearly twenty years to complete. Built between 1532 and 1735, it is a restoration of the second oldest surviving Spanish church in the Americas. Providentially this coincides with the celebration of The Year of St. Joseph, proclaimed by Pope Francis.
The Mass will be celebrated by Mons. Roberto Gonzalez Nieves.
My most recent wood sculpture, carved during the period of Hurricanes Irma and Maria. Approximately 3 feet high, carved in Tropical Cedar because of the desired color and its resistance to termites here in Puerto Rico. For Capilla Maria Auxiliadora, a small chapel in rural Carolina, Puerto Rico.
I’ve carved St. Joseph as a protector and a traveler; a stand-up guy who was always looking out for his wife and child, ready to defend them along the way of life, which was full of dangers. He was a man of deep Faith who received his revelations through DREAMS: that Mary was the mother of God and that he should get out of Bethlehem and go to Egypt to escape the danger of Herod, who wanted to kill the newborn King. Of course, we know he was a carpenter and must have been a wonderful father.
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Mi escultura de madera más reciente, tallada durante la época de los huracanes Irma y María. Aproximadamente 3 pies de alto, tallado en Cedro Tropical por el color deseado y su resistencia a las termitas aquí en Puerto Rico. Para la Capilla María Auxiliadora, una pequeña capilla en la zona rural de Carolina, Puerto Rico.
He tallado a San José como protector y viajero; un hombre recto que siempre estaba pendiente de su esposa y su hijo, dispuesto a defenderlos a lo largo del camino de la vida, que estaba lleno de peligros. Era un hombre de profunda fe que recibió revelaciones a través de sueños: que María era la madre de Dios y que debía salir de Belén e ir a Egipto para escapar del peligro de Herodes, que quería matar al Rey recién nacido. Por supuesto, sabemos que era carpintero y debe haber sido un padre maravilloso.
