Image Galleries Books

This book is equivalently the catalog of an art exhibit at the National Gallery London from February to May, 2000 on how Christ has been portrayed in art from a fourth century Good Shepherd statue to Stanley Spencer's 1926 Resurrection, Cookham. The magnificently illustrated 79 items in the show are supplemented with photographs of 52 additional pieces of art that develop the theology out of which each set of images arose. It is a thing of beauty and pleasure, useful for prayer and theology, and the sort of thing needed in today. Too many postmodern art students have lost contact with the Christian symbols of the western world and are unaware of the depths of their own cultural heritage. This book will be very informative for them and even for the already theologically educated.

This is a lovely book, and worth every penny; but the buyer should know in advance that its pictures are manmade images of Christ, rather than images of himself that Christ has revealed to man. There's a difference.

Humans speak today of "finding God" for the simple and obvious reason that God can be difficult to spot. The Virgin Mary appears often enough, but coyly. On one recent tour of North America, she manifested herself, not just on Diana Duyser's $28,000 toasted cheese sandwich (old news), but as a simulacrum on the glass facade of office buildings from Florida to Massachusetts to California, and in the bark of a black locust tree in Connecticut, and as rust stains on a giant oil tank in Ohio, and even as skillet burns on a tortilla shell in New Mexico - causing subsequent traffic jams as the faithful flocked to see her. (I'm not blaming Mary, that's just her way, she's shy. Besides, the traffic jams would be far worse if she showed herself in the all-together.)

If it's Jesus you want to see, don't worry, he'll be back, he promised, and it won't be on a tortilla shell. Caveat: when you see him, you may not recognise him. Don't be fooled by the pictures in this lovely book, called _Images of Christ_. Don't be fooled by posters in your local Bible bookstore of a handsome, longhaired, dewy-eyed European male. Don't be fooled by James Caviezel, who played Jesus in Mel Gibson's S&M extravaganza. Jesus Christ looks no more like those fellows than the real Moses at age 120 looked like Charlton Heston.

(Okay: bad comparison: Moses at age 120 actually did resemble Charlton Heston, but Jesus Christ does not look anything like James Caviezel.)

So what does Jesus look like, you ask? Well, Belial or Beelzebub could give you an accurate description - the Son of God goes way back with all three of us - but you won't get a straight answer from my pals. Belial will just grunt, or shrug his shoulders and say, "Who cares?" Beelzebub, always the smart aleck, will say that "Jesus of Nazareth and his stepfather, Joseph of Nazareth, are dead ringers"; or that "Jesus looks just like that fellow who showed up on the Shroud of Turin"; or that "Jesus and shortstop Zoilo ('Zorro') Versalles are long-lost Twins."

If you say, "No, I mean, what does Jesus look like right now, in Heaven, as the Son of God?" Beelzebub will ask you first to tell him what the holy Ghost looks like; and when you say, "I imagine him in the form of a white dove," he'll say, "Fine, fine. Now imagine a second one: Jesus looks just like him, without the feathers - like a holy Ghost, plucked!" He will then chuckle, and drain down the rest of his beer.

Since returning to Heaven in 31 CE, Jesus has shown his true face to mortal men only three times. The first revelation was to Saul of Tarsus on the road to Damascus in 36 CE. The second was to Saint John in 65 CE, when he was writing the book of Revelation. The third manifestation came in April 1995, to born-again Christians around the world, or at least to those who had Internet access: The Hubble Space Telescope relayed a picture, authenticated by NASA, of the so-called Eagle Nebula, 7000 light years from Earth. In that photograph from space, amongst a swirling cloud of gas some six trillion miles long, Jesus revealed his countenance to Christian believers; and the discovery came as a terrible shock. Here is the plain, unvarnished truth, based on the Hubble photograph: Jesus looks very much like a 30-year-old Osama Bin-Laden (i.e., before that incident in 1997, when Osama got punched in the nose by a recoil from his own rifle butt). Slight difference in dress, granted - but if Osama had gotten his nose restored, his face would again have been virtually indistinguishable from that of Jesus of Nazareth. Even their whispery voices would be hard to tell apart, were it not that Jesus spoke Aramaic and Hebrew while Bin-Laden spoke Arabic and English.

