I got this book from the library. It is a horrible book to take out of the library. Don't do it. If you are interested buy your own. Kurtz gives littlI got this book from the library. It is a horrible book to take out of the library. Don't do it. If you are interested buy your own. Kurtz gives little creative motivational pep talks on tear away pages that you can post where you need it to help you keep going, keep creativing, cope with working at home, or just get $#!& done....more
I rescued this book from the free rack at my local library. It provides a biblical theology of the arts, primarily built on Bezalel (Exodus 31), the cI rescued this book from the free rack at my local library. It provides a biblical theology of the arts, primarily built on Bezalel (Exodus 31), the craftsman filled with the Holy Spirit, who built the tabernacle (Oliab gets the shaft), contrasting it with Aaron's misuse of art in the crafting of the Golden Calf. By contrasting the worshipful and proper use of art, and the ways that art can be directed toward idolatry (another example he draws on is the Bronze Serpent, which symbolized God's deliverance, but later became an idol), he gives a great overview of both the gifts and dangers of art. Since Veith wrote this, in 1983, there have been a number of thoughtful theologies of the arts. This book feels a little dated (e.g. arguing that though lots of abstract art is antichristian, non-representational art is affirmed in the Bible and can be explored by Christians). The conversation has moved some. Veith writes from a strong Evangelical Reformed tradition and it is reflected in his writing. ...more
I am something of an artist and the son of an artist. I love color. But color is not just the purview of the Artists, Werner's Nomenclature of ColoursI am something of an artist and the son of an artist. I love color. But color is not just the purview of the Artists, Werner's Nomenclature of Colours by Patrick Syme was the book used by naturalists in the 1800s (originally published in 1814) to describe the colors of animals, vegetation and minerals they encountered in the natural world. It is the book that Charles Darwin drew on to describe colors of nature on his Beagle voyage. The colors are listed, with a description of what other colors or pigments are mixed in to achieve a particular hue. As someone who paints (oils), this is fascinating to me. And there are tables with little squares of color, describing what animal, vegetable and mineral approximate each hue. This is the sort of book you need if you hope to be a modern major general....more
This isnt a beginners guide so much as basic guide lines for approaching oils, techniques, compositions, colors and vakues. Some helpful reference stuThis isnt a beginners guide so much as basic guide lines for approaching oils, techniques, compositions, colors and vakues. Some helpful reference stuff in here a r some suggestions, including some suggested pallets for seasons, water, etc, and general descriptions of techniques....more
This is a book I've had on my shelf for awhile and never went through until now. I fancy myself an artist, though I've been a blocked artist. CreativeThis is a book I've had on my shelf for awhile and never went through until now. I fancy myself an artist, though I've been a blocked artist. Creatively reclined, I call myself. A creative without much output. I went through this book, with a group from church, and I finally read it cover to cover.
Julia Cameron is kind of an interesting character. I'm not going to say I love everything about this book, or think she's right about everything. She seems a little out there, and I was curious enough to watch her movie which is free on prime to see what kind of creative she was (it's called God's Will, if you are interested). I didn't like that movie much at all (though I think it would be fun as a play at a community theatre). But I can't deny that doing the tasks, and artist dates, and morning pages has been transformative and I am doing creative things I only thought about doing before, and I've faced some ugly stuff I've got swirling around inside. Because I good part of the process is personal work, I've been able to connect the dots with Christian spirituality in a way that is meaningful and this has been really helpful.
Artist dates and self care is also a good component for me....more
Molly Bang is a children's book author and illustrator. We read Ten, Nine, Eight to our eldest daughter as part of our night routine until the board bMolly Bang is a children's book author and illustrator. We read Ten, Nine, Eight to our eldest daughter as part of our night routine until the board book tore and disintegrated. And we read Goose and books about Sophie and other books of hers we unearthed from the stacks of our public libraries.
This isn't a kid's book but a pictorial essay about how pictures--shapes, placement and composition--work on the viewer/reader. Bang observes the calming effect of the flat, the round, the horizontal, the strength, and defiance of the vertical, and the dynamism of the diagonal. She also discusses the nature of colors, the placement of objects on the page (toward the top, more spiritual and more important to the viewer; toward the bottom more gravity). And of course
She uses simple drawings of shapes and lines to make her principles clear (a triangle red riding hood encountering an angular black, red-eyed wolf in the forest).
