MEDITATIONS FOR MIDWINTER: PART 6

Title: Our Lady of the Snows

Artist: J. Watson Davis

Medium: Tempera

Size: tbd

Date: c. 1942

Location: Mary Chapel of the National Shrine of Our Lady of the Snows, Belleville, Illinois.

The devotion to Mary under the title of Our Lady of the Snows is the oldest devotion to Mary in the Catholic Church, and can be traced to Rome in the year 352 AD. The legend tells of how, at the height of the Roman summer, snow fell during the night on the summit of the Esquiline Hill. A Roman patrician John and his wife, in obedience to a vision of the Virgin Mary that they had the same night, built a basilica in honour of Mary on the very spot that was covered with snow. The devotion to Our Lady of the Snows was first introduced to the US midwest in 1941 by Fr. Paul Schulte of the Missionary Oblates of Mary Immaculate.

In the 1940s, Davis painted a version of Our Lady of the Snows for St. Henry's Seminary in Belleville, Illinois. Sources are unclear as to whether Davis was commissioned to complete the painting or asked as a personal favor; but he was acquainted with Father Paul Schulte, O.M.I., a German immigrant known as the "flying priest of the Arctic," for personally flying a plane to reach peoples of northern Canada and Alaska with his missionary and medical work. In this painting Davis has elevated Mother and Child above the surrounding figures in a vertical composition, in which the vision emanates from the Northern Lights; Fr. Schulte's plane appears as an element in the painting.

John Watson Davis (1870 - 1959) was an American illustrator whose career spanned six decades. In addition to his religious commissions, his drawings appeared in Zane Grey novels, in editions of Sherlock Holmes tales and Bluebeard, and in other books and magazines. Born in New York, Davis moved with his family to Paris when he was ten years old, where he received his art training. Davis returned to Brooklyn when he was in his twenties, and began his commercial artist career. To avoid confusion with other artists named "John W. Davis," he began signing his work "J. Watson Davis."

First Sunday of Advent

Title: Annunciation

Artist: Matthew Whitney

Medium: Oil on canvas

Size: 61 x 76 cm

Date: 2008

Location: Private Collection

Luke 1:26-31 -- And in the sixth month the angel Gabriel was sent from God unto a city of Galilee, named Nazareth, to a virgin espoused to a man whose name was Joseph, of the house of David; and the virgin's name was Mary. And the angel came in unto her, and said, “Hail, thou that art highly favoured, the Lord is with thee: blessed art thou among women.” And when she saw him, she was troubled at his saying, and cast in her mind what manner of salutation this should be. And the angel said unto her, “Fear not, Mary: for thou hast found favour with God. And, behold, thou shalt conceive in thy womb, and bring forth a son, and shalt call his name Jesus.”

Mary, as captured by the frenetic brush of Matthew Whitney, looks more than just troubled, but rather terrified and utterly confused. Her bedroom is virtually invaded from both sides of the canvas. To the left Gabriel tries to delicately to bring her the message of the lord, his exhortation “Fear not” seeming to have little effect; to the right a menagerie of startling and grotesque animals force their way into the scene, although they, too, seem to hold Mary in reverence, prefiguring the animals in the manger.

Matthew Whitney is a multidisciplinary artist and educator who lives and works in Seattle, Washington. This painting was made as part of The Vancouver Project, a two week art residency at Regent College in Vancouver, BC. Selected Pacific Northwest-based artists created this visual art exhibition contemplating the beautiful, grotesque and sublime. The project provides a conduit for churches and other faith-based groups to support artists through project patronage, and hosting the art and artists in their community. More of Matthew’s art can be seen on his website http://www.matthewwhitney.com

Luke for Lent - Part 4 of 7

Title: Zaccheus

Artist: J. Kirk Richards

Medium: Oil on Panel

Size: 72 x 25 in

Date: 2001

Location: Private collection

Luke 19:1-10: Jesus entered Jericho and was passing through. A man was there by the name of Zacchaeus; he was a chief tax collector and was wealthy. He wanted to see who Jesus was, but because he was short he could not see over the crowd. So he ran ahead and climbed a sycamore-fig tree to see him, since Jesus was coming that way. When Jesus reached the spot, he looked up and said to him, “Zacchaeus, come down immediately. I must stay at your house today.” So he came down at once and welcomed him gladly. All the people saw this and began to mutter, “He has gone to be the guest of a sinner.” But Zacchaeus stood up and said to the Lord, “Look, Lord! Here and now I give half of my possessions to the poor, and if I have cheated anybody out of anything, I will pay back four times the amount.” Jesus said to him, “Today salvation has come to this house, because this man, too, is a son of Abraham.  For the Son of Man came to seek and to save the lost.”

Jesus has said that it is hard for a rich person to be saved, but the salvation of Zacchaeus shows it is not impossible. Though Zacchaeus had a great curiosity to see Jesus, having heard great talk of what kind of a man he was, he could not get his curiosity gratified because he was little, and the crowd was great. Christ did not ride in an open chariot, as princes do, that all men might see him; He came as one of us, lost in a crowd. But those that sincerely desire a sight of Christ will use the proper means for gaining a sight of him, and will break through difficulty and opposition, and be willing to take pains to see him. Christ looked up into the tree, and saw Zacchaeus.He encouraged weak beginnings, and helped them forward. He that had a mind to know Christ shall be known of him; he that only courted to see him shall be admitted to converse with him.

