<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0">
  <channel>
    <title><![CDATA[ Bible.Gallery - Explore great artworks based on the Bible. ]]></title>
    <link><![CDATA[ https://www.bible.gallery/resource/feed ]]></link>
    <description><![CDATA[ Bible.Gallery is a community site for collating all the great artworks related to the Bible. ]]></description>
    <language>en</language>
    <pubDate>2026-08-05 21:54:58</pubDate>

    
      
      <item>
        <title><![CDATA[Alexander Ivanov artworks]]></title>
        <url>https://www.bible.gallery/resource/alexander-ivanov-artworks/53</url>
        <link>https://www.bible.gallery/resource/alexander-ivanov-artworks/53</link>
        <guid>53</guid>
        <pubDate>2021-06-30 13:42:49</pubDate>
        <description><![CDATA[Alexander Andreyevich Ivanov was a Russian painter who adhered to the waning tradition of Neoclassicism but found little sympathy with his contemporaries. He was born and died in St. Petersburg.

Ivanov studied together with Karl Briullov at the Imperial Academy of Arts under his father, Andrey Ivanovich Ivanov. He spent most of his life in Rome where he befriended Gogol and was influenced by the Nazarenes. He has been called the master of one work, for it took 20 years to complete his magnum opus, The Appearance of Christ Before the People (1837–57), now in the Tretyakov Gallery at Moscow.

Critical judgement about Ivanov improved in the following generation. Some of the numerous sketches he had prepared for The Appearance have been recognized as masterpieces in their own right. The most comprehensive collection of his works can be viewed at the Russian Museum in St. Petersburg.<img src='http://img.youtube.com/vi/i67fWTj5YWA/hqdefault.jpg' />]]></description>
        <content><![CDATA[Alexander Andreyevich Ivanov was a Russian painter who adhered to the waning tradition of Neoclassicism but found little sympathy with his contemporaries. He was born and died in St. Petersburg.

Ivanov studied together with Karl Briullov at the Imperial Academy of Arts under his father, Andrey Ivanovich Ivanov. He spent most of his life in Rome where he befriended Gogol and was influenced by the Nazarenes. He has been called the master of one work, for it took 20 years to complete his magnum opus, The Appearance of Christ Before the People (1837–57), now in the Tretyakov Gallery at Moscow.

Critical judgement about Ivanov improved in the following generation. Some of the numerous sketches he had prepared for The Appearance have been recognized as masterpieces in their own right. The most comprehensive collection of his works can be viewed at the Russian Museum in St. Petersburg.<img src='http://img.youtube.com/vi/i67fWTj5YWA/hqdefault.jpg' />]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[The Religious-artistic Image of a Perfect Human Integrity: A.A. Ivanov&#039;s Picture &quot;The Appearance of Christ Before People&quot;]]></title>
        <url>https://www.bible.gallery/resource/the-religious-artistic-image-of-a-perfect-human-integrity-aa-ivanovs-picture-the-appearance-of-christ-before-people/52</url>
        <link>https://www.bible.gallery/resource/the-religious-artistic-image-of-a-perfect-human-integrity-aa-ivanovs-picture-the-appearance-of-christ-before-people/52</link>
        <guid>52</guid>
        <pubDate>2021-06-30 13:38:47</pubDate>
        <description><![CDATA[The problem of the religious-artistic expression of the ideal of a perfect human being and his general meaning of life is studied in this article. The concept of human integrity is discussed. The following ideal types of people, opposite to each other, are identified: a spiritual, carnal, partial, harmonic human being. Ideals of perfect human integrity are reflected in specified visual images in every culture. These ideals are colorfully embodied by cultural heroes. Then a description of the composite formula of A. Ivanov’s picture “The appearance of Christ before people” follows. This formula expresses Ivanov’s idea of meaning of life of a perfect man. The authors came to the conclusion that Ivanov solved, by artistic means, the age-old religious and philosophical dilemma: what to give preference to – faith or knowledge, sense or reason? According to Ivanov, faith and knowledge must complement and balance each other in a perfect man. The artist himself appears in the center of the canvas, and he is the very focus of the mutually balanced parties of human spirit.]]></description>
        <content><![CDATA[The problem of the religious-artistic expression of the ideal of a perfect human being and his general meaning of life is studied in this article. The concept of human integrity is discussed. The following ideal types of people, opposite to each other, are identified: a spiritual, carnal, partial, harmonic human being. Ideals of perfect human integrity are reflected in specified visual images in every culture. These ideals are colorfully embodied by cultural heroes. Then a description of the composite formula of A. Ivanov’s picture “The appearance of Christ before people” follows. This formula expresses Ivanov’s idea of meaning of life of a perfect man. The authors came to the conclusion that Ivanov solved, by artistic means, the age-old religious and philosophical dilemma: what to give preference to – faith or knowledge, sense or reason? According to Ivanov, faith and knowledge must complement and balance each other in a perfect man. The artist himself appears in the center of the canvas, and he is the very focus of the mutually balanced parties of human spirit.]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Twelve-Year-Old Jesus in the Temple (1869) Carl Heinrich Bloch]]></title>
        <url>https://www.bible.gallery/resource/twelve-year-old-jesus-in-the-temple-1869-carl-heinrich-bloch/51</url>
        <link>https://www.bible.gallery/resource/twelve-year-old-jesus-in-the-temple-1869-carl-heinrich-bloch/51</link>
        <guid>51</guid>
        <pubDate>2021-06-30 13:28:36</pubDate>
        <description><![CDATA[]]></description>
        <content><![CDATA[]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[The Path to Life Leads Through Death]]></title>
        <url>https://www.bible.gallery/resource/the-path-to-life-leads-through-death/50</url>
        <link>https://www.bible.gallery/resource/the-path-to-life-leads-through-death/50</link>
        <guid>50</guid>
        <pubDate>2021-06-30 13:20:52</pubDate>
        <description><![CDATA[The account of the raising of Lazarus from the dead by Jesus is the seventh of the seven signs in St. John’s Gospel that announce the fulfillment of the Old Covenant in the New Covenant and the passing away of the old rites, replaced by the grace and sacraments of Jesus Christ. It is also the last of the three passages from St. John’s Gospel associated with the Scrutinies undergone by the elect (those to be baptized at the Easter Vigil Mass) in the process of the Rite of Christian Initiation of Adults that I discussed in a recent article, What Can We Learn from the Healing of the Man Born Blind?.<img src='http://img.youtube.com/vi//hqdefault.jpg' />]]></description>
        <content><![CDATA[The account of the raising of Lazarus from the dead by Jesus is the seventh of the seven signs in St. John’s Gospel that announce the fulfillment of the Old Covenant in the New Covenant and the passing away of the old rites, replaced by the grace and sacraments of Jesus Christ. It is also the last of the three passages from St. John’s Gospel associated with the Scrutinies undergone by the elect (those to be baptized at the Easter Vigil Mass) in the process of the Rite of Christian Initiation of Adults that I discussed in a recent article, What Can We Learn from the Healing of the Man Born Blind?.<img src='http://img.youtube.com/vi//hqdefault.jpg' />]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Justice or Compassion?]]></title>
        <url>https://www.bible.gallery/resource/justice-or-compassion/49</url>
        <link>https://www.bible.gallery/resource/justice-or-compassion/49</link>
        <guid>49</guid>
        <pubDate>2021-06-05 13:24:01</pubDate>
        <description><![CDATA[The drama, suspense, and anguish that lie at the heart of the biblical description of the first test of Solomon’s wisdom as he judges between the competing claims of two mothers (1 Kings 4:16–28) have proved irresistible to artists. Nicolas Poussin focusses the viewer’s attention on a shocking and very cruel moment in the story—immediately after Solomon’s first verdict that the living child be cut in two (v.25) but before his second verdict that he should be given to his real mother (v.27).

