Latest submissions to the site

This page lists the latest 100 submissions available on the site for your perusal

 

Date created Contributor Type Details Actions
02-12-2017 ADMINISTRATOR

National Gallery film series: The Audacity of Christian Art with Chloë Reddaway - 7 'Unspeakable Images - when words fail'

No single painting o...
No single painting of Christ in the canon of Christian art can adequately express what Christians believe about him, but this final episode considers how a painting can point beyond itself, encouraging the viewer not to take the image at face value but to engage with the mystery it presents. Chloë Reddaway explores the use of blank spaces as a radical way of indicating divine activity and looks at the value of unfinished works in stimulating the viewer’s imagination with a close look at Michelangelo’s unfinished masterpiece, ‘The Entombment’ (around 1500–1). ‘The audacity of Christian art: The problem of painting Christ’ is a seven-part series in which Dr Chloë Reddaway, Howard and Roberta Ahmanson Curator in Art and Religion at the National Gallery, explores the theological and artistic challenges involved in painting Christ as fully human and fully divine, and reveals some of the ingenious and surprising ways in which Renaissance artists responded.
02-12-2017 ADMINISTRATOR

National Gallery film series: The Audacity of Christian Art with Chloë Reddaway - 6 'So near and yet so far'

Part of the challeng...
Part of the challenge of depicting Christ lies in showing his ‘visibility’ as a man who lived on earth, while also indicating the ‘invisibility’ of God eternal. This episode looks at ‘The Virgin and Child with Two Angels’ by Andrea del Verrocchio and Lorenzo di Credi (around 1476–8) and ‘The Vision of the Blessed Gabrielle’ by Carlo Crivelli (probably about 1489), and considers the pictorial device of the ‘threshold’ as a visual response to the simultaneous proximity of divine presence and the utter transcendence of God. ‘The audacity of Christian art: The problem of painting Christ’ is a seven-part series in which Dr Chloë Reddaway, Howard and Roberta Ahmanson Curator in Art and Religion at the National Gallery, explores the theological and artistic challenges involved in painting Christ as fully human and fully divine, and reveals some of the ingenious and surprising ways in which Renaissance artists responded.
02-12-2017 ADMINISTRATOR

National Gallery film series: The Audacity of Christian Art with Chloë Reddaway - 5 'This World and the Next'

This episode explore...
This episode explores three popular picture types which have no gospel basis but which use temporal and spatial ambiguity to reflect on the mystery of Christ having a temporal life on earth, and also being part of the eternal Trinity. The principal paintings discussed in this episode are ‘The Virgin and Child in a Landscape’ by Jan Provoost (early 16th century), ‘The Virgin and Child Enthroned by Cosimo Tura’ (mid-1470s), and ‘Christ Crowned with Thorns’ by Dirk Bouts (about 1470). ‘The audacity of Christian art: The problem of painting Christ’ is a seven-part series in which Dr Chloë Reddaway, Howard and Roberta Ahmanson Curator in Art and Religion at the National Gallery, explores the theological and artistic challenges involved in painting Christ as fully human and fully divine, and reveals some of the ingenious and surprising ways in which Renaissance artists responded.
02-12-2017 ADMINISTRATOR

National Gallery film series: The Audacity of Christian Art with Chloë Reddaway - 4 'Time and Eternity'

Like place, time is ...
Like place, time is an important theological category and, like the Incarnation, it can be hard to comprehend. This episode looks at sophisticated ways of handling different but related time frames in Ercole de’ Roberti’s ‘The Dead Christ’ (about 1490) and the exquisite ‘The Deposition’ by the Master of the Saint Bartholomew Altarpiece (about 1500–5). ‘The Audacity of Christian art: The problem of painting Christ’ is a seven-part series in which Dr Chloë Reddaway, Howard and Roberta Ahmanson Curator in Art and Religion at the National Gallery, explores the theological and artistic challenges involved in painting Christ as fully human and fully divine, and reveals some of the ingenious and surprising ways in which Renaissance artists responded.
02-12-2017 ADMINISTRATOR

National Gallery film series: The Audacity of Christian Art with Chloë Reddaway - 3 Putting God in His place

How do artists handl...
How do artists handle the challenge of attempting to depict a figure who lived a human life on earth – at a specific time and in specific places – but who was simultaneously divine, beyond place and time? In this episode Chloë Reddaway shows how artists have used ‘place’ in their paintings to point to the limitations of our vision and understanding when pondering this mystery, focusing on the mysterious location of Lorenzo di Credi’s ‘The Virgin and Child’ (about 1480–5) and the spatial metaphors at work in Filippo Lippi’s ‘The Annunciation’ (about 1450–3). ‘The audacity of Christian art: The problem of painting Christ’ is a seven-part series in which Dr Chloë Reddaway, Howard and Roberta Ahmanson Curator in Art and Religion at the National Gallery, explores the theological and artistic challenges involved in painting Christ as fully human and fully divine, and reveals some of the ingenious and surprising ways in which Renaissance artists responded.
02-12-2017 ADMINISTRATOR

National Gallery film series: The Audacity of Christian Art with Chloë Reddaway - 2 Christ is not like a snail, signs and symbols

This episode looks a...
This episode looks at the visual language of signs and symbols known as iconography. Chloë Reddaway considers the surprising appearance of a snail in Crivelli’s ‘The Virgin and Child with Saints Francis and Sebastian’ (1491) and asks how it might help in the seemingly impossible task of painting Christ. ‘The audacity of Christian art: The problem of painting Christ’ is a seven-part series in which Dr Chloë Reddaway, Howard and Roberta Ahmanson Curator in Art and Religion at the National Gallery, explores the theological and artistic challenges involved in painting Christ as fully human and fully divine, and reveals some of the ingenious and surprising ways in which Renaissance artists responded.
02-12-2017 ADMINISTRATOR

