Painting the Word: Christian Pictures and Their Meanings

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Painting the Word: Christian Pictures and their Meanings by John Drury, an Anglican priest who is dean of Christ Church, Oxford, is a wise, accessible, elegant, and beautiful book about Christian art. Painting the Word presents dazzling color reproductions of masterpieces by Rembrandt, Raphael, Rubens, Velázquez, Piero della Francesca, Cézanne, and others, accompanied by a text that does not merely analyze and explain these pictures but also meditates upon them, and even encourages readers to inhabit them. Drury's introduction explains his project: "This is a book about how Christian paintings convey their messages. It takes on whole paintings. It is not content with just picking symbols out of them for identification. Composition, color, contents (including architecture and landscape as well as figures) and the ways in which the paint itself is handled--all are treated as part and parcel of their religious meanings." Drury justifies his critical approach by pointing out that these pictures come from a time when western civilization and Christianity were coterminous. Contemporary spectators are visitors to this foreign world. However, Drury expertly draws us into this world in light, straightforward language. (Many of the chapters in this book began as sermons.) "Worship and looking at pictures require the same kind of attention," Drury explains, "a mixture of curiosity with a relaxed readiness to let things suggest themselves in their own good time." Put this way, paying attention becomes a calling. And as Drury describes this calling, it is hard to imagine a higher one. --Michael Joseph Gross

Book Description

In this beautifully written book an Anglican priest and theologian looks at religious paintings through the ages and presents them to us in a fresh way. John Drury shows how the Christian images in paintings by artists from Duccio to Velazquez have a universal quality that fills the works with passion, stories, and meaning, not only for audiences of the past but also for viewers today. Named by ALA Booklist as one of the top ten books in religion published between August 1999 and August 2000. Selected by Choice as an Outstanding Academic Title for 2000

Customer Reviews:

Wonderfully Written but Containing some Odd Theology.......2006-03-22

As an ordained Anglican priest and the dean of Christ Church in Oxford, John Drury is by no means an accredited art historian but he is a trained artist and has a knowledgeable background in theology and New Testament exegesis. Depicted as "a book about how Christian paintings convey their messages" (p.ix), Painting the Word uniquely "extends" the "historically iconographical, or picture-describing, approach" to art by incorporating spiritual "meditation," in order to bring the reader through a "contemplative waiting process" of viewing Christian artwork (p. xi-xiii).

John Drury specifies that the purpose of the book is for the reader to take ownership of the paintings and receive `spiritual nourishment' from them. What originally began as `postcard sermons' describing artwork exhibited in the London National Gallery, has developed over time into the authoring of this wonderful book, which is full of photographic illustrations of European Christian paintings from the 14th to 18th century.

The author successfully brings the reader along on a spiritual journey through the life, death and resurrection of Jesus. Drury groups paintings under each key moment of the salvation story, starting with the Annunciation, to the Nativity, to Christ's baptism and ministry, and culminating with his death and resurrection. In this way, Painting the Word is entirely Christocentric, as it focuses on the sacrificial narrative of Jesus "from conception to resurrection" (p. xiv).

I question whether Drury successfully builds a connection between the artwork itself and the spirituality being conveyed by the artist, because Drury presents some very odd theological concepts throughout his book. I disagree with Drury's constant insinuation that the original painters understood the biblical scenes that they were depicting as "myths." For example, as Drury begins his discussion of paintings depicting the Annunciation, he states, "A dialogue between Mary and the angel follows. It can only be imaginary, but... it is held together over a respectful distance by their mutual regard" (p.41). Drury claims on the very next page that the "moment" of the Annunciation is thanks to the "imagination" of St Luke and St John. Is Drury actually insinuating that the dialogue between Mary and the angel was only a fantasy? Would the artists of the Annunciation paintings really see their portraits as depicting a mythical scene? If so, then a plethora of Christian artists from the 14th to 17th centuries must have believed that Christianity was nothing more than a "myth", as Drury repeatedly refers to sacred Tradition as "myth" throughout the book (cf. p.48, 89, 114). It is more likely that Drury is imposing his own view upon the reader rather than objectively bringing out the artist's intended spirituality.

A more detailed review is available on my website:
http://members.shaw.ca/angelamccormick

Glorious images, beautiful ideas.......2005-12-30

This book is without doubt one of the more beautifully prepared and printed books in my collection. Done by the Yale University Press in association with the National Gallery of London, virtually every page is a treasure. There are nearly two hundred full-colour-process reproductions of artworks throughout the text, and every page (not just the colour plates) are heavy bond, high-gloss stock that shows the ink and colour with vibrancy and depth.