Getting back into painting, I found Molly Bang's advice both playful and helpful. She recommends cutting out shapes of construction paper and playing to figure these things out. ...more
I became aware of Christoph Niemann through the Abstract: Art of Design docuseries on Netflix (Niemann is the focus of episode 1). Since then I starteI became aware of Christoph Niemann through the Abstract: Art of Design docuseries on Netflix (Niemann is the focus of episode 1). Since then I started following him on Twitter and Instagram and love his playful style, both in his formal New Yorker/NYTs work, and his playful abstracts and animations incorporating everyday objects into his sketches. This is from 2012 and exemplifies his style well. ...more
Foundations of Drawing is not a "how to" book, with step-by-step instructions or a flourish of happy trees. Instead, Gury has compiled a resource which discusses the essential elements to drawing: art history, art mediums, materials and tools, skills and techniques, aesthetics and various subject matters (e.g. still lifes, architecture, portraits and figure drawing).
As such, I found this to be a good at-a-glance' resource for understanding the building blocks of drawing. It is like Elements of Style for artists, but with a lot more naked people. I knew a lot of the 'art history' portion of this book already, but the section on drawing materials was quite informative as a resource for understanding different drawing mediums & instruments (e.g. pen, pencil, charcoal, chalk, pastels, crayons, brush and paints, mix media). The section on techniques also has great information on how to achieve certain effects in various medium, and in composing drawings.
The book is full of illustrations, demonstrating a variety of styles and techniques (as shown from the cover). I would recommend this book to anyone interested in honing their craft as an artist and learning about various styles. Beginner artists may wish for a more step-by-step manual, but this would still be a good resource to have around. I give it four stars. - ★★★★
Notice of material connection: I received a copy of this book from Blogging For Books in exchange for my honest review. ...more
As a Protestant, I don't spend too much time thinking about Mary. When I do, it is often in the Advent, Christmas season, reading of Mary's AnnunciatiAs a Protestant, I don't spend too much time thinking about Mary. When I do, it is often in the Advent, Christmas season, reading of Mary's Annunciation, her Magnificat, the Holy Family at the manger, and the things she treasured in her heart. Certainly, I knew she was special (there is something about Mary), but Marian devotion, despite its prevalence in the historic and global church, has always been conceptually opaque to me.
This was Rev. Jill Geoffrion's experience too when as a lifelong Protestant, she endeavored to locate and photograph each of the Chartres Cathedral's 175 images of Mary (Preface, xix). As a professional photographer, a Chartres guide, workshop and retreat leader, and author of seven books on the Labyrinth (inspired by her work with the Chartres Labyrinth), she is well acquainted with the sacred space that is Chartres. Catholic colleagues at the Cathedral answered her questions about the theology of Mary in Catholic church history.
Geoffrion's photos are cataloged and organized in five chapters. In Chapter 1, Geoffrion shares images that reflect a biblical theology of Mary, images which depict her role as Mother of Jesus (e.g. at his nativity and her influence on him at the wedding of Cana). Chapter 2 depicts images of Mary that reflect her role as Theotokos—the Mother of God. Chapter 3 explores Mary as the Mother of the Church, depicting scenes of Mary at Christ's passion, the empty tomb, and her intercession for the church. Chapter 4 explores how Mary is the Mother of us all, showcasing images of Marian devotion. Finally, Chapter 5 explores the ongoing significance of Mary in the Twenty-Fist Century (depicting some of the newest Marian pieces).
Each of Geoffrion's beautiful photographs is accompanied by a page-long-explanation of the work depicted, and what it reveals about Mary's historic and theological significance in the Catholic tradition. Visions of Mary is published by Mount Tabor Books, an imprint of Paraclete Press focusing on ecumenical scholarship on the arts and literature, liturgical worship and spirituality.
Geoffrion's photographs, as well as the art of Chartres itself, are quite stunning. I came away from this photo tour with a greater appreciation for the depth of devotion and reflection on Mary captured in its art. Geoffrion's Protestant background allows her to approach Marian art and devotion with a gentle hand, describing it without being heavy-handed on application. This is perfect for an ecumenical book on Mary. And it is beautiful. I give this five stars and recommend it if you have been to or plan to travel to Chartres Cathedral. It will certainly enhance your appreciation for all you will discover there! - ★★★★★
Notice of material connection: I received a copy of this book from Paraclete Press in exchange for my honest review ...more
Clyde Kilby(1902-1986)was renowned for popularizing the works of C.S. Lewis, Tolkien and the Inklings among American evangelicals (and founding WheatoClyde Kilby(1902-1986)was renowned for popularizing the works of C.S. Lewis, Tolkien and the Inklings among American evangelicals (and founding Wheaton's Marion F Wade Center). However, he was also Wheaton's professor of English and wrote prolifically and thoughtfully about the Arts and aesthetics. Kilby attempted to allay evangelical suspicion of imagination and aesthetics and provide a positive vision for Christians in the Arts.
