The Olympic Backlash Defense and the Problem of the Nimbus

Note: It has been a long time since I received so much interaction on a post or controversy since I posted a few things on social media. I normally do not like 'adding to the noise' but the intensity of the debate and direct messages made me do some research over the weekend. While I tend to play peacemaker all the time, it is getting harder and harder as the agenda of far left globalists seem to be in full attack on principles and virtues that have to undergird society in order for it to continue. 

The Opening Ceremony of the 2024 Olympics in Paris ignited significant controversy due to a segment that seemed to parody Leonardo da Vinci's "The Last Supper." The segment featured a central figure adorned with a halo crown, surrounded by drag artists and dancers, an image that many interpreted as a deliberate mockery of a sacred Christian scene.

Religious groups, particularly the French Catholic Church, condemned this portrayal as blasphemous.

In defense, the organizers cited Titian's "The Feast of Dionysus" as an alternative source of inspiration.

There is a problem with this defense in my opinion and seems to have been a strategic response to the backlash rather than the initial artistic intent. The use of a halo crown in the Olympic ceremony directly invokes Christian iconography, particularly that seen in "The Last Supper."

The halo, also known as an aureola, nimbus, glory, or gloriole, is a symbol of holiness and spiritual character in Christian art, prominently associated with Jesus in da Vinci's work. This inclusion suggests a deliberate reference to Christian themes, aligning the parody with sacred imagery to engage and provoke the audience. 

The visual resemblance is significant; Leonardo's painting captures a dramatic moment with Jesus as the central figure, surrounded by his apostles reacting to the announcement of betrayal. Similarly, the Olympic ceremony's central figure, haloed and flanked by performers, mirrors this setup, emphasizing dramatic interaction and emotional expressions. This composition suggests that "The Last Supper" was a significant source of inspiration.

While "The Feast of Dionysus" (or "Bacchus and Ariadne") by Titian is a celebrated work, it does not inherently carry the same religious weight as "The Last Supper." Titian's painting, created between 1520 and 1523, illustrates a mythological narrative with Bacchus discovering Ariadne. Although vibrant and dynamic, it lacks the profound religious connotations present in da Vinci's mural. 

The organizers' reference to this painting appears to be a strategic move to deflect criticism by framing the segment within a broader cultural context. The Italian Renaissance, which produced both da Vinci and Titian, was deeply intertwined with the Church, subtly suggesting that the parody had the Vatican and Christian symbolism in mind from the outset.

The defense citing "The Feast of Dionysus" seems more like an attempt to mitigate backlash rather than an initial artistic intent. The parallels between the Olympic ceremony and "The Last Supper" are more pronounced, from the use of a halo to the arrangement of figures and the dramatic portrayal of a significant moment. These elements align the parody closely with da Vinci’s work, indicating that it was the primary inspiration. The inclusion of a halo and the overall composition evoke the visual language of Renaissance religious paintings, further supporting the argument that the scene aimed to reference and parody Christian iconography deliberately.

Titian's "The Feast of the Gods,"  does not depict Bacchus with a nimbus or halo. The painting, which features a mythological scene with various gods and goddesses, focuses on the revelry and interactions among the figures without using Christian iconography such as a nimbus. The emphasis is on the vibrant, earthly celebration rather than divine sanctity, in contrast to the religious symbolism present in da Vinci’s "The Last Supper."

The reaction to the Opening Ceremonies of the Paris Olympics can be understood through various historical and cultural lenses. Historically, France's persecution of the Huguenots and the Enlightenment's emphasis on secularism have shaped a culture where religion is often private, and public displays of faith can be contentious. This secular stance is a cornerstone of French identity, often clashing with more traditional national values. Art, particularly in a global event like the Olympics, often reflects these cultural tensions.

 The inclusion of the imagery seems VERY intentional. From the left, it was likely aimed at tolerance and inclusion but to traditionalists, it seemed like another attempt to force acceptance or face the consequences. Tolerance and acceptance are two very different things. Promotion is a step farther. Coercion even deeper.