John Drury spent a career at both Cambridge and Oxford dealing in matters of theology, ecclesiology, liturgy, and art. I discovered Drury's book while attending a course at my own seminary on the church and the arts, and kept finding myself frustrated at the rapid pace we would go through topics (a frustration I know the professor teaching the course shared - how does one do justice to 2000 years of music, architecture, and art in a mere 15 sessions?). I sought out supplemental materials to help fill out the outline, and Drury's text serves the purpose in many ways.

Drury states his purpose early in the text. `This is a book about how Christian paintings convey their messages. It takes on whole paintings. It is not content with just picking symbols out of them for identification. Composition, colour, contents (including architecture and landscape as well as figures) and the ways in which the paint itself is handled - all are treated as part and parcel of their religious meanings.' This is a holy and holistic approach.

Drury adopts a kind of picture-describing approach (one that he terms `historically iconographical'). This involves absorbing details while understanding context and material. This is the same kind of attention that worship requires (and indeed, the Eastern church has always had this kind of physical artistic interplay with the tradition of use of icons for prayer, meditation and worship purposes) - it requires an openness to experience and feeling while also benefitting from understanding and guidance.

Major artists and works studied in detail in this text include the work of Tiepolo (c. 1750s), the Wilton Diptych (anonymous, c. 1390s), Titian (c. 1510-40s), Duccio (c. 1310s), Filippo Lippi (c. 1450s), Poussin (c. 1630-50s), Rembrandt (c. 1640s), Piero della Francesca (c. 1450-70s), Caravaggio (c. 1600s), Rubens (c. 1630s), Velazquez (c. 1610s), Cezanne (c. 1900s), and others. Most presentations begin by showing the whole work, then proceeding to look at individual characteristics or highlights often pulled aside in side images or isolated for greater emphasis. The text and artwork is arranged in good pattern throughout the text.

Throughout his text, Drury makes a repeated call for care, meditation and attention to be given to the artwork as well as the response to the artwork. He makes that statement that we should stay in front of the images `longer than people usually do' - noticing in museums, art shops, churches and other places that people tend to shuffle past rather than give attention to the most stunning and sublime works of art. Drury draws in history, theology, philosophy, literature, biblical references and images, and other cultural and contextual references to make the experience of these works a full and profound one. This is not a book to be read quickly or glanced over lightly.

Drury includes a narrative annotated bibliography rather than a simple list; he provides both a general bibliography for the entire text as well as a selected bibliography for each chapter/topic.

This is a wonderful book, a great gift for oneself or for others. It is particularly good for those who want a deeper experience and understanding of the way in which art has and can interact and enhance one's relationship with Christianity and its message.

A much needed visual rhetoric on Christian Themes.......2005-10-11

Reasoned analysis involves dissection of statements and dissection of images. The dissection is needed to detect evidence or to expose the lack thereof. The reason analysis of images is needed is that all of the images are not natural. They are iconic based on conventions (like language) and therefore Christian images are signs. The discipline to investigate them is not the neuropsychology of perception but semiotics, the science of signs. Here we have an excellent semiotic rhetoric of Christian images informing us of the meaning of the signs and the meaning behind the images given to us by an expert in both religion (John Drury is a priest) and in the history of art. The cross, the scourging pillar, the spear and the sponge on a cane -all these have meaning. Particularly interesting was Chapter three with the dissection of the different presentations of the annunciation by Duccio as compared to Lippi and Poussin and the biblical quotes that supported each artist's view of what happened and how it happened.

sharing an artists vision.......2004-02-18

John Drury is an art historian who uses his vocation as a priest to explain the subtlety of meaning that lies hidden in the symbolism of religious paintings in London's National Gallery.

Anyone how has looked at such a painting but not "seen" it, would do well to read this wonderful book and share the insights that the author offers. Paintings that I would have passed by with scarcely a second glance, are revealed within a context of their time, with reference to their history, the world view of the artist, the common and uncommon symbolism employed and much else besides.

It gives the possibility of sharing a visual language that we have lost and enables us to understand what it is about a picture that we sense is great, without comprehending why that might be.

It is hard to think that anyone who has ever visited an art gallery could not profit from reading this book and has certainly given me the enthusiasm to go and look at the pictures for myself.

A truly outstanding guide to Christian paintings.......2002-10-05

Painting The Word is a truly outstanding guide to Christian paintings and their meanings brings art and spirituality together in an inspiring coverage. More than a history of painting, Painting The Word discusses how Christian images reflected and influenced Christian civilization as a whole, with a universal quality delivering balanced messages. Color reproductions of significant classic Christian art works appear throughout.

