Joseph's dream

Chapter 1

Joseph's dreams, all of which are recorded in chapters one and two of the book of Matthew, have been depicted by several artist. In my judgement Gaetona Gandolfi's 1790 painting best captures the troubled sleep of Joseph as he struggled with what to do with the discovery that Mary, his wife to be, was pregnant. 

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magi
Chapter 2
Tissot was a prolific artist who worked in etchings, dry-point, and enameling. After a "mystical experience" in 1885 he turned his attention to illustrating the life of Christ. He produced over 350 watercolors published in two volumes.
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Baptism

Chapter 3
Ottavio Vannini was an Italian painter (1585 - 1643) who painted in the Baroque style. Baroque uses motion to emphasize drama and tension. It was encouraged in religious painting in churches by the Council of Trent  to involve the viewer emotionally.
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temptation

Chapter 4
Ivan Kramskoi painted Christ in the Wilderness in the Russian humanistic tradition with the purpose of showing the intense psychological struggle of the temptation.
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Sermon 1
Chapter 5
Jan Luyken was a Dutch lithographer and poet. After a "religious experience" in 1678 he began writing moralistic poetry and illustrating biblical scenes in his engravings. He was baptized in a Baptist church and followed the pietistic tradition. His most famous work was illustrating the sailor's Bible.
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Sermon 2

Chapter 6
This is another of James Tissot's watercolors depicting New Testament scenes. Tissot traveled to the Holy Land several times. This painting places Jesus and the disciples on the hill outside Jerusalem, while Matthew places Jesus north of the lake of Galilee. Perhaps Tissot, taking his cue from the book of Luke, wanted to hint at Jesus praying for Jerusalem.

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Sermon 3

Chapter 7
Louis Comfort Tiffany (1848 - 1933) is best known for Tiffany lamps, but as an artist working in stained glass he created many stained glass windows for churches.
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Christ in Capernaum

Chapter 8
Rodolpho Amoedo (1857 - 1941) was a Brazilian painter with numerous awards and accolades. During the late 1800s his interest was in mythology and biblical scenarios.

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Matthew's calling

Chapter 9
Michelangelo Merisi Carravaggio was commissioned in 1599 to paint two large oils of the Calling and Martyrdom of St. Matthew. In them he discovered his ability to capture significant human action and hardly painted any secular subjects after that. In this painting he captured Mastthew's disbelief that Jesus would be actually calling him. See WSJ article for more.

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The Apostles
Chapter 10


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playing
              children

Chapter 11
Though not strictly a biblical painting, Bartolome Esteban Murillo captured the essence of children mindlessly playing in the street that Jesus said characterized the people of his day.  Painted in 1675.

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Christ in the
              wheat

Chapter 12


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Sower Parable
Chapter 13
Vincent van Gogh was a Christian who believe "Christian art" should breath the spirit of Christ into a troubled world. He viewed his art as a ministry and this painting is sometimes seen as a self-portrait. See for more on this piece.

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Tiberias
Chapter 14
A photographic hand-colored postcard from about 1890.  The Bible does not record that Jesus ever visited this city, though it is only a few miles from his Capernaum home.

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Canaanite Woman
Chapter 15
Baroque art was intended to show movement, emotion and detail. The Catholic Church encouraged this style in  the 1600s as a means of telling the stories of the Bible is a way that spoke to the illiterate in a direct and emotional way. Notice the detail of the dog in the lower center and the woman pointing to the dog as if to make her point.
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Keys of the Kingdom
Chapter 16
The tapestry was actually created by weavers working from a paper "cartoon" by Raphael. In this period most art developed religious themes.

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Transfiguration

Chapter 17



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The children

Chapter 18


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Rich Young Ruler
Chapter 19
Heinrich Hofmann came under the influence of the Nazarenes while in Rome who aimed at developing honesty and spirituality in Christian art. This painting hangs in Riverside Church in New York.  Notice the almost contemptuous look on the rich young ruler's face but the genuine look of love on Jesus'.
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Healingh the Blind

Chapter 20


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Triumphal Entry

Chapter 21
The artist is unknown. The painting is done in an early Medieval style but is a modern work.

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Sacrifical Lamb

Chapter 22


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Opportunity Over
Chapter 23
Another of James Tissot's wonderful paintings from his watercolor series.This one captures the indifference and disdain in the body language of the Pharisees. 

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Roman Arch
Chapter 24
The Roman Arch of Titus depicts the victory of Rome over the Jews in 70 A.D. Standing at the highest point of the Via Sacra in Rome is vivid testimony that the words of Jesus about the destruction of the Temple were true.

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Wise and foolish virgins

Chapter 25


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Last Supper
Chapter 26
Joan de Joanes "He never painted a profane subject, and emulated Luis de Vargas and Fra Angelico, in never painting unless he had received holy communion. Painting for him was a solemn exercise, an oratory process, full of prayers and fasts."
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Trial
Chapter 27
Ecce homo (behold the man), this dramatic moment has been depicted many times. Ciseri captures the drama and the pathos best by allowing the gestures and expressions to tell the story of anger (Pilate), rejection (distant figures), and sadness and fear of what may happen next (the women).

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Appearance to Mary
Chapter 28
Alexander Ivanov's Christ's Appearance to Mary Magdalene after the Resurrection is a oil painting done in 1835. Ivanov searched for a subject that would embrace the "whole bulk of history." During his study in Rome he settled upon biblical themes, especially the appearance of the Messiah. His best know work is The Appearance of Christ to the People" on which he worked for 20 years.
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