American artist J. Kirk Richards is becoming increasingly known for his accomplishments as a painter of Judeo-Christian themes. Richards was born near Brigham Young University in Utah, and as a teen he took private lesson from artist Clayton Williams to supplement his public school studies. Upon graduation was accepted into the BYU art program, studying with artists such as Bruce Smith and Hagen Haltern. During his Missionary work he spent time in Rome where he was able to immerse himself in the Italian culture of art, which he says had a lasting effect on his painting. He notes that the colors in Italy are reflected a lot in his work - the rust browns and a lot of the color choices, such as the muted palette and the color harmonies found in Italian architecture. More of his work is featured on his website http://www.jkirkrichards.com

The Christmas Story

Title: The Christmas Story
Artist: Mary Wilshire
Medium: Four Color Process comic book cover
Size: 17 x 26 cm
Date: 1993
Location: From “The Life of Christ: The Christmas Story” New York: Marvel/Nelson.

Luke 2:4-7 So Joseph also went up from Galilee, from the town of Nazareth, to Judea, to the city of David which is called Bethlehem, because he was of the house and family line of David, to be registered together with Mary, who was legally promised in marriage to him and was pregnant. And it happened that while they were there, the time came for her to give birth. And she gave birth to her firstborn son, and wrapped him swaddling cloths and laid him in a manger, because there was no place for them in the inn.

The birth of the baby is described simply. “swaddling cloths” were strips of cloth used to wrap a baby. That the Child was put in a manger may mean that the birth was in a stable. There is a tradition that Jesus was born in a cave, which could have been used as a stable. Mangers were often outdoors, so it is possible that Jesus was born in the open air. If ever there was an opportunity for God to enact his plan with a majestic flourish, it was at Jesus' birth. But God did not presume upon humanity when he stepped in to redeem it. There was no pretense in this arrival. Rather, God chose to identify in the humblest way with those made in his image.

 

This adaptation of the nativity story for the comic book medium was by writer Louise Simonson and American penciller Mary Wilshire (b. 1953). At a young age Mary was influenced by newspaper comics and Mad magazine artists such as Jack Davis, Stan Drake and Alex Kotzky. She began her career in underground comix, and got her first work at Marvel Comics around 1980 working on Crazy. She is most well known for her work in the early 80s as the penciller and cover artist on Marvel's Red Sonja. This is another example in the decades long history of comic books used to spread the gospel, from Classics Illustrated to Japanese manga!

A Month of Miracles Part 22 - Ten Lepers Healed

Title: Ten Lepers Healed
Artist: Brian Kershisnik
Medium: Oil on Canvas
Size: 50 x 40 cm
Date: ca. 2010
Location: tbd.

Luke 17:11-19 - Now on his way to Jerusalem, Jesus traveled along the border between Samaria and Galilee. As he was going into a village, ten men who had leprosy met him. They stood at a distance and called out in a loud voice, “Jesus, Master, have pity on us!” When he saw them, he said, “Go, show yourselves to the priests.” And as they went, they were cleansed. One of them, when he saw he was healed, came back, praising God in a loud voice. He threw himself at Jesus’ feet and thanked him—and he was a Samaritan. Jesus asked, “Were not all ten cleansed? Where are the other nine? Has no one returned to give praise to God except this foreigner?” Then he said to him, “Rise and go; your faith has made you well.”

People with leprosy were required by law to keep away from healthy people (Lev. 13:46); these came as close as they dared and called out loudly. They ask not in particular to be cured of their leprosy, but, Have pity on us. Jesus did not tell them positively that they should be cured, but bade them go show themselves to the priests. This was a test of faith. They were healed as they went in obedience to Jesus’ word. One of them, and only one, when he saw that he was healed, instead of going forward to the priest, to be by him declared clean, and so discharged from his confinement, which was all that the rest aimed at, he turned back towards him who was the Author of his cure, whom he wished to have the glory of it, before he received the benefit of it. He appears to have been very hearty and affectionate in his thanksgivings: “With a loud voice” he glorified God!

Brian Kershisnik (born 1962) is an American painter. After a year of college at the University of Utah, he served for a time as a missionary for The Church of Jesus Christ of Latter-day Saints in Denmark. He returned to the USA to study art at Brigham Young University, during which studies he received a grant to study in London for six months. After graduate studies in Austin, Texas, he and his family moved to Kanosh in central Utah where he paints. Currently, Kershisnik is represented by the Two Sisters Fine Art Gallery, who offer prints of his work for sale on their website http://www.twosistersfineartgallery.com/brian_kershisnik.html

A Month of Miracles Part 20 - The Infirm Woman

Title: The Infirm Woman
Artist: Louis Glanzman
Medium: Mixed media
Size: 55 x 42 cm
Date: ca. 2002
Location: tbd.

