This blog was formally titled Faith, Facts and Fiction. The focus is on dealing with the Christian Faith in both Facts (Biblical Teaching, Apologetics) and Fiction (or in other words, the arts including music, novels, and visual arts.) Posts will include interviews and reviews.
"Holding Up The Arms of Christian Artists", original art
Years ago, I was involved in a pair of groups. One was called "Jesus Music 1969-1989," and is a large group where the focus is on positive memories of Jesus Music and CCM. To keep it positive, there are topics that are taboo on that group, such as any controversies about artists. The second group, "Discussion Board for Jesus Music 1969-1989" was formed to allow discussion of the issues that weren't allowed in the first group.
During that time, I decided to start a group focused on praying for artists. I forget the exact first name, but I called it a prayer board for Jesus Music 1969-1989, focused on praying for the artists of that era. Years later, I took off the time focus and made it for all Christian musicians, regardless of genre or time frame.
Well, I just recently decided to try to get it more active. A couple of days later, one of my novelist friends wasn't feeling well, so I decided to post prayer for her. This inspired me to extend the focus to include novelists, visual artists, cartoonists, etc. This was accompanied with another name change, and the group is now "Holding Up The Arms of Christian Artists."
One thing that hasn't changed - the artwork I did for the group, which you see above. You may be familiar with the battle with Amalek in Exodus 17, where Joshua led the children of Israel against their enemies who attacked the rear ranks after they escaped Pharaoh and crossed the red sea. Moses, accompanied with his brother Aaron and Hur (some think he's Miriam's husband) to the mountain top. When Moses raised his arms with the rod, Israel prevailed, but when his arms lowered, the bad guys had the upper hand. So Aaron and Hur got a rock, had Moses sit on it, and they held Moses' arms up until the Amalekites were defeated.
If you don't know I have a heart for Christians in the arts, you haven't been paying attention to my reviews and interviews. This Facebook group is dedicated to praying for artists.
Would you like to join me? The link for the group is below.
PART 10 OF A 17 PART SERIES ON FAVORITE ART AND ARTISTS
St. Peter Preaching The Gospel in the Catacombs, Jan Styka
I grew up in Southern California with a lot of tourist attractions. Disneyland. Knott's Berry Farm. Busch Gardens. Movieland Wax Museum. Mission San Juan Capristrano. California Alligator Farm. Marineland. Oh, did I mention Disneyland?
Would you believe on the list is Forest Lawn Memorial Park Cemetery? Why would a young man enjoy going to a cemetery? Because there is a lot of artwork there. The Mystery of Life statue. A copy of Michaelangelo's David. A stained glass replica of Da Vinci's Last Supper. And the panorama paintings of the Crucifixion and Resurrection. The former is 195 feet long and 45 feet wide. I wonder if I could put it in my living room?
A few years ago, I was in a phase of looking at various artists - which is how I've learned about a lot of the artists and paintings that I've covered. So I looked up the Crucifixion painting to find out who did it. The answer is Jan Styka (1858-1925), originally from Austrian Poland. The picture on Wikipedia made me think of Hercule Poirot. That is when I discovered his painting "St. Peter Preaching the Gospel in the Catacombs."
Am I the only one who thinks of Pentecost when they see this painting? Of course, the title states this was a different event. Probably, the setting for this is Rome. Styka spent time in Rome and in Jerusalem when he was doing the Crucifixion painting. Anyway, this is based on Peter being in Rome before his martyrdom and, as you would expect him to do before being imprisoned, preaching to his brethren.
What is your impression of this painting? Have you ever seen the Crucifixion painting at Forest Lawn? Are there any paintings based on Biblical or Church History stories that bring that era to life?
The Crucifixion, Jan Styka, in the Hall of Crucifixion/Resurrection, Forest Lawn Memorial Park Cemetery, Glendale, CA. By FLgruiz - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=114022881
PART 3 OF A 16 PART SERIES ON FAVORITE ART AND ARTISTS
Saving Castaways by Franciszek Ksawery Lampi
Yes, I'll admit I'm a Romantic. It shows up in my tastes in music: my favorite classical music includes Beethoven's 7th symphony, Wagner's Flying Dutchman Overture, Bruckner's 4th symphony (Romantic), Brahms' 1st symphony, and Tchaikowsky's Romeo and Juliet Fantasy Overture. Those who are familiar with these compositions will conclude I don't listen to much wimpy music.
