5 comments about The Return of the Prodigal Son: A Story of Homecoming.

1. Thank you for providing this product in a timely manner and hassle free. Wonderful book.



2. This is a wonderful book written about the many characters in the painting of the Return of the Prodigal Son. Many lessons about forgiveness.



3. One of the best books on forgiveness and relationships I have ever read. I could identify with the son, the father, and the brother. Nouwen shows the need to forgive as well as the need to receive forgiveness.



4. 
   This author is very insightful in showing the painting of the familiar story as an allegory of each of our Christian lives. Now I can see myself as each seperate character, as well as the obvious basic truth teaching what God is like.



5. Very insightful thoughts from the author on one of the most important parables in the Gospels. While the author starts with telling us how his interpretation of Rembrandt's painting increased his insights into what Jesus was telling us and on struggles in his life, you will end up focusing more on your own journey with Christ and how each of us actually plays each of the 3 main characters in the parable at different times in our lives. My men's group has been using this as a basis of discussion for 3 months, and it's opened us up to new ways of thinking about the parable, ourselves and our mission in life.

5 comments about Michelangelo and the Pope's Ceiling.

1. After reading this book you will never see or think of the ceiling of the Sistine Chapel the same way again. Ross King not only details Michaelangelo's life in the 16th century and his relationship with the pope, but also, his relationship to the Sistine Chapel's ceiling. You will experience Michelangelo's artistic progression as he worked his way across the ceiling from one end to the other, and if you study the color illustrations (included in the paperback edition or you can find them online), you can see the increased complexity of his vision even as his hand grew more assured in the technique of fresco. A incredible story of an artist wholly consumed by his art.



2. This book is truly excellent. Very wide scope: it covers from the psychology of the artists (particularly Michaelangelo and Raphael) and that of the Pope (Julius II) to the materials used in the colors, and the techniques of fresco painting. I enjoyed the style and the pace. A book to relish.



3. This is the second copy of this book I purchased. Very well written, great book. I bought this copy for my sister-in-law who will
   be going to Italy this fall. It gives a very in depth background to the painting of the Sistine Chapel, how the paints were prepared, Michelangelo's background and all about the process of painting as well as his other works.



4. I purchased this book for my niece for a college project she was working on in a chemistry class (they were studying paint pigments, etc.). It provided her with all the information she needed and she found it a fun and interesting read as well. After she finished she passed it back to me because she knew I would enjoy reading it. She was right! It's a fascinating read. The story would make a great period movie. The relationships, sometimes back-stabbing, political intrigue along with the actual artistic history of the Sistine Chapel ceiling would be better than fiction on screen. Highly recommended book, especially for art lovers, those who enjoy Italian culture and history, and/or those who are interested in Vatican history.



5. The wealth of material and information about Michelangelo and his work-from his personal correspondence as well as from Vasari's "Lives of the Artists," is a full chronicle of the artist's long, spectacularly productive life. King thoroughly culls the record and spins a fascinating story of Michelangelo's creation of the Sistine Chapel, a masterpiece despite the interference and incessant meddling of his pontiff and benefactor Pope Julius II.
   
   Michelangelo viewed himself a sculptor who was commissioned and cajoled by "Il Papa Terrible" into working in fresco. Just as Michelangelo had to learn a new and temperamental art form, King educates us in a lucid, astute and detailed primer just how delicate, exacting and meticulous frescoing is - from mixing the pigments to creating the "cartoons" and applying the colors to plaster that is at just the right temperature and consistency.
   
   King convinces us that what Michelangelo created is a supreme testament to the artist's tenacity and perseverance. The Sistine Chapel is almost miraculous in its beauty. It is equally wondrous that Michelangelo's masterpiece of art and craftsmanship has survived history and continues to amaze just as it first did five centuries ago.

No comments about Hebrew Illuminations 2011 Wall Calendar.

5 comments about Praying in Color: Drawing a New Path to God (Active Prayer Series).

