All through her life, nature had been for Madeleva "beauty's self and beauty's giver." Through it, the divine revealed itself in natural ephiphanies:
Can I not find you in all winds that blow,
In the wild loneliness of lark and plover,
In slender shadow trees upon the snow?
This poem suggests that her prayers had gone beyond words; apparently, only silence could express them. If simplicity, in prayer as in life, is a sign of maturing sanctity, then Madeleva's inner life would seem to have deepened through the years.
If only he could work faster. Yet if he did work faster, how could he produce paintings grounded in deep beds of contemplation, the only way living things could be stilled long enough to understand them? And wasn't everything he painted--a breadbasket, a pitcher, a jewelry box, a copper pan--wasn’t it all living?
~ from THE GIRL IN HYACINTH BLUE by Susan Vreeland