National Gallery film series: The Audacity of Christian Art with Chloë Reddaway - 1 'The problem with Christ'

How do you paint a f...
How do you paint a figure who is fully human and fully divine? This episode sets the scene for exploring the problem and considers the inherent audacity of what Christian art attempts to do. Beginning with Cima da Conegliano’s ‘The Incredulity of Saint Thomas’ (about 1502–4), Chloë Reddaway suggests thatsome artists invite viewers to ponder the mystery of the Incarnation by creating and playing with strange and paradoxical elements in their paintings. ‘The audacity of Christian art: The problem of painting Christ’ is a seven-part series in which Dr Chloë Reddaway, Howard and Roberta Ahmanson Curator in Art and Religion at the National Gallery, explores the theological and artistic challenges involved in painting Christ as fully human and fully divine, and reveals some of the ingenious and surprising ways in which Renaissance artists responded.
01-12-2017 MARK CAZALET

Christ's Childhood in Nazareth

A playful, contempor...
A playful, contemporary childhood
01-12-2017 MARK CAZALET

Trinity Reredos

Fraser's Chapel...
Fraser's Chapel, Manchester Cathedral 100x200cms
23-10-2017 ADMINISTRATOR

National Gallery St John the Baptist film series - Episode 10, Power and Judgement

Power and Judgement ...
Power and Judgement John the Baptist's proclamations on justice meant that he was often adopted by rulers as a patron saint and role model. According to some traditions John descended to the underworld after his death to prepare the souls for the Last Judgment, and so artists often represent him in scenes of the Harrowing of ****. In this final episode art historian Jennifer Sliwka and theologian Ben Quash visit Westminster Abbey to discover how the 14th century English king, Richard II, had a particular devotion to the saint before returning to the National Gallery to see how this was expressed in one of the greatest treasures of the collection, 'The Wilton Diptych', about 1395-9. At Westminster Abbey we see the anonymous 'English Portrait of Richard II', about 1390 and at the National Gallery, Giovanni dal Ponte's 'Ascension of Saint John the Evangelist Altarpiece', about 1420-4? and 'The Wilton Diptych', about 1395-9. 'John the Baptist: From Birth to Beheading' is a series of 10 films sharing the highlights of the collaborative MA course taught by Dr Jennifer Sliwka, Howard and Roberta Ahmanson Fellow in Art and Religion at the National Gallery and Professor Ben Quash, Director of the Centre for Arts and the Sacred, King's College London.
23-10-2017 ADMINISTRATOR

National Gallery St John the Baptist film series - Episode 9, The Baptist's head

The Baptist's H...
The Baptist's Head The representation of John the Baptist's life doesn't end with his martyrdom. Independent images of his severed head are a particular focus of devotion and became popular both as paintings and as sculpted objects made for the home - a tradition that continues to the present day. In this episode art historian Jennifer Sliwka and theologian Ben Quash look at the National Gallery's masterpiece by Caravaggio, 'Salome receives the Head of John the Baptist', 1607-10 and pay a visit to a private collector who keeps a polychrome sculpted head of the Baptist by Brazilian-born artist Ana Maria Pacheco in his sitting room. 'John the Baptist: From Birth to Beheading' is a series of 10 films sharing the highlights of the collaborative MA course taught by Dr Jennifer Sliwka, Howard and Roberta Ahmanson Fellow in Art and Religion at the National Gallery and Professor Ben Quash, Director of the Centre for Arts and the Sacred, King's College London.
23-10-2017 ADMINISTRATOR

National Gallery St John the Baptist film series - Episode 8, Martyrdom

Martyrdom John the ...
Martyrdom John the Baptist is the only figure in the New Testament to die before Jesus Christ; his beheading is one of the most dramatic scenes represented in the history of art. Art historian Jennifer Sliwka and theologian Ben Quash visit St. John's Co-Cathedral in Malta to see one of the most famous representations of the Baptist's martyrdom, Caravaggio's altarpiece for the Knights of Malta. They discuss the events leading up to his beheading and the increasing prominence of Salome in depictions of the Baptist's final moments. In this episode we see Michelangelo Merisi da Caravaggio's 'The Beheading of Saint John the Baptist', 1608 in St. John's Co-Cathedral and return to the National Gallery to see Pierre-Cécile Puvis de Chavanne's theatrical 'The Beheading of Saint John the Baptist', 1869. 'John the Baptist: From Birth to Beheading' is a series of 10 films sharing the highlights of the collaborative MA course taught by Dr Jennifer Sliwka, Howard and Roberta Ahmanson Fellow in Art and Religion at the National Gallery and Professor Ben Quash, Director of the Centre for Arts and the Sacred, King's College London.
23-10-2017 ADMINISTRATOR

National Gallery St John the Baptist film series - Episode 7, Baptism

Baptism John the Ba...
Baptism John the Baptist earns his name from his baptism of Christ on the banks of the River Jordan. This act marks the beginning of Christ's ministry, when he begins to travel, preach and perform miracles, and later becomes a key ritual in the entry of the faithful into the Church. In this episode art historian Jennifer Sliwka and theologian Ben Quash visit Salisbury Cathedral and the spectacular font designed by William Pye to discuss the significance and symbolism of baptism, before returning to the National Gallery to see Adam Elsheimer's, 'The Baptism of Christ', 1599 and the great Italian Renaissance masterpiece by Piero della Francesca, 'The Baptism of Christ', 1450s. 'John the Baptist: From Birth to Beheading' is a series of 10 films sharing the highlights of the collaborative MA course taught by Dr Jennifer Sliwka, Howard and Roberta Ahmanson Fellow in Art and Religion at the National Gallery and Professor Ben Quash, Director of the Centre for Arts and the Sacred, King's College London.
23-10-2017 ADMINISTRATOR

