By Dario Martini
As they worshiped the Lord and fasted, the Holy Spirit said, “Separate me Barnabas and Saul for the work to which I have called them.” Acts 13: 2
In April 2016, the French press announced that a painting found in an attic was an authentic Caravaggio, according to experts, the work is 400 years old. Holofernes is beheaded by Judith in an alleged biblical scene. Immediately the framework was valued at 100 million euros.
What makes a picture worth 100 million euros? It looks like cinematic history, but what is said in France is that the picture found in April 2014 was the subject of an expert opinion. They were searching for the office of Eric Turquin, minister of culture, who declared “This work recently Discovered is of great artistic value and could be identified as a missing composition of Caravaggio”, and then determined that the French Ministry of Culture would prevent the painting from being removed from the country for 30 months, attributing it the status of National Treasure.
Caravaggio was a Baroque artist who lived in Italy between 1571 and 1610, one of the most notorious Italian painters, who worked in Rome, Naples and Sicily. His work exerted important influence in the Baroque style. It’s possible authorship of this work made the picture that could be only adornment in some French residence, to become a National Treasure, with the stratospheric value of 100 million euros.
This and other related facts demonstrate the importance of noble authorship. An even grandiose work, but not legitimized by a recognized authorship, has a reduced value. Well, for a Caravaggio one pays millions, while for a picture a few pennies.
A Brazilian forger settled in Paris in the last century, he falsified important works of the Empire, attributing them to Debret and Pallière. In 2001, an oil of the Frenchman Julien Arnaud Pallière (1784-1862), “Portrait of Amelia of Leuchtenberg”, was sold to the public, Was put up for sale in the US by Christie’s, the world’s largest auction house. It was an attractive work for Brazilian collectors and museums, D. Amelia was the wife of Dom Pedro I, and Pallière, one of the traveling painters who best portrayed Brazil in the 19th century.
“It was a rare work as a historical document related to the arrival of the second empress to Brazil, “says Maria de Lourdes Horta, former director of the Imperial Museum of Petropolis, who led the purchase of the painting for US $ 30,000. The painting showed a woman on her back, the empress could be recognized only by the hairstyle.
However, the museum had a surprise, the picture was pointed out as false in the book “Pallière and Brazil: Complete Work” [Capivara, 240 pp.]. The authors, Ana Pessoa, Júlio Bandeira and Pedro Corrêa do Lago, claim that the work was not from Pallière, nor did it portray D. Amélia, is an unknown author, bought at the banana price in France in the 1950s by Roberto Heymann, a man from Mato Grosso state that had an antiques house in Paris. He put the signature of Pallière and passed the work forward as legitimate.
As the work was not legitimate, it lost its value. The museum wanted to return the product, but was prevented because the 5 year deadline for this had already elapsed.
Why can a work of art be worth millions? In second frames with paintings considered masterpieces are auctioned by millions, as the painting of Mark Rothko, sealed for $ 72 million. It was the greatest value ever offered by a work of this painter. But how to explain such a high value for a work of art? It seems strange, but only at first glance, because the market has rules that explain the high value of the works. Value, however, bears little relation to the complexity of the work.
It is also necessary to understand that the figures do not refer much to the artist’s ability. The Englishman Damien Hirst, for example, delegates the production of his famous polka dots to assistants, who are instructed on the colors and order of the circles. Even so, such a work has already been sold for $ 400,000. Nor does it matter the value of the materials that the artist used. Just look (and smell) the creations of the Englishman Chris Ofili, made with elephant manure. The main criterion is the artist’s renown, the brand that his signature attributes to the painting. When an artist becomes a brand, the market tends to accept as legitimate whatever it presents. That is, in the end it works like anything else branded, who buys, acquires status, and adds the value that comes from its authenticity.
Now, if in the secular world the author of a Work adds value to it, then how much more the value in the Kingdom of God? The authorship of the Work is indispensable so that it has spiritual value, which is fundamental so that it is legitimate in the eyes of God, being not only a work but a divine work.
God works is a divine work!
In verse 2 of chapter 13 of Acts we see the beginning of a Work that would evangelize the greatest empire of those days, note that the initiative to call Barnabas and Saul to accomplish the Work was entirely of the Holy Spirit. It was not Barnabas who said to Saul or Saul to Barnabas, “Let us go out into the world and we will turn it upside down.” Definitely not, although there certainly was this desire in them, the Holy Spirit was the author of the action, so the Holy Spirit was the author of the Work.
The Bible not only teaches us directly, but also indirectly, through examples. And in this passage we see how the Work of God is done with the total inspiration and initiative of the Holy Spirit. For it is written, “said the Holy Ghost”.
A Work is God’s only if it has this credential. How many works are there, saying they are holy, but they are impure, since they do not have this mark, they are not inspired by the Holy Spirit. So they become so often the lair of wolves, instead of sheepish sheep.
Every worker of God should be part of the masterpiece of the Holy Spirit and not of a work of questionable authorship, without real spiritual value.
The Holy Spirit inspires the Work and He initiates it. We laborers are like brushes, pictures and paints. Only instruments in the hands of the artist in his Masterpiece, or rather, divine work, a Work of God.
A work becomes God’s Work when it is done by the Holy Spirit and therefore is a divine work, desired and approved by God himself.
Principle in this chapter
The work of God must be inspired and done by the Holy Spirit!