Minerva Teichert: MARY AND MARTHA
THE STORY: This painting depicts a well-known story from the New Testament. Martha is busy working and serving the Savior while Mary sits at His feet to listen. When Martha appeals to the Savior for her sister’s help, He tells her, “Martha, Martha, thou art careful and troubled about many things: But one thing is needful: and Mary hath chosen that good part, which shall not be taken away from her" (Luke 10:41-42).
ANALYSIS: This painting illustrates one of Teichert’s favorite
themes, which is the compassion of Jesus Christ. That compassion is
shown in this story as Christ lovingly corrects Martha without diminishing
the good she does. This light, hopeful painting lacks the condemning tone that many paintings of Mary and Martha include.
This painting was originally painted as part of a large mural incorporating architecture, so its rectangle is softened by a painted archway that might be above a door. The shape of that arch is echoed in the bent heads of Jesus and Martha.
In Teichert’s portrayal, although Martha is busy working, she still
bends her head to listen to Christ. Her domestic work is included--not excluded--in the composition.
However, Teichert still conveys the traditional essence of this story. Martha stands in the darkest corner of the painting. Christ's white robes, halo, and the window beaming with sunlight balance out Martha's darker pillar.
Mary is shown at the very center of the painting, wearing a bright red dress. Her head inclines in an echo of Martha's. Her bent head and Christ's compose a circle slightly off-set from the painting's center that contains Christ's finger pointing the way and a white scroll representing the scriptures.
Domestic items litter the background and foreground, including a jug, a broom, bread, and dishes. Within the circle of Mary and Christ's heads is a loaf of bread and drinking vessels, reminding the viewer that His words are the bread of life and living water. Those symbols could be interpreted as another reprimand to Martha because of their placement between Mary and Christ. However, bread and water also represent the sacrament--the ability to repent and begin anew.
One scholar speculates, “Perhaps [Teichert] felt keenly drawn to this particular domestic theme because it reflected a part of her own life—that of teaching the gospel to her family while creating her paintings in her home in Cokeville, Wyoming" (Museum of Church History and Art, Images of Faith: Art of the Latter-day Saints (Salt Lake City: Deseret Book, 1995), 77).
However, Teichert still conveys the traditional essence of this story. Martha stands in the darkest corner of the painting. Christ's white robes, halo, and the window beaming with sunlight balance out Martha's darker pillar.
Mary is shown at the very center of the painting, wearing a bright red dress. Her head inclines in an echo of Martha's. Her bent head and Christ's compose a circle slightly off-set from the painting's center that contains Christ's finger pointing the way and a white scroll representing the scriptures.
Domestic items litter the background and foreground, including a jug, a broom, bread, and dishes. Within the circle of Mary and Christ's heads is a loaf of bread and drinking vessels, reminding the viewer that His words are the bread of life and living water. Those symbols could be interpreted as another reprimand to Martha because of their placement between Mary and Christ. However, bread and water also represent the sacrament--the ability to repent and begin anew.
One scholar speculates, “Perhaps [Teichert] felt keenly drawn to this particular domestic theme because it reflected a part of her own life—that of teaching the gospel to her family while creating her paintings in her home in Cokeville, Wyoming" (Museum of Church History and Art, Images of Faith: Art of the Latter-day Saints (Salt Lake City: Deseret Book, 1995), 77).
PERSONAL IMPACT: The story of Mary and Martha is often taught as a reprimand, that women must take care to prioritize spiritual learning and study over the mundane chores that always need doing. I love, love, love that this is a woman's view of this story.
Yes, Martha shouldn't criticize her sister's study. Yes, Mary has chosen the better part. But Martha and her domestic troubles and cares are not condemned in this painting, and the beauty of both gospel study and repentance are highlighted here.
Yes, Martha shouldn't criticize her sister's study. Yes, Mary has chosen the better part. But Martha and her domestic troubles and cares are not condemned in this painting, and the beauty of both gospel study and repentance are highlighted here.
Perhaps we would teach this parable differently in our Sunday school classes if we looked at it with Minerva Teichert's eyes! As a busy mother myself who is often troubled by domestic tasks, it gives me peace to look at this interpretation of the parable and see hope, not condemnation.
Comments
Post a Comment