National Gallery St John the Baptist film series - Episode 6, Preaching

Preaching John the ...
Preaching John the Baptist returns from the wilderness to begin preaching in Jerusalem. His message is 'Prepare ye the way of the Lord'. Art historian Jennifer Sliwka and theologian Ben Quash look at National Gallery masterpieces by Raphael, Mola and Parmigianino to discover how artists have translated the Baptist's spoken word into paint and how his most recognisable gesture - the pointing finger - communicates his message. In this episode we discuss Raphael's 'Saint John the Baptist Preaching', 1505, Pier Francesco Mola's 'Saint John the Baptist preaching in the Wilderness', about 1640 and Parmigianino's monumental 'The Madonna and Child with Saints John the Baptist and Jerome', 1526-7. 'John the Baptist: From Birth to Beheading' is a series of 10 films sharing the highlights of the collaborative MA course taught by Dr Jennifer Sliwka, Howard and Roberta Ahmanson Fellow in Art and Religion at the National Gallery and Professor Ben Quash, Director of the Centre for Arts and the Sacred, King's College London.
23-10-2017 ADMINISTRATOR

National Gallery St John the Baptist film series - Episode 5, Wilderness

Wilderness John the...
Wilderness John the Baptist's role throughout his life was to prepare the way for Christ's ministry on earth, that is, the travelling, teaching and preaching Christ would begin after his baptism by John. To prepare himself for this great task, the young John the Baptist left the city of Jerusalem for the wilderness. Alone and reliant on nature, he becomes the emaciated, tousle-haired figure so often depicted in art. In this episode art historian Jennifer Sliwka and theologian Ben Quash take a close look at an Italian Renaissance predella panel by Giovanni di Paolo, 'Saint John the Baptist retiring to the Desert', 1454 and pay a visit behind the scenes to see an anonymous Italian artist's depiction of 'Saint John the Baptist' in the wilderness of about 1540-60 and Moretto da Brescia's 'Christ blessing Saint John the Baptist', probably 1640-60. 'John the Baptist: From Birth to Beheading' is a series of 10 films sharing the highlights of the collaborative MA course taught by Dr Jennifer Sliwka, Howard and Roberta Ahmanson Fellow in Art and Religion at the National Gallery and Professor Ben Quash, Director of the Centre for Arts and the Sacred, King's College London.
23-10-2017 ADMINISTRATOR

National Gallery St John the Baptist film series - Episode 4, Infancy

Infancy The Bible r...
Infancy The Bible reveals very little about the childhood of John the Baptist. In the 14th century however, a Dominican friar called Domenico Cavalca wrote a biography of the saint that filled in the gaps. This work's popularity inspired Italian Renaissance artists to represent new episodes from his life and to show the infant Baptist in the company of the Christ Child. Art historian Jennifer Sliwka and theologian Ben Quash look at Leonardo da Vinci's 'The Virgin of the Rocks', about 1491/2-9 and 1506-8, Bronzino's 'The Madonna and Child with Saints', probably about 1540 and Garofolo's 'The Holy Family with Saints', about 1520 'John the Baptist: From Birth to Beheading' is a series of 10 films sharing the highlights of the collaborative MA course taught by Dr Jennifer Sliwka, Howard and Roberta Ahmanson Fellow in Art and Religion at the National Gallery and Professor Ben Quash, Director of the Centre for Arts and the Sacred, King's College London.
23-10-2017 ADMINISTRATOR

National Gallery St John the Baptist film series - Episode 3, Birth and Naming

Birth and Naming Th...
Birth and Naming There are several miracles surrounding the birth and naming of John the Baptist and in these his father Zacharias, plays an important role. In this episode art historian Jennifer Sliwka and theologian Ben Quash reveal how this story was told in art and explain the uses to which small narrative scenes known as predella panels were put to in 14th and 15th century Italian Renaissance altarpieces. We go behind the scenes at the National Gallery to examine Niccolò di Pietro Gerini's 'Baptism Altarpiece', 1387 and into the Sainsbury Wing to admire Giovanni di Paolo's 'The Birth of Saint John the Baptist: Predella Panel', 1454. 'John the Baptist: From Birth to Beheading' is a series of 10 films sharing the highlights of the collaborative MA course taught by Dr Jennifer Sliwka, Howard and Roberta Ahmanson Fellow in Art and Religion at the National Gallery and Professor Ben Quash, Director of the Centre for Arts and the Sacred, King's College London.
23-10-2017 ADMINISTRATOR

National Gallery St John the Baptist film series - Episode 2, The Visitation

Like Christ, John th...
Like Christ, John the Baptist was also miraculously conceived. His elderly mother Elizabeth was also a kinswoman of the Virgin Mary. In this episode, art historian Jennifer Sliwka and theologian Ben Quash reveal the significance of the meeting of the two pregnant women and their unborn children - an event known as 'The Visitation' - and its commemoration in church liturgy, music and art. In this episode we visit King's College Chapel to hear the choir sing the 'Magnificat' before returning to the National Gallery to see Workshop of the Master of 1518's 'The Visitation of the Virgin to Saint Elizabeth', about 1515 and Francesco Zaganelli's 'The Baptism of Christ', 1514. 'John the Baptist: From Birth to Beheading' is a series of 10 films sharing the highlights of the collaborative MA course taught by Dr Jennifer Sliwka, Howard and Roberta Ahmanson Fellow in Art and Religion at the National Gallery and Professor Ben Quash, Director of the Centre for Arts and the Sacred, King's College London.
23-10-2017 ADMINISTRATOR

