A stunningly innovative visual edition of the award-winning What's so amazing about grace? by bestselling author Philip Yancey. This visual edition takes the text of the Gold Medallion Award-winning original and illustrates its themes and message with provocative full-color photography and illustrations. You'll 'experience grace' as you interact with its engaging visual content.
Religious imagery was ubiquitous in late-nineteenth-century American life: department stores, schoolbooks, postcards, and popular magazines all featured elements of Christian visual culture. Such imagery was not limited to commercial and religious artifacts, however, for it also found its way into contemporary fine art. In Signs of Grace, Kristin Schwain looks anew at the explicitly religious work of four prominent artists in this period--Thomas Eakins, F. Holland Day, Abbott Handerson Thayer, and Henry Ossawa Tanner--and argues that art and religion performed analogous functions within American culture. Fully expressing the concerns and values of turn-of-the-century Americans, this artwork depicted religious figures and encouraged the beholders' communion with them.Describing how these artists drew on their religious beliefs and practices, as well as how beholders looked to art to provide a transcendent experience, Schwain explores how a modern conception of faith as an individual relationship with the divine facilitated this sanctified relationship between art and viewer. This stress on the interior and subjective experience of religion accentuated the artist's efforts to engage beholders personally with works of art; how better to fix the viewer's attention than to hold out the promise of salvation? Schwain shows that while these new visual practices emphasized individual encounters with art objects, they also carried profound social implications. By negotiating changes in religious belief--by aestheticizing faith in a new, particularly American manner--these practices contributed to evolving debates about art, ethnicity, sexuality, and gender.
A social history of reception, this study focuses on sacred art and Catholicism in Rome during the late sixteenth and seventeenth centuries. The five altarpieces examined here were painted by artists who are admired today - Caravaggio, Guercino, and Guido Reni - and by the less renowned but once influential Tommaso Laureti and Andrea Commodi. By shifting attention from artistic intentionality to reception, Pamela Jones reintegrates these altarpieces into the urban fabric of early modern Rome, allowing us to see the five paintings anew through the eyes of their original audiences, both women and men, rich and poor, pious and impious. Because Italian churchmen relied, after the Council of Trent, on public altarpieces more than any other type of contemporary painting in their attempts to reform and inspire Catholic society, it is on altarpieces that Pamela Jones centers her inquiry. Through detailed study of evidence in many genres - including not only painting, prints, and art criticism, but also cheap pamphlets, drama, sermons, devotional tracts, rules of religious orders, pilgrimages, rituals, diaries, and letters - Jones shows how various beholders made meaning of the altarpieces in their aesthetic, devotional, social, and charitable dimensions. This study presents early modern Catholicism and its art in an entirely new light by addressing the responses of members of all social classes - not just elites - to art created for the public. It also provides a more accurate view of the range of religious ideas that circulated in early modern Rome by bringing to bear both officially sanctioned religious art and literature and unauthorized but widely disseminated cheap pamphlets and prints that were published without the mandatory religious permission. On this basis, Jones helps to illuminate further the insurmountable problems churchmen faced when attempting to channel the power of sacred art to elicit orthodox responses.
Yancey explores the manifestations of Christian grace in the starkness of the real world, including situations involving IRA bombings, the Nazi holocaust, the Ku Klux Klan, serial killers like Jeffrey Dahlmer, child abuse, AIDs, drug addiction, and more.
In this highly original study of Italian baroque master Guido Reni (1575-1642), Richard Spear paints a compelling portrait of the artist - his complexities, his formative experiences, his cultural surroundings, and his unique sensibilities. Spear views Reni's career from a wide variety of perspectives and sets his life and works in social, economic, historical, artistic, religious, and psychological contexts. The author focuses first on Reni's peculiar character: a man at once deeply religious, rabidly misogynist, reportedly virginal, neurotically fearful of witches, and addicted to gambling. The author considers the enduring charisma of Reni's Crucifixions, weeping Marys, and repentant saints in the light of the Catholic doctrinal meaning of grace in Reni's time, the Church's attitude toward Mary and women, and the gendered implications of visual grace. Chapters on Reni's pricing policies, selling strategies, use of assistants, and attitude toward what constituted an "original", expose the motivating importance of money for Reni, and the concerns, even among seventeenth-century collectors, about how to distinguish original paintings from studio replicas or copies. The book investigates the ways renaissance and baroque attitudes toward art-making affected Reni and closes with a fresh view of Reni's unfinished canvases and last style, including the Divine Love, the beautiful and unusual painting that remained in Reni's studio at the time of his death.
