Other famous Gothic buildings included the cathedrals at Laon (1160), Notre Dame de Paris (1160), Chartres (1194), Bourges (1195), Reims (1211), Amiens (1220), Salisbury (1220), Burgos (1220), Westminster Abbey, Lincoln (1230), (1245), Cologne (1248), Freiburg (1275), York Minster (1280), Rouen (1281), Siena (c.1290), Barcelona (1298), Orvieto (1330), Milan (1386), Seville (1402), and others.
1 Then the LORD said to Moses, 2 “See, I have chosen Bezalel son of Uri, the son of Hur, of the tribe of Judah, 3 and I have filled him with the Spirit of God, with wisdom, with understanding, with knowledge and with all kinds of skills— 4 to make artistic designs for work in gold, silver and bronze, 5 to cut and set stones, to work in wood, and to engage in all kinds of crafts. 6 Moreover, I have appointed Oholiab son of Ahisamak, of the tribe of Dan, to help him. Also I have given ability to all the skilled workers to make everything I have commanded you: Christian Canvas Art
Other famous Gothic buildings included the cathedrals at Laon (1160), Notre Dame de Paris (1160), Chartres (1194), Bourges (1195), Reims (1211), Amiens (1220), Salisbury (1220), Burgos (1220), Westminster Abbey, Lincoln (1230), (1245), Cologne (1248), Freiburg (1275), York Minster (1280), Rouen (1281), Siena (c.1290), Barcelona (1298), Orvieto (1330), Milan (1386), Seville (1402), and others. Christian Canvas Art
Protestantism taught a low-key, personal form of worship that focused on the direct relationship between God and man, without making a fuss about go-betweens like Popes, Bishops and other church employees. It also placed little or no importance on decorative or ceremonial aspects of religion. Because of all this, Protestant art favoured low-key moralistic depictions of ordinary day-to-day life, or simple narrative scenes from the Bible, rather than dramatic theological scenes involving the Passion, Crucifixion and Resurrection of Christ. Other acceptable scenes included depictions of sinners forgiven by Christ, in line with the Protestant view that salvation is only possible through the grace of God. Protestant art also tended to be smaller-scale than Catholic art, reflecting a more modest, personal approach to religion. For the same reason, book illustration and prints became more popular, while Catholic paintings and sculptures became the object of physical iconclastic attacks, as exemplified by the beeldenstorm, an episode of mob destruction which broke out in 1556. But Protestant church authorities were equally aware of the power of art to educate and influence worshippers. As a result they made maximum use of various forms of printmaking, which allowed images to be made widely available to the public at a very low cost. Christian Canvas Art
In the West, the Renaissance saw an increase in monumental secular works, but until the Protestant Reformation Christian art continued to be commissioned in great quantities by churches, clergy and by the aristocracy. The Reformation had a huge effect on Christian art, rapidly bringing the production of public Christian art to a virtual halt in Protestant countries, and causing the destruction of most of the art that already existed. Christian Canvas Art
A devout Catholic, the Flemish artist Peter Paul Rubens became the most influential exponent of Counter-Reformation painting in Northern Europe. Famous for his large-scale religious and history paintings, full of sensuous colour and drama, he socialized in the leading circles of European society as both an artist and diplomat. Despite the distance separating Rubens from the ordinary churchgoer, some of his Catholic pictures, like the celebrated triptych Descent from the Cross (Rubens) (1612), are intensely moving, and his impact on later painters was enormous. See also: Samson and Delilah (1610). Christian Canvas Art
Ottonian architecture and culture overlaps considerably with Romanesque art, a term which in practice describes a new European-wide style of Christian architecture. It was the first great church-building campaign, initiated by Rome and by the new Christian Orders of monks, which included Cathedrals, abbeys, and parish churches. (In the UK, Romanesque is known as Norman architecture.) Romanesque architecture was inspired largely by classical Roman designs, and was characterized by a new monumentality, marking the growing stability of the age and the renaissance of European Christian culture after four centuries of darkness.