1. You think you can't pray very well? You find your mind wandering when you pray? You want to have a deeper prayer life but you haven't found a discipline that works for you? Order this book and try it. You will learn a method of using your hands, your eyes, and your heart, all together at once, to focus your attention in prayer. The author teaches a method of intercessory prayer (praying for others) in detail and offers briefer suggestions for other kinds of prayer. All rely on the very simple method of drawing and coloring shapes - yes, doodling! - to focus your attention as you pray.
   
   I use this method myself, and I have taught it to younger teenagers in a confirmation class. Their parents were awe-struck watching their teens using this method at home - one said, "It's like meditation - I never thought he could sit still that long!" Yes, it is like meditation, but it's much easier for most people to learn.
   
   You do not need artistic skill or expensive materials. I use colored pencils and an inexpensive discount store sketch pad. I sometimes return to "prayers" from weeks before and find I can still connect with the peace and depth of that moment.
   
   I highly recommend this book - there is a similar book for children, and a DVD that demonstrates how to use the method with children, and both of those are good, too.



2. 
   
   
   Do you wish you knew how to pray better? This book describes how to pray using crayons, markers, even your computer drawing program. For visual learners (do you doodle when you think?) this process could be the way to become confident in prayer when other methods have failed. Prayer is presented as play with color, prayer without worrying about using the "right" words--a way to make your life a prayer.
   
   Even more, this is a wonderful book on prayer. It's witty and wise, obviously written by someone who has lived a life of prayer.



3. I present lots of workshops and retreats. A woman attending a recent weekend retreat introduced me to Praying in Color. Now, I plan to include some introduction to Praying in Color, and opportunity to try it, in future retreats. I'm also a church camp chaplain and think our campers will enjoy this unique way to be in relationship with God. I plan to order the "kids" version soon.



4. I have struggled with my prayer life over the years because I had difficulty staying focused. My mind would wander or I would be distracted by outside influences. Praying in Color has changed my prayer life! This technique has shown me how to stay focused without having to spend a lot of time writing in a prayer journal or trying to come up with the words. Along with my bag of crayons and paper, I am able to focus more on the subject of my prayers rather than the struggles I faced with the actual praying process. Thank you for introducing me to a new method of praying that changed my prayer life! I now pray with more frequency and more focus than ever. I find myself sitting in meetings doodling and praying as I listen to the subject. I ASK to pray for others which I was so hesitant to do before. Thank you for being a blessing to others by sharing this innovative and creative method.



5. This is a quick read, but don't underestimate its value. It is inspiring and helpful, if you ever find yourself "stuck" wondering how or what to pray - particularly if you're asked to pray for someone in a tough situation. This takes your rational, analytical self and sets it aside, so you can pray with your heart and emotion. You don't have to say "the right words," or even draw "pretty pictures." It's liberating, and fun!

4 comments about Medieval Art.

1. good price, great condition sent it out straight away and recieved it 2days before the estimated delivery!



2. This was an easy read which is not so common in art history textbooks. The pictures were easy to scan and research. I liked that the history was given to the reader in a way so that you don't have to re-read and ponder over every paragraph thinking "WHAT?!"... I'm keeping it as my future reference for any medieval art I come across.



3. As an art historian in medieval art I would suggest this book if you are looking for a work that is more detailed than the all-encompassing art historical books on Western Art. However, its content is quite dense, almost cramped, in its attempt to cover so many art objects in such a brief manner. Consequently, the writing can be quite dry and hard to follow. If one is searching for a work that has a more leisurely pace but is just as informative, I would suggest the work by James Snyder of the same title. Its more lengthy, but far more detailed and focused on particular objects--a good basic text for the novice or professional.



