DCP’s Mormon scholars testify: abandoned?

[Morley]

Is it just me, or does the abundance of male flesh in Friberg's works give them a certain homoerotic quality?

Just you bro.

Nice observation about the vertical lines.

(those two comments were meant to be unrelated)

Okay, that was good.

[Morley]

Notice that the brilliant white waterfall in the distance lines up perfectly with the baptizers hand that is raised to the square. This forms a link between the act of baptism and heaven.

I hadn't noticed that. Brilliant!

[Morley]

One last word, and then I'll step back.



To be honest, the man with the bow in the center of the canvas is really the most significant figure in this painting. He's dark and not delightsome, is not overly clothed in flax or linen, and isn't decorated with Norse arm bands. Among the group, he's the one who's the most likely to be a genuine, pre-Columbian Native American.

I imagine that Friberg patterned him after the First Nations man in Benjamin West's famous work, The Death of General Wolfe.



Though pictured from different angles, both natives are sitting crouched in thoughtful poses, seemingly detached, as they contemplate the scene before them.

In my reading, West's man is watching the death of his civilization as the French and English battle over who has the right to steal Quebec from his people. Friberg's man is watching his people's history being mocked and overwritten with a fantasy narrative of Christian Jews, dreamt up by white, 19th Century folk-religionists. I feel bad for them both.

[Flemming]

So no more abandoned than Arnold Frieberg paintaings right? Finite sets in each.

[Gadianton]

One last word, and then I'll step back.

By all means continue, this is getting good.

[Marcus]

One last word, and then I'll step back.



To be honest, the man with the bow in the center of the canvas is really the most significant figure in this painting. He's dark and not delightsome, is not overly clothed in flax or linen, and isn't decorated with Norse arm bands. Among the group, he's the one who's the most likely to be a genuine, pre-Columbian Native American.

I imagine that Friberg patterned him after the First Nations man in Benjamin West's famous work, The Death of General Wolfe.



Though pictured from different angles, both natives are sitting crouched in thoughtful poses, seemingly detached, as they contemplate the scene before them.

In my reading, West's man is watching the death of his civilization as the French and English battle over who has the right to steal Quebec from his people. Friberg's man is watching his people's history being mocked and overwritten with a fantasy narrative of Christian Jews, dreamt up by white, 19th Century folk-religionists. I feel bad for them both.

Being far less accomplished in the world of artistic critque, I simply noted that the man in the center has eyes that are apparently exactly even with the seemingly naked thigh of the maiden. Of course, he may have simply neglected to remember that post-baptismal clothing clings in such a delightfully opaque manner, and his positioning isn't really indicative of his Early Modern porn addiction.

[Morley]

So no more abandoned than Arnold Frieberg paintaings right? Finite sets in each.

Unfortunately so. Sadly, there will be no more Friberg paintings. And even worse, the Church seems to have stopped either attracting or generating new scholars. Finite sets, indeed.

[huckelberry]

One last word, and then I'll step back.



To be honest, the man with the bow in the center of the canvas is really the most significant figure in this painting. He's dark and not delightsome, is not overly clothed in flax or linen, and isn't decorated with Norse arm bands. Among the group, he's the one who's the most likely to be a genuine, pre-Columbian Native American.

I imagine that Friberg patterned him after the First Nations man in Benjamin West's famous work, The Death of General Wolfe.



Though pictured from different angles, both natives are sitting crouched in thoughtful poses, seemingly detached, as they contemplate the scene before them.

In my reading, West's man is watching the death of his civilization as the French and English battle over who has the right to steal Quebec from his people. Friberg's man is watching his people's history being mocked and overwritten with a fantasy narrative of Christian Jews, dreamt up by white, 19th Century folk-religionists. I feel bad for them both.

Being far less accomplished in the world of artistic critque, I simply noted that the man in the center has eyes that are apparently exactly even with the seemingly naked thigh of the maiden. Of course, he may have simply neglected to remember that post-baptismal clothing clings in such a delightfully opaque manner, and his positioning isn't really indicative of his Early Modern porn addiction.

