Visual Commentary on Scripture: Establishing the Heart

My Visual Commentary on Scripture exhibition 'Establishing the Heart' is the current exhibition of the week:

"The first letter to the church in Thessalonica was written to encourage the Christians there to continue to live to please God by living quietly, minding their own affairs, and working with their hands, so they might behave properly towards outsiders and be dependent on no one. These instructions differed markedly from those Jesus gave to the first disciples when he called them to leave homes and work in order to follow him in his peripatetic ministry.

Our Exhibition of the Week is called Establishing the Heart | VCS thevcs.org and is on 1 Thessalonians 2:17–4:12."

'Establishing the Heart' includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer and explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer.

The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries. The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text.

Find out more about the VCS, its exhibitions and other resources through a short series of HeartEdge workshops introducing the VCS as a whole and exploring particular exhibitions with their curators. These workshops can be viewed here, here, here and here.

The VCS has a daily email exploring the Bible through art. Through concise but vivid day-by-day encounters, Bible and Art Daily will take you on a series of journeys through the world of Scripture and the history of art. The VCS have spent the last year bringing together experts in theology and art history to carefully curate a treasury of week-long series, each exploring a particular theme, an artistic medium, or a biblical character. Find out more and subscribe here.

My first exhibition for the VCS was 'Back from the Brink' on Daniel 4: 'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33). In the exhibition I explore this chapter with William Blake's 'Nebuchadnezzar', 1795–c.1805, Arthur Boyd's 'Nebuchadnezzar's Dream of the Tree', 1969, and Peter Howson's 'The Third Step', 2001.

My second exhibition was 'A Question of Faith' and explored Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.

My third exhibition was 'Fishers of People'. This exhibition uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.

My fourth exhibition was 'Before the Deluge', a series of climate-focused commentaries on Genesis 6 looking at 'The Flood' by Norman Adams, 'Noah in the Ark and a Church' by Albert Herbert, and 'Noah's Ark' by Sadao Watanabe.

For more on the artists included in these exhibitions click on the following links: Antoine Camilleri, John Reilly, Stanley Spencer, William Blake, Arthur Boyd, Peter Howson, Colin McCahon, Damien Hirst, John Bellany, and Paul Thek.

Curated Commentaries offer a new way to explore the VCS collection. The VCS have selected topics familiar and unexpected to help you encounter the Bible and Art. Each is explored through seven artworks and commentaries from across the site.

These allow you to discover new perspectives and ways of thinking at your own pace, with areas as varied as Christ's Wounds, Mythical Creatures, Land & Harvest, Jesus's Female Disciples, and Gold. 
This unique resource is the product of the devotion and scholarship of our hundreds of artists and authors—eye-opening, thought-provoking, and enriching. This collection will continue to grow and is invaluable for anyone engaging with, learning about, or teaching the Bible and Art.

The first of my commentaries to feature is about Albert Herbert, who put aside the art training he had originally received and set out to draw like a child, painting an inner, innocent vision that was uncorrupted by either the influence of the outside world, or learnt, adult knowledge.
When life becomes overwhelmingly difficult, some people, in some situations, find the resources to respond in remarkable ways. 

See the VCS website to explore seven artworks and commentaries that are powerful examples of this: https://thevcs.org/curated-commentaries/hardship.

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Mark Hollis - A Life (1895 - 1915).

Visual Commentary on Scripture - Lent Stations: Community

For the season of Lent the Visual Commentary on Scripture will share 14 selected artworks and commentaries on the theme of Community, introduced below by VCS Director Ben Quash.

Click below to visit the first Lent Station, titled 'You Shall Eat the Plants of the Field':
Station 1: You Shall Eat the Plants of the Field

Lent Stations: Community

One of the traditional Christian practices in Lent, along with prayer and fasting, is almsgiving. It’s easy to read the giving of alms as a mere financial transaction; more specifically (and worse) to see it as nothing more than rich people patronising poor people with their money. This has also infected some of our reactions to the word ‘charity’. We hear this in the understandable protest: ‘I don’t want your charity!’. Surely justice would be better; a fair chance for all.