Book Description

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Title: Arte y rehabilitaci

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Luz y sombra en pintura
Jose Maria Parramon
Manufacturer: Parramon
ProductGroup: Book
Binding: Hardcover

General | Instructional & How-To | Arts & Photography | Subjects | Books

General | Arts & Photography | Subjects | Books

Spanish | Foreign Language Nonfiction | Nonfiction | Subjects | Books

Book Description

La serie que verdaderamente enseña durante la practica. Aprender Haciendo se ha ganado el reconocimiento mundial como una de las mejores series para aprender a dibujar y a pintar, al mismo tiempo que llena al lector de entusiasmo y confianza en sus habilidades para crear su propio trabajo. Consta de 26 libros de temas diferentes.

Book Description

This guide lays the groundwork for making well-conceived manga characters and comics. It starts with gathering the correct materials and supplies with tips on using them effectively.It goes on to show how to create different types of manga; drawing people and animals; the use of various manga techniques and effects; how to depict nature, props, weather, vehicles, buildings and the use of perspective; panel design and composition; and several in-depth discussions that explain the finer points of some techniques. A great overview into the world of manga comics that is clearly presented for the amateur. In two volumes.

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THE 12 O'CLOCK HIGH LOGBOOK: THE UNOFFICIAL HISTORY OF THE NOVEL, MOTION PICTURE, AND TV SERIES.
Allan T. & Paul Matheis. Duffin
Manufacturer: BearManor Media,
ProductGroup: Book
Binding: Hardcover
ASIN: B000PJDBSO

Book Description

Sagas from the lands of Krynn are filled with valiant heroes destined to discover ancient secrets and vanquish terrible evils. Like those great champions, you will band together with brave companions to set forth on daring adventures. The tales of those bold deeds will become the newest legends in the world of Dragonlance.

From Solamnic Knights and Dragon Riders to kender, tinker gnomes, and draconians, the rich tapestry of the Dragonlance world comes alive in this campaign setting for the Dungeons & Dragons roleplaying game. With historical content covering eras from the War of the Lance to the War of Souls, along with expanded rules for aerial combat, the Dragonlance Campaign Setting provides the charcter races, prestige classes, feats, spells, monsters, and maps you need to fully explore the world of Dragonlance.

Customer Reviews:

Great for content.......2007-05-14

Pros: Great for content and getting players excited about the setting, Made for 3.5e

Cons: Lots of spoilers for the novels (They don't ruin the story but lessen some of the drama if you haven't read them since you know how they are going to end.), poorly organized (in contrast to the FRCS), and no full-size world map (unlike the FRCS, but a full size map can be downloaded from the publisher's website)

Overall, I really think it could have been a lot better if it was done by game designers and not the author of the novels.

At Last.......2007-05-10

I still remember the day I first saw the ad for Dragons of Despair in Dragon Magazine. I still remember playing that adventure for the first time. I still remember when Dragons of Autumn twilight became the first fantasy novel to hit the New York Times best seller list. These are some of the defining moments in my gaming career.

So it only stands to reason that I'd be excited to see this revisiting of one of my favorite settings. There was a certain feeling of trepidation as well. I thought that Dragonlance Adventures had lots of problems. I never cared for the Saga System at all. Still, I sucked it up, forced my expectations low and opened the book.

I have to admit, I liked it. It brings the Dragonlance rules nicely into the 3.5 game system. Prestige classes alone were something that the Dragonlance setting desperately needed. This book is a must-have for anyone who loves Dragonlance.

The book starts with the obligatory race chapter. There are some surprises, though. Fatherless dwarves (dwarves without a home), thinker gnomes (the "insane" opposite of tinker gnomes) and afflicted kender (kender who have had the spunk scared out of them) leap out immediately. Then there are the draconians. (When I was a kid we didn't have player character draconians. Draconians were the enemy and we liked it that way!) The irda have entered the player character arena, crushing the hopes of all the munchkins out there by presenting an official (and balanced) treatment of the race. On the strength of this chapter alone, I decided the book was worth it.

Then we enter class-land. The mystic (a divine version of the sorcerer) and the noble base class are two pleasant surprises. There's a nice little boxed text explaining why certain classes (like the paladin) aren't appropriate in Krynn. Then we move onto prestige classes, with a more reasonable treatment of the Knight of Solamnia than in Dragonlance Adventures (no week long spell prep times, for instance). Then we move onto the evil knights and the Wizards of High Sorcery (which are one class with plug and play powers). There are several other classes, the most notable being the dragon rider. The chapter rounds out with a nice selection of world-specific feats.

From there we move on to the chapter on magic. If you've seen the former Dragonlance treatments and know 3.0 or 3.5, there aren't really any surprises here. This section even has its own domains, ala Forgotten Realms. While it might not be anything too surprising, it's well done. After that is the deity chapter, which is more of the same.

