mnartists.org: Jonathan Mayer

Deposition

Jonathan Mayer — Mon, 02 Feb 2009 03:31:31 GMT

My artwork has always been inspired by the Masters of classical painting. Caravaggio has long been one of my favorite artists, and having the privilege of seeing many of his paintings in Italy has fueled my admiration of his work. Dramatic figures emerging out of the darkness was the key element in the Baroque style which Caravaggio championed. This drawing, "Deposition," was inspired directly by Caravaggio's "Entombment." The man holding Jesus' legs is one of my favorite subjects from a painting, so naturally he was carried over into the drawing almost verbatim. Mary and the other disciple were invented, but were also based on figures from Caravaggio's works. For instance, Mary's face I borrowed from one of the few tender moments in Caravaggio's paintings, "Rest on the Flight into Egypt." For the figure of Jesus, I took a step away from Caravaggio's muscular version in preference for the elongated body in Michelangelo's "Pietá." But in order to talk about the content of the drawing, historical precedence must be set aside. The drawing depicts a moment after the "deposition," or the carrying down, of Jesus' body from the cross. Jesus' importance in the composition is emphasized by his central location and horizontal orientation. Romans did not allow capital criminals the dignity of even minimal covering, and so Christ is depicted nude. The wounds displayed on his hands, feet and side serve as proof of his death, and two days later would serve as proof of his triumphant resurrection. The two disciples I leave unnamed, but their simple act of love serves as an example of Christians in all vocations: "Inasmuch as you did for one of the least of these My Brethren, you did for Me." Mary, numb with grief for her Son, remains to the back of the composition. She tenderly reaches out to touch her Savior's face as he is carried away to the tomb.

La Pieta

Jonathan Mayer — Wed, 31 Dec 2008 04:01:43 GMT

This began as a commissioned drawing for a friend of mine. He didn't care for the pose, so the project fell by the wayside for six months. This past weekend I did some digital painting demonstrations, and I scanned and used this sketch. I loved the sketch to begin with, but once I got the chance to paint it, then it really began to take on life. The body of Jesus, in the grieving arms of his mother, Mary.

The Death of Samson

Jonathan Mayer — Wed, 31 Dec 2008 03:54:53 GMT

This is a test painting for a Bible story book project I will be working on with my former pastor from Omaha. It hasn't quite gotten rolling yet, but I've been playing to find a style which is both somewhat realistic, yet not overly time consuming. This is a depiction of the death of Samson from Judges 16:23-31. After he was captured and blinded by the Philistines, they brought him out in the temple of Dagon to entertain them. Samson prayed to God to return his strength to him, then pushed down the central pillars of the temple, collapsing it on his enemies.

Before the Storm

Jonathan Mayer — Wed, 31 Dec 2008 03:48:21 GMT

A Roman Legionaire overlooks the plain of battle before the slaughter. These Goths are a tiresome people... Alternate title: "Cold, eh?"

Heavier Than It Looks

Jonathan Mayer — Tue, 23 Oct 2007 04:16:32 GMT

He carried much more on his shoulders than the weight of a heavy wooden beam... 30x40" Oil on canvas, 2007

To Prepare A Place For You

Jonathan Mayer — Sat, 24 Mar 2007 21:10:45 GMT

This is my first life-sized figure painting. I employed a very old method of glazing color over greyscale, which allows me to acheive a life-like glow to the figure. The theme is that of Christ's resurrection and ascension. I doubt that Jesus was the stern "Pantokrator" which is always depicted in the old Christian churches. I tried to make him look as human as possible. Yet he gazes into the eyes of the viewer with the deepest compassion, that which comes from He who created us and he who is our brother. He ascends back to his place at his Father's side, but only with a promise: "I am going there to prepare a place for you. And if I go and prepare a place for you, I will come back and take you to be with me, that you also may be where I am."

image: Full picture

The Last Battle

Jonathan Mayer — Mon, 08 Jan 2007 20:16:37 GMT

This is the fifth of a series of seven paintings for the Chronicles of Narnia. They are meant to be used as book covers, which is why I left space to incorporate the title and author. I'm very pleased with the results. 8 x 12" Oil on Artboard, 2006.

Prince Caspian

Jonathan Mayer — Mon, 08 Jan 2007 15:35:03 GMT

This is the seventh of a series of seven paintings for the Chronicles of Narnia. They are meant to be used as book covers, which is why I left space to incorporate the title and author. I'm very pleased with the results. 8 x 12" Oil on Artboard, 2006.

The Horse and His Boy

Jonathan Mayer — Mon, 08 Jan 2007 04:34:40 GMT

This is the sixth of a series of seven paintings for the Chronicles of Narnia. They are meant to be used as book covers, which is why I left space to incorporate the title and author. I'm very pleased with the results. 8 x 12" Oil on Artboard, 2006.

The Silver Chair

Jonathan Mayer — Sat, 11 Nov 2006 01:25:57 GMT

This is the fourth of a series of seven paintings for the Chronicles of Narnia. They are meant to be used as book covers, which is why I left space to incorporate the title and author. I'm very pleased with the results. 8 x 12" Oil on Artboard, 2006.

The Voyage of the Dawn Treader

Jonathan Mayer — Tue, 24 Oct 2006 03:40:43 GMT

This is the third of a series of seven paintings for the Chronicles of Narnia. They are meant to be used as book covers, which is why I left space to incorporate the title and author. I'm very pleased with the results. 8 x 12" Oil on Artboard, 2006.

The Magician's Nephew

Jonathan Mayer — Tue, 24 Oct 2006 01:58:51 GMT

This is the second of a series of seven paintings for the Chronicles of Narnia. They are meant to be used as book covers, which is why I left space to incorporate the title and author. I'm very pleased with the results. 8 x 12" Oil on Artboard, 2006.

Wolf in Sheep's Clothing

Jonathan Mayer — Tue, 26 Sep 2006 23:25:31 GMT

There are many things which make us afraid. But perhaps we fear most what we cannot see. True evil rarely takes on the appearance of evil. The form which is most feared is that which is disguised as good. This is the driving idea behind this digital painting. Nothing should ever be taken at face value. How then, can we know truth from the lie, or good from evil? The answers lie in God's Word. For that is scale which allows us to see things for what they really are.

The Lion, the Witch, and the Wardrobe

Jonathan Mayer — Tue, 26 Sep 2006 01:12:59 GMT

This is the first of a series of seven paintings for the Chronicles of Narnia series. They are meant to be used as book covers, which is why I left space to incorporate the title and author information. I'm very pleased with the result. 8 x 12" Oil on Artboard, 2006.

Gullixson Woods

Jonathan Mayer — Thu, 21 Sep 2006 23:53:37 GMT

This is a landscape I used as a study in color. Oil on cavnas, 2006.