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Category Archives: Western Art
Happy Jesus, Part 2: Blue Jeans Edition
Who says you can’t wear jeans to church? Jesus is doing it. For the last two years, a bronze, denim-clad Jesus has been hanging off the side of the bell tower at Our Lady Immaculate and St. Philip Neri Catholic … Continue reading
Alive Because He Is
“I am the resurrection and the life. He who believes in me will live, even though he dies; and whoever lives and believes in me will never die. Do you believe this?” -John 11:25-26 “Don’t you know that all of … Continue reading
Gethsemane, Part 7: An Abstract Perspective
This painting is part of a Stations of the Cross series by French street artist 3TTman. He said he’s intrigued by religious symbology, the art of expression by symbols, which is why he chose to tell the story of Christ’s … Continue reading
Posted in Western Art
Tagged 3TTman, abstract religious art, Christ in Gethsemane, let this cup pass
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Gethsemane, Part 6: Covered by Angels
“Jesus went out as usual to the Mount of Olives, and . . . an angel from heaven appeared to him and strengthened him.” —Luke 22:39, 43 Luke is the only one of the Gospel writers to mention that in response … Continue reading
Gethsemane, Part 4: To Drink Or Not To Drink?
Jesus’ prayer in the Garden of Gethsemane has always been a question-raiser for me, mostly on the subject of wills. I might have alternatively entitled this post “A Will Divided?”. Before I go any further, let me first cite the … Continue reading
Posted in Theology, Western Art
Tagged apollinarianism, Cyrilian, Eutychianism, let this cup pass, monophysitism, Nestorianism, prayer in Gethsemane
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Gethsemane, Part 1: Pain in a Tear
The Easter season is upon us, and I feel overwhelmed by all there is to address. The resurrection of Jesus Christ is the centerpiece of Christianity. It has tremendous implications for everyone, because if Jesus really did rise from the … Continue reading
Jesus Invites Us to Touch, See, and Know
One of my favorite narrative paintings of Jesus is Caravaggio’s St. Thomas Putting His Finger on Christ’s Wound (1603). I like it not just because of its display of technical skill but because of its theological message. To me this … Continue reading