Apart from the false mother and the king’s adviser to Solomon’s left, whose expressions indicate that they agree with his verdict, all the other bystanders show varying degrees of rejection and horror. Poussin uses hand gestures to register shock and disapproval, most noticeably in the raised hands of the true mother and of the bystander mother in blue on the far right. Even the awkward angle of the soldier’s arm as he draws his sword to kill the child indicates his reluctance.

Solomon sits above the entire fray, cold, detached, and expressionless, his unbiased judgement underlined by the remarkable symmetry of the entire setting.

Poussin also includes an allusion to Solomon’s second verdict—that the child be given to his rightful mother—by the position of the two children. He places the dead child in the arms of the false mother (in contrast to iconographical convention which normally places him between the two women) while the living child looks ready to fall into his real mother’s open arms, once the harsh first judgement has been rescinded.

The story concludes that ‘all Israel stood in awe of the king’ (v.28) because of the wisdom of his judgement. But, in focussing on this precise moment in the story, Poussin asks us to reflect (like the bystanders in his painting) on how Solomon’s initial judgement appears indifferent, harsh, and inhuman, even though on the surface it seems impartial and fair, and how the real hero of the story is not, in fact, the wise king but rather the mother who, through her compassion and selflessness, has saved the child. The story—as expressed through Poussin’s painting—is not only about justice but also about mercy.]]></description>
        <content><![CDATA[The drama, suspense, and anguish that lie at the heart of the biblical description of the first test of Solomon’s wisdom as he judges between the competing claims of two mothers (1 Kings 4:16–28) have proved irresistible to artists. Nicolas Poussin focusses the viewer’s attention on a shocking and very cruel moment in the story—immediately after Solomon’s first verdict that the living child be cut in two (v.25) but before his second verdict that he should be given to his real mother (v.27).

Apart from the false mother and the king’s adviser to Solomon’s left, whose expressions indicate that they agree with his verdict, all the other bystanders show varying degrees of rejection and horror. Poussin uses hand gestures to register shock and disapproval, most noticeably in the raised hands of the true mother and of the bystander mother in blue on the far right. Even the awkward angle of the soldier’s arm as he draws his sword to kill the child indicates his reluctance.

Solomon sits above the entire fray, cold, detached, and expressionless, his unbiased judgement underlined by the remarkable symmetry of the entire setting.

Poussin also includes an allusion to Solomon’s second verdict—that the child be given to his rightful mother—by the position of the two children. He places the dead child in the arms of the false mother (in contrast to iconographical convention which normally places him between the two women) while the living child looks ready to fall into his real mother’s open arms, once the harsh first judgement has been rescinded.

The story concludes that ‘all Israel stood in awe of the king’ (v.28) because of the wisdom of his judgement. But, in focussing on this precise moment in the story, Poussin asks us to reflect (like the bystanders in his painting) on how Solomon’s initial judgement appears indifferent, harsh, and inhuman, even though on the surface it seems impartial and fair, and how the real hero of the story is not, in fact, the wise king but rather the mother who, through her compassion and selflessness, has saved the child. The story—as expressed through Poussin’s painting—is not only about justice but also about mercy.]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Ferdinand Bol: A collection of 110 paintings]]></title>
        <url>https://www.bible.gallery/resource/ferdinand-bol-a-collection-of-110-paintings/48</url>
        <link>https://www.bible.gallery/resource/ferdinand-bol-a-collection-of-110-paintings/48</link>
        <guid>48</guid>
        <pubDate>2021-05-21 14:25:32</pubDate>
        <description><![CDATA[A prosperous surgeon's son, Ferdinand Bol first studied locally in his native Dordrecht, and then became Rembrandt Harmensz. van Rijn's pupil in Amsterdam, where he settled. Bol witnessed a document concerning Rembrandt's wife Saskia's inheritance in 1640, a responsibility that suggests that by then Bol was probably no longer a student but a full-fledged assistant. 

After having risen quickly through the ranks in Rembrandt's highly productive studio, Bol established himself as an independent master around 1642. He imitated Rembrandt's style so closely that some works were mistaken for Rembrandt's for centuries afterward. Although his style changed, throughout his career Bol painted the same subjects as Rembrandt: histories, portraits--often with sitters posed by a window--and exotically costumed single figures. 

Around 1650 Bol's taste drifted to more "modern" trends: His palette lightened, and his figures grew more noble and elegant. No other painter in Amsterdam equaled him in receiving official commissions; his 1653 marriage to a woman from an influential family undoubtedly helped. Among Bol's most important works were classicizing Baroque paintings of historical subjects for Amsterdam's new town hall. After marrying a wealthy widow in 1669, he gave up painting.<img src='http://img.youtube.com/vi/tmNuFqV72HE/hqdefault.jpg' />]]></description>
        <content><![CDATA[A prosperous surgeon's son, Ferdinand Bol first studied locally in his native Dordrecht, and then became Rembrandt Harmensz. van Rijn's pupil in Amsterdam, where he settled. Bol witnessed a document concerning Rembrandt's wife Saskia's inheritance in 1640, a responsibility that suggests that by then Bol was probably no longer a student but a full-fledged assistant. 

After having risen quickly through the ranks in Rembrandt's highly productive studio, Bol established himself as an independent master around 1642. He imitated Rembrandt's style so closely that some works were mistaken for Rembrandt's for centuries afterward. Although his style changed, throughout his career Bol painted the same subjects as Rembrandt: histories, portraits--often with sitters posed by a window--and exotically costumed single figures. 

Around 1650 Bol's taste drifted to more "modern" trends: His palette lightened, and his figures grew more noble and elegant. No other painter in Amsterdam equaled him in receiving official commissions; his 1653 marriage to a woman from an influential family undoubtedly helped. Among Bol's most important works were classicizing Baroque paintings of historical subjects for Amsterdam's new town hall. After marrying a wealthy widow in 1669, he gave up painting.<img src='http://img.youtube.com/vi/tmNuFqV72HE/hqdefault.jpg' />]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Pietro Perugino : A Collection of 161 Paintings]]></title>
        <url>https://www.bible.gallery/resource/pietro-perugino-a-collection-of-161-paintings/47</url>
        <link>https://www.bible.gallery/resource/pietro-perugino-a-collection-of-161-paintings/47</link>
        <guid>47</guid>
        <pubDate>2021-04-13 21:23:36</pubDate>
        <description><![CDATA[Pietro Perugino was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.

He was born Pietro Vannucci in Città della Pieve, Umbria, the son of Cristoforo Maria Vannucci. His nickname characterizes him as from Perugia, the chief city of Umbria. Scholars continue to dispute the socioeconomic status of the Vannucci family. While certain academics maintain that Vannucci worked his way out of poverty, others argue that his family was among the wealthiest in the town. His exact date of birth is not known, but based on his age at death that was mentioned by Vasari and Giovanni Santi, it is believed that he was born between 1446 and 1452.<img src='http://img.youtube.com/vi/LhXH3e93i5A/hqdefault.jpg' />]]></description>
        <content><![CDATA[Pietro Perugino was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.