But the full sense (often forgotten) of charity has its roots in the Latin word caritas, and this means something to which justice is just as central as mercy. Properly understood, charity means living in love and in right relationship with one’s neighbour. It means being in community. The Lenten practice of almsgiving sits in this wider context of practices that strengthen the bonds of community.

Indeed, in some cultures, the giver of alms is required to deliver their gift upwards into the hand of the recipient—a hand which is held over theirs. This makes the giver humble and dignifies the recipient. It opens a whole new perspective on ‘giving up’ something for Lent!

This year’s VCS Lenten series of artworks and associated commentaries is centred on the theme of community, something as urgently needed as ever in a fractured world.

Anyone subscribed to the VCS 𝐄𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 𝐨𝐟 𝐭𝐡𝐞 𝗪𝐞𝐞𝐤 will receive Lent emails twice a week, directly to their inbox. Click on the link to sign up now: https://thevcs.org/sign-vcs-emails

My first exhibition for the VCS was 'Back from the Brink' on Daniel 4: 'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33). In the exhibition I explore this chapter with William Blake's 'Nebuchadnezzar', 1795–c.1805, Arthur Boyd's 'Nebuchadnezzar's Dream of the Tree', 1969, and Peter Howson's 'The Third Step', 2001.

My second exhibition was 'A Question of Faith' and explored Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.

My third exhibition was 'Fishers of People'. This exhibition uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.

My fourth exhibition was 'Before the Deluge', a series of climate-focused commentaries on Genesis 6 looking at 'The Flood' by Norman Adams, 'Noah in the Ark and a Church' by Albert Herbert, and 'Noah's Ark' by Sadao Watanabe.

My fifth exhibition reflects on 1 Thessalonians 2:17–4:12. It is called 'Establishing the Heart' and includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer. This exhibition explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer.

For more on the artists included in these exhibitions click on the following links: Antoine Camilleri, John Reilly, Stanley Spencer, William Blake, Arthur Boyd, Peter Howson, Colin McCahon, Damien Hirst, John Bellany, and Paul Thek.

The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries. The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text.

Find out more about the VCS, its exhibitions and other resources through a short series of HeartEdge workshops introducing the VCS as a whole and exploring particular exhibitions with their curators. These workshops can be viewed here, here, here and here.

The VCS has a daily email exploring the Bible through art. Through concise but vivid day-by-day encounters, Bible and Art Daily will take you on a series of journeys through the world of Scripture and the history of art. The VCS have spent the last year bringing together experts in theology and art history to carefully curate a treasury of week-long series, each exploring a particular theme, an artistic medium, or a biblical character. Find out more and subscribe here.

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Forty Days and Forty Nights.

Visual Commentary on Scripture - Advent: Hope, Peace, Joy, and Love & Bible and Art Daily

This Autumn, the Visual Commentary on Scripture launched Bible and Art Daily, a new daily email exploring the Bible through art. Through concise but vivid day-by-day encounters, it takes you on a series of journeys through the world of Scripture and the history of art. The VCS have spent the last year bringing together experts in theology and art history to carefully curate a treasury of week-long series, each exploring a particular theme, an artistic medium, or a biblical character. Find out more and subscribe here.

Two of the commentaries I have written for the VCS have featured in a Bible and Art Daily episode so far. The first, 'Yet To Come', featured in the series on 'Picturing the Trinity'. This commentart comes from my exhibition 'A Question of Faith' which explores Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.

'Picturing the Trinity' is described as follows: 'There are perils and peculiarities involved in visually depicting the Holy Trinity. Christianity insists that divinity is invisible, even if Jesus in his humanity reveals God’s purposes and presence. And the Bible’s multiplicity of images of what God might be ‘like’ forbid settling on any one as descriptively adequate. Some visual art has risked anthropomorphizing God; some has experimented with oblique or abstract modes of signification, recognizing that God ‘dwells in unapproachable light, whom [no one] has ever seen or can see’ (1 Timothy 6:16).'