The Arts and the Christian Imagination: Essays on Art, Literature, and Aesthetics(Mount Tabor Books, 2016)edited by William Dyrness and Keith Call bring together many of these essays, some previously published, and some published here for the first time. In many ways, conversation evangelicals were having about arts in the fifties, sixties, seventies, and eighties has moved some. There is less, general suspicion of the imagination. Today, Evangelical voices like W. David O. Taylor, Jeremy Begbie, Luci Shaw, Makoto Fujimura, Dyrness, and others, have all carried these conversations in new directions; nevertheless, Kilby provided an apology for imagination and helped set the trajectory for evangelical engagement in the arts.
The essays in this volume are divided into four sections, each with an editor's introduction by Dyrness. Part 1—Christianity, The Arts, and Aesthetics—lays out in detail Kilby's aesthetics. Dyrness and Call include Ninety-five pages from Kilby's 450 page manuscript on Christianity and the arts, a previously published thirty-page booklet and a Christianity Today article, Kilby wrote that interacted with Selden Rodman's The Eye of Man. In these pages, Kilby argues that the choice is never between aesthetics and no aesthetics, but between a good aesthetic and a bad aesthetic. Thus, he urges his fellow evangelicals toward the making of good art. He speaks glowingly about the role of imagination and lays out a Christianized-Platonic aesthetic of forms.
Part 2, The Vocation of the Artist, discusses Evangelicals in the Arts. Kilby argues in "Christianity and Culture" that Christian artists need to clarify and take a stance on their belief in culture (e.g. is Christianity coterminous with culture, or against culture, or somewhere in between). In the chapter entitled, "In Defense of Beauty," he argues against P.T. Forsyth that the Hebrew Scripture was devoid of an aesthetic. In "Vision, Belief, and Individuality" Kilby sets the 'art experience' along side the scientific 'analytical experience,' seeing value in both. In "Evangelicals and Human Freedom," Kilby takes issue with the notion that the imagination is to be spurned wholesale (though he acknowledges it may get us into trouble. He closes this essay with 8 suggestions for evangelical writers and publishers:
1. A Serious acceptance of poetry, the novel, biography, autobiography and the personal essay. 2. More use of the parable, the parabolic, and allegory. 3. A return to the use of symbol. 4. Publishers demonstrating more care in accepting, editing, proofreading, illustrating and laying-out manuscripts. 5. More willingness for publishers to 'lift the evangelical taste.' 6. The establishment of an evangelical writers' colony. 7. Week-long conferences with evangelical publishers, editors, writers, and critics that would face Christian publishing problems honestly. 8.Engagement with classics like Aristotle's Poetics or Plat's Crito and Apology to find better models of ideas and style 9. And that as Evangelicals, we learn to poke some fun at ourselves (197-198).
Part 3, Faith and the Role of the Imagination' has five essays which probe the value of the imagination in the Christian life (the first of which is in the form of an imagined dialogue on the nature of belief). In Part 4, Poetry, Literature and Imagination, Kilby offers his defense of Poetry and fiction (as an English professor at an Evangelical institution).
There is no question that Evangelical engagement with the Arts is more positive than the Evangelical world that Kilby addressed. However, this book has value beyond its critique of a bygone era. Kilby showed how the arts bring glory to God. His words spoke into a suspicious evangelical context and imparted a sense of wonder. Anyone who cares about the state of Christianity and the arts will find Kilby's words instructive. I give this four stars. ★★★★
Notice of Material Connection, I received a copy of this book from Paraclete Press in exchange for my honest review...more
C.S. Lewis famously said, "I believe in Christianity as I believe that the sun has risen: not only because I see it, but because by it I see everythinC.S. Lewis famously said, "I believe in Christianity as I believe that the sun has risen: not only because I see it, but because by it I see everything else."By that, he meant that the contours of the Christian story shaped his perception of the broader world. It gave him eyes to see. And with imagination, he helped many of us to see the Christian story (and everything else) through evocative works like the Chronicles of Narnia and the Space Trilogy. What is true of Christianity is true of the Arts and the artist, no less the Christian artist, could also say "That through art and because of it, she sees everything else."