He was born Pietro Vannucci in Città della Pieve, Umbria, the son of Cristoforo Maria Vannucci. His nickname characterizes him as from Perugia, the chief city of Umbria. Scholars continue to dispute the socioeconomic status of the Vannucci family. While certain academics maintain that Vannucci worked his way out of poverty, others argue that his family was among the wealthiest in the town. His exact date of birth is not known, but based on his age at death that was mentioned by Vasari and Giovanni Santi, it is believed that he was born between 1446 and 1452.<img src='http://img.youtube.com/vi/LhXH3e93i5A/hqdefault.jpg' />]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Pietro Perugino]]></title>
        <url>https://www.bible.gallery/resource/pietro-perugino/46</url>
        <link>https://www.bible.gallery/resource/pietro-perugino/46</link>
        <guid>46</guid>
        <pubDate>2021-04-13 21:22:51</pubDate>
        <description><![CDATA[Pietro Perugino (c. 1450-1523 CE), real name Pietro di Cristoforo Vannucci, was an Italian Renaissance artist who created frescoes for the Vatican's Sistine Chapel and was in demand across Italy to decorate church interiors and produce portraits of the ruling class. Perugino was very often interested in creating a sense of space in his works, especially between the main action in the foreground and precisely rendered examples of architecture in the background. The artist's use of space and perspective was influential on many Renaissance artists who followed, notably his one-time pupil Raphael (1483-1520 CE).<img src='http://img.youtube.com/vi//hqdefault.jpg' />]]></description>
        <content><![CDATA[Pietro Perugino (c. 1450-1523 CE), real name Pietro di Cristoforo Vannucci, was an Italian Renaissance artist who created frescoes for the Vatican's Sistine Chapel and was in demand across Italy to decorate church interiors and produce portraits of the ruling class. Perugino was very often interested in creating a sense of space in his works, especially between the main action in the foreground and precisely rendered examples of architecture in the background. The artist's use of space and perspective was influential on many Renaissance artists who followed, notably his one-time pupil Raphael (1483-1520 CE).<img src='http://img.youtube.com/vi//hqdefault.jpg' />]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Ferdinand Hodler: The Life of an Artist]]></title>
        <url>https://www.bible.gallery/resource/ferdinand-hodler-the-life-of-an-artist/45</url>
        <link>https://www.bible.gallery/resource/ferdinand-hodler-the-life-of-an-artist/45</link>
        <guid>45</guid>
        <pubDate>2021-03-27 13:07:39</pubDate>
        <description><![CDATA[The Swiss artist Ferdinand Holder was born in Bern in Switzerland in 1853, the eldest of 6 children. The family was poor and at the age of 9 young Ferdinand Hodler worked to help his stepfather paint commercial signs. In 1871 aged 18, Ferdinand Hodler travelled to Geneva to study to become an artist under painter Barthelemy Menn. His painting at this time consisted mainly of Swiss landscapes, figure compositions and portraits, painted in a very vigorous realistic style, much influenced by the French Realist painter, Gustave Courbet. 

However, from 1890 his work evolved, absorbing influences from many genres, particularly Symbolism and Art Nouveau. Ferdinand Hodler filled his canvases with monumental and simplified flat figures, often displaying ritualised gestures, and composed with rhythmic and repetitive lines, forms and colours. An artistic style he referred to as Parallelism. Ferdinand Hodler was married twice, but in 1908 he met Valentine Gode-Darel, who became his mistress. He was passionately in love with her, but in 1913 she was diagnosed with cancer. Hodler spent many hours by her bedside drawing, and this resulted in a remarkable series of paintings which documented her gradual decline. 

In 1908 the Swiss National Bank commissioned Ferdinand Hodler to create two designs for their new paper currency. Controversially, he chose not to create images of famous men, but a wood cutter and a reaper instead. Both notes eventually appeared in circulation in 1911. Ferdinand Hodler died on the 19th of May 1918 in Geneva.  This video will be great for students, art groups and art societies.<img src='http://img.youtube.com/vi/0HPO_L1Ucls/hqdefault.jpg' />]]></description>
        <content><![CDATA[The Swiss artist Ferdinand Holder was born in Bern in Switzerland in 1853, the eldest of 6 children. The family was poor and at the age of 9 young Ferdinand Hodler worked to help his stepfather paint commercial signs. In 1871 aged 18, Ferdinand Hodler travelled to Geneva to study to become an artist under painter Barthelemy Menn. His painting at this time consisted mainly of Swiss landscapes, figure compositions and portraits, painted in a very vigorous realistic style, much influenced by the French Realist painter, Gustave Courbet. 

However, from 1890 his work evolved, absorbing influences from many genres, particularly Symbolism and Art Nouveau. Ferdinand Hodler filled his canvases with monumental and simplified flat figures, often displaying ritualised gestures, and composed with rhythmic and repetitive lines, forms and colours. An artistic style he referred to as Parallelism. Ferdinand Hodler was married twice, but in 1908 he met Valentine Gode-Darel, who became his mistress. He was passionately in love with her, but in 1913 she was diagnosed with cancer. Hodler spent many hours by her bedside drawing, and this resulted in a remarkable series of paintings which documented her gradual decline. 

In 1908 the Swiss National Bank commissioned Ferdinand Hodler to create two designs for their new paper currency. Controversially, he chose not to create images of famous men, but a wood cutter and a reaper instead. Both notes eventually appeared in circulation in 1911. Ferdinand Hodler died on the 19th of May 1918 in Geneva.  This video will be great for students, art groups and art societies.<img src='http://img.youtube.com/vi/0HPO_L1Ucls/hqdefault.jpg' />]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Paul Gauguin, Vision after the Sermon, or Jacob Wrestling with the Angel]]></title>
        <url>https://www.bible.gallery/resource/paul-gauguin-vision-after-the-sermon-or-jacob-wrestling-with-the-angel/44</url>
        <link>https://www.bible.gallery/resource/paul-gauguin-vision-after-the-sermon-or-jacob-wrestling-with-the-angel/44</link>
        <guid>44</guid>
        <pubDate>2021-03-27 13:02:41</pubDate>
        <description><![CDATA[Paul Gauguin, Vision after the Sermon, or Jacob Wrestling with the Angel, 1888, oil on canvas, 2' 4 3/4" x 3' 1/2" (National Gallery of Scotland, Edinburgh)<img src='http://img.youtube.com/vi/y5lhKvKvWPg/hqdefault.jpg' />]]></description>
        <content><![CDATA[Paul Gauguin, Vision after the Sermon, or Jacob Wrestling with the Angel, 1888, oil on canvas, 2' 4 3/4" x 3' 1/2" (National Gallery of Scotland, Edinburgh)<img src='http://img.youtube.com/vi/y5lhKvKvWPg/hqdefault.jpg' />]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Gauguin: Symbolism&#039;s Problem Child (Art History Documentary) | Perspective]]></title>
        <url>https://www.bible.gallery/resource/gauguin-symbolisms-problem-child-art-history-documentary-perspective/43</url>
        <link>https://www.bible.gallery/resource/gauguin-symbolisms-problem-child-art-history-documentary-perspective/43</link>
        <guid>43</guid>
        <pubDate>2021-03-27 13:01:56</pubDate>
        <description><![CDATA[In 1903, on the island of Hiva Oa in the Marquesas, a syphilitic and alcoholic Frenchman called Paul Gauguin died of a heart attack. At that point nobody realised the incredible impact Gauguin's work was to have on modern art. Art critic and broadcaster Waldemar Januszczak wrote and directed this examination of a man who was not only a great painter but sculptor, wood carver, musician, print maker, journalist and ceramicist. As well as telling the remarkable story of Gauguin's life, Januszczak also celebrates Gauguin's achievements and examines the various accusations of misconduct, familial neglect and racism that are frequently made against him. The film contains many of Gauguin's masterpieces and includes paintings put on show at the Hermitage in St Petersburg which haven't been seen in public since their disappearance during World War II.<img src='http://img.youtube.com/vi/p0n6HaLuLm8/hqdefault.jpg' />]]></description>
        <content><![CDATA[In 1903, on the island of Hiva Oa in the Marquesas, a syphilitic and alcoholic Frenchman called Paul Gauguin died of a heart attack. At that point nobody realised the incredible impact Gauguin's work was to have on modern art. Art critic and broadcaster Waldemar Januszczak wrote and directed this examination of a man who was not only a great painter but sculptor, wood carver, musician, print maker, journalist and ceramicist. As well as telling the remarkable story of Gauguin's life, Januszczak also celebrates Gauguin's achievements and examines the various accusations of misconduct, familial neglect and racism that are frequently made against him. The film contains many of Gauguin's masterpieces and includes paintings put on show at the Hermitage in St Petersburg which haven't been seen in public since their disappearance during World War II.<img src='http://img.youtube.com/vi/p0n6HaLuLm8/hqdefault.jpg' />]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Description of the painting by Ilya Repin “Job and his friends”]]></title>
        <url>https://www.bible.gallery/resource/description-of-the-painting-by-ilya-repin-job-and-his-friends/42</url>
        <link>https://www.bible.gallery/resource/description-of-the-painting-by-ilya-repin-job-and-his-friends/42</link>
        <guid>42</guid>
        <pubDate>2021-03-17 03:45:21</pubDate>
        <description><![CDATA[Ilya Efimovich Repin created the work “Job and his friends” in the period of receiving the title of free artist – it was 1869. At the core of the writing of the masterpiece is a story from the Old Testament.