4. As an art student, I have found Stockstsd's book a great help and a source of pleasure. The book containes wide and relevant infomation about the art of the Middle Ages - from it's early days to the high Gothics. The diferrent chapters offer the reader a relevant and comfortable division to chapters and issues. Wide historical backround,suggested by Stockstad in every chapter, is interesting and important for understanding the caltural, religios and political surroundiung of the special art of these days. Many color picture make the book an easser and more pleassurable to read and remember even for a non english reader and the whole experience of the book can be summarised into "great".

No comments about Thomas Kinkade Painter of Light: 2011 Wall Calendar.

5 comments about Art for God's Sake: A Call to Recover the Arts.

1. One commentator opined: Michelangelo instilled into his figures of art "a sense of moral cause for action." One case of this can be seen in the facial expression of his most celebrated work, the marble statue "David." Additionally his "Last Judgement," in the Sistine Chapel, is a "depiction of extreme crisis." And much of modern religious art is in crisis.
   
   Nevertheless in "Art for God's Sake: A Call to Recover the Arts" Philip Graham Ryken (Pastor of Tenth Presbyterian Church: Philadelphia) has provided a petite volume to help promote contemplation concerning art and artists, as he urges the church to pursue beauty and the expression of it in art.
   
   Topics include:
   
   - Art and the Church
   - Why some churches have a negative attitude regarding art
   - How to produce better art that testifies to God's truth and grace (p.15)
   - The artist's calling
   - God's specific instructions on workmanship and artistic works
   
   Exodus 31:1-6 "Then the LORD spoke to Moses, saying: 2 "See, I have called by name Bezalel the son of Uri, the son of Hur, of the tribe of Judah. 3 "And I have filled him with the Spirit of God, in wisdom, in understanding, in knowledge, and in all manner of workmanship, 4 "to design artistic works, to work in gold, in silver, in bronze, 5 "in cutting jewels for setting, in carving wood, and to work in all manner of workmanship. 6 "And I, indeed I, have appointed with him Aholiab the son of Ahisamach, of the tribe of Dan; and I have put wisdom in the hearts of all who are gifted artisans, that they may make all that I have commanded you."
   
   "Art for God's Sake" is a commendable start as Ryken concentrates on the connection of Christianity and art to help ignite and instill an aspiration in the church to recover the arts. Because God is good and He dwells in the beauty of His holiness and He has created such a wondrous creation, the Christian should seek to emulate God through the creative expression within the arts. Yes faithful art should be aimed to bring glory to God as the artist helps the viewer enjoy Him forever, including while on earth, while pondering the beauty conveyed by the creative man made in God's image (Genesis 1:26).
   
   The gospel "gives hope" to the man who has an "urge to create" (p. 9).
   
   The chief truth that turned ugliness into supreme beauty was the Resurrection of Jesus Christ; moreover the glory and love of Jesus should inspire His people to "devote our skill to making art for the glory of God, and for the sake of His Son - our beautiful Savior, Jesus Christ."
   
   Endorsed by Nancy Pearcey: "Theologically rich and remarkably readable."
   ------
   See the New Book that contends for the existence of God using moral absolutes by Mike Robinson:
   There Are Moral Absolutes: How to Be Absolutely Sure That Christianity Alone Supplies
   
   ------
   or additionally see the dynamic new book:
   [["The Necessary Existence of God: The Proof of Christianity Through Presuppositional Apologetics" ASIN:1419620355]]



2. Ryken has written some wonderful things and preached some great sermons, but this book is not in that category.
   
   While he does affirm the arts explicitly,and say some very encouraging and true things, at the same time he undermines his very goal. An example of this is when he states at the outset "images easily lend themselves to idolatry"(p.11).
   
   This simply isn't the Biblical perspective on art. Art does not cause or lend itself to idolatry any more than a lazyboy chair lends itself to sloth. If art was the cause of idolatry, God would not have commanded art to be made within His place of worship.
   The reformers made it clear that anything and everything can become an idol. John Calvin was right when he said, "our hearts are idol factories." Art does not cause idolatry. It is an occasion for it, just like the approval of man, money, power, etc. I believe this misunderstanding is part of the problem - we need to stop singling out art as somehow more evil or tempting than the other things we worship.
   