The second commentary used that I have written has been included in the Series 'Trees of Life'. Episode 7 of 14: 'The Ground of Rebirth' has artwork by Arthur Boyd from my 'Back from the Brink' on Daniel 4. The image included is 'Nebuchadnezzar's Dream of the Tree'. The 'Trees of Life' Series is described as follows: 'The Christian story of salvation begins and ends with trees. The forbidden fruit of the Tree of the Knowledge of Good and Evil in Eden, once eaten, initiates a long pilgrimage through time, which will culminate in a heavenly city with a tree at its heart, whose leaves are ‘for the healing of the nations’.'

This year, the Advent programme from the VCS has had a slightly different look than those from previous years. Instead of daily emails for the duration of Advent, they have sent their Exhibition of the Week subscribers an email every Monday from December 1st, with links to seven different works of art and commentaries for each day of the week. The idea is to think of it as a traditional Advent calendar! Each of the four weeks has had a different theme, starting with Hope, then Peace, followed by Joy, and ending with Love in the week of Christmas.

Anyone subscribed to their Exhibition of the Week receives the weekly Advent emails. Their hope has been that we enjoy journeying towards Christmas with the help of these works of art. Sign up here for their Exhibition of the Week email.

The first week's commentaries included 'To Our Hopes', another of the commentaries from my exhibition 'A Question of Faith'. The most recent email reveals that the image chosen for Christmas Day is from my most recent exhibition for VCS.  Reflecting on 1 Thessalonians 2:17–4:12, the exhibition is called 'Establishing the Heart' and includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer. This exhibition explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer. The image chosen for Christmas Day is John Reilly's 'Holy Family'.

John Reilly’s ambition was "always been to paint a picture which perfectly weds form and content” in order “to express in visible form the oneness and unity of [the] invisible power binding all things into one whole.” I was fortunate enough to meet him at his home on the Isle of Wight, while there on a family holiday. I didn’t know of his work before going on that holiday but found cards and prints of his amazing work in some of the shops there and had to find out more. He was kind enough to invite me into his home and show me his work and works in progress.

He has said: "My paintings are not concerned with the surface appearance of people or things but try to express something of the fundamental spiritual reality behind this surface appearance. I try to express in visible form the oneness and unity of this invisible power, binding all things into one whole. I try to express something of the universal and timeless truths behind the stories of the Bible.”

So, for Reilly, the unseen reality manifests itself both through pattern - “the oneness and unity of this invisible power, binding all things into one whole” - and through story - “the universal and timeless truths behind the stories of the Bible”. He has also used the greater freedom of expression that modern movements in art have given to artists to develop a visual language of forms and colours which he hopes expresses “something of their deeper spiritual significance.” His work draws on cubism, fauvism and orphism in particular.

Reilly has made a profound use of the circle in his work in order to depict the wholeness that he finds in the world and the life that God has created. He frequently bases his works on a central circle (often, the sun) from which facets of colour emanate, like ripples on the surface of a stream. The painting’s imagery is then set within these facets, each figure or object being embedded in the overall patterning of the painting and related to the environmental whole that Reilly creates.

By these means fragments of form and colour (the facets of the painting’s patterning) and the images that they contain are united to circle harmoniously around and within God, the central life and intelligence which is the light of the world. Works such as ‘Life Eternal’ utilise these methods and meanings and both contain and convey huge energy and resolution as a result.

His technique of colour fragments emanating from a central source enables him to suggest that his archetypal images of creation and the landscape are both, filled with the emanating rays and linked by them into a unified circle. His paintings (including 'Life Eternal’) therefore suggest the way in which we are linked both by being the creation of God and by being indwelt by his spirit.

The obituary I wrote for Reilly and my review of 'The Painted Word: Paintings by John Reilly' can both be found in the 'Church Times' Digital Archive.  