If the biblical story is the lens through which we as Christian see, the Arts have the ability to sharpen our focus. InImagining the Story (Cascade Books, 2017), Karen Case-Green and Gill C. Sakakini, engage the biblical story, bringing it into conversation with poetry, the visual arts, and creative enterprise. Intended as a coursebook for artists in community, they retell the bible story through a series of 'C' words, helping us to see implications for art and faith: Creation, Crisis, Calling, Conception, Coming, Cross & Comeback, Charisma, Community, Church, Consummation.
Case-Green and Sakakini bring pastoral, theological and aesthetic insight to the biblical story. Case-Green is a Baptist preacher and writer, who has lectured in English at the University of Surrey. Sakakini is an artist and teacher, a faculty member of the Grunewald Guild, and has taught at Carey Theological College. I met her when we were students together at Regent College. She is presently training as an Anglican priest. Her depiction of Christ's incarnation provides the cover art for this book. These two women meld their insights into the biblical narrative, with their appreciation and engagement of visual arts and literature.
Each chapter cycles through four components, we as readers are invited to engage. First, we read a passage of scripture (e.g., chapter 1, on Creation has us read Genesis 2:4-20, p 2-3). Second, we are invited to respond to the passage, through a series of questions on the text. Third, we reflect, bringing the passage, and the chapter of the story we are in, into conversation with works of art or poetry. Here also, Case-Green and Sakakini give their own reflections on the implication of the biblical story for them as artists and believers. Finally, we are invited to make—"a chance to playfully participate in the story by creating something—either visual or verbal—in response to the particular theme of the chapter" (xxii). As this book is intended as a coursebook, the reflections, and creative projects work best in group discussions and contexts, though the book can be read, as I read it, on one's own. However, in order to fully appreciate what Case-Green and Sakakini are doing, this book ought to be read slowly, and each of the four components engaged fully.
In the forward, W. David O. Taylor, recalls the words of Calvin Seerveld, "God's Spirit calls an artistic practitioner to help their neighbours who are imaginatively handicapped, who do not notice there are fifteen different greens outside their window, who have never sensed the bravery in bashfulness, or seen how lovely an ugly person can be" (xiv). Taylor writes:
For the Christian the twin gift of coherence and attentiveness afforded by good works of art comes as welcomed news. In fact, it's nothing less than gospel stuff. It's the sort of things, I'd hope, that we ought to be making and promoting and patronzing ourselves. And, in a sense that is exactly what Gill and Karen offer the reader in their book, Imaginging the Story (xiv).
This is the gift that this book offers. Case-Green and Sakakini invite us to contemplate the old, old Story and to reflect on evocative works of art. They have produced an accessible guidebook to a whole new way of seeing the Bible, the Faith, Creation and Creating—and everything else. The book is chock-full of images, though the printing of the book I read, is in black and white. However, a tech-savvy reader can find many of theses images online (including Gill Sakakini's own gallery). Sometimes, they include web links to artist web pages in their footnotes. To me doing the extra step of looking for full-color and larger renderings, enhanced my appreciation of what Sakakini and Case-Green were doing through this book.
I recommend this for small groups, classes or anyone interested in seeing the Good, True, and Beautiful through the eyes of Scripture and the Arts. Four Stars ★★★★
Notice of material connection, I received this book from Wipf & Stock in exchange for my honest review. I was not asked to write a positive review. ...more
Over the last few years, there has been a flowering of Christians of all stripes engaged in the visual arts. This has been a vehicle for shared communOver the last few years, there has been a flowering of Christians of all stripes engaged in the visual arts. This has been a vehicle for shared communion between Christians of different ecclesial traditions—Catholic, Protestant, and Orthodox. The Ecumenism of Beautyreflects the deepening and mutual dialogue across denominational lines. Each tradition brings their own peculiar emphasis and theological understanding to the arts.