Until the legalization of Christianity in 313, early Christian art was relatively scarce. It included fresco painting on the walls of some of the catacombs (burial sites outside the city walls), and "house-church" meeting places; a number of simple architectural designs for structures (martyrium) erected over the graves of martyrs; and a number of sarcophagi, carved with various emblems or reliefs of Jesus, Mary and other biblical figures. In these early times, when Christians were still being persecuted, most Christian Roman art remained (literally) part of an underground culture. What's more, Christianity (along with the imagery used to symbolize or illustrate it) was still evolving from a secret society (whose images were intelligible only to the initiated few) to a public organization (whose imagery was understood by all). Thus, to begin with, Christian painting and, in particular, early Christian sculpture used motifs from both Roman and Greek art: the image of "Christ in Majesty", for instance, derives from both Roman Imperial portraits and portrayals of the Greek God Zeus. It took centuries for Christian iconography to be standardized, and to harmonize with Biblical texts. Christian Canvas Art
A Psalm of David. The Lord is my shepherd; I shall not want. He makes me lie down in green pastures. He leads me beside still waters. He restores my soul. He leads me in paths of righteousness for his name's sake. Even though I walk through the valley of the shadow of death, I will fear no evil, for you are with me; your rod and your staff, they comfort me. You prepare a table before me in the presence of my enemies; you anoint my head with oil; my cup overflows. ... Share Your Faith Products
Please note: Although the exquisite framed and unframed Christian art prints, posters, and canvases displayed in our online Christian art gallery portray strong traditional family values, biblical themes, and God's wonderful creations; not all of the artwork is Christian. Since we have partnered with art.com and allposters.com who carry a vast inventory of secular artwork, please use discretion when searching for art. Share Your Faith Products
Until the legalization of Christianity in 313, early Christian art was relatively scarce. It included fresco painting on the walls of some of the catacombs (burial sites outside the city walls), and "house-church" meeting places; a number of simple architectural designs for structures (martyrium) erected over the graves of martyrs; and a number of sarcophagi, carved with various emblems or reliefs of Jesus, Mary and other biblical figures. In these early times, when Christians were still being persecuted, most Christian Roman art remained (literally) part of an underground culture. What's more, Christianity (along with the imagery used to symbolize or illustrate it) was still evolving from a secret society (whose images were intelligible only to the initiated few) to a public organization (whose imagery was understood by all). Thus, to begin with, Christian painting and, in particular, early Christian sculpture used motifs from both Roman and Greek art: the image of "Christ in Majesty", for instance, derives from both Roman Imperial portraits and portrayals of the Greek God Zeus. It took centuries for Christian iconography to be standardized, and to harmonize with Biblical texts.
Love is patient and kind; love does not envy or boast; it is not arrogant or rude. It does not insist on its own way; it is not irritable or resentful; it does not rejoice at wrongdoing, but rejoices with the truth. Love bears all things, believes all things, hopes all things, endures all things. Love never ends. As for prophecies, they will pass away; as for tongues, they will cease; as for knowledge, it will pass away. Christian Gifts
The word that came to Jeremiah from the Lord: “Arise, and go down to the potter's house, and there I will let you hear my words.” So I went down to the potter's house, and there he was working at his wheel. And the vessel he was making of clay was spoiled in the potter's hand, and he reworked it into another vessel, as it seemed good to the potter to do. Then the word of the Lord came to me: ... Christian Canvas Art
Baroque murals include the celebrated Aurora fresco (1621-3, Villa Ludovisi, Rome) by Guercino and Agostino Tassi; the Assumption of the Virgin (1625-7) on the duomo of the church of S. Andrea della Valle, by Giovanni Lanfranco (1582-1647); the Palazzo Barberini frescoes by Pietro da Cortona, including Allegory of Divine Providence (1633-9); and the Apotheosis of St Ignatius (1688-94, Sant'Ignazio, Rome) by Andrea Pozzo. Christian Canvas Art
One of the greatest honors and responsibilities a Christian leader can have is to be designated a pastor or shepherd in God's family. While only a few truly qualify biblically to be recognized as shepherds over God's flock (see Acts 20; 1Tim 3; Titus 1), a shepherding concern for others is important for all of us. Let's demand that those who are selected as our Shepherds have the integrity of heart and proven skill in caring for people. And when they lead, let's give them our support in effort, prayer, and ministry. Christian Gifts
Until the adoption of Christianity by Constantine Christian art derived its style and much of its iconography from popular Roman art, but from this point grand Christian buildings built under imperial patronage brought a need for Christian versions of Roman elite and official art, of which mosaics in churches in Rome are the most prominent surviving examples. Christian art was caught up in, but did not originate, the shift in style from the classical tradition inherited from Ancient Greek art to a less realist and otherworldly hieratic style, the start of gothic art.