A martyr named Job appeared before people, a man who received a great deal of pain and suffering. He was left without a family family, lost property, turned into an old man who is sick. His friends came to visit Job, they are horrified by what happened to Job. The plot composition of the meeting of Job and friends is fully visible on the canvas of the picture, all the emotions of the images are reflected in the striking perspective of reality.

The palette of colors of Ilya Efimovich surprised critics and observers of his work. The image of the main character – Job, his heartbroken wife, and friends who were of different nationalities. The main requirement of the Academy of Arts was the mandatory execution of the details of the entourage, historical events and images of human figures.]]></description>
        <content><![CDATA[Ilya Efimovich Repin created the work “Job and his friends” in the period of receiving the title of free artist – it was 1869. At the core of the writing of the masterpiece is a story from the Old Testament.

A martyr named Job appeared before people, a man who received a great deal of pain and suffering. He was left without a family family, lost property, turned into an old man who is sick. His friends came to visit Job, they are horrified by what happened to Job. The plot composition of the meeting of Job and friends is fully visible on the canvas of the picture, all the emotions of the images are reflected in the striking perspective of reality.

The palette of colors of Ilya Efimovich surprised critics and observers of his work. The image of the main character – Job, his heartbroken wife, and friends who were of different nationalities. The main requirement of the Academy of Arts was the mandatory execution of the details of the entourage, historical events and images of human figures.]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[The masterpiece of Peter Paul Rubens, The descent from the cross from the collection of the State Hermitage in St. Petersburg]]></title>
        <url>https://www.bible.gallery/resource/the-masterpiece-of-peter-paul-rubens-the-descent-from-the-cross-from-the-collection-of-the-state-hermitage-in-st-petersburg/41</url>
        <link>https://www.bible.gallery/resource/the-masterpiece-of-peter-paul-rubens-the-descent-from-the-cross-from-the-collection-of-the-state-hermitage-in-st-petersburg/41</link>
        <guid>41</guid>
        <pubDate>2021-03-11 11:10:36</pubDate>
        <description><![CDATA[One thousand years after the famous convention in Gniezno which definitively affirmed the place of Poland in the Christian Europe, during the special period marked by Lent of the Jubilee Year, the National Museum in Warsaw organised an exhibition which presented the iconography of the Passion of Christ based on chosen examples of Northern European works of art, prints and paintings from its own collections as well as from the Hermitage. The generous loan from the St. Petersburg collections constituted the highlight of the exhibition.]]></description>
        <content><![CDATA[One thousand years after the famous convention in Gniezno which definitively affirmed the place of Poland in the Christian Europe, during the special period marked by Lent of the Jubilee Year, the National Museum in Warsaw organised an exhibition which presented the iconography of the Passion of Christ based on chosen examples of Northern European works of art, prints and paintings from its own collections as well as from the Hermitage. The generous loan from the St. Petersburg collections constituted the highlight of the exhibition.]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Gerrit van Honthorst: A collection of 131 paintings]]></title>
        <url>https://www.bible.gallery/resource/gerrit-van-honthorst-a-collection-of-131-paintings/40</url>
        <link>https://www.bible.gallery/resource/gerrit-van-honthorst-a-collection-of-131-paintings/40</link>
        <guid>40</guid>
        <pubDate>2021-03-05 04:27:23</pubDate>
        <description><![CDATA[Gerrit van Honthorst trained first by his father, and then by Abraham Bloemaert and having completed his education, Honthorst went to Italy in 1616. In Rome, he lived in the palace of Vincenzo Giustiniani and painted Christ Before the High Priest. Giustiniani had an important art collection including works by the contemporary artists, Caravaggio, Bartolomeo Manfredi and the Annibale Carracci, and Honthorst having easy access to these works studied them and was influenced by them. He became especially noted for his depiction of candle-lit scenes, receiving the nickname "Gherardo Della Notti" (Gerard of the night).

Gerrit van Honthorst returned to Utrecht in 1620, and using what he had learned in Italy, he gained a big reputation for his style of oil painting both at home and abroad. He was so in demand that Sir Dudley Carleton, the English envoy at The Hague, recommended his works to Queen Elizabeth of Bohemia, then in exile in the Netherlands, and the sister of Charles I of England, she commissioned Honthorst as a painter and as a drawing teacher for her children. She was so impressed with his works that she recommended him to Charles I, he invited him to come to England in 1628. In London, he painted several portraits and a vast allegory of paintings.

After his return to Utrecht, Honthorst retained the patronage of the English ruler. Because of these contacts, his popularity in the Netherlands was such that he opened a second art studio in the Hague, where he painted portraits of members of the court.

Gerrit van Honthorst was a prolific artist and his most attractive paintings are those in which he uses Caravaggio' style of light and dark, often tavern scenes with musicians, gamblers, and people eating. A majority of his portraits of ordinary people painted playing music or in a tavern scenes have an infectious smile to warm up any one's day. He had great skill at chiaroscuro, often painting scenes illuminated by a single candle. Gerrit van Honthorst's oil painting The Concert painted in 1623 was bought by the National Gallery of Art in Washington, D.C., in 2013. His brother Willem van Honthorst was also a portrait painter. Many of Willem's paintings were thought to be Gerrit's due to their similar signatures on their canvases.<img src='http://img.youtube.com/vi/E4ruJ5EB11w/hqdefault.jpg' />]]></description>
        <content><![CDATA[Gerrit van Honthorst trained first by his father, and then by Abraham Bloemaert and having completed his education, Honthorst went to Italy in 1616. In Rome, he lived in the palace of Vincenzo Giustiniani and painted Christ Before the High Priest. Giustiniani had an important art collection including works by the contemporary artists, Caravaggio, Bartolomeo Manfredi and the Annibale Carracci, and Honthorst having easy access to these works studied them and was influenced by them. He became especially noted for his depiction of candle-lit scenes, receiving the nickname "Gherardo Della Notti" (Gerard of the night).

Gerrit van Honthorst returned to Utrecht in 1620, and using what he had learned in Italy, he gained a big reputation for his style of oil painting both at home and abroad. He was so in demand that Sir Dudley Carleton, the English envoy at The Hague, recommended his works to Queen Elizabeth of Bohemia, then in exile in the Netherlands, and the sister of Charles I of England, she commissioned Honthorst as a painter and as a drawing teacher for her children. She was so impressed with his works that she recommended him to Charles I, he invited him to come to England in 1628. In London, he painted several portraits and a vast allegory of paintings.

After his return to Utrecht, Honthorst retained the patronage of the English ruler. Because of these contacts, his popularity in the Netherlands was such that he opened a second art studio in the Hague, where he painted portraits of members of the court.