The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries. The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text.

Find out more about the VCS, its exhibitions and other resources through a short series of HeartEdge workshops introducing the VCS as a whole and exploring particular exhibitions with their curators. These workshops can be viewed here, here, here and here.

My exhibitions for the VCS are:

'Back from the Brink' on Daniel 4: 'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33). In the exhibition I explore this chapter with William Blake's 'Nebuchadnezzar', 1795–c.1805, Arthur Boyd's 'Nebuchadnezzar's Dream of the Tree', 1969, and Peter Howson's 'The Third Step', 2001.

My second exhibition was 'A Question of Faith' and explored Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.

'Fishers of People' which uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.

'Before the Deluge', a series of climate-focused commentaries on Genesis 6 looking at 'The Flood' by Norman Adams, 'Noah in the Ark and a Church' by Albert Herbert, and 'Noah's Ark' by Sadao Watanabe.

Reflecting on 1 Thessalonians 2:17–4:12, 'Establishing the Heart' includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer. This exhibition explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer.

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Arvo Pärt - Christmas Lullaby.

Visual Commentary on Scripture - Advent: Hope, Peace, Joy, and Love

Advent: Hope, Peace, Joy, and Love

This year's Visual Commentary on Scripture Advent programme has a slightly different look than those from previous years. Instead of daily emails for the duration of Advent, they will be sending their Exhibition of the Week subscribers an email every Monday starting December 1st, with links to seven different works of art and commentaries for each day of the week. Think of it as a traditional Advent calendar! Each of the four weeks has a different theme, starting with Hope, then Peace, followed by Joy, and ending with Love in the week of Christmas.

Anyone subscribed to their Exhibition of the Week will receive the weekly Advent emails. They hope you enjoy journeying towards Christmas with the help of these works of art.

Sign up for their Exhibition of the Week

The first week's commentaries include one of the commentaries from my exhibition 'A Question of Faith' which explores Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art. 

Another of the commentaries from this exhibition featured recently in a Bible and Art Daily episode from VCS. This commentary featured in the series on Picturing the Trinity: There are perils and peculiarities involved in visually depicting the Holy Trinity. Christianity insists that divinity is invisible, even if Jesus in his humanity reveals God’s purposes and presence. And the Bible’s multiplicity of images of what God might be ‘like’ forbid settling on any one as descriptively adequate. Some visual art has risked anthropomorphizing God; some has experimented with oblique or abstract modes of signification, recognizing that God ‘dwells in unapproachable light, whom [no one] has ever seen or can see’ (1 Timothy 6:16).

Bible and Art Daily is a new daily email exploring the Bible through art. Through concise but vivid day-by-day encounters, it will take you on a series of journeys through the world of Scripture and the history of art. The VCS have spent the last year bringing together experts in theology and art history to carefully curate a treasury of week-long series, each exploring a particular theme, an artistic medium, or a biblical character. Find out more and subscribe here.

The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries. The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text.

Find out more about the VCS, its exhibitions and other resources through a short series of HeartEdge workshops introducing the VCS as a whole and exploring particular exhibitions with their curators. These workshops can be viewed here, here, here and here.

My other exhibitions for the VCS are:

• 'Back from the Brink' on Daniel 4: 'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33). In the exhibition I explore this chapter with William Blake's 'Nebuchadnezzar', 1795–c.1805, Arthur Boyd's 'Nebuchadnezzar's Dream of the Tree', 1969, and Peter Howson's 'The Third Step', 2001.
• 'Fishers of People' which uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.
• 'Before the Deluge', a series of climate-focused commentaries on Genesis 6 looking at 'The Flood' by Norman Adams, 'Noah in the Ark and a Church' by Albert Herbert, and 'Noah's Ark' by Sadao Watanabe.
• Reflecting on 1 Thessalonians 2:17–4:12, 'Establishing the Heart' includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer. This exhibition explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer.

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Josh Garrels - Pilot Me.