National Gallery St John the Baptist film series - Introduction

Who was John the Bap...
Who was John the Baptist and why has he been so important to artists and patrons over the centuries? In this first of 10 films, art historian Jennifer Sliwka and theologian Ben Quash introduce us to this pivotal figure in the Biblical story, and reveal the ways he can immediately be recognised in works of art. This episode takes a close look at two National Gallery masterpieces, Carlo Crivelli's 'The Demidoff Altarpiece' 1476 and Piero della Francesca's 'The Baptism of Christ', 1450s. John the Baptist: From Birth to Beheading’ is a series of 10 films sharing the highlights of the collaborative MA course taught by Dr Jennifer Sliwka, Howard and Roberta Ahmanson Fellow in Art and Religion at the National Gallery and Professor Ben Quash, Director of the Centre for Arts and the Sacred, King’s College London.
03-10-2017 MARK CAZALET

St Cedd

St Cedd, the Essex b...
St Cedd, the Essex builder. Window designed for Chelmsford cathedral 270x70cms
03-10-2017 MARK CAZALET

The man who was legion

90x60cms...
90x60cms
03-10-2017 MARK CAZALET

Christ Crucified

from the West London...
from the West London Stations of the Cross 46x36cms
03-10-2017 MARK CAZALET

Christ Sentenced

From the West London...
From the West London Stations of the Cross
03-10-2017 MARK CAZALET

The Betrothal

18x18cms...
18x18cms
03-10-2017 MARK CAZALET

Judas's Decision

18x18cms...
18x18cms
03-10-2017 MARK CAZALET

Nathaniel Asleep

18x18cms...
18x18cms
03-10-2017 MARK CAZALET

The Prodigal's Gap Year

18x18cms...
18x18cms
15-09-2017 JENNIFER BELL

Crucifixion

Painted for the exhi...
Painted for the exhibition 'Crossings, Art and Christianity Now' at Southwell Minster 2018. The way we attempt to cover up the raw reality of the crucifixion with something prettier and more acceptable.
06-09-2017 MARK CAZALET

Christ meets his mother

From the West London...
From the West London Stations of the Cross
09-08-2017 JENNIFER BELL

Lost Sheep

A small oil sketch...
A small oil sketch
22-07-2017 DAVID SAPP

Fury

John 2:13-16, New Re...
John 2:13-16, New Revised Standard Version Jesus Cleanses the Temple 13 The Passover of the Jews was near, and Jesus went up to Jerusalem. 14 In the temple he found people selling cattle, sheep, and doves, and the money changers seated at their tables. 15 Making a whip of cords, he drove all of them out of the temple, both the sheep and the cattle. He also poured out the coins of the money changers and overturned their tables. 16 He told those who were selling the doves, “Take these things out of here! Stop making my Father’s house a marketplace!”
12-07-2017 HILARY TINLEY

Save that here...

Excerpt from John Do...
Excerpt from John Donne's Holy Sonnet 19 "save that here, those are my best days when I shake with fear". Referring to the fear (or in today's terms - respect) of the Lord God. See psalm 115 v 13 " He will bless them that fear the Lord, both small and great."
11-07-2017 NICHOLAS BIELBY

The woman taken in adultery: John 8.2-11

Poem...
Poem
29-06-2017 HELEN DE SYBEL

Lot leaves Sodom (Scenes from the old testament)

Genesis 19...
Genesis 19
29-06-2017 HELEN DE SYBEL

Samson and the lion (Scenes from the old testament)

Judges 14:14...
Judges 14:14
29-06-2017 HELEN DE SYBEL

The plague of lice & flies (Scenes from the old testament)

Exodus 12:12...
Exodus 12:12
29-06-2017 HELEN DE SYBEL

The tower of Babel (Scenes from the old testament)

Genesis 11: 1-9...
Genesis 11: 1-9
29-06-2017 HELEN DE SYBEL

Abraham & Isaac (Scenes from the old testament)

Genesis 22...
Genesis 22
29-06-2017 HELEN DE SYBEL

Moses and the river of blood (Scenes from the old testament)

Exodus 7:20...
Exodus 7:20
27-06-2017 HELEN DE SYBEL

Old Testament

Van Gogh famously re...
Van Gogh famously referred to painting as a 'small light in a dark world.' Using a combination of gouache, oil pastel and collage, I have tried to illuminate this selection of Old Testament narratives in order to evoke the initial emotional response that I had to these stories when I first encountered them as a child at school In practical terms, what you see is the culmination of a process that began with the depiction of one image, Samson and the Lion. Through that early painting I found I could tell the story using an imaginative and novel technique- a combination of paint, oil pastel and collage. Through colour and luminosity I want express the spiritual aspect of the work and felt that this would be particularly effective in an ecclesiastical setting. The energetic use of line injects a tension, and delivers an electrical charge to the whole. It should also suggest an outside force, a charge or impulse that goes through all living things emanating from the Almighty; in the Old Testament context an 'admonishing force'. The three-dimensional nature of collage generates a physical aversion to the plague of lice and flies. It is as if past horrors are projected into the present, forcing the onlooker to interact with the work and subject matter in real time.
23-06-2017 HILARY TINLEY

Keep not Thy silence

Psalm 83 verse 1 &qu...
Psalm 83 verse 1 "Keep not Thy silence, O God, hold not Thy peace".
23-06-2017 HILARY TINLEY

Lord Have Mercy

The response "L...
The response "Lord have mercy" repeated in English, Greek and Church Slavonic
23-05-2017 CRAIG SUMARES-LONG

We Shall Be Changed

Resurrection...
Resurrection
23-05-2017 CRAIG SUMARES-LONG

Amongst Women

Annunciation...
Annunciation
23-05-2017 CRAIG SUMARES-LONG

The Fall

Based on the Books o...
Based on the Books of Genesis
23-05-2017 CRAIG SUMARES-LONG