   Ryken's presents a proof of his point in Exodus 31-32. In examining the golden calf passage he writes, "Anyone who doubts the tendency of artistry to become idolatry needs only to read on into Exodus 32 (p. 49).
   Amazingly, given Ryken's knowledge and wisdom, he misses the real context: The artist, Bezalel, who is commissioned by God in Exodus 31 is not mentioned in chapter 32. His artwork is not yet created or mentioned either.
   Who made the golden calf? Aaron. Exodus 32 is about priests giving in to the desires of the people, and people being prone to return to their old slavery to sin, not about the art commissioned by God being used for idolatry.
   
   Ryken is confusing the issue he seeks to clarify.
   
   disappointed.



3. This short book is helpful for building a theological basis for understanding the value art from God's perspective. I did think the book was overly simple, and I wish there were more examples or illustrations for helping me understand the Christian standards of truth, beauty, and goodness. The book left me wanting to know more about the seemingly preference-based standard of beauty.



4. Yes, I am a speed reader--but 15 minutes? I didn't learn anything that I didn't already know, and that was disappointing. I suspect that this little book is actually a sermon that was written down and published. Here it is: Four points based on Exodus 31: 1) The artist's calling is from God 2)God loves all kinds of art 3)God maintains high standards for goodness, truth, and beauty, and 4)art is for the glory of God. The book elaborates briefly on these points. This is not a bad book; in fact, I agree with the premise, it is a topic that is important, and the little tome is well-written. If you know nothing about the topic, this book is an excellent morsel to whet your appetite. If you have any knowledge at all about the subject, better to pass on this one and look for something more substantial. This might very well be the book for you, it just wasn't the book for me.



5. Dr. Philip G. Ryken [...]
   
   offers a profoundly simple and highly practicle approach to an ever increasing need for good christian arts in cafe, stage, gallery, musuem, church, and/or home. In an ever changing world where lines all blur from art, medicine, science, new media, and technology dare we consider a view from the unchanging great "I AM" as central to our being and Art itself?
   
   The need and desire to create art has always existed in man regardless of age, faith, creed, or sex and regardless of utility/gestalt, sacred/profane, and/or symbolic/representational intent.
   
   This book traces the very steps back to the first and greatest Artist: God. And it recalls the account of the first divine calling for man to Create art, not for the sake of art but as the duty to G-d and his fellow man.
   
   Those who are chosen for lives dedicated to the Arts in all its forms will be kindly instructed and soundly inspired by the contents of "Art for God's Sake". This book offers a G-d's eye view of the arts and its significance to the artist, the culture, and G-d Himself.
   
   "Art for God's Sake" is a delightful and insightful read that will illuminate your mind like a jewel, making undim and vivid a brilliant new approach to the arts. Discover what really lies in the eye of the most high beholder. Will you answer the challenge/call to reclaim the arts and do all things in His name and for His Glory?

5 comments about Imagine: A Vision for Christians in the Arts.

1. Steve Turner chose the name "Imagine" for this book. That should have been a tip-off. I suspect his intention was to be ironic--to use the name of John Lennon's anthem of socialist secularism to present his thesis for the exact opposite: a vision of Christianity influencing the arts. But Imagine is a maudlin, syrupy song and Turner's book, while presenting many intriguing ideas, is incomplete and actually gets the question backwards. Instead of asking "Why are many Christians hostile to the arts?" Turner should have asked, "Why are the arts so often hostile to Christians?"
   
   Before I tear into this book, I should say that Turner does get a lot of things right. For example, he gives the Catholic Church the proper credit for having always viewed art as a way of approaching the sacred, while Protestantism--particularly the evangelical brand of modern times--often views art as fundamentally worldly and approaching idolatry.
   