I'm not suggesting that Jesus and Osama are on the same side. Osama was a resentnik who would forgive only those who share his creed, and he took vengeance on everyone else with a relentless ferocity out of all proportion to anything his victims ever did wrong. Does that sound like Jesus?

Okay, yes, maybe it does, but Jesus and Osama are different in other ways, such as their birth dates and fingerprints and shoe size. What's weird is just the striking physical resemblance. In fact, in April 1995 when various Arabic news media reported on NASA's photographs of the Eagle Nebula, thousands of Muslims saw the face of Jesus Christ - but mistook it for a photograph of Osama Bin-Laden.

--L

"You know how much I go to church."

"'How little' you mean. Still, you must know that, as craftsmanship, paintings and sculpture of the Crucifixion are usually atrocious-and the painted, realistic ones often used in churches are the worst of all...the blood looks like catsup and that ex-carpenter is usually portrayed as if he were a pansy...which He certainly was not if there is any truth in the four Gospels at all. He was a hearty man, probably muscular and of rugged health. Buy despite the almost uniformly poor portrayal in representations of the Crucifixion, a poor one is about as effective as a good one for most people. They don't see the defects; what they see is a symbol which inspires their deepest emotions; it recalls to them the Agony and Sacrifice of God."

Robert A. Hienlein-"Stranger in a Strange Land"

I have noticed that Christian Art books have been growing in popularity. Many of these are cheap opportunities to jump on a commercial bandwagon in an attempt to make a quick buck. This book is the REAL THING. It is outstanding. The pictures are large and sharp. The articles are informative and written well. This book values its subject and covers a wide spectrum of Christ centered art. I found this book both thoughtful and moving.

The focus of this book is the Collection in Trafalgar Square but is not exclusive to it. It contains works of art that either picture a representation of Christ or allude to Him. I found my reading to be a delightful and awe-inspiring theological journey. Each chapter deals with a different aspect of how Christ is perceived. Several authors have compiled brief descriptions of the works that explain their significance and meaning. The book traces it course through predominately Catholic art. This may have been done mostly out of necesity because the plethera of art from the 13th to 20th centuries is largely by Catholics. However, it would have been nice to see some more Protestant imagery to complete the respesentation of Christ in art.

Persian Images, are fascinating to begin with right? However, what brings more interest to this book, is that most of these pictures come from a collection that was purposely destroyed in the early 1900's,by the Iranian government. The stories shared in reference to each photo are as interesting as the pictures themselves. There happens to be a much larger collection both in Iran, and in the states, but sadly they did not make an appearance in this particular book.

If the area of your study or/and interest involves Art,Photography,History of Asia and Near East this is a must have book. Sevruguin went to Iran and stayed there for almost all of his life. This book is a collection of the first photographs from Iran (that of course he took). Through Sevruguin's eyes the reader/viewer is able to discover a new world. Not only this world is new to you if you are a western viewer, but also these photographs reveal yet another angle for a native viewer, such as myself, since many of these photographs have never displayed back in Iran. I think, in a broader sense, as long as one keeps in mind that these are representations of one culture through the eyes of an outsider, this book is useful and interesting.

One of my favorite photo essays on the old middle east. Wonderful collection of photographs and fascinating history.

this is a great collection of some excellent photos of iran at the turn of the last century - it chronicles everyday life, including peasants, and the aristocracy and monarchy - there is a great picture of tehran's bustling main street, with horse-drawn, rail carriages, and the throngs of crowds, some of whom are temporairly mesmerized by the photographer perched on some rooftop. A must-have for iran-history-nastalgic buffs. Only wish there was more...