Genesis 1

Based on the First B...
Based on the First Book
22-05-2017 CRAIG SUMARES-LONG

He Raised Me Up

Christian...
Christian
22-05-2017 CRAIG SUMARES-LONG

Flagellation

Religious theme rela...
Religious theme related to the persecution of the Falun Gong in China.
22-05-2017 CRAIG SUMARES-LONG

A World oF His Own

Solitude...
Solitude
22-05-2017 CRAIG SUMARES-LONG

Bridge

Bridge...
Bridge
22-05-2017 ZAK BENJAMIN

Eyesalve

Revelation 3:18. &qu...
Revelation 3:18. "...anoint thine eyes with eyesalve, that thou mayest see." We need to learn to look at each other with compassion.
06-05-2017 STANLEY SPENCER

A Village in Heaven 1937

Oil on canvas Captio...
Oil on canvas Caption from Art UK; "A frieze shaped painting depicting an imaginary scene of a heavenly village based on Cookham in Berkshire. Groups of adults and children are dancing and playing in the village square around a central stone obelisk, at the foot of which sits a vase of flowers. The figure of Jesus stands to the left of the obelisk, watching figures dancing and playing, a group to the far left can be seen playing amongst the trunks and roots of three trees. There are more dancing and playing figures to the right, with the village green in the background." In the collection of Manchester Art Gallery. Copyright the Estate of Stanley Spencer
06-05-2017 STANLEY SPENCER

The Resurrection Reunion - Triptych 1945

Oil on canvas in 3 p...
Oil on canvas in 3 parts; the rising out of the graves, the rejoicing, and then maybe rehabilitation - the gravestones becoming something of a conversation piece to the newly-risen...painted as part of a series of resurrection scenes situated in a graveyard which could be Cookham. In the collection of Aberdeen Art Gallery, copyright The Estate of Stanley Spencer
06-05-2017 STANLEY SPENCER

Crucifixion

A large oil on paper...
A large oil on paper (laid on canvas) in the collection of Aberdeen Art Gallery
06-05-2017 STANLEY SPENCER

Baptism of Christ, pencil drawing 1943/4

A study for a larger...
A study for a larger work; Christ sits in the water surrounded by fish, with John the Baptist in animal skins leaning over. In the permanent collection of the Stanley Spencer Gallery, Cookham, UK
04-05-2017 WILLIAM BLAKE

"Illustrations to the Book of Job (Butts Set) by William Blake"

Link to the William ...
Link to the William Blake Archive. 21 watercolours with pen and ink drawing, each approx 23cms x 28cms, illustrating the Book of Job - (1805/6 and 1821/27) commissioned by Thomas Butts, 1805/6, in the collection of the Pierpont Morgan Library, Morgan Library and Museum, New York, USA. Copyright the William Blake Archive
06-04-2017 GANGI

The Voice John Heard

Paper Collage on Arc...
Paper Collage on Archival Paper
06-04-2017 GANGI

Woman Clothed with the Sun

Pastel on Archival p...
Pastel on Archival paper
06-04-2017 GANGI

Psalm 40: 7

Paper Collage on Arc...
Paper Collage on Archival paper
06-04-2017 GANGI

Psalm 15: 2

Paper Collage on Arc...
Paper Collage on Archival paper
06-04-2017 GANGI

Psalm 40

Paper Collage on Arc...
Paper Collage on Archival Paper
06-04-2017 GANGI

Letter to Ephesians

Pastel drawing on Ar...
Pastel drawing on Archival paper
06-04-2017 GANGI

Blind Sight

Pastel on Archival P...
Pastel on Archival Paper
06-04-2017 GANGI

Graceful Aureole

Pastel drawing on ar...
Pastel drawing on archival paper
04-04-2017 GANGI

Emerging from the shadow

pastel on archival p...
pastel on archival paper
04-04-2017 GANGI

Psalm 18

Paper Collage on arc...
Paper Collage on archival paper
29-03-2017 STEPHEN MILLER

Andrea del Sarto’s Madonna of the Harpies

An extract from chap...
An extract from chapter 5 of my book 'The Word made Visible in the Painted Image…' (Camb. Scholars Pub., January 2016). The extract looks at the iconography in Andrea del Sarto’s Madonna of the Harpies, discussed in the context of Revelation 9.
29-03-2017 STEPHEN MILLER

Temptation and Expulsion in The Book of Genesis: Michelangelo, the Sistine Chapel and the Serpent with a Female Human Head

Relates to iconograp...
Relates to iconography and biblical reception, primarily in Italian Renaissance art. A short paper on Michelangelo’s Temptation and Expulsion scene from the Sistine Chapel ceiling, exploring the intersection between iconography in art and theology, drawing on extracts from Genesis 1, 2 and 3. It is titled: Temptation and Expulsion in The Book of Genesis: Michelangelo, the Sistine Chapel and the Serpent with a Female Human Head
16-02-2017 EDITORIAL TEAM

The Book of Books, David Lyle Jeffrey (contributor)

The whole illustrate...
The whole illustrated text of the book accompanying the opening of the 'Book of Books' exhibit at the Bible Lands Museum, Jerusalem; a series of 17 essays on the Biblical Canon and its dissemination; the copying, printing and illuminations of Bibles - from the earliest manuscripts to a revisualisation of the past using cutting edge technologies. See the index page 4.
14-02-2017 EDITORIAL TEAM

Sacred Proposals and the Spiritual Sublime, David Lyle Jeffrey

An essay on the para...
An essay on the paradox of sacred love and sacrificial suffering; considering the Annunciation in visual art and poetry.
14-02-2017 EDITORIAL TEAM

Meditation and Atonement in the Art of Marc Chagall by David Lyle Jeffrey, Baylor University