   He also correctly identifies the importance of art in all its forms as a means of communicating ideas to large groups of people. And, he recognizes how vital it is for Christians to engage in the arts in order to influence society. I almost said "evangelize" there, but in truth, that's where Turner's argument begins to fall flat. He seems to understand that Christian moral influence on society is a good thing, but worries that actual evangelization via the arts should only be done sotto voce--if at all.
   
   Turner dismisses contemporary Christian rock and instead holds up the band U2 as an exemplar of how Christians should influence the arts. While it is undeniable that U2 has had a major impact on the music scene over the years, they seem to do the opposite of what Turner calls for in this book. Rather than use their music to teach a Christian message, U2 seems to use their religious bona-fides as a promotional tool to preach a "social gospel" to their Christian fans.
   
   And that brings us to politics--an issue that Turner hints at but never addresses directly. The fact is that since the 1960s, overtly Christian artists have been the target of a blacklist which is worlds more all-encompassing and harsh than any of the ineffective and largely fictive bans that were imposed on Communist artists during the 1950s.
   
   In such an atmosphere, even inspired and copiously talented Christian artists can't be expected to thrive unless they have already made their name as secular stars. But for whatever reason, Turner ignores this. Instead, his advice to Christian artists seems to be: Keep a low profile. Engage the audience on their level. Attempt to insinuate Christian messages into your work in ways that won't offend them.
   
   Interestingly, Turner does not address the one area of contemporary popular culture where Christianity has had--and continues to have--a tremendous impact. Popular country music. I could point to any number of extremely effective popular country songs that have very clear and obvious Christian messages, such as Three Wooden Crosses by Randy Travis or The Little Girl by John Michael Montgomery.
   
   Beyond that, country music is rife with songs that are more subtly infused with Christian, pro-life and positive ideals--exactly what Turner is talking about in his book, such as There Goes My Life by Kenny Chesney and I've Been Watching You by Rodney Adkins.
   
   I would argue that any of these songs, which are devoid of political overtones, are more effective at evangelizing the culture than the entire discography of U2. So why does Turner ignore the country scene? Perhaps he is simply unfamiliar with it. Or perhaps it is because he knows how badly it weakens his thesis because it proves that overt references to Christ and Gospel messages *can* be done well and achieve popular success.
   
   Turner is very obviously a thoughtful man and a good writer. This book is an easy and interesting read and it makes many good points. However, at the end of the day, I think Turner's key premise is fundamentally flawed. The subtle approach he champions is necessary but not sufficient. What is most needed in this current age are talented Christian artists who are completely unafraid to preach the Gospel overtly through their work.



2. The ideas on this book are really good and valid, but the way the writer approaches and defends his ideas is not professional and is somewhat offensive. Again, really good ideas, but really bad approach to solutions.



3. A couple of years ago I interviewed singer/composer/producer Charlie Peacock for an online magazine. He sent me a copy of this book, and since then I have read it through about five times. Turner's insight and vision for Christian artists of all disciplines is almost incomparable in the modern church. He backs up his assertions with any number of contextually accurate scriptural references, and provides more encouragement for the bored and searching artist than he does condemnation of the status quo in Christian-produced art (although there is plenty to condemn). I consider this book absolutely essential for every Christian musician, dancer, painter, poet or artist of any color. It will radically transform your vision for glorifying God if you take its message to heart.



4. Steve Turners book is very accessible. It should be part of the basic reading and discipleship for all Christians, not just artists. But as the other reviewers have mentioned, He redeems art, or creative expression in most all its form, as a field of practice and calling for Christians. So his work should be read by those confessing Christ and interested in creative endeavors. Turner encourages and gives Christians the vision to be instruments of hope, beauty and truth- instruments of redemption- in and through the arts. Turner does a good job explaining why there is so little protestant involvement in the arts. And to a lesser extent he explains why that little involvement has had even less influence. Turner's work is a good starting point on a bibliography of redeeming Culture- Francis Schaeffer Art and the Bible (L'Abri Pamphlets), Hans Rookmaaker, Greggory Wolfe, Makoto Fujimura It Was Good: Making Art to the Glory of God are few others in a increasingly longer list. Enjoy!