This doesn't anger me, nor do I feel compelled to boycott the event. I want to support athletes in their quest! Instead, I see these thoughts and practices as a natural human expression in a world that rejects divine truth. At the same time, this brings to mind the biblical principle that "God is not mocked, for whatever one sows, that will he also reap."

This calls for a pause and reflection not on our opinions but on Biblical truths. It serves as a reminder of the importance of aligning our actions with God's will, recognizing that His justice and truth are paramount. People are not the enemy. As Ephesians 6:12–13 (ESV) states, "For we do not wrestle against flesh and blood, but against the rulers, against the authorities, against the cosmic powers over this present darkness, against the spiritual forces of evil in the heavenly places. Therefore take up the whole armor of God, that you may be able to withstand in the evil day, and having done all, to stand firm." 

I always think in terms of people watching me: am I reflecting the truth of Jesus? I hope my reactions to these types of things show my commitment to truth and a love for other people. If we walk around screaming and crying and playing whack-a-mole on everything that defies our view, what am I showing about God's love, patience, and forgiveness of me?

Paul's words in 1 Corinthians 5:9–10 resonate here: "I wrote to you in my letter not to associate with sexually immoral people—not at all meaning the sexually immoral of this world, or the greedy and swindlers, or idolaters, since then you would need to go out of the world." 

Paul then goes on to explain that he was referring to people who live in open and defiant sin within the church. We should not be shocked or dismayed when we find human beings acting according to our inherent nature. We should be prayerful and hopeful that the gospel captures the heart of every soul that breathes.

As I was reading a bunch of stuff this weekend, I thought it was interesting and plausible that Titian's painting could have been the O.G. parody or mocking of Davinci anyway!

Although there is no concrete historical evidence directly linking Titian’s "Bacchus and Ariadne" to Leonardo da Vinci’s "The Last Supper" as a source of inspiration, several factors suggest possible influences. Both paintings share stylistic similarities, such as dynamic compositions and intense emotional portrayals. Leonardo’s "The Last Supper" is celebrated for its depiction of the apostles' reactions to Jesus' announcement of betrayal, capturing a wide range of emotions through body language and expressions. Similarly, Titian’s "Bacchus and Ariadne" depicts a dramatic moment with Bacchus leaping towards Ariadne, using vivid colors and dynamic movement to convey emotional intensity.

Leonardo’s works were widely studied and admired by Renaissance artists, including Titian. Although there is no direct evidence, it is plausible that Titian, like many of his contemporaries, was influenced by Leonardo’s techniques. Titian’s mastery in using vibrant colors and light in "Bacchus and Ariadne" reflects an ongoing exploration of naturalism and expressive potential in painting, which Leonardo advanced.

Renaissance artists were part of a vibrant and interconnected network, and Leonardo’s influence on the Venetian school, to which Titian belonged, was significant. The exchange of artistic ideas through patrons, scholars, and other artists facilitated this influence. Leonardo’s "The Last Supper" was quickly recognized as a masterpiece and set a high standard for subsequent artists, including Titian.

Art historians acknowledge that while direct connections between the specific works of Leonardo and Titian might not always be documented, Leonardo’s broader impact on Renaissance art—through his pursuit of realism, depiction of human emotion, and innovative techniques—likely influenced Titian and other contemporaries.

Finally, the supporters of the ceremony pointed to the fact that Davinci's painting was Italian and what did that have to do with France anyway?

I felt like the central figure was not just any branch of Christianity... the primary message was to Rome. Even the Catholic Church in France got it. Replace Jesus with the obese and in their view, extravagant, domineering, and disgusting dominance of the Vatican.

It was plain to me what the message was.... and now there is a lot of "bach" pedaling  taking place.

Sources:

1. National Gallery of Art. "The Last Supper." Retrieved from National Gallery of Art.
2. National Gallery. "Bacchus and Ariadne." Retrieved from National Gallery.
3. BBC. "Olympics 2024: Paris Opening Ceremony Sparks Backlash Over Religious Parody." Retrieved from BBC.
4. ChatGPT. OpenAI.