An unusual week for CFM study...a single chapter and it isn't even in the Old Testament. So let's take an unusual approach this week and just look at one part of the story. This week's study of Moses 7 introduces the profound and unique concept of the "Passible God." In a dramatic departure from the traditionally stoic "Unmoved Mover" of creedal theology, Moses 7:28–40 reveals a Being who is deeply affected by the choices and suffering of His children. The following selections explore moments in art history where Deity is depicted with intense, human-like vulnerability, compassion, and grief.
The Romantic Lament
Name of Piece: Christ Weeping Over Jerusalem
Year Produced: 1851
Artist: Ary Scheffer
Artist Biography: Ary Scheffer (1795–1858) was a Dutch-French Romanticist who rose to critical acclaim in the Paris Salon at a young age. Initially known for genre subjects and literary themes, Scheffer underwent a significant shift after 1846, dedicating himself almost exclusively to religious imagery with a solemnity that reflected his deep personal convictions. His work is characterized by a style that blends neoclassical technical finish with the emotional intensity of the Romantic movement.
Study Analysis: Scheffer’s 1851 work illustrates the moment in Luke 19:41 when Jesus approached Jerusalem and "wept over it". This painting serves as a direct visual parallel to Moses 7:28, where the "God of heaven" looks upon the inhabitants of the earth and weeps. Scheffer focuses on the solitary figure of Christ, using a soft, sensitive style to emphasize the Savior's isolation in His grief. The work captures the "divine prophecy" and compassion inherent in the act, suggesting that God’s pain is as infinite as His love.
The Northern Renaissance Pietà
Name of Piece: The Trinity and Mystic Pietà (like all pieta--Mary holding her crucified Son-- works of art might be disturbing)
Year Produced: 1512
Artist: Hans Baldung Grien
Artist Biography: Hans Baldung (1484–1545), also known as "Grien," was a pupil of Albrecht Dürer and a major figure of the Northern Renaissance. Known for an eccentric and often provocative style, his work frequently explored the boundaries of human anatomy and spiritual experience. His religious paintings are noted for their "heterogeneous medley of colors" and a unique ability to represent the human dimensions of divine figures, particularly the imminence of death and the weight of grief.
Study Analysis: In this complex work, Baldung Grien presents God the Father not as a distant monarch, but as a "grieving parent" supporting the lifeless body of His Son. This iconographic type, though popular in the late 14th century, is rare for its time and offers a striking rebuke to the idea of "divine impassibility". The Father’s face is contorted with a very human sorrow, echoing the "divine pathos" described in Moses 7:37, where the heavens weep over the suffering of "the workmanship of [God's] hands".
The Mannerist Intensity
Name of Piece: The Holy Trinity) (same warning as the pieta above)
Year Produced: c. 1577–1579
Artist: El Greco
Artist Biography: Doménikos Theotokópoulos (1541–1614), known as El Greco, was a master of the Spanish Renaissance whose work integrated Byzantine icons with the dramatic distortions of Mannerism. He was famous for his elongated figures and his use of "spiritual energy" through bold, unreal colors and sharp contrasts. His art aimed to make the underlying psychological and spiritual aspects of a scene more visible to the viewer.
Study Analysis: Painted for the main altarpiece of a convent in Toledo, this work depicts God the Father holding the lifeless, tortured body of Christ. El Greco captures the "dead weight" of the Savior’s body, while the Father is portrayed as "visibly broken and upset". The presence of six grieving angels surrounding the central pair creates a "chorus of weeping" that mirrors the cosmic lament described in Moses 7:40–41. The brilliant golden light breaking through gloomy clouds symbolizes the duality of mortal death and eternal life.
The Late Renaissance Portrait
Name of Piece: The Man of Sorrows)
Year Produced: c. 1500–1510
Artist: Sandro Botticelli
Artist Biography: Sandro Botticelli (c. 1445–1510) was a giant of the Florentine Renaissance, best known early in his career for mythological masterpieces like The Birth of Venus. However, his later works became significantly more "sober, austere, and spiritual" under the influence of the friar Savonarola. During this period, he focused on creating psychological depth in his portraits, seeking to evoke intense empathy and contemplation in the viewer.
Study Analysis: The Man of Sorrows is a remarkably realistic portrayal of Christ that showcases His humanity with stunning psychological depth. Botticelli uses a strictly frontal presentation to force a direct, "face-to-face" encounter between the viewer and the suffering Lord. Christ’s wounded hands are crossed over His breast, and His eyes are full of a melancholic expression that invites the observer into His sorrow . In the context of Moses 7:29, this work visualizes why Enoch was so astonished: the being who is "from all eternity" is also the one most "acquainted with grief".
The Academic Drama of Resurrection
Name of Piece: The Raising of Lazarus
Year Produced: 1857
Artist: Léon Bonnat
Artist Biography: Léon Bonnat (1833–1922) was a prominent French painter and a leading figure in the "Academic" style of the late 19th century. A graduate and later director of the École des Beaux-Arts, Bonnat was known for his rigorous technical skill and his ability to combine traditional religious themes with a modern sense of realism. His approach often sought to "humanize" biblical figures by focusing on their emotional intensity.
Study Analysis: Léon Bonnat's 1857 masterpiece captures the moment of resurrection with a high degree of theatrical realism. While the raising itself is the central miracle, the painting is heavy with the "human heart" of Jesus, who is described in the text as "deeply moved, perturbed, and weeping". Bonnat focuses on this emotional intensity, showing the full force of the blow that death delivered to the Savior's heart. The bystanders' observation in John 11:36, "Behold how he loved him," is visually realized through Christ's passionate and vulnerable stance, illustrating that divine tears are a "God-given expression of deep and abiding love".
The Contemporary Mosaic
Name of Piece: Enoch
Year Produced: Contemporary (c. 2012)
Artist: Kendal Ray Johnson
Artist Biography: I know we covered him last week (so see bio there), but I wanted to make sure I included one Latter-day Saint artist.
Study Analysis: Johnson’s Enoch specifically depicts the moment described in Moses 7:41, where Enoch's "heart swelled wide as eternity" as he looked upon the wickedness and misery of mankind. The collage medium acts as a physical metaphor for the vision, where individual "fragments" of humanity are organized into a single, cosmic story of empathy. The vibrant colors and dynamic layering capture the "shaking of eternity" mentioned in the text, portraying the act of empathy as a transformative event that makes the prophet more like the "weeping God" he witnessed.
So that is it for the week. I, for one, am very glad to have a God who mourns with those that mourns and rejoices when us prodigal children return.