He also made two capitals of molten bronze to set on the tops of the pillars; the height of the one capital was five cubits and the height of the other capital was five cubits. There were nets of network and twisted threads of chainwork for the capitals which were on the top of the pillars; seven for the one capital and seven for the other capital. So he made the pillars, and two rows around on the one network to cover the capitals which were on the top of the pomegranates; and so he did for the other capital. The capitals which were on the top of the pillars in the porch were of lily design, four cubits. There were capitals on the two pillars, even above and close to the rounded projection which was beside the network; and the pomegranates numbered two hundred in rows around both capitals. Thus he set up the pillars at the porch of the nave; and he set up the right pillar and named it Jachin, and he set up the left pillar and named it Boaz. On the top of the pillars was lily design. So the work of the pillars was finished. Now he made the sea of cast metal ten cubits from brim to brim, circular in form, and its height was five cubits, and thirty cubits in circumference. Under its brim gourds went around encircling it ten to a cubit, completely surrounding the sea; the gourds were in two rows, cast with the rest. It stood on twelve oxen, three facing north, three facing west, three facing south, and three facing east; and the sea was set on top of them, and all their rear parts turned inward. It was a handbreadth thick, and its brim was made like the brim of a cup, as a lily blossom; it could hold two thousand baths. Then he made the ten stands of bronze; the length of each stand was four cubits and its width four cubits and its height three cubits. This was the design of the stands: they had borders, even borders between the frames, and on the borders which were between the frames were lions, oxen and cherubim; and on the frames there was a pedestal above, and beneath the lions and oxen were wreaths of hanging work. Now each stand had four bronze wheels with bronze axles, and its four feet had supports; beneath the basin were cast supports with wreaths at each side. Its opening inside the crown at the top was a cubit, and its opening was round like the design of a pedestal, a cubit and a half; and also on its opening there were engravings, and their borders were square, not round. The four wheels were underneath the borders, and the axles of the wheels were on the stand. And the height of a wheel was a cubit and a half. The workmanship of the wheels was like the workmanship of a chariot wheel. Their axles, their rims, their spokes, and their hubs were all cast. Now there were four supports at the four corners of each stand; its supports were part of the stand itself. On the top of the stand there was a circular form half a cubit high, and on the top of the stand its stays and its borders were part of it. He engraved on the plates of its stays and on its borders, cherubim, lions and palm trees, according to the clear space on each, with wreaths all around. He made the ten stands like this: all of them had one casting, one measure and one form. He made ten basins of bronze, one basin held forty baths; each basin was four cubits, and on each of the ten stands was one basin. Then he set the stands, five on the right side of the house and five on the left side of the house; and he set the sea of cast metal on the right side of the house eastward toward the south. Now Hiram made the basins and the shovels and the bowls. So Hiram finished doing all the work which he performed for King Solomon in the house of the LORD: the two pillars and the two bowls of the capitals which were on the top of the two pillars, and the two networks to cover the two bowls of the capitals which were on the top of the pillars; and the four hundred pomegranates for the two networks, two rows of pomegranates for each network to cover the two bowls of the capitals which were on the tops of the pillars; and the ten stands with the ten basins on the stands; and the one sea and the twelve oxen under the sea; and the pails and the shovels and the bowls; even all these utensils which Hiram made for King Solomon in the house of the LORD were of polished bronze. In the plain of the Jordan the king cast them, in the clay ground between Succoth and Zarethan. Solomon left all the utensils unweighed, because they were too many; the weight of the bronze could not be ascertained. Solomon made all the furniture which was in the house of the LORD: the golden altar and the golden table on which was the bread of the Presence; and the lampstands, five on the right side and five on the left, in front of the inner sanctuary, of pure gold; and the flowers and the lamps and the tongs, of gold; and the cups and the snuffers and the bowls and the spoons and the firepans, of pure gold; and the hinges both for the doors of the inner house, the most holy place, and for the doors of the house, that is, of the nave, of gold. Thus all the work that King Solomon performed in the house of the LORD was finished And Solomon brought in the things dedicated by his father David, the silver and the gold and the utensils, and he put them in the treasuries of the house of the LORD.
Since the advent of printing, the sale of reproductions of pious works has been a major element of popular Christian culture. In the 19th century, this included genre painters such as Mihály Munkácsy. The invention of color lithography led to broad circulation of holy cards. In the modern era, companies specializing in modern commercial Christian artists such as Thomas Blackshear and Thomas Kinkade, although widely regarded in the fine art world as kitsch, have been very successful. Share Your Faith Products
Even in Protestant Amsterdam, however, there remained a modest demand for religious paintings. One of the most important commissions received by the young Rembrandt, was five paintings for Prince Frederick Henry of Orange - the leading soldier in the Dutch wars against Catholic Spain - on the subject of Christ's Passion. In addition to his skill as a portraitist, Rembrandt went on to become the greatest religious painter of Dutch Protestantism, noted for works like: The Blinding of Samson (1636), The Sacrifice of Isaac (1636), Susanna and the Elders (1647), Bathsheba Holding King David's Letter (1654), Jacob Blessing the Children of Joseph (1656), and Return of the Prodigal Son (1666-69). Scripture Art