Beginning to Look Like Christmas

         Not only am I finally able to give some thought to Christmas, but we had a lovely winter-wonderland snow yesterday, and today is looking very seasonally appropriate for both the solstice and Christmas.  Therefore, here are a few wood block prints to celebrate the season.

        I’ll begin with the snowfall, and a piece by Tsuchiya Kōitsu (Japan, 1870-1949).  This one reminds me of our walk last night, with the sparkling snow covering every twig in white lace against the black velvet of the night.

        A different snowy view shows a city, and where the first piece captured snow in its luminous magic, this piece captures the muted grey feeling that a snowy day can have.  I love the black and white geometry of it, contrasted with the hazy sweep of the blowing flakes against the  black buildings, and the fine lines of the sky.  This one is by Asa Cheffetz, a favorite of mine whom I’ve featured frequently before.  Different as these first two pieces are, they were both made the same year: 1943.

        Shifting into Christmas mode, I also have three manger scenes to share.  The first is from Albrecht Dürer in about 1502, from a series of 20 wood block prints depicting “The Life of the Virgin.”  This one shows the adoration of the shepherds, and some of the details include the star in the upper right, angels in the upper left and also clustering around the baby, and the ruinous state of the stable, which I mentioned in a previous post on Nativity Scenes (link below).

        Second is a much smaller view of the Holy Family, with Mary and Joseph adoring their miraculous baby while a couple of oxen look on.  We don’t actually see the baby at all, but the tuft of hay in the manger creates a star or halo of light in the dark, illuminating the faces of the parents.  This appears to have been made as an illuminated initial letter, and I like the way it’s designed around the capital N.  This one is by Lorenzo Homar (Puerto Rico, 1913-2004) and was made in 1962.  (I’ve featured some of Homar’s work before, as well.)

        Focussing in still further, this last piece shows only the Madonna and Child.  By Desmond M. Chute (England, 1895-1962), it’s quite simple.  There are no angels or shepherds, only the merest suggestion of a background, and no finely carved intricate details.  I like the simple pattern and fringe of Mary’s wrap, offering both visual interest and the story suggestion of an ordinary homespun blanket.  The halo belongs not to Mary or Jesus individually, but embraces the two in their relationship together.

        If you want to explore more wood block print scenes of the Christmas story, I’ve shared a bunch in past years, so you can revisit these prior posts:

Nativity 1

Nativity 2

Nativity 3

Merry Christmas (2017)

Merry Christmas! (2018)

Merry Christmas! (2019)

Merry Christmas! (2021)

More Merry Christmas! (2022)

        Plus, Happy Hanukkah (2017)

Happy Hanukkah! (2019)

Hanukkah Greetings (2020)

        Whatever holidays you may be celebrating at this time of year - or even if you don’t feel much like celebrating at all - may you find moments of peace, sparkles of joy, and the embrace of love.

[Pictures: Sumidagawa Suijin Forest, woodblock print by Tsuchiya Kōitsu, 1934 (Image from Ohmi Gallery);

Cold Chimneys, woodcut by Asa Cheffetz, 1934 (Image from The Clark Museum);

The Adoration of the Shepherds, woodcut by Albrecht Dürer, ca. 1502-3 (Image from the Davis Museum at Wellesley College);

Pesebre, wood engraving by Lorenzo Homar, 1962 (Image from Princeton University Library);

Madonna, woodcut by Desmond M. Chute, ca. 1915-1924 (Image from Art Institute of Chicago).]