"Sevruguin and the Persian Image" presents the Smithsonian's collection of one of Qajar Iran's preeminent photographers. In addition to the photographs, the volume contains valuable histories of early photography in Iran, the career of Antoin Sevruguin, and how the collection itself came about. The double entendre of the title refers to how Sevruguin's art was informed by and catered to the Orientalist tastes of a Europe in which he was educated. Yet as an Armenian Christian who was born, lived, died and was buried in Tehran, he presented a different image of Iran than the typical Orientalist photographers of the day. "Sevruguin and the Persian Image" is both a solid examination of a photographer's art as well as a thoughtful analysis of the Western image of Iran in the late nineteenth century.

This is a terrific book! There is a huge selection of art, and all of it is very high quality. I love the colors and there are wonderful ideas in the beginning of the book. This is a perfect companion to their first book The Decoupage Gallery.

If you like decoupage, get this book! I have already made two projects inspired by the pages. I am thinking about getting another copy of the book because I forgot to make color copies of the prints I used before I glued them down and I want to use them again.

Originally I bought this book for scrapbooking � great images. Then I realized why not personal greeting cards for birthdays and holidays?! And when a friend wanted a theme for a party, I used the images from the book for invitations, placemats, centerpieces, coasters etc. And I�ve only just begun.

Im into card making and decoupage and this book is a treasure.nothing like it in the books or craft stores.pages are very well made.pictures are wonderful along with the colors.many uses for all imagies..B.W.

Exactly what I needed for craft work. Very fine quality and a good buy.

This art book explores with zealous detail, the insights related with the legendary Kabuki. The wonderful and careful presentation presents herewith a marvellous introduction to the popular arts of 18th century in Japan.

Kabuki, the dance drama created by the Japanese in the 1600s has long fascinated the western world. Taking many movements and gestures from an earlier dramatic form patronized primarily by the nobility, the No plays, Kabuki is livelier, easier to understand, and marked by stylistically performed singing and dancing.

Today, Ukiyo-e (pictures of the floating or passing world) paintings and prints, which are perceptive depictions of life in the entertainment and pleasure quarters of Japan in the 18th and 19th centuries are highly prized.

Also to be highly prized is The Actor's Image, a stunningly beautiful volume presenting a collection of woodblock prints of Kabuki actor portraits and theater scenes culled from the Art Institute of Chicago's excellent Buckingham Collection of Japanese Prints.

The full-color prints are visually arresting and enchanting, capturing richly costumed Kabuki actors often carefully posed to reveal the majestic materials they are wearing. The strong textile patterns and black outlines of the figures typify the style frequently used by these print makers.

As if the magnificent illustrations were not feast enough, Donald Jenkins' cogent essay defines printmaking and offers biographical notes re the lives of the Katsukawa school of print makers. The essay by Timothy Clark brings Kabuki theater to vivid life.

These lavish prints are emotional as well as decorative. The Actor's Image is a splendid volume in every way.

- Gail Cooke

This work is the long awaited third installment in the series on the Japanese prints in the Art Institute of Chicago, the first 2 of which were limited to 500 and 1000 copies each and are now quite rare. This, more available, volume is a masterpiece and much worth the price--both cheaper and more informed than the earlier volumes. The Actor's Image was literally years in the making, and represents a vast amount of research and a lifetime of study by Timothy Clark, a true expert on Japanese prints. Don't let the price stop you--this work is worth a dozen of the common books on ukiyo-e.

Few books can match the quality of this production. The paper is first rate, and the color reproduction is as close to perfect as possible. There are no muddy images or inaccurate colors in this book.

The commentary is scholarly, as you would expect in a book from the Art Institute of Chicago. Other books, such as "100 Views of Edo" have more engaging and accessible descriptions. However, the lack of immediate appeal is more than made up for by the clarity, consistency and scholarship inherent in this entire book.

The prints reproduced in the book are especially rare, and the book is even more attractive because it contains so many of these rare prints. The Katsukawa School of print makers worked during a relatively early stage of the wood block era, and many of the prints shown in the book exist nowhere else. To top it all off, most of the prints are in excellent condition.