Luke 13:10-17 - On a Sabbath Jesus was teaching in one of the synagogues, and a woman was there who had been crippled by a spirit for eighteen years. She was bent over and could not straighten up at all. When Jesus saw her, he called her forward and said to her, “Woman, you are set free from your infirmity.” Then he put his hands on her, and immediately she straightened up and praised God. Indignant because Jesus had healed on the Sabbath, the synagogue leader said to the people, “There are six days for work. So come and be healed on those days, not on the Sabbath.” The Lord answered him, “You hypocrites! Doesn’t each of you on the Sabbath untie your ox or donkey from the stall and lead it out to give it water? Then should not this woman, a daughter of Abraham, whom Satan has kept bound for eighteen long years, be set free on the Sabbath day from what bound her?” When he said this, all his opponents were humiliated, but the people were delighted with all the wonderful things he was doing.

This is the last time in Luke that Jesus appears in a synagogue. As he is teaching, a woman possessed by a spirit for eighteen years is in the audience. She was bent over and could not straighten up at all. The mention of the spirit is important, because the woman's opponent is not merely mortality or the natural process of aging but a spiritual agent. The age of her condition indicates how serious it is. Again, Jesus takes the initiative—a significant act in a culture that tended to shun women. Again, He shows his authority.

Louis Glanzman was born in 1922, raised in the farmlands of Virginia, and is a self-educated artist. He began his career at the age of sixteen as a comic book illustrator. During the 50's he illustrated numerous children's books, including the popular 'Pippi Longstocking' series. Noted as one of America's most prolific illustrators and acclaimed portrait painters he is deeply proud of his many historical paintings. Recently, his 13 portrait series of the Women of the New Testament became the basis for a book of spiritual reflections entitled 'Soul Sisters.' More of his work can be seen at http://www.louisglanzman.com.

A Month of Miracles Part 1 - Christ Healing the Sick in the Temple

Title: Christ Healing the Sick in the Temple
Artist: Benjamin West
Medium: Oil on canvas
Size: 90.5 x 69.8 cm
Date: c.1780–1781
Location: The Fitzwilliam Museum, Cambridge.

Mark 1:21-28 - They went to Capernaum, and when the Sabbath came, Jesus went into the synagogue and began to teach. The people were amazed at his teaching, because he taught them as one who had authority, not as the teachers of the law. Just then a man in their synagogue who was possessed by an impure spirit cried out, “What do you want with us, Jesus of Nazareth? Have you come to destroy us? I know who you are—the Holy One of God!” “Be quiet!” said Jesus sternly. “Come out of him!” The impure spirit shook the man violently and came out of him with a shriek. The people were all so amazed that they asked each other, “What is this? A new teaching—and with authority! He even gives orders to impure spirits and they obey him.” News about him spread quickly over the whole region of Galilee.

Jesus’ teaching is unlike that of the scribes because it is tied to His person and to His interpretation of Scripture. As soon as Christ began to preach, he began to work miracles for the confirmation of his doctrine, announcing the coming of the kingdom and the defeat of Satan. The victory Jesus Christ obtained over the unclean spirit astonished those that saw it; they were all amazed. It was evident, beyond contradiction, that the man was possessed; it was evident that he was forced out by the authority of Christ. The victory which Jesus Christ obtained over the unclean spirit was the Son of God manifested, that he might destroy the works of the devil.

Benjamin West, (October 1738 – March 1820) was an Anglo-American painter of historical scenes around and after the time of the American War of Independence. He was the second president of the Royal Academy in London, serving from 1792 to 1805 and 1806 to 1820. West is known for his large scale history paintings, which use expressive figures, colours and compositional schemes to help the spectator to identify with the scene represented. West called this "epic representation". In 1806 he produced The Death of Nelson, to commemorate Horatio Nelson's death at the Battle of Trafalgar.

The Ascension

Title: The Ascension
Artist: John Singleton Copley
Medium: Oil on canvas
Size: 81 x 73 cm
Date: 1775
Location: The Museum of Fine Arts, Boston.

Luke 24:50-56 - When he had led them out to the vicinity of Bethany, he lifted up his hands and blessed them. While he was blessing them, he left them and was taken up into heaven. Then they worshiped him and returned to Jerusalem with great joy. And they stayed continually at the temple, praising God.

As we come to the end of Luke’s Gospel, it is important to recall that Luke is only half finished with his story. The sequel comes in Acts. The resurrection-ascension is the link between the two volumes. That Luke regards the ascension as crucial is clear from Peter's speech in Acts 2. Now that Jesus is raised and seated at God's right hand, the mediating Ruler at the Father's side can pour out the blessing of God's Spirit.

John Singleton Copley (1738 – 1815) was an American painter, a son of Irish immigrants. He is famous for his portrait paintings of important figures in colonial New England, depicting in particular middle-class subjects. Though he had a long and successful career, the Napoleonic Wars brought hard times, and maintaining his household and the education of a talented son were costly. By the time of his death, despite his fame and talent, he left his family to settle his debts.

19 IMAGES FROM THE 19th CENTURY: PART 6 - Angels Ministering to Christ in the Wilderness

Title: Angels Ministering to Christ in the Wilderness
Artist: Thomas Cole
Medium: Oil on canvas
Size: tbd
Date: 1843
Location: Worcester Art Museum, Worcester, Ma.