After doing a part in this series fitting for Independence Day, I have shared a couple posts dealing with perceptions of the direction this country is going. But I'm going a different direction, and I'm doing so with my all time favorite painting.
This is "Saving Castaways" by Polish painter Franciszek Ksawery Lampi (1782-1852), also known as Franz Xaver Lampi (don't ask me to pronounce either version). He is known for portraits of beautiful women and stirring landscapes such as the one above. His father and older brother also were painters, known respectively as Johanne Baptist von Lampi the Elder and the Younger. How cool is it to have "Baptist" as part of your name? Unfortunately, Franz was estranged and disinherited from his father, who stayed in Russia with the younger Baptist, while Franz settled in Warsaw.
Why is this painting my favorite? Simple. The title. For a person with a heart for refugees, it should be expected for me to adore a painting of such a rescue operation. Plus, having an evangelical background, it shouldn't surprise you for me to be moved by a painting that looks meant to be accompanied by the Fanny Crosby hymn "Rescue the Perishing."
We may be concerned for this country, but the Church has a job, and it is to rescue the castaways. We are not here to be concerned about current trends - we're here to reach the lost.
What is your impression of this painting? Do you have a heart for rescuing those in need, physically or spiritually?
PART 6 OF A 17 PART SERIES ON FAVORITE ART AND ARTISTS
Hope in a Prison of Despair by Evelyn De Morgan
Yes, you may have seen me use this picture as a cover photo and/or a profile photo on Facebook.
Evelyn De Morgan (born Mary Evelyn Pickering, 1855-1919) was from England. Her paintings have themes that are identified by scholars as spiritualist, feminist, and pacifist.
The reason I like this picture is because to me it deals with being in a role of encouragement. There are times we need someone to share a light in our life, but we also should be ready to be the one with the light to help others escape their prison of despair.
Today is July 6, a couple of days after Independence Day. Yesterday, I posted a picture of Sodom and Gomorrah and asked if our country was headed there. Maybe we are, and maybe we aren't. But is this country in a Prison of Despair? Are we regularly discouraged and depressed from hearing the news and looking at the state of this nation? And is there hope with us?
What is your impression of this painting? Do you identify more with the prisoner or the one with the light of hope?
PART 5 OF A 17 PART SERIES ON FAVORITE ART AND ARTISTS
Sodom and Gomorrah, John Martin
You may be familiar with fire and brimstone preachers, but how about a fire and brimstone painter? And is it a coincidence that I'm showing a picture of Sodom and Gomorrah the day after Independence Day?
Several years ago, I looked at several artists, and one that made an impression was English painter John Martin (1789-1854). I've mentioned my impression with the scale of Rembrandt's "The Night Watch" four days ago. Martin is similar. He's known for having small figures in large scenes.
Martin has a beautiful painting called "The Plains of Heaven" (left), but a lot of his paintings deal more with destruction and judgment, from Biblical themes like the deluge and Sodom and Gomorrah to non-Biblical images like the Destruction of Pompei.
Maybe it's just me, but there is a "Wow" factor to Martin's painting style you may not see with other painters. There should be a "Wow" factor when we see God at work as well, whether the beauty and goodness He shows to His people or the sincerity when He renders to sinners their due.
Unfortunately, too often we fall into the trap of the inhabitants Jerusalem to whom God said, "And at that time I will search Jerusalem with lamps and will punish those settled in complacency, who say the LORD will not do good nor will He do evil." (Zephaniah 1:12)
Is there any connection to the definition of complacency given above, where our nation is at spiritually, and Sodom and Gomorrah? One can argue that those cities had that mindset, not believing that goodness would be rewarded or evil would be punished. Likewise, is our current culture in that mindset, thinking that we are in control of our lives, and seeing anyone who believes that our society isn't where it should be as being the enemy?
One last thought. If God destroyed Noah's world with flood and rained fire and brimstone on Sodom and Gomorrah, will there be a time when any country that rebels against God will provoke God to wrath and will receive what they deserve?
What are your thoughts of John Martin's painting style? And is this nation in danger of God's judgment?
