A DOG’S TALE: ‘Jesus and the Canaanite woman’ (1617) by Pieter Lastman

We are in the 17^th century. The Renaissance period of art has reached the highs of glorious perfection. However the artists of the time are not so content with just perfection. They seek to complicate and intensify it. Thus emerges the Mannerist school of art. It emphasizes on imbalance, tension, dramatic motion, anatomical distortion and the beauty of spatial relations. Adhering to this style is today’s painting by the Dutch artist, Pieter Lastman (1583 – 1633).

The soul of an artwork banks on the established relation between the artist and the viewer. A clever painter creates the scene focusing on the climax moment of the conflict within the narrative. He then leaves it to the expertise of the viewer to re-construct the story. This is within the frame work of its past and the future without violating the heart of time. Pieter Lastman plays with this precept in today’s painting.

It is an image that proceeds from the Gospel of Matthew, chapter 15. To the right, in the foreground stands the Evangelist himself. He peers intently at the viewer, clutching his sealed and exquisite reference book. His feet thrust forward, inviting us to accompany him on this Gospel tour.  

Right behind the Evangelist are hordes of people positioned against the architectural setting of the Temple of Jerusalem. To his immediate right is a stately figure with plumes on his hat. This places us in context. Jesus has just had a tiff with the Teachers of the Law over the Pharisaic tradition of purity. After a blatant and ‘offensive’ response, he ‘withdraws to the regions of Tyre and Sidon.’

With the change in place comes the change in the landscape. We now move from the background to the foreground. Lastman depicts the arena within the ruins of the Castle of Sidon. It was a crusader fort built in the 12^th century. The scene captures the moment when Christ utters those controversial words ‘It is not right to take the bread from the children and throw it to little dogs.’ 

Pieter Lastman’s brush brings these words to life. He presents to us a picturesque analogy. To the right of Christ are seated two young adolescents.  They mumble on a piece of bread as they regard each other. On the other end are two furry pups, perching forward on their hind legs, blissfully craving for Christ’s attention. It is indeed intriguing that even the grass seems bountiful on the left as compared to the right.

While the apostles are convincing Jesus to ‘send her away’, there on her knees lies the imploring mother. Her gaze, as that of the pups, is fixed onto Christ. Her faith is not deterred. She is certain that the ‘Son of David’ will rescue her daughter. With her arms raised in prayer and surrender, she utters her famous come back; ‘It is true sir, but even the little dogs eat the crumbs which fall from their master’s table.’ What happens next is history.

We move with the Gospel and time to the right of the painting. It depicts verses 29 to 31. Great crowds are seen bringing in ‘the lame, the blind, the crippled and the dumb.’ Among the shadows, leaning against the gateway are two men, astonished at what they witness and glorifying God.

In conclusion, Lastman’s painting displays a discreet but pervasive piety. Unlike the other paintings on the same subject, he depicts not dogs (kuon) but puppies (kunarion). Thus, he attempts to clear the dubious dispute of Jesus insulting the woman. His painting demonstrates Christ attempting to awaken the woman’s faith through the little dog’s tale. And awaken He did. It was an awakening of Faith and an awakening of Grace!

Joynel Fernandes

For a scriptural understanding of today’s Gospel please refer to: http://www.pottypadre.com/the-underdog/