I'll note my brief criticism from the outset: this book is missing a page with contributor bios. Maybe I am an odd duck, but when I pick up a multi-author volume, I always turn to the contributor page first. Often this only has where they were educated and their current position, but it helps me place their perspective, tradition and what each brings to a topic. Luckily a few of these names were familiar to me and a few paragraphs into each chapter, I knew, in general, what discipline and tradition each author were writing from. There was Timothy Verdon, the book's editor and eminent historian of Christian, religious art, JérômeCottin and William Dyrness, both active in the theology of arts and culture, Vasileios Marinis, an expert in Byzantine iconography, artists Susan Kanaga and Filippo Rossi and Martin Shannon, an ordained Episcopal pastor and devotional author.
Verdon's introduction sets the stage. He describes the difference between the classical Catholic and Protestant aesthetic, as depicted two 16th century paintings. Pieter Neefs the Elder painted Antwerp Cathedral full of ornate iconography, priests and parishioners and sacramental flourish. Pieter Jansz's painting of the interior of St. Odulphuskerk reveals an austere sanctuary where the pulpit alone looks grand. Verdon comments on how the interior of these two churches reflect the beliefs and practices of both Catholics and Protestants—Catholic belief in salvation through ecclesial signs and the solo Scriptura of Lutheranism (ix).
Protestant and especially Calvinists (enthusiastic iconoclasts that they were) are faulted for their lack of religious aesthetic. See, for example, Andrew Greeley's Catholic Imagination (which in memory argued that everything beautiful created by Christians came from Catholics, whereas Protestants were just good at analyzing stuff). However the first two chapters of this volume expose how much this is a gross oversimplifiation. Cottin points out that Calvin had no problem with images, only images used as props for devotion (@) and he points to accomplished Western artists influenced by Calvinist culture (i.e Jacob van Ruysdael, Vermeer, Pieter de Hoock, Vincent Van Gogh) (9). Dyrness's points out that Calvin's concern about idolatry caused him to put a moratorium on religious imagery, but he asks "Why after 500 years, when Protestants are learning again from medieval practices—praying the labyrinth, practicing lectio divina, and embracing Igantian spiritual practices and retreats—are their worship spaces, and their corporate prayer, so often devoid of visual beauty?" (19) He argues that the time is ripe for an aesthetical recovery.
Kanaga, one of the artist contributors describes her life as part of the Community of Jesus, and her commission (along with sculpter Regis Damange) to design elements of the Church of the Transfiguration in Orleans, MA and discuss her art and practice. Kanaga sees abstract sacred art as the perfect vehicle to communicate the indefinite and the ineffible (31-32). Marinis's chapter opens up the spirituality of Byzantine iconography with insights from Fotis Kontoglou 1895-1965) Rossi describes how visual art is an act of contemplation, especially for the artist in the creative process. Shannon's chapter describes the physical space of the Church of the Transfiguration and the way beauty draws the eccumenical, Benedictine community into worship. Verdon's closing chapter reflects on the interplay between Art and liturgy.
As this book focuses on the relationship between beauty and ecclesiology as I read I kept thinking of what historical theologians call the Medieval transcendentals: the true, the beautiful and the good. In an earlier time, these were all held in tension, as each reflecting something important about God. Evangelicals of the protestant tradition, my tribe, were suspicious of beauty as ephemeral and idolatrous, but we emphasized truth and goodness (and two out of three ain't bad). However, we are in the midst of a recovery of Protestant theological aesthetics and religious art. This book extends the dialogue between Orthodox, Catholics and Protestants, while honoring the differences and contributions of each tradition.
Appropriately this book is also beautiful, with full-color images on glossy pages. I think Rossi and Kanaga's chapters were my favorite contributions, not only because they showcased their beautiful artwork, but because they reflected on their spiritual experience as artists. I give this five stars and recommend it to anyone concerned about art and the church—★★★★★...more
I like this book. Amena Brown is a Christian spoken word artist and poet and she explores what she's learned about the spiritual journey through the aI like this book. Amena Brown is a Christian spoken word artist and poet and she explores what she's learned about the spiritual journey through the arts (Hip hop, Djing, dance, and Bruce Lee's Kung Fu). ...more
I grew up with a brand of Christianity which saw culture as a threat. We engaged in culture wars to combat secular humanism and political correct plurI grew up with a brand of Christianity which saw culture as a threat. We engaged in culture wars to combat secular humanism and political correct pluralism. We were suspicious of cultural decay—immorality, socialism, science, heavy metal, the new-age, permissive poitical policies, guys with baggy pants and other pernicious attacks on our Christian worldview. Artists, for their part, were engaged in a culture war of their own— iconoclasts deconstructing institutions, tearing down conventions, destroying the status quo. When my tribe of Christians engaged in the arts, they either imitated secular artists with a thin Christian veneer or produced syrupy, saccharine Christian images (à la Thomas Kinkade). Neither artists or the Christians I knew were doing much to 'care for culture.'