19 IMAGES FROM THE 19th CENTURY: PART 6

Matthew 4:10-11 Jesus said to him, Away from me, Satan! For it is written: 'Worship the Lord your God, and serve him only.' Then the devil left him, and behold, angels came and ministered to him.

In this painting Cole provides us with two sources of primary light – the distant horizon and the celestial spot light that shines down directly on an exhausted yet satisfied Christ. The angles, supplicant in their service, provide food and drink. In contrast to the barren stretches of landscape behind him, Jesus is very cozy in the intimate group in the foreground. Despite the esteem with which Cole's allegorical works were regarded, some patrons preferred his identifiably American scenes. Cole was disappointed at this preference, and paintings like Angels Ministering to Christ in the Wilderness seem to be an attempt to satisfy both his desire for scenes invested with moral or literary meaning, and his patrons desire for pastoral and natural imagery.

Thomas Cole (February 1801 – February, 1848) was an English-born American artist. He is regarded as the founder of the Hudson River School, an American art movement that flourished in the mid-19th century. Cole's Hudson River School, as well as his own work, was known for its realistic and detailed portrayal of American landscape and wilderness, which feature themes of romanticism and naturalism. He was born in Bolton, Lancashire, England, and in 1818 his family emigrated to the United States, settling in Steubenville, Ohio. Cole learned the rudiments of his profession from a wandering portrait painter named Stein. However, he had little success painting portraits, and his interest shifted to landscape. Cole's unexpected death in 1848 at the young age of forty-seven was deeply mourned in New York art and literary circles. Both his art and his legacy provided the foundation for the native landscape school that dominated American painting until the late 1860s.

TWENTY SAINTS IN TWENTY DAYS: PART 10 – ST JOAN OF ARC

Title: Joan of Arc
Artist: Noah Massey
Medium: Oil on canvas
Size: 111.7 x 73.7 cm
Date: 2010
Location: Private Collection.

TWENTY SAINTS IN TWENTY DAYS: PART 10 – ST JOAN OF ARC

Saint Joan of Arc or The Maid of Orléans (c. 1412 – 30 May 1431) is considered a national heroine of France and a Catholic saint. A peasant girl born in eastern France who claimed Divine guidance, she led the French army to several important victories during the Hundred Years’ War and paved the way for the coronation of Charles VII. She later testified that she experienced her first vision around 1424 at the age of 12 years, when she was out alone in a field and saw visions of figures she identified as Saint Michael, Saint Catherine, and Saint Margaret, who told her to drive out the English and bring the Dauphin to Rheims for his coronation. She said she cried when they left, as they were so beautiful. A remarkable military leader, often ignoring the commands of her fellow military leaders and war councils, she lead soldiers and peasants alike against the English to victory. Though she was continuously belittled and disregarded by men of her own rank she was renowned by the men who served under her for her behavior both on and off the battle field. She was captured by the Burgundians, sold to the English, tried by an ecclesiastical court, and burned at the stake on May 30th, 1431, when she was nineteen years old.

Joan is presented to us in an image the encompasses her conflicting aspects. A pubescent girl, her cheeks are rosy and childlike, almost a cherub, but in her eyes are full of wisdom. Though her hand rests on a sword, prepared at any moment to battle, she is surrounded by an army that look like toys from another era. But the flames that surround her remind us that she was not just a little girl playing with toys, but a warrior, who followed the impetus of her visions, and who died an agonizing martyrs death.

Noah Massey is a contemporary American painter and graphic artist. As part of an artist’s statement, Noah writes: “I am interested in the dual nature of existence. What I have read concerning Catholic Saints has stressed their ability to separate and overcome the destruction of their bodies. These stories of martyrdom, torture and temptation demonstrate, in the extreme, the equality of all mankind in suffering. My paintings are not the whole story of the saint they represent. The works are instead my interpretation of overcoming and reunification. Some of the saints, in the midst of their bodily destruction, find salvation in humor, stoicism, defiance, generosity, and preparation. Utilizing contemporary graffiti styles and items of modern fashion the paintings draw a comparison between modern existence and that of the beatified who lived from the 2nd to 11th centuries. The paintings create a psychological space that is abundant with pain but free of panic, the place where decisions of fate and faith are made. It is my desire to create paintings that seduce the viewer into believing that impossible challenges and trials can be overcome, even by the weakest of us.” More information can be found on Noah’s website at http://noahmassey.com/

Two Disciples at the Tomb

Title: Two Disciples at the Tomb
Artist: Henry Ossawa Tanner
Medium: Oil on canvas
Size: 129.5 x 105.7 cm
Date: c. 1906
Location: The Art Institute of Chicago.

John 20:2-10 So she came running to Simon Peter and the other disciple, the one Jesus loved, and said, “They have taken the Lord out of the tomb, and we don’t know where they have put him!” So Peter and the other disciple started for the tomb. Both were running, but the other disciple outran Peter and reached the tomb first. He bent over and looked in at the strips of linen lying there but did not go in. Then Simon Peter came along behind him and went straight into the tomb. He saw the strips of linen lying there, as well as the cloth that had been wrapped around Jesus’ head. The cloth was still lying in its place, separate from the linen. Finally the other disciple, who had reached the tomb first, also went inside. He saw and believed. (They still did not understand from Scripture that Jesus had to rise from the dead.) Then the disciples went back to where they were staying.

