Drawn to the Light: Poems on Rembrandt's Religious Paintings

Rating:
Summary: Something divine
Review: Marilyn Chandler McEntyre, professor of English, is an accomplished poet, with grace and sensitivity that crosses artistic media and achieves great expression in volumes such as 'Drawn By the Light: Poems on Rembrandt's Religious Paintings.'

The layout and print quality of this text is remarkable. The colours leap from the page, even given the relatively muted tones and darker tones Rembrandt often used in his sacred topics. Some of the paintings in this small text are the most famous of Rembrandt's; besides his self-portrait on the cover, the book includes the following:

Two Scholars Disputing; Woman Bathing in a Stream; The Sacrifice of Isaac; Jacob Wrestling with the Angel; Jacob Blessing the Children of Joseph; Moses Smashing the Tablets; Hannah and Samuel; The Reconciliation of David and Absalom; Simeon with the Christ Child; The Head of Christ; Christ and the Woman of Samaria; The Return of the Prodigal Son; The Apostle Peter Denying Christ; Christ on the Cross; Christ at Emmaus; Self-Portrait as the Apostle Paul

Rembrandt had an art for taking the ordinary and making it extraordinary; he also brought the biblical stories into his own time period, in architecture, decoration, style of dress. McEntyre similarly brings the biblical stories and paintings into relief in words that are both timeless and current for the present. One cannot tell if the paintings adorn the poems or the poems adorn the paintings. The details brought out of the paintings, both in McEntyre's words and the highlighted sections of paintings assist in setting a mood of reflection that includes both the big picture and the details.

McEntyre's poetry sometimes seeks the thoughts and emotions of Rembrandt. Other times, the poetry seeks to elaborate upon and seek the meaning brought out in the paintings themselves. Her words invite emotional reflection, spiritual growth, theological inquiry, and a search into the mysteries of life, particularly life with God. God is in the shadows of the paintings; God is in the deep-etched faces of the people; God is in the verse.

God is also in the questions. Perhaps the most powerful piece here, and one of the most famous painting accompanying, is the Sacrifice of Isaac. McEntyre's verse speaks of the questions: 'What kind of God would require such appalling fidelity?' Of course, Abraham was faithful, but not without cost, as McEntrye continues that 'some madness will always haunt him', and Sarah his wife will always mistrust him, her eyes darkened with suspicion.

Further in the text, McEntyre explores another famous painting, the Return of the Prodigal Son. Here she speculates on the painter's gaze, as well as the human condition -- so little in life is private, and even reconciliation comes with a great cost. The prodigal son receives forgiveness, but the painting, like the gospel parable, is just a snapshot. The prodigal now returned will continue to bear his brother's enmity and be in his father's debt. McEntyre compares this with the attire of the prodigal -- that he will wear his past as a hair shirt regardless of the more festal vestments he dons over himself.

In all, this is a fascinating and wonderful text, a great meditation tool, and great for new insights into these important paintings.