Chagall’s crucifix...
Chagall’s crucifixion paintings, long a delicate subject among art historians, are best contextualized in the light of his life-long repatriation of Christian iconography to its Jewish foundation. Chagall reverses typological sequences familiar to Christians, so that instead of the Old Testament being seen as prefiguring the events of the Gospels, in his work the New Testament refers back to the Hebrew Scriptures in such a way as to illuminate the universal in Jewish experience. In Solitude (1933) and The Yellow Crucifixion (1943) we see how Chagall achieves a remarkable fusion of Jewish and Christian understandings of meditation and visual commentary on the Scriptures, prophetically calling both traditions to repentance and reconciliation. [DLJ]
14-02-2017 ADMINISTRATOR

The Methodist Modern Art Collection

A collection, begun ...
A collection, begun in the 1960's, of over 40 works by major modern and contemporary artists, the purchases initiated by a desire to connect people inside, and outside the church with different views of the Christian message, and the aesthetics of faith. The collection as a whole or in part can be borrowed, and a list of current exhibitions can be found on the site, as well as videos and commentaries.
05-02-2017 EDITORIAL TEAM

Lord Harries, 'Understanding Faith through the eyes of Stanley Spencer'

Gresham College lect...
Gresham College lecture on You Tube, uploaded on August 26th, 2011 The reputation of Stanley Spencer continues to grow. All his life he painted Christian themes with his fresh and distinctive vision. For him art was the product not so much of talent as love, and this love enables us to see everything as it truly is, newly risen to life. The transcript and downloadable versions of the lecture are available from the Gresham College website [LRH]
05-02-2017 EDITORIAL TEAM

Lord Harries, 'The Resurrection of Christ in Art'

Gresham College lect...
Gresham College lecture on You Tube uploaded on August 26th, 2011. This is the most difficult of all Christian themes to convey in visible form and the early church approached it with proper reticence. Whilst the Western Church developed an over-literalistic image, the Orthodox Church gave it a powerful symbolic rendering. The 20th century, with its massive suffering, found this hopeful theme particularly problematic. The transcript and downloadable versions of the lecture are available from the Gresham College website [LRH]
05-02-2017 EDITORIAL TEAM

Professor Ben Quash,'God's Good Order and the Artist's Patterns

Gresham College lect...
Gresham College lecture on You Tube, published on April 12th, 2013. For centuries of western history, the beauty of art was conceived as a response to, and a reflection of, the cosmic artistry of a good God, who patterned all things well. Aesthetic order was therefore a manifestation of cosmic order, and beauty an expression of the good providence of a benevolent God. In the modern period patterns have seemed like the consoling creations of people worried that they live at the mercy of an arbitrary universe. What do patterns in art (pre-modern and then modern) tell us about our changing perspectives on the world we live in? The transcript and downloadable versions of the lecture are available from the Gresham College website [BQ]
05-02-2017 EDITORIAL TEAM

Lord Harries, 'The Explosion of Modernism, and Christian Faith'

Gresham College lect...
Gresham College lecture on You Tube, uploaded on November 3rd, 2011. The period before World War I saw an extraordinary burst of creativity in all the arts which has decisively effected all subsequent developments. This lecture will look at the emergence of expressionism and amongst other artists will consider in detail the work of Nolde, Jacob Epstein and Rouault. The transcript and downloadable versions of the lecture are available from the Gresham College website. [LRH]
05-02-2017 EDITORIAL TEAM

Lord Harries and Professor Ben Quash, 'Thinking theologically about Modern Art

Gresham college disc...
Gresham college discussion on You Tube, published May 8th, 2012 At the end of the conference, 'Thinking Theologically About Modern Art', the speakers review issues raised by the proceeding talks. The speakers are: * Professor the Rt Revd Lord Harries * Professor Ben Quash * Professor Frances Spalding * Professor George Pattison * Dr Jonathan Koestlé-Cate * Roger Wagner This discussion was a part of the Gresham College conference, 'Thinking Theologically about Modern Art'. The full conference can be accessed on the Gresham College website. [LRH], [RW]
05-02-2017 EDITORIAL TEAM

Roger Wagner, 'Contemporary Christian Art; Marching to an Antique Drum'

Gresham College lect...
Gresham College lecture on You Tube, uploaded on May 4, 2012 Artist Roger Wagner offers an overview of his own career and perspectives on the pressures faced by a modern Christian artist. He details the influence of artists such as Giorgio de Chirico and TS Eliot on his work, as well as his resistance to what Robert Hughes has called "institutional modernism". This talk was a part of the Gresham College conference, 'Thinking Theologically about Modern Art'. The full conference can be accessed on the Gresham College website: [RW]
05-02-2017 EDITORIAL TEAM

Lord Harries, 'The Crucifixion of Christ in Art'

Gresham College lect...
Gresham College lecture on You Tube, uploaded on Aug 24, 2011. There are no surviving depictions of Jesus on the cross in the catacombs, but by the middle ages it had become the definitive and defining image of Christianity. Yet there have been, and continue to be, major shifts in what this image has been trying to convey. [LRH]
05-02-2017 EDITORIAL TEAM

Lord Harries, 'Jesus in Art'

Gresham College Lect...
Gresham College Lecture on You Tube , uploaded on Aug 12, 2011 Early Christian carvings depict Jesus as a beardless Roman youth. Yet the image with which we are familiar is very different. This lecture will explore the dominant imagery associated with Jesus in different ages and cultures. [LRH]
05-02-2017 EDITORIAL TEAM

Lord Harries, 'The First Christian Art and its Early Development'

Gresham college lect...
Gresham college lecture on You Tube, August 11th, 2011 The earliest surviving Christian art is in the catacombs in Rome. This lecture will look at how this developed, survived two centuries of iconoclasm and established itself with a distinctive rationale. [LRH]
05-02-2017 EDITORIAL TEAM

Lord Harries, 'Contemporary Christian Art'

Gresham College lect...
Gresham College lecture on You Tube, April 10th 2012. Contrary to much opinion, the current scene of faith-related art is very much alive. There are new commissions for churches and cathedrals, a number of artists pursue their work on the basis of a deeply convinced faith, and other artists often resonate with traditional Christian themes, albeit in a highly untraditional way. The challenge for the artist, stated in the introduction to the course of lectures above, is still very much there: how to retain artistic integrity whilst doing justice to received themes. This lecture is part of Lord Harries' series on 'Christian Faith and Modern Art'. The last century has seen changes in artistic style that have been both rapid and radical. This has presented a particular problem to artists who have wished to express Christian themes. [LRH]
05-02-2017 EDITORIAL TEAM

Lord Harries, 'Modern Art - Enemy or Friend of Religious Art?