In this painting, John’s youthful face reflects the emptiness of the arched tomb. Next to him, bowing his head in awe, stands the bearded disciple Peter, who will later become the leader of the Christian church. The sense of spirituality is emphasized by the light radiating from the tomb. Although Tanner depicted a wide range of subjects he considered himself primarily a painter of religious subjects. “Two Disciples at the Tomb” became one of Tanner’s most well-known religious paintings in America, giving him at long last the kind of recognition that he had received abroad. Called "the most impressive and distinguished work of the season" in 1906, the painting competed against 350 other works to win the Harris Silver Medal at The Art Institute of Chicago. The museum purchased the painting later that year.

Henry Ossawa Tanner (June 1859 – May 1937) was an African American artist who earned international acclaim for his religious paintings. His father was a prominent minister and his mother a former slave who escaped the South through the Underground Railroad. At age eleven, Tanner decided to become an artist, and nine years later the Pennsylvania Academy of the Fine Arts accepted him, the only African American out of two hundred students. Throughout his life Tanner kept close ties with his native country and was proud of his contributions as a black American, but chose to live in France, where he felt that his race mattered less to other artists and critics. His painting “Sand Dunes at Sunset, Atlantic City” hangs in the Green Room at the White House, the first painting by an African-American artist to enter the permanent collection of the White House.

The Crucifixion

Title: The Crucifixion
Artist: Frank Mason
Medium: Oil on panel
Size: 86.36 x 60.96 cm
Date: 1998
Location: Private collection.

John 19:23-24 When the soldiers crucified Jesus, they took his clothes, dividing them into four shares, one for each of them, with the undergarment remaining. This garment was seamless, woven in one piece from top to bottom. “Let’s not tear it,” they said to one another. “Let’s decide by lot who will get it.” This happened that the scripture might be fulfilled that said, “They divided my clothes among them and cast lots for my garment.” So this is what the soldiers did.

The significance of the garment's being seamless is that the soldiers are led to draw of lots for it, which in turn echoes Psalm 22:18 – “They divide my clothes among them and cast lots for my garment”. This is the first of four Old Testament passages cited as being fulfilled in Jesus' Passion, all of which refer to particular details of what takes place. John marshals these texts around this most central, and most scandalous, event in order to show that the death of God's Son was in fact the will of God the Father. Behind the idea of fulfillment is the notion of God's sovereign control, which weaves repeating patterns: Scripture expresses God's will, and Jesus is submissive to God's will, so his activity fulfills the Scripture because it flows from the same source and is controlled by the same Father.

Frank Herbert Mason (February 1921- June 2009) was an American painter and teacher born in Cleveland, Ohio. He attended the Music and Arts High School in New York until he was awarded a scholarship to study at the Art Students League of New York with Frank DuMond. Mason studied with Dumond until DuMond's death in 1951, when he himself began teaching at the Art Students League. Mason takes his place in a long line of Old Masters who have interpreted the New Testament, and, like them, he has succeeded in infusing the dignity of his craft and the expression of faith.

The True Vine

Title: The True Vine
Artist: Jodi Simmons
Medium: Tempera on panel.
Size: tbd.
Date: c. 2009
Location: Private Collection.

John 15:1-27 “I am the true vine, and my Father is the gardener. He cuts off every branch in me that bears no fruit, while every branch that does bear fruit he prunes so that it will be even more fruitful. You are already clean because of the word I have spoken to you. Remain in me, as I also remain in you. No branch can bear fruit by itself; it must remain in the vine. Neither can you bear fruit unless you remain in me. I am the vine; you are the branches. If you remain in me and I in you, you will bear much fruit; apart from me you can do nothing. If you do not remain in me, you are like a branch that is thrown away and withers; such branches are picked up, thrown into the fire and burned. If you remain in me and my words remain in you, ask whatever you wish, and it will be done for you. This is to my Father’s glory, that you bear much fruit, showing yourselves to be my disciples. As the Father has loved me, so have I loved you. Now remain in my love. If you keep my commands, you will remain in my love, just as I have kept my Father’s commands and remain in his love. I have told you this so that my joy may be in you and that your joy may be complete. My command is this: Love each other as I have loved you. Greater love has no one than this: to lay down one’s life for one’s friends. You are my friends if you do what I command. I no longer call you servants, because a servant does not know his master’s business. Instead, I have called you friends, for everything that I learned from my Father I have made known to you. You did not choose me, but I chose you and appointed you so that you might go and bear fruit—fruit that will last—and so that whatever you ask in my name the Father will give you. This is my command: Love each other. If the world hates you, keep in mind that it hated me first. If you belonged to the world, it would love you as its own. As it is, you do not belong to the world, but I have chosen you out of the world. That is why the world hates you. Remember what I told you: ‘A servant is not greater than his master.’ If they persecuted me, they will persecute you also. If they obeyed my teaching, they will obey yours also. They will treat you this way because of my name, for they do not know the one who sent me. If I had not come and spoken to them, they would not be guilty of sin; but now they have no excuse for their sin. Whoever hates me hates my Father as well. If I had not done among them the works no one else did, they would not be guilty of sin. As it is, they have seen, and yet they have hated both me and my Father. But this is to fulfill what is written in their Law: ‘They hated me without reason.’ When the Advocate comes, whom I will send to you from the Father—the Spirit of truth who goes out from the Father—he will testify about me. And you also must testify, for you have been with me from the beginning.