Makoto Fujimura is a new breed of Christian artist. He is deeply steeped in Nihonga (traditional Japanese painting with specialized pigments and dyes). He is renowned for his artwork hanging in galleries around the world. He also founded the International Arts Movement and is currently the Director of Fuller's Seminary's Brehm Center. Fujimura's art is more icon than iconoclast. In fact, one recent project of his is an edition of the King James Version, illuminated by Fujimura's paintings. Fujimura's newest book, Culture Care: Reconnecting with Beauty in Common Life, exemplifies his approach to Arts & Culture, one decidedly different than that of a culture war. Instead, Fujimura looks for ways to steward culture, nurture beauty and generative creativity.
This book consists of nineteen short chapters which give a framework for artists and creatives, advice and encouragement. The first chapter, On Becoming Generative ( previously released as an ebook), gives an overview of what he calls 'generative thinking.' He describes a scene from 1983. Fujimura was a near-starving artist struggling to make ends meet, his wife Judy was in grad school. One day when Fujimura was worried about where their next meal came from, his wife walked in with a bouquet of flowers. Fujimura was indignant, but his wife's response was, "we need to feed our souls, too" (15).
His wife's bouquet became a metaphor for the generative—a fruitful generating of new life and hope. He describes how that experience was a genesis moment, a simple act which fed his soul and renewed his conviction as an artist (17), and generousity in valuing beauty over the worries of the day-to-day and scarcity (18). However, Fujimura also sees the need for generational thinking—"the inspiration to work within a vision for culture that is expressed in centuries and millennia rather than quarters, seasons or fashions" (19-20). In other words, our conception of arts and culture is shaped by the generations before us.
Fujimura goes on to describe what culture care is, "Culture care is to provide care for the culture's 'soul,' to bring to our cultural home a bouquet of flowers so that reminders of beauty—both ephemeral and enduring—are present even in the harshest environments where survival is at stake" (22). Fujimura's generative approach set him on a journey to 'create and present beauty' against the harsh, cynical backdrop of the New York city art world (26).
While Fujimura is not 'cultural warrior' he does stand in opposition to trends that are destructive to culture. He identifies two major pollutants in the river of culture as fragmentation and reductionism. "They are what I call overcommodification of art and utilitarian pragmatism" (34). They have the effect of causing artists in our 'stressed ecosystem' to sell short their artistic vision and output and become bottom feeders of culture for their own personal survival(36). Fujimura's encouragement is to enlarge our vision for the arts. The answer is not culture war but intentional stewardship of our cultural ecosystems. "Destruction and dissolution are far easier than creation and connection. We need vision, courage and perseverance" (43).
Fujimura discusses the need for personal soul care for artists, how beauty feeds our soul, working from the margins ('border walkers,' the meracstapa). calling and the ways business leaders, patrons, and investors make generative art and tending beauty possible. There are tons of practical advice, inspirational stories, and thoughts about culture, aesthetics, and theology. Fujimura illustrates his approach through opening up parts of his own journey as an artist and curator for the arts, and the wisdom he learned from philosophers, pastors, theologians, and fellow creatives.
Fujimura is one of my favorite contemporary artists (my wife was lucky enough to take a class with him at Regent College one summer). I cherish his thoughts on the creative process and culture care. While his focus is on culture care for artists (broadly defined), his discussion of beauty needs to be recovered by the whole church (artists lead the way). I give this book five stars and recommend it for artists, poets, musicians, pastors, business leaders and anyone else that has a stake in shaping culture. ★★★★★
Note: I received a copy of this book from InterVarstiy Press in exchange for my honest review...more
Found this on a free table at a friends-of-the-library sale. It consists of pictures of paintings and drawings from the Museum of Modern Art collectioFound this on a free table at a friends-of-the-library sale. It consists of pictures of paintings and drawings from the Museum of Modern Art collection in the 1970s. The pictures are all in black & white, which certainly would be true to form for some of these pieces, but not all. The mediums used by the artists range from Conté crayon, charcoal, water color, chalk, pen and ink, brush and ink, pencil, gouache and oil. After a four page introduction, the exhibit is reproduced here without commentary. ...more
Iconography is an art-form rooted in Incarnation. Jesus, our God made flesh, showed us the image (eikon) of the invisible God (Col. 1:15). Icons are sIconography is an art-form rooted in Incarnation. Jesus, our God made flesh, showed us the image (eikon) of the invisible God (Col. 1:15). Icons are symbolic depictions of Christ and the saints designed to be "windows of heaven" That is, they invite us to transcend the physical in our move towards the spiritual as we reach for God. They are a meeting place between heaven and earth (similar to prayer or Bible reading). An icon invites us to spend time with an image, not obsessing over brush strokes and the skill of its author (artist), but the spiritual word beyond which it depicts.
