Presents and explores the seven known oil sketches of Christ on oak panels by Rembrandt, along with over 60 paintings, drawings and prints by him and his pupils.
Richard Wurmbrand, a Romanian pastor, was tortured and imprisoned for a total of 14 years by Communists for his Christian faith. This book documents how he and other Christians suffered for their Christian witness behind the Iron Curtain.
With over a million copies sold, this classic work is essential reading for all who ask, “Where has my struggle led me?” A chance encounter with a reproduction of Rembrandt’s The Return of the Prodigal Son catapulted Henri Nouwen on an unforgettable spiritual adventure. Here he shares the deeply personal and resonant meditation that led him to discover the place within where God has chosen to dwell. As Nouwen reflects on Rembrandt’s painting in light of his own life journey, he evokes a powerful drama of the classic parable in a rich, captivating way that is sure to reverberate in the hearts of readers. Nouwen probes the several movements of the parable: the younger son’s return, the father’s restoration of sonship, the elder son’s resentfulness, and the father’s compassion. The themes of homecoming, affirmation, and reconciliation will be newly discovered by all who have known loneliness, dejection, jealousy, or anger. The challenge to love as God loves, and to be loved as God’s beloved, will be seen as the ultimate revelation of the parable known to Christians throughout time, and is here represented with a vigor and power fresh for our times.
Accompanying the exhibition at Louvre Abu Dhabi, the catalogue Rembrandt, Vermeer and the Dutch Golden Age provides an image-rich overview of the artworks exhibited, complimented by four essays. The first situates The Leiden Collection within the context of the Dutch Golden Age. The second and third describe the major role that the Netherlands played on a global scale in the in the 17th century, the specificities of the Dutch Golden Age as well as the work of Rembrandt and his contemporaries, rooted in the society of that time and place. The fourth essay sheds light on the particular role that drawing played in the creative process of Dutch artists.
1. To begin with -- 2. Human painter of the human condition -- 3. Rembrandt's Bible -- 4. Rembrandt's pictures -- 5. Rembrandt's meaning -- 6. Rembrandt's faith -- 7. Rembrandt's diary -- 8. To end with.
"Padura’s Heretics spans and defies literary categories . . . ingenious." —Maureen Corrigan, Fresh Air A sweeping novel of art theft, anti-Semitism, contemporary Cuba, and crime from a renowned Cuban author, Heretics is Leonardo Padura's greatest detective work yet. In 1939, the Saint Louis sails from Hamburg into Havana’s port with hundreds of Jewish refugees seeking asylum from the Nazi regime. From the docks, nine-year-old Daniel Kaminsky watches as the passengers, including his mother, father, and sister, become embroiled in a fiasco of Cuban corruption. But the Kaminskys have a treasure that they hope will save them: a small Rembrandt portrait of Christ. Yet six days later the vessel is forced to leave the harbor with the family, bound for the horrors of Europe. The Kaminskys, along with their priceless heirloom, disappear. Nearly seven decades later, the Rembrandt reappears in an auction house in London, prompting Daniel’s son to travel to Cuba to track down the story of his family’s lost masterpiece. He hires the down-on-his-luck private detective Mario Conde, and together they navigate a web of deception and violence in the morally complex city of Havana. In Heretics, Leonardo Padura takes us from the tenements and beaches of Cuba to Rembrandt’s gloomy studio in seventeenth-century Amsterdam, telling the story of people forced to choose between the tenets of their faith and the realities of the world, between their personal desires and the demands of their times. A grand detective story and a moving historical drama, Padura’s novel is as compelling, mysterious, and enduring as the painting at its center.
Jesus Christ is arguably the most famous man who ever lived. His image adorns countless churches, icons, and paintings. He is the subject of millions of statues, sculptures, devotional objects and works of art. Everyone can conjure an image of Jesus: usually as a handsome, white man with flowing locks and pristine linen robes. But what did Jesus really look like? Is our popular image of Jesus overly westernized and untrue to historical reality? This question continues to fascinate. Leading Christian Origins scholar Joan E. Taylor surveys the historical evidence, and the prevalent image of Jesus in art and culture, to suggest an entirely different vision of this most famous of men. He may even have had short hair.