Jesus begins with the Gospel's final "I am" saying. The earlier sayings had focused on Jesus as the life-giver and had included an invitation to come to him and to believe in him. Now, however, Jesus is speaking to those who have already come to him, and so his charge is that they remain in him. The earlier theme of life is now developed in terms of intimate union with Jesus, a sharing in his own life. Thus, this is a fitting conclusion to the "I am" sayings. The image is not a parable, since it is not a story, but rather an extended metaphor. The main point of the image is clear enough: the disciple's very life depends on the intimate union of believers with Jesus. As branches, believers either bear fruit and are pruned to bear more fruit, or do not bear fruit and are thrown away and burned.

Jodi Simmons is a contemporary American icon painter, currently working from a studio in Massachusetts. In the eyes of traditional Eastern Orthodox icon artists, Jodi crosses over canonical boundaries in her handling of sacred subjects. Why, for example, is Christ shown so often without a beard? And what are all those geometric patterns, crisscrossing her panels? For Jodi, he is “the blueprint of all creation,” the fixed point in the circle of eternity from which lines radiate out in all directions, creating new shapes and forms, wherever they are intersected. More of her innovative work can be seen at http://sacredartpilgrim.com/collection/view/68 .

Jesus Encirled

Title: Jesus Encirled
Artist: Rachel Monteagudo
Medium: Linoleum print and acrylic paint
Size: tbd
Date: 2007
Location: Private collection.

While in 11th grade at Norcross High School in Norcross, Georgia, artist Rachel Monteagudo created this arresting image of Jesus, which went on to be featured in various student art shows. Her stark, almost wistful, Man of Sorrows is made triumphant by the encircling of this image with a radiant red and gold ovoid. There are allusions to the fourth chapter of the Revelation, notably chapter 4:2-3, and the vision of the throne room of God: “At once I came under the Holy Spirit's power, and behold, a throne stood in heaven, with One seated on the throne! And He who sat there appeared like the crystalline brightness of jasper and the fiery carnelian, and encircling the throne there was a halo that looked like a rainbow of emerald.”

This image continues to follow a movement that seems to have evolved away from the realistic humanization of Jesus, championed by those the like the Russian Peredvizhniki, instead having focused on transcendent, redemptive imagery of the Messiah. Jesus is shown not as a human being like us, but rather as one who resonates the power and glory of the Son of Man. As foretold in the Book of Daniel 7:13-14 “I saw in the night visions, and behold, on the clouds of the heavens came One like a Son of man, and He came to the Ancient One and was presented before Him. And there was He given dominion and glory and kingdom, that all peoples, nations, and languages should serve Him. His dominion is an everlasting dominion which shall not pass away, and His kingdom is one which shall not be destroyed.”

The Flight into Egypt

Title: The Flight into Egypt
Artist: George Hitchcock
Medium: Oil on canvas
Size: 113 x 166 cm
Date: 1892
Location: Smithsonian American Art Museum.

Matthew 2:14-15: Joseph got up. During the night, he left for Egypt with the child and his mother Mary. They stayed there until King Herod died. So the words the Lord had spoken through the prophet came true. He had said, "I chose to bring my son out of Egypt."

By quoting the beginning of Hosea's prophecy, Matthew declares that Jesus' sojourn in Egypt fulfills the prophecy. Matthew evokes the passage as a whole and shows how Jesus is the forerunner of the new exodus, the time of ultimate salvation. Matthew uses God's pattern in history to remind us that our call and destiny must define us. We are the people of the new exodus, the people of God's kingdom. Matthew's quotation from Hosea also reminds us that Jesus identifies with his people's heritage. Jesus appears as the promised one greater than Moses and the heir of God's call to Israel. As God protected Moses when Pharaoh killed the male Israelite children, so God protects Jesus.

In this depiction Hitchcock secularized the subject, placing the biblical figures in the landscape of Holland, where he lived for some time. This prompted a critic of the day to write: “It is a very gracious arrangement of color, but entirely without value as a sacred picture.” However, such a view fails to take into account earlier iconography of this event. The background to these scenes usually included a number of apocryphal miracles, such as blooming flora, and gave an opportunity for the emerging genre of landscape painting. During the 16th century, as interest in landscape painting grew, the subject became a popular one for paintings, often with the figures small in a large landscape. The subject was especially popular with German Romantic painters, and later in the 19th century was one of a number of New Testament subjects which lent themselves to Orientalist treatment.

George Hitchcock (1850–1913), was an American artist born in Providence, Rhode Island. He studied law at Harvard and practiced at the bar until age twenty-nine, when he turned to art. In 1879 he worked at the Académie Julian in Paris and the next year established a studio in Holland where he remained for the rest of his life. He first established his reputation as a painter of large-scale religious paintings in which biblical subjects are garbed in contemporary peasant dress. He later turned from these loosely brushed works in silvery gray light to more brilliantly colorful, sunlit paintings of Dutch tulip fields and peasant women in colorful local dress. Though less well known today, during his life he was regarded in Europe and America as one of the best painters of his period.