Morley I am enjoying your unpacking of the emotional connections inside this paintings. As I mentioned before your observations about the Moroni image were both revealing and amusing.

Are you now playing the child which sees what religious trainings tells the adults not to admit to seeing in that wet drapery and thigh? First you have led me into looking past my prejudice to see the communication genuinely felt and intended by the artist. I think in the Book of Mormon pictures Friberg cares genuinely about the subject and gives it special care. My eyes open and I can see it as art not just a job type illustration. Well I certainly still see the counter messages you explain as well. They are of course the reason for that prejudiced reaction i have.

I found my self seeing the care Friberg put into creating a spiritual message in this baptism scene. It is lovely. It is odd but compositionally effective to have those two dark large figures in the foreground. I can see your observations but your last observation opens an alternative dimension. I now see two guardians of a nuptial rite. Is this showing a connection between human hope for rebirth and human hope for reproduction? A new observation about the conversion force for 14 year old males.

[Marcus]

Being far less accomplished in the world of artistic critque, I simply noted that the man in the center has eyes that are apparently exactly even with the seemingly naked thigh of the maiden. Of course, he may have simply neglected to remember that post-baptismal clothing clings in such a delightfully opaque manner, and his positioning isn't really indicative of his Early Modern porn addiction.

Morley I am enjoying your unpacking of the emotional connections inside this paintings. As I mentioned before your observations about the Moroni image were both revealing and amusing.

Are you now playing the child which sees what religious trainings tells the adults not to admit to seeing in that wet drapery and thigh? First you have led me into looking past my prejudice to see the communication genuinely felt and intended by the artist. I think in the Book of Mormon pictures Friberg cares genuinely about the subject and gives it special care. My eyes open and I can see it as art not just a job type illustration. Well I certainly still see the counter messages you explain as well. They are of course the reason for that prejudiced reaction i have.

I found my self seeing the care Friberg put into creating a spiritual message in this baptism scene. It is lovely. It is odd but compositionally effective to have those two dark large figures in the foreground. I can see your observations but your last observation opens an alternative dimension. I now see two guardians of a nuptial rite. Is this showing a connection between human hope for rebirth and human hope for reproduction? A new observation about the conversion force for 14 year old males.

Huckelberry, that was me, not Morley, engaging in such prurient speculation. Although I suspect you are well aware, especially since you wrote this:

"A new observation about the conversion force for 14 year old males."

[huckelberry]

Morley I am enjoying your unpacking of the emotional connections inside this paintings. As I mentioned before your observations about the Moroni image were both revealing and amusing.

Are you now playing the child which sees what religious trainings tells the adults not to admit to seeing in that wet drapery and thigh? First you have led me into looking past my prejudice to see the communication genuinely felt and intended by the artist. I think in the Book of Mormon pictures Friberg cares genuinely about the subject and gives it special care. My eyes open and I can see it as art not just a job type illustration. Well I certainly still see the counter messages you explain as well. They are of course the reason for that prejudiced reaction i have.

I found my self seeing the care Friberg put into creating a spiritual message in this baptism scene. It is lovely. It is odd but compositionally effective to have those two dark large figures in the foreground. I can see your observations but your last observation opens an alternative dimension. I now see two guardians of a nuptial rite. Is this showing a connection between human hope for rebirth and human hope for reproduction? A new observation about the conversion force for 14 year old males.

Huckelberry, that was me, not Morley, engaging in such prurient speculation. Although I suspect you are well aware, especially since you wrote this:

"A new observation about the conversion force for 14 year old males."

Oh dear, an apology to both of you for my carelessness. I plead being struck by the implication. I looked past the joke about that early modern translation committee. I think male visual attention has changed little in the past 10 thousand years (dress customs might alter specifics I suppose).

Marcus, you pointed out what I am surprised I did not find obvious as the day is long. That leg is well, lovingly painted. The womans clothed pelvic region is the center of attention, the focal point of the whole painting. There is no escaping that the whole thing is sexually charged.