5. Steve Turner did an excellent job with this book. It is a very easy read but is well thought out and insightful. He does a good job of outlining the historical reasoning for the sad state of "christian art" today. But, he also does what other authors pretend to do but never actually accomplish. He provides a solid theory from which Christian artists can work. After explaining the historic reasons for our situation he then discusses the issue from a solidly biblical perspective doing a good job of puting the scripture in context for this discussion. He rightly argues that art produced by Christian Artists needs not be overtly religious. God is the God of the "secular" and the "religious".
   
   Especially helpful is Turner's theory of five concentric circles. The cicles represent diferent levels of direct religiosity in the work with the outer showing no specific workview and the inner being focused on the cross. But, Turner goes further and asks if it is actually possible to produce the type of powerful art he is advocating and then he backs up his arguement with examples.

5 comments about The Lost Painting.

1. This wonderful book was recommended by a dear friend, even though she knew I was not an art afficionado. I could not put it down. The story behind the unlikely find of the painting and the resulting swirling interests of the true art intelligencia made for a fascinating read. Caravaggio was a talented, but troubled artist 400 years ago. The "characters" in the current day aspect of the book are equally intriging! I had never heard of Caravaggio, so you can appreciate my wonderful surprise to see one of his few known works, that of a reclining cherub, at the Indianapolis Museum of Art, exactly a week after reading the book, and then to only find out the artist is one of the very favorites of one of my granddaughters!
   
   A great read!
   
   Jim Kennedy, Honolulu



2. I have been fascinated with the art of Caravaggio for many years and been able to see the majority of his painting that still decorate churches in Italy. Jonathan Harr's book, therefore, had an instant appeal. The Lost Painting tells the story of how a painting of Caravaggio - The Taking of Christ - was found after being lost for centuries. The book initially centers on a painting of St. John the Baptist by Caravaggio and the attempts to track down its history. The St; John was purchased by the Mattei family from the artist along with The Taking of Christ. The whereabouts of the latter painting is a mystery. Mr. Harr's approach is to treat this like a detective story. He centers on three people: Sir Dennis Mahon, Francesca Cappelletti and Sergio Benedetti. Sir Denis is a highly respected art historian, Francesca is a graduate student in art history and a researcher, and Sergio is an expert in art restoration.
   
   The book is as much about the personalities of the three main characters as it deals with art history, scholarly research and the preservation of art. We are plunged into the milieu of the art world. I learned a great deal about the search for family archives and the various states of preservation that these documents come in. Some are remarkably well preserved, as fresh as if written a few years ago when they are hundreds of years old. Mr. Harr provides nicely detailed descriptions of the three central figures. Obviously, he observed them closely. For example, here he introduces Sir Dennis:
   
   "The Englishman moves in a slow but deliberate shuffle, knees slightly bent and feet splayed, as he crosses the piazza, heading in the direction of a restaurant named Da Fortunato. The year is 2001. The Englishman is ninety-one years old. He carries a cane, the old-fashioned kind with a hooked handle, although he does not always use it. The dome of his bald head, smooth as an eggshell, gleams pale in the bright midday Roman sun. He is dressed in his customary manner - a dark blue double breasted suit, hand tailored on Savile Row more than thirty years ago, and a freshly starched shirt with gold cuff links and a gold collar pin. His hearing is still sharp, his eyes clear and unclouded."
   
   Sometimes the author gives a little too much information, such as when describing Francesca's long relationship with Luciano. His pacing is very good and I found myself wanting to continue reading even though I had to put the book away for the day. I found it easy to be caught up in the research of Francesca and Laura as they uncover, bit by bit, information about Caravaggio's painting of St John and the intriguing missing painting. I would have liked some photographs in the book to illustrate the three central figures of the book, and I am wondering what The Taking of Christ looked like before any restoration had taken place.
   