The Adoration of the Magi

Title: The Adoration of the Magi
Artist: Joseph Christian Leyendecker
Medium: Printed Magazine Cover
Size: 103 x 80 cm
Date: 1900
Location: From “Saturday Evening Post” magazine, Curtis Publishing Co.

Matthew 2:11: The Wise Men went to the house. There they saw the child with his mother Mary. They bowed down and worshiped him. Then they opened their treasures. They gave him gold, incense and myrrh.

That the Magi offer Jesus both homage and standard gifts from the East fits Eastern practices; for instance, royal courts there used frankincense and myrrh (though these spices also had many other uses). The Magi's homage to Jesus may reflect biblical language alluding to the pilgrimage and homage of nations in Psalm 72:10 or Isaiah 60:6. Regardless, this homage reinforces the point of the narrative: if God's people will not honor Jesus, former pagans will.

Joseph Christian Leyendecker (March, 1874 – July, 1951) was one of the pre-eminent American illustrators of the early 20th century. He is best known for his poster, book, and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for the Saturday Evening Post. During ‘The Golden Age of American Illustration’, for the Saturday Evening Post alone, Leyendecker produced 322 covers, as well as many advertisement illustrations for its interior pages. His Easter, Independence Day, Thanksgiving and Christmas covers were annual events for the Post’s millions of readers. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication. Leyendecker is credited as having virtually invented the whole idea of modern magazine design.

His Name is John

Title: His Name is John
Artist: Daniel Bonnell
Medium: Oil on Canvas
Size: 90 x 95 cm
Date: c. 2008
Location: Private collection

Luke 1:57-58: The time came for Elizabeth to have her baby. She gave birth to a son. Her neighbors and relatives heard that the Lord had been very kind to her. They shared her joy.

Neighbors customarily joined in celebrations, and the birth of a son, especially under such unusual circumstances, was seen as special cause for celebration. Though these events are cosmic in their reach, they involve the divinity's personal touch. God has shown his mercy and magnified it to Elizabeth. Those who had shared her pain now rejoice with her. God's mercy expresses itself in concrete, loving action.

Daniel Bonnell (b. 1955) is an American painter and graduate of the Atlanta College of Art. He furthered his studies under the French Dominican Monk Pere Couturier, who usher such great painters as Henri Matisse and Fernand Leger into creating sacred art. His work can be found in several church and private collections, and in several notable publications. Most recently, a number of his paintings were selected to be in the Mosaic Holy Bible, as well in private collections and churches around the world. Further work can be viewed on his website at http://web.me.com/danielbonnell/Image_On_Christ_Exhibition/Home.html.

Feeding of the 4000

Title: Miracle of the Loaves and Fishes

Artist: Giovanni Lanfranco

Medium: Oil on canvas

Size: 229 x 426 cm

Date: 1620-23

Location: National Gallery of Ireland, Dublin.

The sixth miracle account that displays Jesus' power over nature is recorded in Mark 8:1-9. This miracle is known as Feeding of the 4000, or Miracle of the Seven Loaves and Fishes.

During those days another large crowd gathered. Since they had nothing to eat, Jesus called his disciples to him and said, “I have compassion for these people; they have already been with me three days and have nothing to eat. If I send them home hungry, they will collapse on the way, because some of them have come a long distance.” His disciples answered, “But where in this remote place can anyone get enough bread to feed them?” Jesus asked, “How many loaves do you have?” They replied, “Seven.” He told the crowd to sit down on the ground. When he had taken the seven loaves and given thanks, he broke them and gave them to his disciples to distribute to the people, and they did so. They had a few small fish as well; he gave thanks for them also and told the disciples to distribute them. The people ate and were satisfied. Afterward the disciples picked up seven basketfuls of broken pieces that were left over. About four thousand were present. After he had sent them away, he got into the boat with his disciples and went to the region of Dalmanutha.

Lanfranco’s ‘Miracle of the Loaves and Fishes’ was commissioned for the Blessed Sacrament chapel in the Basilica of Saint Paul Fuori le Mura, outside Rome. Lanfranco made eight canvases for this chapel on the theme of the Eucharist. This scene of the miracle is seen in perspective from below, therefore the painting was intended to hang high. The wonderfully bright Jesus stands out against the darker tones of the people who have come to hear the Messiah. Jesus shows the loaves to the people, reassuring them. All the figures are drawn in a different pose, some with theatrical movements of head and hands. The gestures remain believable however, a tour-de-force in such anecdotal painting.

Giovanni Lanfranco (January 1582 - November 1647) was an Italian painter of the Baroque period. His talent for drawing allowed him to begin an apprenticeship with the Bolognese artist Agostino Carracci, brother of Annibale Carracci, working alongside fellow Parmese Sisto Badalocchio in the local Farnese palaces. When Agostino died in 1602, both young artists moved to Annibale's large and prominent Roman workshop. Lanfranco painted many religious decorations for churches and palaces in Rome.

