The Image Of Christ In Modern Art

The Image of Christ in Modern Art explores the challenges presented by the radical and rapid changes of artistic style in the 20th century to artists who wished to relate to traditional Christian imagery. In the 1930s David Jones said that he and his contemporaries were acutely conscious of ’the break’, by which he meant the fragmentation and loss of a once widely shared Christian narrative and set of images. In this highly illustrated book, Richard Harries looks at some of the artists associated with the birth of modernism such as Epstein and Rouault as well as those with a highly distinctive understanding of religion such as Chagall and Stanley Spencer. He discusses the revival of confidence associated with the rebuilding of Coventry Cathedral after World War II and the commissioning of work by artists like Henry Moore, Graham Sutherland and John Piper before looking at the very testing last quarter of the 20th century. He shows how here, and even more in our own time, fresh and important visual interpretations of Christ have been created both by well known and less well known artists. In conclusion he suggests that the modern movement in art has turned out to be a friend, not a foe of Christian art.Through a wide and beautiful range of images and insightful text, Harries explores the continuing challenge, present from the beginning of Christian art, as to how that which is visual can in some way indicate the transcendent.

The Image of Christ in Modern Art explores the challenges presented by the radical and rapid changes of artistic style in the 20th century to artists who wished to relate to traditional Christian imagery. In the 1930s David Jones said that he and his contemporaries were acutely conscious of ’the break’, by which he meant the fragmentation and loss of a once widely shared Christian narrative and set of images. In this highly illustrated book, Richard Harries looks at some of the artists associated with the birth of modernism such as Epstein and Rouault as well as those with a highly distinctive understanding of religion such as Chagall and Stanley Spencer. He discusses the revival of confidence associated with the rebuilding of Coventry Cathedral after World War II and the commissioning of work by artists like Henry Moore, Graham Sutherland and John Piper before looking at the very testing last quarter of the 20th century. He shows how here, and even more in our own time, fresh and important visual interpretations of Christ have been created both by well known and less well known artists. In conclusion he suggests that the modern movement in art has turned out to be a friend, not a foe of Christian art.Through a wide and beautiful range of images and insightful text, Harries explores the continuing challenge, present from the beginning of Christian art, as to how that which is visual can in some way indicate the transcendent.

An art historian develops a theological, philosophical, and historical framework within which to experience and interpret modern and contemporary art that is in dialogue with the Christian faith.

This book, and the exhibition it accompanies, express the confidence that modern secular audiences can engage with the masterpieces of Christian art at an emotional as well as a purely aesthetic or historical level. Their aim is to help the viewer understand these pictures by focusing attention on the purpose for which they were made, and exploring why they might have meant to their original viewers.

Is contemporary art a friend or foe of Christianity? Art historian, critic, and curator Daniel Siedell, addresses this question and presents a framework for interpreting art from a Christian worldview in God in the Gallery: A Christian Embrace of Modern Art. As such, it is an excellent companion to Francis Schaeffer's classic Art and the Bible. Divided into three parts--"Theology," "History," and "Practice"--God in the Gallery demonstrates that art is in conversation with and not opposed to the Christian faith. In addition, this book is beautifully enhanced with images from such artists as Andy Warhol, Jackson Pollock, Enrique Martínez Celaya, and others. Readers of this book will include professors, students, artists, and anyone interested in Christianity and culture.

The Image of Christ expresses the view that modern secular audiences can engage with the masterpieces of Christian art at an emotional as well as a purely aesthetic or historical level. This book aims to help the viewer understand these pictures by focusing attention on the purpose for which they were made, and explores what they might have meant to their original viewers. The authors trace how a recognizable image of Christ evolved, starting with the earliest symbols and metaphorical images such as the Sheperd, the Lamb and the Vine. They trace the emergence of a "true likeness," emphasizing the importance of the Veronica, the "miraculous portrait" said to have been imprinted on the cloth held out to Jesus on the way to Calvary. They describe how artists conveyed the paradox of Christ's dual nature—human and divine, weak and powerful, victim and victor—in portrayals of his infancy. They also show how images of Christ's suffering during the Passion were intended to convey a cosmic, not just a personal significance. Artists have attempted to put extremes of suffering and despair into an overal context of hope–a vein of hope that runs from the catacombs to Hiroshima and beyond. These are images that speak, even to those who do not hold Christian beliefs. Artists had to make it clear that in representing the life and death of Jesus they were offering a continuing truth; we the spectators have to become eyewitnesses to an event that matters to us now. As a result, the different moments and aspects of Christ's life become, in the hands of great artists, a reflection of all human experience. The Virgin nursing her son expresses the feelings of love every mother has for her child. Christ mocked in innocence beset by violence. Christ risen and appearing to Mary Magdalene is a universal reaffirmation that love cannot be destroyed by death. Beyond their obvious religious significance, these are paintings that have a universal meaning.

Originally published in 1983, Leo Steinberg's classic work has changed the viewing habits of a generation. After centuries of repression and censorship, the sexual component in thousands of revered icons of Christ is restored to visibility. Steinberg's evidence resides in the imagery of the overtly sexed Christ, in Infancy and again after death. Steinberg argues that the artists regarded the deliberate exposure of Christ's genitalia as an affirmation of kinship with the human condition. Christ's lifelong virginity, understood as potency under check, and the first offer of blood in the circumcision, both required acknowledgment of the genital organ. More than exercises in realism, these unabashed images underscore the crucial theological import of the Incarnation. This revised and greatly expanded edition not only adduces new visual evidence, but deepens the theological argument and engages the controversy aroused by the book's first publication.

Jesus is one of the most commonly portrayed figures of all time in the artistic community. But what can all of his varying faces—coming from so many different ages and diverse countries around the world—tell us about him as a person? In this beautiful book, images of Jesus are used to explore his life and legacy, including Jesus as shepherd, Jesus as victor, Jesus as broken, and many more. With illuminating text and arresting images, this book is visually stunning and textually inspiring—the perfect gift for anyone with an interest in fine art, spirituality, or both.