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Home> Catalogue > May 2010
 


Kissing the Face of God
by Brian Keith and Morgan Weistling

Sculptor Brian Keith brings breathtaking three-dimensional life into Morgan Weistling’s Kissing the Face of God. We can easily relate to the wonder of the bond between a mother and child, but can only “imagine” what it would be like to embrace the baby Jesus. This beautiful bronze reminds us that sometimes a complicated leap of faith is as simple as a kiss.

Morgan Weistling didn’t think twice about who would create the first bronze of one of his most important and popular works, sculptor Brian Keith. Of course, it didn’t hurt that Brian served a modern day apprenticeship under Morgan. “A program such as this is going to be judged by the quality of your first effort. You don’t get a second chance. Kissing the Face of God relies on and is so successful because it captures that tender interaction between a mother and her child. The bronze has to convey this delicate relationship and I think Brian has done a spectacular job in doing so.”     

This work will disappear quickly, because it is an edition of only 50 pieces and this is the first time any of Weistling’s work has been presented in bronze. It was Brian Keith’s long relationship with Morgan that was the key factor in getting this first-ever bronze of a Weistling work off the ground. Each artist trusted the instincts of the other, working together to bring one of the most moving pieces of art from one medium to another.

“The painting was first inspired by a song that I heard one day,” relates Weistling. “Sometimes, hearing one phrase is all it takes, and then a flood of inspiration follows. The phrase “kissing the face of God” immediately struck me with this powerful image of Mary and the Baby Jesus. It is an image that we have seen depicted many times, but never simply as a mother and her child with real tenderness. I started to contemplate the awesome privilege that Mary was given, being able to hold God in her arms, but also keeping in mind that He was still her baby. This cute little child whom she bore was also God in the flesh. And yet, she cuddled and kissed Him, just as all mothers do with their babies. This thought propelled me right into this painting which I wanted to be a very human representation of divinity. My prayer is that the viewer will be struck, as I am, with the amazing way that God chose to send His Son into this world — in pure humility.”

Greenwich Workshop Fine Art Bronze:
limited to 50 s/n.
Approximately 9“w x 12”h.
$2250
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Country Schoolhouse, 1879
by Morgan Weistling

“The one-room schoolhouse goes back to the founding of our great country,” says artist Morgan Weistling. “It evolved through the decades but the general idea remained the same. I painted the time period that I know and love best, the post Civil War era. I decided to place the teacher as the focal point, a tribute to all the dedicated teachers that help build this nation. 

“This is a rural country schoolhouse and I wanted to portray a class that was a little more primitive. They were still using individual chalk boards instead of pen and paper (because of the cost of paper then). No fancy bows and frilly dresses for these kids. I imagined these children as coming from a farming community as well as tradesmen’s homes.

“In my mind, each child has a story. Some are related to each other. There is the girl who gets jealous because another girl is talking to a boy she likes. There is the boy with adoring eyes for his teacher and the girl that has eyes on him. Then there’s the kid who is more interested in his chalk than the lesson and the boy who really is having trouble understanding the lesson. I show a little slice of each of their personalities. Teachers and their classes from this period often appear grim-faced in photographs because of the long exposures required to capture the image. But children are not grim! I used real children as my models to make this room feel alive. I also imagined a background story for the teacher. She is new to her profession, full of enthusiasm yet a little naïve about whom she is entrusted to teach. From crushes to jealousy to apathy to determination, it’s all there in that little one room schoolhouse.”


MasterWork™
Greenwich Workshop Fine Art Giclée Canvas:

limited to 30 s/n.
45"w x 33"h (unstretched).
$1450
Ask About Availability
   
Greenwich Workshop Fine Art Giclée Canvas:
limited to 80 s/n.
26"w x 19"h.
$595
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Greenwich Workshop Fine Art Giclée Print:
limited to 200 s/n.
22"w x 16"h.
$225
Ask About Availability
Montgomery Frames shown
in print version of Catalogue.
(Framing not included.)

 

 

 

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