Title: Loaves and Fishes

Artist: Cornelius Edmund Sullivan

Medium: Oil on canvas

Size: 150 x 240 cm

Date: c. 2000

Location: Private collection

This miracle is similar to that of feeding the five thousand, and yet there are very significant differences. The ground of Jesus’ compassion in the first miracle was "the fact that the people are like sheep without a shepherd"; whereas, in this, "it is the fact that they have been so long without food." Perhaps the most significant difference of all is that this miracle took place among the Gentiles, whereas those fed in the other were principally Jews. This key fact explains why two such miracles were performed, showing God's fairness in dealing with Gentiles as he had dealt with the chosen people. Christ is the bread of life for all, not merely for Jews alone.

Cornelius Edmund Sullivan is an American painter, sculptor and printmaker. For many years he was an Artist in Residence for the City of Cambridge, MA School Department. At the same time he served as the elected Artist's Representative to The Board of Directors of The Boston Center for the Arts and was a Master Etching Printer at Impressions Workshop Atelier in Boston. His works are in many private collections and in universities and museums. More of his work can be seen on his website http://www.sullivanart.com/

Temptation of Christ

Title: Temptation of Christ

Artist: James B. Janknegt

Medium: Oil on panel

Size: 66 x 60 cm

Date: 1990

Location: tbd.

Matthew 4:5-7: Then the devil takes him to the holy city, and sets him upon the edge of the temple, and says to him, If thou be Son of God cast thyself down; for it is written, He shall give charge to his angels concerning thee, and on their hands shall they bear thee, lest in anywise thou strike thy foot against a stone. Jesus said to him, It is again written, Thou shalt not tempt the Lord thy God.

The devil tempted Christ to presume upon his Father's power and protection, in a point of safety. There are no extremes more dangerous than despair and presumption, especially in the affairs of our souls. Satan has no objection to staging his assaults at holy places. The holy city is the place where he does, with the greatest advantage, tempt men to pride and presumption. All high places are slippery places; advancements in the world makes a man a mark for the Tempter. Satan is well versed in Scripture and able to quote it readily. It is possible for a man to have his head full of Scripture, and his mouth full of Scripture, while his heart is full of bitter enmity to God.

This portrait of Christ’s temptation brilliantly contains the elements of his battle to resist the tempter, from the updated landscape of the “Holy city”, to the images of a tumbling Jesus in the irises of this own eyes. The predominant red hues further suggest the struggle that Jesus faces, the taunts of the devil prefiguring those cast at Jesus at his own crucifixion: He saved others; himself he cannot save (Mark 15:31).

James B. Janknegt was born in Austin, Texas. A self-confessed Jesus Freak while in high school, Jim became part of The Well, a trans-denominational coffee house where he painted murals on the walls and sang in the folk group. He attended art school at the University of Texas in Austin and graduated with a BFA in 1978. He left Texas and moved to Iowa City to attend graduate school, graduating with an MA and MFA. He has exhibited his work in multiple galleries and museums. Further of his work can be viewed at http://janknegt.eccwireless.com/

Christ on the Road to Emmaus

Title: Christ on the Road to Emmaus

Artist: Unknown

Medium: Oil on canvas

Size: 64 x 77 cm

Date: c. 1725

Location: National Gallery of Art, Washington, DC.

Luke 24:13-24: Now that same day two of them were going to a village called Emmaus, about seven miles from Jerusalem. They were talking with each other about everything that had happened. As they talked and discussed these things with each other, Jesus himself came up and walked along with them; but they were kept from recognizing him. He asked them, "What are you discussing together as you walk along?" They stood still, their faces downcast. One of them, named Cleopas, asked him, "Are you only a visitor to Jerusalem and do not know the things that have happened there in these days?" "What things?" he asked. "About Jesus of Nazareth," they replied. "He was a prophet, powerful in word and deed before God and all the people. The chief priests and our rulers handed him over to be sentenced to death, and they crucified him; but we had hoped that he was the one who was going to redeem Israel. And what is more, it is the third day since all this took place. In addition, some of our women amazed us. They went to the tomb early this morning but didn't find his body. They came and told us that they had seen a vision of angels, who said he was alive. Then some of our companions went to the tomb and found it just as the women had said, but him they did not see."

Thomas gets all the contemporary press as a doubter of the resurrection, but it is clear that he was merely one of a crowd, and these two followers are not yet convinced that Jesus has been raised from the dead. Like modern people in their skepticism, they will be persuaded only if they actually see Jesus. Here, then, is the major lesson of the Emmaus Road experience: though resurrection is hard to believe, be assured that it took place. Its reality means that Jesus' claims are true. He was more than a teacher and more than a prophet. He was the promised, anointed one of God. A host of skeptics saw that this was so, and they believed. Remember what God required of his Messiah: suffering, then vindication in exaltation.

Religion has always been a major inspiration for the folk artist. In the beginning of the eighteenth century new waves of immigrant painters arrived in the United States who were influenced by the High Renaissance concepts of painting by Italian and Dutch artists fulfilling commissions in the late seventeenth and early eighteenth centuries. In the Hudson Valley, Dutch settlers between New York City in the south and Albany in the north produced a body of religious art of great significance. They and their descendants adorned their walls with paintings based on illustrations in Bibles brought from the Netherlands. Backgrounds were simplified and stylized, and the painting often had a linear, two-dimensional feeling.