Gerrit van Honthorst was a prolific artist and his most attractive paintings are those in which he uses Caravaggio' style of light and dark, often tavern scenes with musicians, gamblers, and people eating. A majority of his portraits of ordinary people painted playing music or in a tavern scenes have an infectious smile to warm up any one's day. He had great skill at chiaroscuro, often painting scenes illuminated by a single candle. Gerrit van Honthorst's oil painting The Concert painted in 1623 was bought by the National Gallery of Art in Washington, D.C., in 2013. His brother Willem van Honthorst was also a portrait painter. Many of Willem's paintings were thought to be Gerrit's due to their similar signatures on their canvases.<img src='http://img.youtube.com/vi/E4ruJ5EB11w/hqdefault.jpg' />]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[HONTHORST, Gerrit van (b. 1590, Utrecht, d. 1656, Utrecht)]]></title>
        <url>https://www.bible.gallery/resource/honthorst-gerrit-van-b-1590-utrecht-d-1656-utrecht/39</url>
        <link>https://www.bible.gallery/resource/honthorst-gerrit-van-b-1590-utrecht-d-1656-utrecht/39</link>
        <guid>39</guid>
        <pubDate>2021-03-05 04:19:18</pubDate>
        <description><![CDATA[Dutch painter (byname Gherardo della Notte), a leading member of the Utrecht school influenced by the Italian painter Caravaggio. He was born in Utrecht as the son of a textile painter. His younger brother Willem also became a painter. Van Honthorst was apprenticed to Abraham Bloemaert, the most celebrated master in Utrecht. He went to Italy around 1610-1615, when Caravaggio's influence there was at its height. In Italy, Van Honthorst acquired the nickname Gherardo delle Notti, because his figures are often portrayed in the darkness of night. He soon made a name for himself and received commissions from distinguished patrons such as Vincenzo Giustiniani and Cardinal Scipione Borghese. Notable works of his Italian sojourn include The Beheading of St John the Baptist (S. Maria delle Scala, Rome), Christ Before the High Priest (c. 1617, National Gallery, London), and the Supper Party (1620, Uffizi, Florence), all nocturnal scenes.In 1620, Van Honthorst returned to Utrecht and married Sophia Coopmans in the same year. In 1622, he joined the Guild of St Luke in Utrecht. He was appointed dean of the guild in 1625 and remained in office for many years. In 1627, he bought a large house and used part of it as his workshop. Van Honthorst was much sought after as a teacher, and at one stage he was said to have approximately twenty-five pupils - roughly the same number as Rubens who, incidentally, paid a visit to his studio in 1627.Van Honthorst's fame soon spread and in 1628 he was invited to work in London at the court of King Charles I. Although he returned to Utrecht before the year was out, he kept in touch with his acquaintances in England. Van Honthorst was also sought after in The Hague, where he received commissions from members of the House of Orange. He painted several portraits of Frederick Hendrik and Amalia van Solms, and worked on the decoration of their palaces. In connection with these projects in The Hague Van Honthorst joined the local painters' guild in 1637. He was invited to paint a portrait of the French Queen Maria de Medici on the occasion other visit to the city, and subsequently received commissions from the King of Denmark and the Elector Palatine of Brandenburg.Honthorst accepted commissions for decorative cycles and painted at least one illusionistic ceiling, however, his most significant contribution to Dutch painting was his joint leadership, with Terbrugghen, of the Utrecht followers of Caravaggio. Rembrandt's use of Caravaggesque devices in his early works derives in large part from his knowledge of Honthorst's paintings. Honthorst's brother Willem van Honthorst (1594-1666), who was also an accomplished painter, sometimes worked with him.Although he was one of the painters selected to contribute work for the Oranjezaal in Huis ten Bosch, his clients gradually became aware of his shortcomings. Van Honthorst's overwhelming success had brought him tremendous wealth and he lived in the lap of luxury. But his reputation as an artist was tarnished. He died in Utrecht in 1656 and was buried in the Catharijnekerk.]]></description>
        <content><![CDATA[Dutch painter (byname Gherardo della Notte), a leading member of the Utrecht school influenced by the Italian painter Caravaggio. He was born in Utrecht as the son of a textile painter. His younger brother Willem also became a painter. Van Honthorst was apprenticed to Abraham Bloemaert, the most celebrated master in Utrecht. He went to Italy around 1610-1615, when Caravaggio's influence there was at its height. In Italy, Van Honthorst acquired the nickname Gherardo delle Notti, because his figures are often portrayed in the darkness of night. He soon made a name for himself and received commissions from distinguished patrons such as Vincenzo Giustiniani and Cardinal Scipione Borghese. Notable works of his Italian sojourn include The Beheading of St John the Baptist (S. Maria delle Scala, Rome), Christ Before the High Priest (c. 1617, National Gallery, London), and the Supper Party (1620, Uffizi, Florence), all nocturnal scenes.In 1620, Van Honthorst returned to Utrecht and married Sophia Coopmans in the same year. In 1622, he joined the Guild of St Luke in Utrecht. He was appointed dean of the guild in 1625 and remained in office for many years. In 1627, he bought a large house and used part of it as his workshop. Van Honthorst was much sought after as a teacher, and at one stage he was said to have approximately twenty-five pupils - roughly the same number as Rubens who, incidentally, paid a visit to his studio in 1627.Van Honthorst's fame soon spread and in 1628 he was invited to work in London at the court of King Charles I. Although he returned to Utrecht before the year was out, he kept in touch with his acquaintances in England. Van Honthorst was also sought after in The Hague, where he received commissions from members of the House of Orange. He painted several portraits of Frederick Hendrik and Amalia van Solms, and worked on the decoration of their palaces. In connection with these projects in The Hague Van Honthorst joined the local painters' guild in 1637. He was invited to paint a portrait of the French Queen Maria de Medici on the occasion other visit to the city, and subsequently received commissions from the King of Denmark and the Elector Palatine of Brandenburg.Honthorst accepted commissions for decorative cycles and painted at least one illusionistic ceiling, however, his most significant contribution to Dutch painting was his joint leadership, with Terbrugghen, of the Utrecht followers of Caravaggio. Rembrandt's use of Caravaggesque devices in his early works derives in large part from his knowledge of Honthorst's paintings. Honthorst's brother Willem van Honthorst (1594-1666), who was also an accomplished painter, sometimes worked with him.Although he was one of the painters selected to contribute work for the Oranjezaal in Huis ten Bosch, his clients gradually became aware of his shortcomings. Van Honthorst's overwhelming success had brought him tremendous wealth and he lived in the lap of luxury. But his reputation as an artist was tarnished. He died in Utrecht in 1656 and was buried in the Catharijnekerk.]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Wonderful – Honthorst’s &#039;Adoration of the Shepherds&#039;]]></title>
        <url>https://www.bible.gallery/resource/wonderful-honthorsts-adoration-of-the-shepherds/38</url>
        <link>https://www.bible.gallery/resource/wonderful-honthorsts-adoration-of-the-shepherds/38</link>
        <guid>38</guid>
        <pubDate>2021-03-05 04:13:18</pubDate>
        <description><![CDATA[The Adoration of the Shepherds by Gerrit van Honthorst is one of the biggest crowd-pleasers in the Wallraf-Richartz-Museum – and not only at Christmas time. The Dutch master’s intimate view of the Nativity is unique, making it one of the most fascinating adoration scenes in art history.

Thanks to an extensive restoration supported by the state of North Rhine-Westphalia, and the provision of a new oak wood frame based on historical models, the painting now shines forth in new glory: brighter, more colorful and even bigger! Surprisingly, the work of the restorers revealed that after an initial completion Honthorst subsequently enlarged the canvas in the upper part, providing the scene with more air; this had remained hidden as a result of the added strip being folded back in the 1940s. The re-creation of the original format was not an easy task because the blue-striped canvas had been relined and, in order to align the canvas strip on the reverse of the top edge with the rest of the image, the painting had first to be detached from its stretcher. Gradually it was flattened out, partly by using clamping plates to tauten the canvas. The holes made by the nails that were hammered through the canvas and paint layer when the canvas was folded were repaired with tiny patches on the reverse.