Conversations with some of today's most intriguing artists--Sandra Bowden, Dan Callis, Mary McCleary, John Silvis, Edward Knippers, Erica Downer, Albert Pedulla, Tim Rollins and K.O.S., Joel Sheesley and Makoto Fujimura--focuses on the intersection of Christianity and creativity.
The second and final volume of the collected best work of Vogue editor and international fashion icon Grace Coddington This handsome slipcased edition showcases work of the last fifteen years by legendary Vogue editor Grace Coddington. The book celebrates seventeen of the master photographers with whom Coddington has collaborated - including Steven Meisel, Annie Leibovitz, Craig McDean, David Sims, Mario Testino, and Marcus Piggot and Mert Alas - in a sumptuous compilation of Coddington's most beloved fashion stories.
Award-winning author Philip Yancey takes you for a soul-searching look at two of Christianity's most important topics. WHAT’S SO AMAZING ABOUT GRACE? In this critically acclaimed, bestselling book, Philip Yancey explores the church's great distinctive--grace--at street level. If grace is God's love for the undeserving, and if Christians are its sole dispensers, then how are we doing at lavishing grace on a world that knows far more of cruelty and unforgiveness than it does of mercy? Offering compelling, true portraits of grace’s life-changing power, Yancey searches for its presence in his own life and in the church. And he challenges us to become living answers to a world that desperately wants to know, What’s So Amazing About Grace? WHERE IS GOD WHEN IT HURTS? If there is a loving God, then why is it that … ? You've heard that question, perhaps asked it yourself. No matter how you complete it, at its root lies the issue of pain. In this award-winning book, Philip Yancey reveals a God who is neither capricious nor unconcerned. Using examples from the Bible and from his own experiences, Yancey looks at pain--physical, emotional, and spiritual--and helps us understand why we suffer. Where Is God When It Hurts? will speak to those for whom life sometimes just doesn't make sense. And it will help equip anyone who wants to reach out to someone in pain but doesn't know what to say.
Quantitative thinking is our inclination to view natural and everyday phenomena through a lens of measurable events, with forecasts, odds, predictions, and likelihood playing a dominant part. The Error of Truth recounts the astonishing and unexpected tale of how quantitative thinking came to be, and its rise to primacy in the nineteenth and early twentieth centuries. Additionally, it considers how seeing the world through a quantitative lens has shaped our perception of the world we live in, and explores the lives of the individuals behind its early establishment. This worldview was unlike anything humankind had before, and it came about because of a momentous human achievement: we had learned how to measure uncertainty. Probability as a science was conceptualised. As a result of probability theory, we now had correlations, reliable predictions, regressions, the bellshaped curve for studying social phenomena, and the psychometrics of educational testing. Significantly, these developments happened during a relatively short period in world history— roughly, the 130-year period from 1790 to 1920, from about the close of the Napoleonic era, through the Enlightenment and the Industrial Revolutions, to the end of World War I. At which time, transportation had advanced rapidly, due to the invention of the steam engine, and literacy rates had increased exponentially. This brief period in time was ready for fresh intellectual activity, and it gave a kind of impetus for the probability inventions. Quantification is now everywhere in our daily lives, such as in the ubiquitous microchip in smartphones, cars, and appliances; in the Bayesian logic of artificial intelligence, as well as applications in business, engineering, medicine, economics, and elsewhere. Probability is the foundation of quantitative thinking. The Error of Truth tells its story— when, why, and how it happened.
What is Good? Good is packed with rhythm and rhyme, full of topics that range from profound to goofy, and ultimately presents an ode to the goodness of God in life. Try reading these poems out loud (on your own or with others--we think you'll find it fun) or use these poems for personal meditation.