   Nevertheless, this is an informative and entertaining book about the art world and how fate intervenes to give and take fame from painters and scatter their works to the most unlikely of places.



3. Anyone interested in art history, and especially Carravagio's work, would enjoy this book. If the reader has visited Rome, it's all the
   more intriguing. Harr has done remarkable research on the period and the known details of Carravagio's life.



4. There's nothing terribly or conspicuously *wrong* with this book, but there are several things that prevent it from being the wonderful read it could have been, being, as it is, based on a great story that should have ensured an absolute page-turner.
   
   The first thing (which other reviewers have pointed out before me) is that Mr. Harr seems undecided on whether he wanted to write a novel or a work of nonfiction. He has written the latter, but trying (unsuccessfully in my opinion) to infuse it with some of the typical trappings of fiction thrillers, i.e. ending chapters with adrenaline-charged sentences or 'revelations', including a love affair, etc. This is unfortunate, because nonfiction, when presented in the right way (and not 'dressed up' as something else), can be as compelling as fiction. The example that comes most readily to mind is Deborah Cadbury's harrowing account of how the quest for Louis XVII, the boy king of France who went missing after the Revolution, was solved with the help of a DNA investigation. Unlike Mr. Harr, Ms. Cadbury didn't try to make the people in her book sound like characters from the Da Vinci Code.
   
   This approach forces Mr. Harr to try to make the people in his book (who are all real) 'interesting' in the way that a writer of fiction tries to make his characters interesting. I couldn't have cared less about the love life of Francesca Cappelletti, the sexy Italian scholar on a motorbike --- whose affair with Luciano, by the way, must be the most boring 'romance' to have graced the pages of a book in decades. Neither did I care about the personal frustrations of art restorer Benedetti, or English scholar Mahon's aversion to being hugged by women. Most of these people actually come across as being rather petty (e.g. the two young female scholars' unkind behavior towards the aged Marchioness at whose residence they make their discoveries), but even with these human failings exposed they just don't seem to be very interesting.
   
   The interspersion of a couple of chapters dedicated to Caravaggio's life felt a bit artificial, as if Mr. Harr was trying to fill up space. More substantial information about his life, or a better distribution of it throughout the book, would have been better.
   
   The other problem I had with this book was its lack of passion. It doesn't sound as if Mr. Harr is in love with any of his subjects --- Caravaggio, Italian paintings, the world of art scholarship. This is a rather dull read, as if the work had been commissioned --- a view borne out by Mr. Harr's admission that he had originally written an article, but needed a book project in order to avail himself of an invitation to the American Academy in Rome. I didn't feel the passion that seeps through the pages of, say, Antonia Fraser's biographies, or Thomas V. Cohen's wonderful account of 'love and death in Renaissance Italy' (which covers roughly the same period in which Caravaggio lived).
   
   Many reviewers have expressed disappointment in 'The Lost Painting' as compared with Mr. Harr's previous work, 'A Civil Action'. I can't comment on that, not having read it. All I can say is that 'The Lost Painting' is an informative read about a very interesting historical find, but don't expect an unputdownable book --- you'll be disappointed.



5. Jonathan Harr's "The Lost Painting," a step-by-step account of the history and discovery of Caravaggio's long-missing "The Taking of Christ," is a real page-turner. As some reviewers have noted, it is at times a little too novelistic for its own good, as when Harr meticulously details a certain art historian's eating preferences or belabors inconsequential facts about a student researcher's dilapidated car. But the book is so interesting and readable that those flaws are easily forgiven.
   