The display and the accompanying catalogue explore in detail the amazing provenance, iconography, composition, technique and restoration of the painting, signed by Honthorst in 1622 at a fruitful, ambitious moment in his career. In 1620 the artist had returned from Italy to his home town Utrecht as a sought-after and celebrated painter, bringing with him an artistic innovation: the Caravaggesque nocturne with life-size half-length figures – eminently suited to depicting the miracle of the Holy Night. The child is the sole light source. His radiance illuminates the faces of Mary, Joseph and the shepherds, evoking intensive emotions: the quiet bliss of the parents, the joyful awe and humble reverence of the shepherds. The scene is also witnessed by an ox, lovingly warming the child with his breath in the cold night air. It does not seem too far-fetched to suggest an allusion to St Luke’s Gospel, as well as to the emblem of the painter’s guild that Honthorst had recently entered. With this image Honthorst proudly demonstrates that his lively art has the capacity to enable the beholder to become a witness of the Holy scene.]]></description>
        <content><![CDATA[The Adoration of the Shepherds by Gerrit van Honthorst is one of the biggest crowd-pleasers in the Wallraf-Richartz-Museum – and not only at Christmas time. The Dutch master’s intimate view of the Nativity is unique, making it one of the most fascinating adoration scenes in art history.

Thanks to an extensive restoration supported by the state of North Rhine-Westphalia, and the provision of a new oak wood frame based on historical models, the painting now shines forth in new glory: brighter, more colorful and even bigger! Surprisingly, the work of the restorers revealed that after an initial completion Honthorst subsequently enlarged the canvas in the upper part, providing the scene with more air; this had remained hidden as a result of the added strip being folded back in the 1940s. The re-creation of the original format was not an easy task because the blue-striped canvas had been relined and, in order to align the canvas strip on the reverse of the top edge with the rest of the image, the painting had first to be detached from its stretcher. Gradually it was flattened out, partly by using clamping plates to tauten the canvas. The holes made by the nails that were hammered through the canvas and paint layer when the canvas was folded were repaired with tiny patches on the reverse.

The display and the accompanying catalogue explore in detail the amazing provenance, iconography, composition, technique and restoration of the painting, signed by Honthorst in 1622 at a fruitful, ambitious moment in his career. In 1620 the artist had returned from Italy to his home town Utrecht as a sought-after and celebrated painter, bringing with him an artistic innovation: the Caravaggesque nocturne with life-size half-length figures – eminently suited to depicting the miracle of the Holy Night. The child is the sole light source. His radiance illuminates the faces of Mary, Joseph and the shepherds, evoking intensive emotions: the quiet bliss of the parents, the joyful awe and humble reverence of the shepherds. The scene is also witnessed by an ox, lovingly warming the child with his breath in the cold night air. It does not seem too far-fetched to suggest an allusion to St Luke’s Gospel, as well as to the emblem of the painter’s guild that Honthorst had recently entered. With this image Honthorst proudly demonstrates that his lively art has the capacity to enable the beholder to become a witness of the Holy scene.]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[A Call to Action]]></title>
        <url>https://www.bible.gallery/resource/a-call-to-action/37</url>
        <link>https://www.bible.gallery/resource/a-call-to-action/37</link>
        <guid>37</guid>
        <pubDate>2021-02-24 10:26:45</pubDate>
        <description><![CDATA[Even if you’re not really into religious art, you’ve probably seen this picture of Jesus, just because it’s an incredibly popular picture of Jesus! In fact, I think the last time I went to the thrift store, I saw a copy of this picture. …did I mention that it is a very popular image?

Here is the picture!

I’ve seen this picture before and didn’t really think much of it, honestly. It is a very nice devotional picture, of course, because Christ has such a loving gaze and it is nice to contemplate the fact that Jesus loves us. That’s why it’s such a popular picture, in fact!

What I didn’t know was that this picture is actually a detail of a much larger picture. This is the larger picture:]]></description>
        <content><![CDATA[Even if you’re not really into religious art, you’ve probably seen this picture of Jesus, just because it’s an incredibly popular picture of Jesus! In fact, I think the last time I went to the thrift store, I saw a copy of this picture. …did I mention that it is a very popular image?

Here is the picture!

I’ve seen this picture before and didn’t really think much of it, honestly. It is a very nice devotional picture, of course, because Christ has such a loving gaze and it is nice to contemplate the fact that Jesus loves us. That’s why it’s such a popular picture, in fact!

What I didn’t know was that this picture is actually a detail of a much larger picture. This is the larger picture:]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Christ in Gethsemane, 1890]]></title>
        <url>https://www.bible.gallery/resource/christ-in-gethsemane-1890/36</url>
        <link>https://www.bible.gallery/resource/christ-in-gethsemane-1890/36</link>
        <guid>36</guid>
        <pubDate>2021-02-24 10:21:47</pubDate>
        <description><![CDATA[On this canvas we see unfolding the opening scene of Jesus Christ’s atonement from Matthew 26:36-44, Mark 14:32-41, and Luke 22:39-46. The spiritual drama of Gethsemane is emphasized with spot lighting and the intense wringing of hands, yet Christ’s sensitively rendered face remains placid.  The features of a garden have been reduced to flinty stones and a prickly thorn bush that prefigures a crown of thorns.  The picture’s success lies in the appropriateness of its tone: the transformation of abject agony into a palatable scene of devotion.  Christ’s solitude may well reflect Hofmann’s own isolation and reliance upon faith; his wife, who was often in poor health, passed away only months after the completion of Gethsemane, leaving Hofmann a widower for nearly 20 years

Like many of Hofmann’s religious paintings, Christ in Gethsemane soon found a home in an   American collection.  Purchased by John Zeile, so treasured was the picture that it was the only object saved from the collector’s home when it was destroyed in the Great San Francisco Earthquake and Fire of 1906.]]></description>
        <content><![CDATA[On this canvas we see unfolding the opening scene of Jesus Christ’s atonement from Matthew 26:36-44, Mark 14:32-41, and Luke 22:39-46. The spiritual drama of Gethsemane is emphasized with spot lighting and the intense wringing of hands, yet Christ’s sensitively rendered face remains placid.  The features of a garden have been reduced to flinty stones and a prickly thorn bush that prefigures a crown of thorns.  The picture’s success lies in the appropriateness of its tone: the transformation of abject agony into a palatable scene of devotion.  Christ’s solitude may well reflect Hofmann’s own isolation and reliance upon faith; his wife, who was often in poor health, passed away only months after the completion of Gethsemane, leaving Hofmann a widower for nearly 20 years