PART 1 OF A 17 PART SERIES ON FAVORITE ART AND ARTISTS
"The Night Watch" by Rembrandt
Is it any surprise that when they named a car after an artist, they called it a Rembrandt? Why not a Van Gogh or a Dali or a Picasso?
I'm starting this series with probably the best known artist I'll be covering. Is Rembrandt (1606-1669) my favorite painter? Almost - he's my second favorite (I'll be dealing with my favorite later, of course). He did my favorite Resurrection painting, "The Risen Christ Appearing to Mary Magdalene"(see below).
My favorite Rembrandt is the one pictured above. I don't know why it's better known as "The Night Watch" rather than its proper title, "The Company of Captain Frans Banning Cocq and Lieutenant Willem van Ruytenburch Preparing to March Out."
One reason I like it is the large scale of it. Several of the people stand out. In fact, though I've been lifelong non-military (like my Dad and Grandfather), I would like to hang around this group of people. Well, I'm not sure about the guy in the red with a sword - I'm not sure I'd like to get in an argument with him.
Why do I like this picture? After thinking about it, I've come to the conclusion that it's camaraderie. This group of people strike me as being a team. There is mutual loyalty between them.
Shouldn't the church be like that? We are facing spiritual warfare, but do we too often view ourselves as fighting our battle, rather that being united with our fellow believers with a common goal?
Are you also a Rembrandt fan? If so, which paintings of his do you like?
One Who Came of The Waters of TIme by Grace Carol Bomer
JR: Welcome to my blog, Grace. Let me start off by asking how you came to Christ and how you became interested in art? Do you have any heroes and/or influences among artists and in your Christian faith?
GB: Raised by Dutch pioneers who immigrated to Neerlandia, Alberta Canada (1911) to start a Christian (Reformed) farming community, I was catechized early on in the Biblical faith of the Reformation. (You may recall that Holland's Prime Minister from 1901-05 was Abraham Kuyper, who was also a theologian and journalist. He is famous for the phrase, "there is not one square inch of this world that God does not declare, "Mine!") All of life, including the arts, is governed by a sovereign Creator. I make public profession of my faith in Jesus Christ after my second year at Dordt College. This liberal arts Christian college (now Dordt University) was very instrumental in solidifying my already planted faith. My World Literature professor from Yale introduced me to great literature which attempts to understand the human condition and deal with the "Christ-figure." The Incarnation is central to history. and this Biblical truth plays an important role in my work today as a painter.
Dordt College at that time had no Art department except one course for Elementary Education, so I dropped out after my second year because I was unable to pursue an art degree at Dordt. I enrolled in the University of Alberta, and two weeks before classes began, I reread an assignment I had to write at Dordt called "The Purpose of Christian Education." God convicted me. I returned to Dordt where I got my degree in Secondary Education (English Major/History Minor), and even managed to attend a neighboring college where I took two art courses.
My heroes in art did not develop until after college. I taught 9th-10th grade art as well as sixth grade and made my students study the entire history of art. I used Francis Schaeffer's How Then Shall We Now Live and Art and The Bible, and Rookmaaker's Modern Art and the Death of the Culture to hone their critical skills. Much later when I was already painting, I wrote monthly critical art reviews of most major artists (including modern artists) for my husband's weekly publication, It's God's World News. I was also studying art at UNC Asheville at that time so I was exposed to many artists and styles.
JR: How important is worldview in art? How does worldview enter in art (including yours)? Do the genres of art reflect a worldview consistently, or can one use any form for God's glory?
GB: As you can guess, a biblical world view is the reason I paint and teach and live! One of my contemporary influences is German artist, Anselm Kiefer. His work understands the human condition well and he questions evil in the world. His answers are not biblical or life-giving. He does not have a biblical world-view. His installation piece called "Palm Sunday" is a huge dead palm tree lying across the museum floor, He believes the artist is the mediator between heaven and earth. Not unlike Matisse who is said to have claimed, "I am God."
However Christians can take any form of creativity and use it to glorify God and display a biblical view. I believe Christians are called to "test the spirits of the age. While at UNCAsheville I created an installation, called "Be Lifted Up O Ancient Doors/Everlasting Doors." (See right.) Six door jams with "blood" on their lintels were hung in ascending heights from the ceiling leading to a final large painting on three doors. This painting is of "heaven" and the King of Glory. http://carolbomer.com/gallery.cfm?ID=20
My use of abstraction, which truly is not well appreciated by many Christians, can be very powerful when painting the unseen reality of faith. I blend realism and abstraction as well as words (the Word) to point to the God who is Spirit and flesh and Word and Image. Because I incorporate realism it helps the viewer understand the painting.