iconsIconographer and author, Sr. Faith Riccio, Cj, is the iconagrapher behind Icons: The Essential Collection. The book combines Sr. Riccio's icons of Christ, the apostles, and saint of the church with Scripture, short bios and devotional selections from the tradition and contemporary selections, including authors like Henri Nouwen, M. Basil Pennington, Ernesto Cardenel, Jack Levison, Scott Cairns and Angela Alimo O'Donnell. This a gift book easily read through in one sitting; yet the images reflecting iconography of the Christian tradition and are invitations to encounter.
We meet images of Jesus, his Mother Mary and the Holy Apostles. We also meet saints East ( i.e. Anthony, the Cappadocians, John Chrysostom, Ignatius of Antioch) and West (Gregory the Great, Benedict, Francis). Riccio's style reflects the iconography of the Eastern church (though she is a member of a Catholic Community in Massachusetts). This is a beautiful book. Frederica Mathewes-Green writes the forward and Riccio provides a brief introduction. The scriptures, quotations and devotional selections are well chosen and Sr. Riccio's icons (and close-up details) are beautiful. I say this as a lowly protestant who's imagination is formed more by iconoclasm than icons (protestants after all protest). I don't pretend to understand iconography, but as a lover of art and faith, I am moved by what these images evoke. I give this book four stars. Note: I received this book from Paraclete Press in exchange for my honest review. ...more
This week I partook in a popular new trend: coloring for adults. I had seen this at art therapy displays at fairs, bookstores and big box stores–colorThis week I partook in a popular new trend: coloring for adults. I had seen this at art therapy displays at fairs, bookstores and big box stores–coloring books made for kid in you. So this week when I sat my eight-year-old and six-year-old daughters at the dining room table to work on their homework, I sat with them, a box of colored pencils and my brand new coloring book– Words of Faith, part of the Words of Faith: Color and Sound Set from Paraclete Press.
words-of-faith-color-and-sound-set-16The coloring book is comprised of hand-drawn designs created by the monastics of the Community of Jesus. The left-hand pages have a word with a Bible verse, the right-hand pages have a letter design corresponding to the word and passage. The large letters surrounded by ornate designs reminded me of illustrated medieval manuscripts.
Because it was the third week of Advent, I turned to ‘Joy,’ and began to color the letter “J” a cheerful yellow reserving my deep greens-and blues, my fiery orange and red for the ornate outer rim. As I colored I kept glancing back at the brief scripture, “May the God of hope fill you with joy and peace” Romans 15:13a. This is a passage I have reflected on some in my devotional reading for the week, so the coloring became a chance for me to meditatively enter a space of prayer. A colorful lectio Divina
But this is just one part of the Words of Faith: Color and Sound Set. Providing the soundtrack for my coloring session was a CD recording from Gloriæ Dei Cantores, His Love Endures Forever: Pslams of Thankfulness and Praise. Twenty psalms of praise were set to Anglican Chant and recorded at The Church of the Transfiguration in Orleans, MA under the direction of Elizabeth Patterson. Beautiful, meditative melodies certainly enhance the overall experience. The CD also has extensive linear notes so you could listen more actively (instead of using it as background music).
I really like both elements to the Color and Sound set. I have a ten-months-old who we lull to sleep with sacred song-Taize, hymns and psalms. The music is calming, the lyrics from psalms, and the arrangements beautiful. The coloring book is both fun and relaxing as well as meditative. When I tucked my six-year old in that evening, she said, “Daddy you are a good artist like me. I mean your coloring.” That adds to me delight. I give this a joyful five stars.
Note: I received this coloring book set from Paraclete Press in exchange for my honest review....more
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