Gresham College Lect...
Gresham College Lecture on video, 9th October 2013. The last century has seen changes in artistic style that have been both rapid and radical. This has presented a particular problem to artists who have wished to express Christian themes. This illustrated lecture looks at how different artists have responded to the challenge of doing this whilst retaining their artistic integrity. [LRH]
05-02-2017 EDITORIAL TEAM

Lord Harries, 'Modern Art in Churches'

Gresham College lect...
Gresham College lecture on video, 3rd December 2013. Lord Harries looks specifically at modern works of art that have been commissioned for, or placed in churches over the last 70 years and finds here an encouraging story. His book 'The Image of Christ in Modern Art' was based on this series of lectures. [LRH]
05-02-2017 EDITORIAL TEAM

Lord Harries, 'The Pieta in Art

Gresham College vide...
Gresham College video lecture, 31st March 2015, exploring the visual history of one of the most moving of all Christian images. [LRH]
26-01-2017 EDITORIAL TEAM

Stephen Prickett, 'A Biblical Chain Gang'

An essay from '...
An essay from 'The Edinburgh Companion to the Bible and the Arts'; the Arts and the understanding of religion are inextricably hitched together...progress in one leads to greater insights into the other.
26-01-2017 EDITORIAL TEAM

Stephen Prickett; The Introduction to 'The Edinburgh Companion to the Bible and the Arts'

Editor's introd...
Editor's introduction to a series of essays and insights on the current relationship between the Bible and the various specialisms of the invited contributors, unapologetically from their cultural and historical viewpoints. By kind permission Edinburgh University Press
05-01-2017 WILLIAM BLAKE

Link to the Blake Archive - Illustrations to Milton's 'Paradise Lost' by William Blake, the Thomas Set, 1807

12 illustrations; wa...
12 illustrations; watercolour with pen and ink each approx 25cms x 21cms, probably commissioned by Rev Joseph Thomas in 1807, currently in the Henry E. Huntington Library and Art Gallery, San Marino, Cal. USA Copyright: 2008 Henry E. Huntington Library and Art Gallery
13-12-2016 JENNIFER BELL

All things must pass

1Corinthians :13 rew...
1Corinthians :13 reworded and set to Thomas Tallis's 3rd Mode Melody. Played and sung by Jennifer Bell, arranged by Christopher Bell
08-09-2016 JENNIFER BELL

Sanctuary wall mural

A mural painted for ...
A mural painted for The Church of the Holy Spirit, West Bridgford, Nottingham, painted out in 2015
05-09-2016 WILLIAM BLAKE

Eve tempted by the Serpent

Painted 1799-1800 Im...
Painted 1799-1800 Image courtesy ArtUK Photo credit Victoria and Albert Museum
05-09-2016 WILLIAM BLAKE

The Judgement of Solomon

Image from ArtUK, Ph...
Image from ArtUK, Photo credit, Fitzwilliam Museum, Cambridge
05-09-2016 WILLIAM BLAKE

Biography and notes on William Blake's works and faith

The Wikipedia entry ...
The Wikipedia entry for William Blake
08-08-2016 JESSICA RANNACHAN

The Rapture

The Resurrection - D...
The Resurrection - Daniel 12:22; ‘Many of those sleeping in the dust of the earth will awaken, some to everlasting life.’ This painting is not part of the Book of Revelation formally, however it is our hope; The Resurrection. (or ‘Rapture’) ‘To wait for his Son from heaven, whom he raised from the dead, even Jesus, who delivers us from the wrath to come’. 1 Thessalonians 1:9-10. 1 Thessalonians 4:16 - 18 ‘..for the Lord himself will come down from heaven, with a loud command, with the voice of the archangel and with the trumpet call of God, and the dead in Christ will rise first. After that, we who are still alive and are left will be caught up together with them in the clouds to meet the Lord in the air. And so we will be with the Lord forever. Therefore encourage each other with these words.‘ Luke 21:34 - 37 ‘Take heed to yourselves, lest haply your hearts be overcharged with surfeiting, and drunkenness, and cares of this life, and that day come on you suddenly as a snare; for so shall it come upon all them that dwell on the face of all the earth. But watch ye at every season, making supplication, that ye may prevail to escape all these things that shall come to pass, and to stand before the Son of man.’ In this painting you can see Ian and I going up to meet the Lord in ‘a twinkling of an eye’. I take the ‘pretribulational’ view that says that this taking away or ‘rapture’ of the true believers happens before the time of the seven year Wrath of God, known as the ‘tribulation’. It does not begin the tribulation however. There are actually eight different views on this issue I am told! ‘The Footsteps of the Messiah’ says ‘the pretribulational view is the most continuously harmonious interpretation of prophecy’. (p.xxvii). According to 1 Corinth. 15:23 The resurrection is ‘each in its own order’, meaning the saints go at different times. So first Jesus was resurrected, then we will be if we are alive at the time of the rapture along with all the church saints, then the two witnesses of Rev.11, finally old testament saints and tribulation martyrs.
03-08-2016 JESSICA RANNACHAN