JR: Speaking of world-view, how do non-Christians - whether fellow-artists or just normal people - react to your art? Have they opened the door to you sharing your faith?
GB: My work is well received not only by fellow artists but also the general public. I have a studio where I meet many visitors. Because my work is abstraction blended with realism, it encourages the use of one's imagination. I allows the viewer, whether they are Christian or not, to "see" invisible realities! Words are always helpful but, I want viewers to discover the meaning of the painting. Jesus spoke in parables. Those with eyes to see will see. He also used metaphors like I am the good shepherd, the door, the pearl of great price when speaking about the kingdom of God.
JR: I noticed on your web-page that you have done commissions like "Believe," (see left) "Taste and See," and "The Fisherman." For those not familiar with being an artist, what is a commission? How do these come about? Are there differences between doing a commission and your other work?
GB: Commissions come about because someone is familiar with my work. They may have discovered it on my website. Commissions require that the artist creates an artwork that a client envisions.
One of my biggest commissions happened because clients "googled" Christian artist. They contacted me and we talked about their desire for a painting about "The Wedding Feast at Cana/ Water into Wine" for their wine cellar and then an even larger piece, "The Fisherman," (see right) for their living room. They wanted artwork that would begin conversations about the gospel.
The same can be said of "Believe" and "Taste and See." I worked closely with each client, making mock-ups of size and colors. Commissioned pieces require more work, but are always a great pleasure for me as well as a challenge.
JR: I first met you over twenty years ago. Needless to say, a lot has happened since, including two presidents being elected in spite of losing the popular vote, not to mention 9-11 and COVID-19 and the basic worldview of this country shifting. How have these changes affected you and your art?
GB: As you already know I am a history minor so politics interests me a lot. I also taught the book of Revelation several times so I know how the story ends 😉. I highly recommend the little 1926 volume called, The Drama of Christianity by S.L. Morris.
painted politically relevant paintings long ago. ("Babylon Burning" from the series on left.) I showed two paintings dealing with the issue of abortion at the Paul VI Institute for Art in DC in the early 90s and was also part of ART-FE in Madrid's in 2011 with the Catholic World Youth Rally there.
During the "lock-down" I painted a huge canvas called "Your Days Are Numbered," aka "The Fall of the Republic." You can read about it on my blog (which you can locate on my website. (https://gracecarolbomer.com/blog-sample/) This painting along with 20 other
paintings were shown at Cairn University in Langhorne, PA for the 2021 fall semester where I also spoke to the students about the antithetical battle for truth. Much discernment is needed today in our culture of manipulated words and relative truth.
I did not close my studio during COVID and our gals' Bible study met in spite of the "lockdown." In fact, art-wise, 2021, was my best year ever! I had both virtual (thanks to COVID) exhibits and in person exhibits! The AZUR Gallery show in Madrid, Spain happened and the virtual show was actually better for advertising. You can still see the six paintings on Artsy's website. (https://www.artsy.net/artwork/grace-carol-bomer-the-crossing).
I also exhibited and spoke at All Saints Presbyterian in Austin, Texas in conjunction with the Christians In the Visual Arts (CIVA) conference (Nov.4-6, 2021). Because of COVID more curators and galleries were on-line. I was contacted by an Asian Art Dealer in New York City who facilitated the purchase of four paintings for a South Korean client for a new art center/museum in Yongin. (southwest of Seoul). Note from Jeff: "One Who Came of The Waters of Time", pictured above, is part of this collection.
JR: Thank you for your time. Any exhibitions coming up? How can we keep up with your art and what is new with you?
GB: Because of travel restrictions and COVID issues, I have focused this year on monetizing my workshops. (My first workshop is still in process but will be available on my website soon. Stay tuned.) You can visit me at my Asheville studio gallery on 170 Lyman Street - in Asheville's River Arts District - where my work is always available. Also, visit my website at www.gracecarolbomer.com.
Below is the YouTube video "'Painting Grace' Asheville Artist Grace Carol Bomer" done by a pair of UNCAshville students that Bomer shared with me.