   Most annoying to me was the author's refusal to document any of his research (excepting a partial list of works consulted, at the book's conclusion). I suppose this caters to the current tendency to write non-fiction with the same character development and narrative flow of fiction, and to conceal along the way any indication that the author is imaginatively reporting findings from interviews and scholarship--presumably in case a simple reference or reminder of that fact might traumatize the non-scholar or break the narrative spell. However readable the result, I can't help but wax nostalgic for the (apparently outdated) courtesy of a footnote in the text, so readers could more easily trace sources and items of interest. I'll admit, this tendency is more of an annoyance with books like Ross King's "Brunelleschi's Dome," which was filled with tantalizing bits of information begging to be further explored. But I don't think an occasional endnote in this book would have been too much to expect, even from an author who clearly aimed from the beginning at a "best-seller" audience. And a few pages of photographs would have enriched this book considerably.
   
   That said, "The Lost Painting" is a fascinating tale that deftly interweaves the efforts and ambitions of scores of fanatic 'Caravaggisti' attempting to track down Caravaggio's painting and distinguish it from its copies. In fact, one of the book's many strengths is that it engagingly reveals to the non-academic the laborious and demanding, but often petty and cut-throat world of modern scholarship in the visual arts. I found myself constantly amused by the differences between this kind of research, which leads scholars across continents from one musty archive and museum to another, and the kind in why I engage, where most traveling takes place almost entirely within the pages of various readily-available books, and differs from scholar to scholar mostly in the itinerary of one's reading. And Harr does bring his interviewees and other characters convincingly to life. Perhaps the book's strongest virtue is its detective-story plotting and pacing, which is as flawlessly rendered as one could hope. Once I started reading, I could hardly put it down until I finished it. So don't start reading "The Lost Painting" unless you have a sunny chair in which to hibernate and day or two to kill.

5 comments about Signs and Symbols in Christian Art: With Illustrations from Paintings from the Renaissance (Galaxy Books).

1. This book is a treasure of information. Thorough and exhaustive, this book is a well designed reference for anyone wanting to learn a little more about Renaissance and medieval art. The index is designed for the reader who wants to quickly find the meaning of a particular symbol or find the symbols used for a particular saint or event. Quicker than an internet search I find myself referring to this book over and over again.



2. This is just an awesome book. We are using it for homeschool art class. It is full of interesting facts about different symbols in Christian art and more. I find this book very interesting.



3. Arrived two days AHEAD of schedule, was packaged neatly and securly.
   Although it was used, it had very little wear and tear on it. I got this for a art history report on the Byzantine mosaics (Christian) and a lot of the symbols in the art work have been defined in this book. Overall well worth the price and just plain interesting.



4. When I bought this book, I needed a quick and dirty reference to religious symbolism in western art--I was pleased and surprised to find out that it's small, lightweight, and therefore portable when I visit museums. (Why don't more publishers consider weight and size when they print books for travelers? Lonely Planet and DK, I'm looking at you.)
   
   Its easy size belies the incredible amount of useful information it contains; there are fourteen sections covering everything from the significance of certain animals to religious garments to a brief hagiography for commonly portrayed saints. About one-third of the book is a set of reproductions (sadly b&w in this edition) of famous renaissance religious paintings. There's no discussion or explanation accompanying the paintings--which is the only thing I don't like about the book.
   
   And if you read one of the earlier reviews and are wondering about the chocolate mouse in Rosemary's Baby, it's a reference to mice as a symbol of evil because of their destructiveness.



5. I use this book frequently, especially when studying art books of Christian art as well as during a recent Bible study of the Book of Exodus. This was an invaluable guide to the symbolism used in art and the various meanings. For example, when studying the symbolic meaning of the priests robes of the Old Testament, the meaning of the pomegranate for the OT and NT is significant. In the OT, the pomegranate stood for the 613 Mosaic laws (the pomegranate was thought to contain 613 seeds). In the NT, the pomegranate is the symbol for the resurrection of Christ. The Hebrews believed following the law led them to God. For the Christian, belief in Jesus' death and resurrection leads to God! Enjoy this read.