Israel Reborn

Micah 2:12 ‘I will...
Micah 2:12 ‘I will surely gather the remnant of Israel like a Shepherd of Botzrah, like sheep in a pen.’. Zech. 12:7 Jehovah also shall save the tents of Judah first, that the glory of the house of David and the glory of the inhabitants of Jerusalem shall yet again dwell in their own place, even in Jerusalem. Zech. 12:10 And I will pour upon the house of David and upon the inhabitants of Jerusalem, the spirit of grace and of supplication; and they shall look unto me whom they have pierced; and they shall mourn for him, as one mourneth for his only son. After the taking of Jerusalem, AntiChrist’s armies head down to Botzrah or Petra in southern Jordan, where they intend to finish off the divinely rescued remnant of the Jewish people, who are being provided for in this city. Interestingly the city of Petra would be easy to defend as it has a long wadi ‘entrance’ that is very narrow, this would be similar to a ‘sheep fold’ in that there is just a narrow entrance to the circular ‘pen’ or city space. Petra is located next to ‘Botzrah’. The scripture says that Adonai will save the tents of Judah first indicating that they are in southern Jordan, Petra, instead of Judah. Jordan will be the only place that AntiChrist does not rule (Daniel 11:41) The point being that this is the place where the Jewish people will first realize that Jesus is their Messiah. Whether this is from the preaching of the 144,000 evangelists with them, or by their leaders. They will be led in repentance for the rejection of the Messiahship of Yeshua. (Zech. 12:10) This will bring about a national regeneration of Israel, where the whole nation will be saved. Also the Jewish people in Jerusalem, through the holy spirit also realize the truth that Yeshua is their Messiah. The mount of Olives will be split in two causing an East West channel to open up next to Jerusalem which will be the means for these souls to escape a coming devastating earthquake. The Jews of Petra, with AntiChrist’s armies almost upon them CRY OUT FOR YESHUA
03-08-2016 JESSICA RANNACHAN

Our crowns

Receiving our crowns...
Receiving our crowns in heaven. 11 Timothy 4:7-8 ‘I have fought the fight, finished the course, kept the faith. Henceforth is laid up for me a righteous crown. Which our Lord, the righteous judge will give to me on the day. And not just to me but to all those who have loved his appearing (wanted and waited for his return)
03-08-2016 JESSICA RANNACHAN

Revelation 22: 2

Leaves for the heali...
Leaves for the healing of nations,tree of life
03-08-2016 JESSICA RANNACHAN

Revelation 21: 1-4

The Book of Revelati...
The Book of Revelation gives some new information about the ‘New Jerusalem City’ which is the glorious eternal home and concerns itself mostly with this city. The rest of the Old Testament is mostly concerned with the ‘Millennial kingdom’ the thousand year reign of Christ that comes before the New Jerusalem abode. This is our glorious eternal home, the New Jerusalem, made of transparent gold. It is being viewed by John, who was taken to a high mountain to see it coming out of heaven. The city exists somewhere today. It has the appearance of a diamond and is also a cube. It has a height of 1200 miles, by the same width and depth. Possibly it looks like the longest skyscraper you ever saw! It has twelve pearly gates named after the twelve sons of Jacob, showing that the Jewish names will go on forever, however there is no mention of any functional difference between Jewish and other people. The city has twelve foundation stones, composed of precious stones. They are named after the twelve apostles. Isaiah chapter 54 vs. 12 ‘Oh afflicted city, unconsoled. I will lay your stones in the finest way. Your foundation stones of sapphire, Your windows will beam with rubies’.
03-08-2016 JESSICA RANNACHAN

Revelation 19: 9

The wedding feast p...
The wedding feast probably kicks off the millennial reign of Jesus Christ upon the earth. He will be ruling and reigning from Jerusalem, now the tallest mountain upon the earth, (Micah 4:1) ruling with a definites chain of command. In the 1000 yr. Messianic age people will be righteous (Psalm 15:1 - 5), at peace (Isaiah 2:2 - 4). Warfare will be over, conflicts will be resolved by the word of God coming from Jerusalem. There will be peace with animals who will all be vegetarians. (Isaiah 11: 6 - 9,) There will be a renovation of heaven and earth with some new things. People will all live at least until 100yrs. old, those who die at age 100 will be unbelievers. They are there as their believing parents were admitted to the Messianic kingdom at the time of Jesus’s judgment in the Valley of Jehosphat (Joel 3:1 - 3). As the years go buy these unresurrected people will have children and these will have the opportunity to receive Jesus as Lord, some won’t and they will be the people who die at 100 yrs. The Messianic Kingdom will be a time of peace, prosperity and long life.
03-08-2016 JESSICA RANNACHAN

Revelation 19:19 to 20:3

AntiChrist is resurr...
AntiChrist is resurrected again. This time as the first fruits of the 2nd resurrection to play out this counterfeit role of the son to completion. Rev. 19:19 And I saw the beast, and the kings of the earth, and their armies, gathered together to make war against him that sat upon the horse, and against his army. And the beast was taken, and with him the false prophet that wrought the signs in his sight, wherewith he received the mark of the beast and them that worshipped his image: they two were cast alive into the lake of fire that burneth with brimstone: and the rest were killed with the sword of him that sat upon the horse, even the sword which came forth out of his mouth: and all the birds were filled with their flesh. Daniel 7:11 I watched as the animal was killed, its body given over to be burned up completely. After the thousand years, Satan is released. He calls all unbelievers to the final battle but fire comes down from heaven and consumes them. A great white throne is set up to judge all the rebels and all the dead. Those not written in the book of life received their punishments, like the rewards for the righteous, there are levels of punishment. They are all hurled into the lake of fire.