This is a book to be savored slowly. Page by page, line by line, each image adding to the impact of the last and the next.

It's worth the money.

This is a definitive and well written book on Balinese paintings from the village of Batuan. This book serves as the exhibition catalog for the Batuan Painting exhibition from the collection of Bateson and Mead. Prof. Geertz illusively decribed the relationship between the Balinese culture, tradition and myth, the western influence and the development of Balinese Paintings. Highly recommended for the patrons and the students of Balinese Painting

I am Balinese and enjoyed this book. It is a catalogue of Margaret Mead's and her husband Gregory Bateson's collection of paintings. They were in Bali off and on throughout the Thirties.

Batuan is a village in Central Bali, which is not far from my own village of Ubud. They are both artists' villages, but the painting styles are very different. Ubud has attracted a lot of foreigners, who have influenced the local artists. This was not the case with the painters in Batuan, who developed their own style.

Professor Hildred Geertz is a renowned anthropologist, who writes well, and explains the stories behind these paintings, which would otherwise be rather hard to follow. I think that some of the points she mentions are original and interesting.

Most of the painters are profiled with a short biography. Margaret Mead and Gregory Bates interviewed the painters and made notes. Some are charming and very personal, like the fact that Ida Bagus Made had been to a movie once.

Recommended.

Mark Neely, Harold Holzer, and Gabor S. Boritt effectively collaborate to present a pioneering and seminal examination of the popular lithographs and engravings cherished by Southerners during and after the Civil War in The Confederate Image: Prints Of A Lost Cause. These were the images in southern popular culture that helped to sustain and revive a post-confederacy identity following the collapse of the Confederacy at the end of the war. It is one of history's ironies that these images were actually crafted by Northern artisans. The principle focus of The Confederate Image is on the prints of three prominent southern Civil War figures (Robert E. Lee, Jefferson Davis, Stonewall Jackson) as well as offering informative discussions on prints of other significant Confederates as well as the contributions of the short-lived "Southern Illustrated News". The Confederate Image is a highly recommended and unique addition to Civil War studies and of considerable interest to students of American popular culture and art history.

Unlike most books that encompass several different artists, this book digs deeply into several contextual issues, as well as the art itself. It is rich with information and analysis. I would recommend this book to anyone seriously interested in art history.

Meticulous scholarship, but the text remains readable and interesting to the rest of us. Produced by leading experts, skillfully edited by Peter Barnet, the text is as exquisitely done as an ivory carving itself. The book is generously illustrated throughout with many photographs of the ivories. This book belongs in your collection if you admire fine art and craftsmanship from the medeival period.

Memories And Images: The World Of Donald Vogel And Valley House Gallery is the story of Donald Vogel who arrived in Dallas at the beginning of World War II after a sojourn at the Art Institute of Chicago and began a successful and explosive career in the arts. This is the story of the wealth that came with East Coast art dealers following the oil field trails throughout Oklahoma and Texas. During a tumultuous time of dubious art and fake old masters, Vogel was able to be a part of bringing fine art works to Dallas, beginning with the Betty McLean Gallery, and later to his own Valley House Gallery. Already established as a painter, Vogel became a critical and important outlet in Dallas for art dealers in the United States and Europe. An honor that has endured for the past fifty-eight years at the heart of the Dallas art scene. Memories And Images is an autobiography that is very highly recommended and informative reading for students of American art history in general, and the work and contributions of Donald Vogel and his Valley House Gallery in particular.

Our Town: Images and Stories from the Museum of the City of New York presents--in the highest quality four-color and duotone reproductions--an amazing range of New York City images, from urban scene paintings, to the renowned Stettheimer Dollhouse, to the phenomenal 20th c. photography of such artists as Berenice Abbott and Edward Steichen. The essays capture glimpses of the City and its history from the widest range of noted authors--Robert A.M. Stern, Oscar Hijuelos, Hilton Als, Louis Auchincloss, Elizabeth Barlow Rogers, etc. Don't miss it!