Like many of Hofmann’s religious paintings, Christ in Gethsemane soon found a home in an   American collection.  Purchased by John Zeile, so treasured was the picture that it was the only object saved from the collector’s home when it was destroyed in the Great San Francisco Earthquake and Fire of 1906.]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Han van Meegeren&#039;s Fake Vermeers]]></title>
        <url>https://www.bible.gallery/resource/han-van-meegerens-fake-vermeers/35</url>
        <link>https://www.bible.gallery/resource/han-van-meegerens-fake-vermeers/35</link>
        <guid>35</guid>
        <pubDate>2021-02-17 10:29:59</pubDate>
        <description><![CDATA[Forgers, by nature, prefer anonymity and therefore are rarely remembered. An exception is Han van Meegeren (1889–1947). Van Meegeren's story is absolutely unique and may be justly considered the most dramatic art scam of the twentieth century.<img src='http://img.youtube.com/vi//hqdefault.jpg' />]]></description>
        <content><![CDATA[Forgers, by nature, prefer anonymity and therefore are rarely remembered. An exception is Han van Meegeren (1889–1947). Van Meegeren's story is absolutely unique and may be justly considered the most dramatic art scam of the twentieth century.<img src='http://img.youtube.com/vi//hqdefault.jpg' />]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Christ on the Sea of Galilee by Eugene Delacroix]]></title>
        <url>https://www.bible.gallery/resource/christ-on-the-sea-of-galilee-by-eugene-delacroix/34</url>
        <link>https://www.bible.gallery/resource/christ-on-the-sea-of-galilee-by-eugene-delacroix/34</link>
        <guid>34</guid>
        <pubDate>2021-02-12 03:55:32</pubDate>
        <description><![CDATA[Delacroix treated this subject several times in 1853-54, and this series of canvases can be divided into two parts: those with rowboats and those with sailboats. The version in Baltimore belongs to the latter category. It is doubtless to this work that the artist was alluding when he noted, May 29, 1854: "Worked a little on the Christ on the Sea of Galilee: impression of sublimeness and light". The marine element is of prime importance here and we can see in it reflections of the observations made by Delacroix during his seaside visits to Dieppe in 1851, 1852, and 1854.]]></description>
        <content><![CDATA[Delacroix treated this subject several times in 1853-54, and this series of canvases can be divided into two parts: those with rowboats and those with sailboats. The version in Baltimore belongs to the latter category. It is doubtless to this work that the artist was alluding when he noted, May 29, 1854: "Worked a little on the Christ on the Sea of Galilee: impression of sublimeness and light". The marine element is of prime importance here and we can see in it reflections of the observations made by Delacroix during his seaside visits to Dieppe in 1851, 1852, and 1854.]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Eugène Delacroix (French, 1798-1863)]]></title>
        <url>https://www.bible.gallery/resource/eugene-delacroix-french-1798-1863/33</url>
        <link>https://www.bible.gallery/resource/eugene-delacroix-french-1798-1863/33</link>
        <guid>33</guid>
        <pubDate>2021-02-12 03:50:41</pubDate>
        <description><![CDATA[A raw audio + slides discussion between the art historian Micah Christensen (PhD | University College London) and a group of professional artists, where we explore the development and career of the painter Eugène Delacroix (French, 1798-1863). For past and future lectures, visit beardedroman.com<img src='http://img.youtube.com/vi/8JlH3EV6N04/hqdefault.jpg' />]]></description>
        <content><![CDATA[A raw audio + slides discussion between the art historian Micah Christensen (PhD | University College London) and a group of professional artists, where we explore the development and career of the painter Eugène Delacroix (French, 1798-1863). For past and future lectures, visit beardedroman.com<img src='http://img.youtube.com/vi/8JlH3EV6N04/hqdefault.jpg' />]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Eugene Delacroix Biography]]></title>
        <url>https://www.bible.gallery/resource/eugene-delacroix-biography/32</url>
        <link>https://www.bible.gallery/resource/eugene-delacroix-biography/32</link>
        <guid>32</guid>
        <pubDate>2021-02-12 03:50:11</pubDate>
        <description><![CDATA[Eugene Delacroix Biography. Literature of the Western World. Texas A&M Corpus Christi.<img src='http://img.youtube.com/vi/Fuhyf5IxnRs/hqdefault.jpg' />]]></description>
        <content><![CDATA[Eugene Delacroix Biography. Literature of the Western World. Texas A&M Corpus Christi.<img src='http://img.youtube.com/vi/Fuhyf5IxnRs/hqdefault.jpg' />]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Francisco de Zurbarán&#039;s Christ on the Cross]]></title>
        <url>https://www.bible.gallery/resource/francisco-de-zurbarans-christ-on-the-cross/31</url>
        <link>https://www.bible.gallery/resource/francisco-de-zurbarans-christ-on-the-cross/31</link>
        <guid>31</guid>
        <pubDate>2021-02-12 03:44:25</pubDate>
        <description><![CDATA[Zurbarán's iconic depictions of Christ on the Cross are amongst the most striking and profoundly moving images to be found in Spanish Baroque art. The power of this remarkable painting comes from its sheer simplicity. Nailed to a rough-hewn cross, Christ’s body emerges from the impenetrable darkness, illuminated only by a bright light from above and to the left. The scene is devoid of all narrative details – the figures of His mother and mourners are absent and only the barest hints of a distant landscape serve as a setting – thus forcing the viewer to focus upon Christ’s sacrifice.]]></description>
        <content><![CDATA[Zurbarán's iconic depictions of Christ on the Cross are amongst the most striking and profoundly moving images to be found in Spanish Baroque art. The power of this remarkable painting comes from its sheer simplicity. Nailed to a rough-hewn cross, Christ’s body emerges from the impenetrable darkness, illuminated only by a bright light from above and to the left. The scene is devoid of all narrative details – the figures of His mother and mourners are absent and only the barest hints of a distant landscape serve as a setting – thus forcing the viewer to focus upon Christ’s sacrifice.]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[The world and works of Zurbarán]]></title>
        <url>https://www.bible.gallery/resource/the-world-and-works-of-zurbaran/30</url>
        <link>https://www.bible.gallery/resource/the-world-and-works-of-zurbaran/30</link>
        <guid>30</guid>
        <pubDate>2021-02-12 03:41:59</pubDate>
        <description><![CDATA[Poetry in Paint: The World and Work of Francisco de Zurbaran
by Adam Jasienski, Assistant Professor of Art History, SMU<img src='http://img.youtube.com/vi/8ByN6PkU4mk/hqdefault.jpg' />]]></description>
        <content><![CDATA[Poetry in Paint: The World and Work of Francisco de Zurbaran
by Adam Jasienski, Assistant Professor of Art History, SMU<img src='http://img.youtube.com/vi/8ByN6PkU4mk/hqdefault.jpg' />]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Judgets 19: The story of the unnamed woman]]></title>
        <url>https://www.bible.gallery/resource/judgets-19-the-story-of-the-unnamed-woman/29</url>
        <link>https://www.bible.gallery/resource/judgets-19-the-story-of-the-unnamed-woman/29</link>
        <guid>29</guid>
        <pubDate>2021-02-12 03:40:35</pubDate>
        <description><![CDATA[Unlike most stories in the Bible in which we can find a more polite and diluted way to teach the story in Sunday School, Judges 19 has no such luck. There is no triumph for God and His people and no hero to admire. Perhaps the most unfortunate part of reading this story is that it has no happy ending to come; the story only leads to unspeakable tragedy. Readers of this story have tried to find a way to make sense of this text but the question is how? How do we explain this text and even more complicated, what do we take from this text? In my own attempt to better understand this 'text of terror' I have reviewed numerous scholarly interpretations and perspectives on how this story can be read and the contexts these readings hold for readers. In addition to these Scholarly interpretations, I add in my own understanding of the text from my own cultural context as a Zimbabwe-American woman.]]></description>
        <content><![CDATA[Unlike most stories in the Bible in which we can find a more polite and diluted way to teach the story in Sunday School, Judges 19 has no such luck. There is no triumph for God and His people and no hero to admire. Perhaps the most unfortunate part of reading this story is that it has no happy ending to come; the story only leads to unspeakable tragedy. Readers of this story have tried to find a way to make sense of this text but the question is how? How do we explain this text and even more complicated, what do we take from this text? In my own attempt to better understand this 'text of terror' I have reviewed numerous scholarly interpretations and perspectives on how this story can be read and the contexts these readings hold for readers. In addition to these Scholarly interpretations, I add in my own understanding of the text from my own cultural context as a Zimbabwe-American woman.]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[St. John the Baptist in Art and Scripture]]></title>
        <url>https://www.bible.gallery/resource/st-john-the-baptist-in-art-and-scripture/28</url>
        <link>https://www.bible.gallery/resource/st-john-the-baptist-in-art-and-scripture/28</link>
        <guid>28</guid>
        <pubDate>2021-02-12 03:34:09</pubDate>
        <description><![CDATA[In the scheme of Advent Sunday Gospel readings, the First Sunday always looks forward to the Second Coming and the Fourth Sunday always focuses on the Blessed Virgin and some aspect of the Annunciation. The Second and Third Sundays focus on the person and mission of John the Baptist, the last prophet (pace the claims of Islam), forerunner of Christ, and preacher of conversion.<img src='http://img.youtube.com/vi//hqdefault.jpg' />]]></description>
        <content><![CDATA[In the scheme of Advent Sunday Gospel readings, the First Sunday always looks forward to the Second Coming and the Fourth Sunday always focuses on the Blessed Virgin and some aspect of the Annunciation. The Second and Third Sundays focus on the person and mission of John the Baptist, the last prophet (pace the claims of Islam), forerunner of Christ, and preacher of conversion.<img src='http://img.youtube.com/vi//hqdefault.jpg' />]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[The Baptism of Christ in the Jordan]]></title>
        <url>https://www.bible.gallery/resource/the-baptism-of-christ-in-the-jordan/27</url>
        <link>https://www.bible.gallery/resource/the-baptism-of-christ-in-the-jordan/27</link>
        <guid>27</guid>
        <pubDate>2020-12-03 00:30:38</pubDate>
        <description><![CDATA[‘And it came to pass in those days that Jesus came from Nazareth of Galilee, and was baptized of John in Jordan. And straightway coming up out of the water, he saw the heavens opened, and the Spirit like a dove descending upon him’ (Mark 1, 9-10). It is this New Testament story that Van Scorel has illustrated here. To the left of centre stands the Jewish preacher John the Baptist. Jesus sits under a tree. The dove flies to the right of the tree. In creating this scene, Van Scorel was clearly inspired by works by Italian masters of his time, among them Giorgione (the landscape) and Raphael (the three male figures on the right). Van Scorel spent the years 1520 to 1524 in Italy. He was even curator of the Vatican art collection for a while, so that he became very familiar with modern Italian painting. He painted this work for the important Haarlem monastery, St John’s Commandery, on his return from Italy.]]></description>
        <content><![CDATA[‘And it came to pass in those days that Jesus came from Nazareth of Galilee, and was baptized of John in Jordan. And straightway coming up out of the water, he saw the heavens opened, and the Spirit like a dove descending upon him’ (Mark 1, 9-10). It is this New Testament story that Van Scorel has illustrated here. To the left of centre stands the Jewish preacher John the Baptist. Jesus sits under a tree. The dove flies to the right of the tree. In creating this scene, Van Scorel was clearly inspired by works by Italian masters of his time, among them Giorgione (the landscape) and Raphael (the three male figures on the right). Van Scorel spent the years 1520 to 1524 in Italy. He was even curator of the Vatican art collection for a while, so that he became very familiar with modern Italian painting. He painted this work for the important Haarlem monastery, St John’s Commandery, on his return from Italy.]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Joseph&#039;s Bloody Coat Brought to Jacob, 1630 by Diego Velazquez]]></title>
        <url>https://www.bible.gallery/resource/josephs-bloody-coat-brought-to-jacob-1630-by-diego-velazquez/26</url>
        <link>https://www.bible.gallery/resource/josephs-bloody-coat-brought-to-jacob-1630-by-diego-velazquez/26</link>
        <guid>26</guid>
        <pubDate>2020-11-30 00:31:52</pubDate>
        <description><![CDATA[The court appointment of Velázquez gave him few opportunities for religious painting, and only occasionally did he execute subject pictures, except during his Italian journeys. He was little influenced by other artists, though he profited from the Titian's in the Spanish Royal Collection, and the visit of Rubens in 1628, which was his first contact with a great living painter, who was also a court painter. Whether or not it was Rubens who inspired him to visit Italy, it was due to Rubens's influence that he obtained permission to go. He left in August 1629, visited Genoa, Venice, Rome and Naples (where he met Ribera) and returned to Madrid in 1631. The Joseph's Bloody Coat Brought to Jacob shows his preoccupation with the male nude.]]></description>
        <content><![CDATA[The court appointment of Velázquez gave him few opportunities for religious painting, and only occasionally did he execute subject pictures, except during his Italian journeys. He was little influenced by other artists, though he profited from the Titian's in the Spanish Royal Collection, and the visit of Rubens in 1628, which was his first contact with a great living painter, who was also a court painter. Whether or not it was Rubens who inspired him to visit Italy, it was due to Rubens's influence that he obtained permission to go. He left in August 1629, visited Genoa, Venice, Rome and Naples (where he met Ribera) and returned to Madrid in 1631. The Joseph's Bloody Coat Brought to Jacob shows his preoccupation with the male nude.]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[Let the little children come to me - Praying with Art - Geoff Wheaton SJ]]></title>
        <url>https://www.bible.gallery/resource/let-the-little-children-come-to-me-praying-with-art-geoff-wheaton-sj/25</url>
        <link>https://www.bible.gallery/resource/let-the-little-children-come-to-me-praying-with-art-geoff-wheaton-sj/25</link>
        <guid>25</guid>
        <pubDate>2020-11-21 11:44:38</pubDate>
        <description><![CDATA[In the Spiritual Exercises, St Ignatius gives us the idea of meeting sacred scripture with one's own life, mediated through Imaginative Contemplation. The aim of these reflections is to do this in tandem with pieces of art. Each month therefore, we will offer a painting in the hope that it will enable you to reflect more deeply on a particular passage of scripture. The idea is that you can return to the painting and scripture and discover more depth throughout the month.<img src='http://img.youtube.com/vi/clRudpZgEsg/hqdefault.jpg' />]]></description>
        <content><![CDATA[In the Spiritual Exercises, St Ignatius gives us the idea of meeting sacred scripture with one's own life, mediated through Imaginative Contemplation. The aim of these reflections is to do this in tandem with pieces of art. Each month therefore, we will offer a painting in the hope that it will enable you to reflect more deeply on a particular passage of scripture. The idea is that you can return to the painting and scripture and discover more depth throughout the month.<img src='http://img.youtube.com/vi/clRudpZgEsg/hqdefault.jpg' />]]></content>
      </item>
    
