Gospel Figures In Art

In viewing the great works of sacred Western art, many people find difficulty in understanding the stories and identifying the figures portrayed in them. This informative guide decodes these often-mysterious scenes and reveals a vibrant world of images from the Christian tradition for museum visitors, students, and art enthusiasts alike. Gospel Figures in Art examines depictions of stories and figures from both the New Testament's canonical gospels (the books of Matthew, Mark, Luke, and John) and the apocryphal gospels (early Christian writings excluded from the New Testament because of their unsubstantiated authorship), which served as rich sources of inspiration for medieval and Renaissance artists. Illustrated with masterpieces from many of the world's premier museums, the art works provided as visual references are carefully analyzed. Sections are devoted to the principal figures in the life of Jesus Christ-his family and the evangelists-and to the major biographical turning points: his birth and baptism, his public life, the miracles and good deeds he performed, his crucifixion, resurrection, and the events that followed. This indispensable resource makes the icons and narratives of sacred art come to life.

Innovative and lavishly illustrated, Painting the Gospel offers an indispensable contribution to conversations about African American art, theology, politics, and identity in Chicago. Kymberly N. Pinder escorts readers on an eye-opening odyssey to the murals, stained glass, and sculptures dotting the city's African American churches and neighborhoods. Moving from Chicago's oldest black Christ figure to contemporary religious street art, Pinder explores ideas like blackness in public, art for black communities, and the relationship of Afrocentric art to Black Liberation Theology. She also focuses attention on art excluded from scholarship due to racial or religious particularity. Throughout, she reflects on the myriad ways private black identities assert public and political goals through imagery. Painting the Gospel includes maps and tour itineraries that allow readers to make conceptual, historical, and geographical connections among the works.

Few works of art better illustrate the splendor of eleventh-century painting than the manuscript often referred to as the “precious gospels” of Bishop Bernward of Hildesheim, with its peculiar combination of sophistication and naïveté, its dramatically gesturing figures, and the saturated colors of its densely ornamented surfaces. In The Bernward Gospels, Jennifer Kingsley offers the first interpretive study of the pictorial program of this famed manuscript and considers how the gospel book conditioned contemporary and future viewers to remember the bishop. The codex constructs a complex image of a minister caring for his diocese not only through a life of service but also by means of his exceptional artistic patronage; of a bishop exercising the sacerdotal authority of his office; and of a man fundamentally preoccupied with his own salvation and desire to unite with God through both his sight and touch. Kingsley insightfully demonstrates how this prominent member of the early medieval episcopate presented his role to the saints and to the communities called upon to remember him.

Throughout the Middle Ages, sacred Christian art had two objectives: to express veneration for God and to provide illustrative lessons on the Christian faith to a largely illiterate population. Continuing in the spirit of the other books in this series, Old Testament Figures in Art compiles entries on key figures and events in the Old Testament, beginning with the Pentateuch, then drawing from the historical books, the books of wisdom and poetry, and, finally, the prophetic books. The vivid illustrations depict Old Testament scenes that occur most frequently as iconographic prototypes in Western art. Among the masterpieces featured are The Entry of the Animals into Noah's Ark by Jan Brueghel the Elder, The Sacrifice of Isaac by Rembrandt, Samson and Delilah by Peter Paul Rubens, Jacob Wrestling with the Angel by Paul Gauguin, and Isaac Receiving Rebekah as His Wife by Marc Chagall. The accompanying texts illuminate the unique ways in which Old Testament subjects have been portrayed in Western art throughout the ages. To complement the many scriptural references, this handy volume also offers comparisons with other cultures whose stories or myths parallel those represented in the book.

An examination of the relationship between art and the Holy Scriptures.

Vincent van Gogh believed that one had to learn to read, just as one had to learn to see and learn to live. Van Gogh conveyed a message in his work about the path that he himself followed that was "more true to life," the path that human beings walk in their turbulent existence, the pilgrimage along the various stages of the road of life. He does not speak about the meaning of life but about the true art of living. It is fascinating to see and read the moving way in which he wrestled with the deep human questions of the whence, why, and whither of life. He did not see himself doing this on his own but acknowledged kindred spirits and allies in preachers, preacher-poets, painters, writers, and other artists who also attempted to find their own way through life in a similar fashion. Van Gogh was aware, like no other, of his duty and task in life: his vocation as human being and artist. That means that he was well acquainted with loneliness, fear, and despair, including suicidal tendencies. Nevertheless, he understood himself as cut out for faith, rather than resignation. Human beings follow their life's path, through storms and dangers, on land and on sea, where the "star of the sea" (the Virgin Mary) helps them and provides light. Van Gogh rejected the unhealthy, sickly forms of religion, electing instead to embrace authentic forms of piety.

In this book, Beatrice E. Kitzinger explores the power of representation in the Carolingian period, demonstrating how images were used to assert the value and efficacy of art works. She focuses on the cross, Christianity's central sign, which simultaneously commemorates sacred history, functions in the present, and prepares for the end of time. It is well recognized that the visual attributes of the cross were designed to communicate its theology relative to history and eschatology; Kitzinger argues that early medieval artists also developed a formal language to articulate its efficacious powers in the present day. Defined through form and text as the sign of the present, the image of the cross articulated the instrumentality of religious objects and built spaces. Whereas medieval and modern scholars have pondered the theological problems posed by representation, Kitzinger here proposes a visual argument that affirms the self-reflexive value of art works in the early medieval West. Introducing little-known sources, she re-evaluates both the image of the cross and the project of book-making in an expanded field of Carolingian painting.