SPOTLIGHT ON: CHRIST IN THE HOUSE OF MARY AND MARTHA

By Carol Wehrheim

Pieter Aertsen, the painter of Christ in the House of Mary and Martha, was born in Amsterdam in 1508 and died there in 1575. For several important years of his painting life, he lived in Antwerp. Known as a painter of kitchens and markets, much of Aertsen's work features food, as you can tell from these titles: The Butcher Stall, Vendor of Fowl, Market Scene, and The Cook. Even art with titles featuring religious themes are laden with cabbages, dead birds, pumpkins, and more. The foreground of his Meat Stall is filled with fish, sausages, and other meat, but peeking through in a corner of the stall is the Holy Family on the flight to Egypt.

In Christ in the House of Mary and Martha, locate Jesus and the two women. They, with other figures, are in the upper middle section of the painting. Several things draw our eyes to them. The man at the left seems to be looking in that direction or just across this scene. The seated man at the right is leaning toward the middle of the picture. The scene of Jesus, the women, and the others is a lighter, brighter portion of the painting.

The scenes around it form an elaborate frame of ordinary life for this moment captured from Luke's gospel. Unlike religious paintings from Italy of the time, we don't see a halo or nimbus around the head of Jesus. No cherubs flutter overhead. This painting is a portrayal of everyday life, one that offers itself for contemplation and conversation.

It is tempting to concentrate on that small scene in the centre top, but Aertsen has provided so much more on which our eyes can feast. And feast, it is. Look at all the largesse in this kitchen: fruit, vegetable, wine, cheese, bread, and meat. What can you identify in the spread on this kitchen table? Such abundance brings to mind the parable of the marriage banquet (Matt. 22:1-10). But Aertsen painted in a place and time when satire was all the rage and thought to be the most apt way to teach moral truths. He may be presenting us with a picture of the extravagance that takes our attention away from matters of the spirit. Instead, our focus might be drawn to the parable of the farmer's barns (Luke 12:13-21) or Jesus' demands of the rich ruler (Luke 18:18-30).

Just to the left of centre is a vase with flowers and greens. The lilies catch our attention almost at once, and we see the future for Jesus. For Aertsen, however, the lily may have been a symbol of purity. A more common use of this flower in his time was to represent Mary. The other plants are not as easy to identify. However, the green spikes next to the lilies could be a palm branch, another clue to what lies ahead for Jesus. If the red flowers are roses, they are a symbol of martyrdom.

Take a moment to look at each of the figures in this outside frame. What does your imagination suggest as to their conversations based on the postures of the women and men?

Look now at the groups of people on the left and right sides. Some are wearing biblical garb, while others are dressed in clothing common to the artist's day. The man seated in the right side group is usually identified as the apostle Peter. Interesting that Aertsen included Peter in this group carousing by the fireplace. Since Aertsen had already turned away from the Italian style of painting religious scenes, was he also making a satiric stab at the pope, who follows in the lineage of Peter? Before returning to the featured vignette, look again at the details and the arrangement of all that makes up this painting. What is the artist saying to you?

Finally, turn again to the scene in the middle. Notice the architectural composition of this part of the painting with its three arches that look like a throne room. Jesus is seated, as any Jewish teacher would be. Which woman is Mary, and which one, Martha? What is being said here? Who are the onlookers and what might they be thinking? Again we see the mixture of dress. How does this scene connect with the rest of the painting?

Before you leave this painting, feast your eyes once more: the abundance of life, the richness of colour, and the Christ who came to visit. Paintings of the day were valued as conversation prompters at dinner parties. Invite some friends for dinner. Display this poster and see what happens.

Carol Wehrheim is the editor for ages 5-12 (Multiage) Seasons of the Spirit, and author of Getting It Together and Giving Together.