The book then moves onto Geography and then Creatures. There isn't much to say about these, except that they bring some of out favorite old creatures into 3.5 (spectral minions, anyone?). Then we have a chapter on Dragons and ariel combat (very important), and a final chapter on Eras of Play.

This book is very satisfying and I look forward to future supplements (which I hear are being done by Sovereign Stone). It is on sale this year at GenCon, but goes onto the market en masse on August 22. Look for this book and enjoy.

P.S. Yes, they did reduce the power of the Dragonlance to the level of an item you can actually give your players. Now the dragons are waiting in the sidelines, itching for a rematch with your players.

amazing..........2006-09-22

this book is awe-inspiring!! Ive never been happier with my purchase before!!! If you play DnD, Buy this(while its still 9 bucks used!!!)

Dragonlance.......2004-08-25

First off, yes, I'm a little bit biased. I've loved Dragon lance for a long time, but this book seems to be getting a lot of bad reviews that aren't all that justified.
Yes, there is an inch and a half margin which really shouldn't be that large. They should have at least added the chapter titles into the margin if they were going to make it that big.
The art isn't all that great. In fact there isn't a lot of art at all. Which means that the inch and a half margins don't sacrifice text, but rather pictures.
The other peeve I have about this book is that there is a lot of repeated information. The whole Chapter on other eras of play really isn't necessary, and everything that is in that chapter should have appeared somewhere else in the book.
The good thing is there are two new character classes, several prestige classes, and a lot of history for those people who don't feel like reading ALL of the Dragon lance books. But once again there is a lot of repetition of the history. There are also stats for some of the magic items used by the characters in the novels, and 2 mini adventures.
I want to comment on one prestige class. The dragon rider. Even if the dragon rider isn't used in your dragon lance campaign it can be easily changed to a different animal. I think I'm going to convert it to Star Wars and use it for the Rancor Riders.

Mainly for campaigns set during and after the War of Souls........2004-08-03

This is a pretty good campaign setting.

Though not without a few errors here and there, it is better produced and edited than the "World Book of Ansalon" that came with the AD&D 2nd ed. "Tales of the Lance" set. The main things it seems to be missing are details of non-standard weapons and equipment (kender in particular), information on famous heroes and NPCs from before the Age of Mortals (no Heroes of the Lance or Dragon Highlords), details of many famous locations (Foghaven Vale, High Clerists Tower, Istar) and almost anything regarding the Dragon Orbs, the Device of Time Travelling, the Portals to the Abyss and several other key artifacts from the Age of Despair.

What it does have is enough to run fairly detailed adventures in the post War of Souls period and somewhat generalized campaigns in all the major time periods since the Cataclysm (or First Cataclysm for Age of Mortals folks). It is effective for updating older Dragonlance settings, modules and characters to 3rd edition or 3.5. What it lacks in detail of maps and NPCs it makes up for with sections allowing for PC Draconians and Knights of Neraka (or Takhisis) among others, as well as very detailed chronologies and geographical information.

I am running a game using both the old, out of print Dragonlance Classics reprints of the original DL module series AND this new campaign setting. I am finding this combination very effective for running the original campaign using v.3.5 rules. The Classics series and the original DL modules are all available from retailers such as NobleKnight.com and TitanGames.com. If you like modules the old ones definitely still stand up, but 3rd ed. has many significant changes. If you want to make your own campaign in the old period I recommend the Sovereign Press book coming out later this year (see next paragraph).

So once again I emphasize that this product is designed mainly for playing in or after the War of Souls period. It is also (currently; see below) the only good way to play in the Dragonlance setting using D&D 3 or 3.5. Hopefully the "War of the Lance" expansion (published by Sovereign Press, due out later this year) will solve many of the problems I have mentioned here. Ideally, it will give enough information to allow play in that period without purchasing this WotC Dragonlance campaign setting, but I wouldn't bet on it.

Book Description

There are generations that have never seen Sid Caesar become an automobile tire or Red Skelton stick his thumbs in his armpits and intone. "Two theagulls...," never journeyed with Ernie Kovacs to a surrealistic world of his warped imagination. Covered here are seventeen comic talents (with photographs): their early years, marriages and personal challenges, anecdotes about them, the characters they created, their styles, and often representative dialogue or sketch descriptions. includes a listing of all television shows in which the comic starred (giving length, network, air dates). The comics include Lucille Ball, Milton Berle, Carol Burnett, Sid Caesar, Imogene Coca, Tim Conway, Jackie Gleason, Danny Kaye, Ernie Kovacs, Olsen and Johnson, Martha Raye, Soupy Sales, Red Skelton, Dick Van Dyke, Flip Wilson, Jonathan Winters, and Ed Wynn.

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