      
      <item>
        <title><![CDATA[The Veronese Exhibition at the National Gallery, London – Part 1.]]></title>
        <url>https://www.bible.gallery/resource/the-veronese-exhibition-at-the-national-gallery-london-part-1/24</url>
        <link>https://www.bible.gallery/resource/the-veronese-exhibition-at-the-national-gallery-london-part-1/24</link>
        <guid>24</guid>
        <pubDate>2020-11-21 11:12:47</pubDate>
        <description><![CDATA[Today’s blog came in to being thanks to Lady Luck.  Last week I went to London for two days.  The first day was spent with my daughter and her new baby leaving the second day free for me to roam around some art galleries.   It was March 19th and that was the day of the opening of the Veronese exhibition at the National Gallery.  I hadn’t planned my visit to coincide with that day and anyway, I had already checked on the internet to find, not unexpectedly, that I could not book tickets to the exhibition on its opening day.  However I decided to visit the gallery when it opened to see what literature they had regarding the exhibition and I was very surprised, but delighted, to be told that I could buy a ticket to visit the exhibition there and then.  I jumped at the offer.  It was a superb exhibition spread over seven rooms filled with the most magnificent paintings.  In my next two blogs, I want to feature some of my favourite works which were on display and look at the background to the depictions, in the hope that I can tempt you to visit this exceptional exhibition.<img src='http://img.youtube.com/vi//hqdefault.jpg' />]]></description>
        <content><![CDATA[Today’s blog came in to being thanks to Lady Luck.  Last week I went to London for two days.  The first day was spent with my daughter and her new baby leaving the second day free for me to roam around some art galleries.   It was March 19th and that was the day of the opening of the Veronese exhibition at the National Gallery.  I hadn’t planned my visit to coincide with that day and anyway, I had already checked on the internet to find, not unexpectedly, that I could not book tickets to the exhibition on its opening day.  However I decided to visit the gallery when it opened to see what literature they had regarding the exhibition and I was very surprised, but delighted, to be told that I could buy a ticket to visit the exhibition there and then.  I jumped at the offer.  It was a superb exhibition spread over seven rooms filled with the most magnificent paintings.  In my next two blogs, I want to feature some of my favourite works which were on display and look at the background to the depictions, in the hope that I can tempt you to visit this exceptional exhibition.<img src='http://img.youtube.com/vi//hqdefault.jpg' />]]></content>
      </item>
    </channel>
</rss>