[스크랩] 스티븐 젓슨Stephen Gjertson

스티븐 젓슨Stephen Gjertson The Hem of His Garment, Peace Be Still, 1997 Metanoia, 1994 Behold the Lamb of God Who Takes Away the Sin of the World, 54x36 This crucifixion began as an intensely personal attempt to more fully comprehend the propitiatory nature of Christ's sacrifice. Jesus looks at the viewer just before He takes upon Himself the sin of the world and suffers separation from the Father in place of His people. Modern biblical, historical and medical scholarship have provided us with more information concerning some of the historical details surrounding the event than was available to artists of the past. I attempted to utilize some of this information, such as the dimensions of the cross, in my painting. I rejected some of the mysticism and idealism inherent in much Italian and French art in favor of a more literal representation closer to that of some German artists, such as Mathis Grunewald. The image went through several stages as I developed my drawings in consultation with the Ramsey County Medical Examiner in Saint Paul, an expert on medical aspects of the crucifixion. As a matter of taste, I chose to suggest, rather than to portray literally, the actual physical horror of the event, since the body of Christ was most likely disfigured beyond recognition. The work's basic intention is confrontational rather than devotional. Instead of looking up to the Father, Christ looks out at the viewer, demanding a response. I tried to avoid the conventional, prettified, Western Jesus in favor of a more truthful, Semitic Savior, who was described by the prophet Isaiah with the words: "He has no form or comeliness; and when we see Him, there is no beauty that we should desire Him." Isaiah 53:2. I designed the tabernacle frame to celebrate Christ's resurrection from the dead. The entire work; therefore, portrays a more complete idea of the atonement, including the fact that Christ was raised for the justification of believers. Wheat is a symbol Christ used when alluding to His resurrection. The lion's head symbolizes His lordship as the Lion of the tribe of Judah. The Alpha and Omega represent Him as the First and the Last, the Originating Cause of the world and the One who brings to completion at the end of the age. Maranatha!, (The Return of Jesus Christ), 1987 Rachel Weeping for Her Children A voice was heard in Ramah, Lamentation and bitter weeping: Rachel Weeping for Her Children Refusing to be comforted for her children, Because they are no more. Jeremiah 31:15 This dramatic image is an eloquent expression of the grief that many women say they have experienced after an abortion. The artist chose Rachel because she symbolizes the torment suffered by women who have lost their children. The mourners have gathered in a secluded glen at a defaced old monument for the preborn dead. Like the Vietnam Memorial, it is covered with names, only here they are anonymous: Baby Boy... Baby Girl... Baby Boy... Baby Girl.... The children remain unknown to all but those who mourn. Gold stars mark the names of babies whose lives were taken in the third trimester. The trees in the background symbolize the dignity of life. To express their anguish, some of the women have brought thistles with them. One woman clutches her breast, in grief at never having nourished her child. The comforter behind Rachel wears a wreath of interwoven anemones and baby's breath. Anemones are an ancient symbol of sorrow and death. A black bird, symbolic of sin, screeches from its perch on the desecrated body of a draped baby atop a clinic-turned-mausoleum. In the lower left is a vase carved with Babylonian figures sacrificing their firstborn to idols. Some of the folds in Rachel's black drapery are twisted into a grotesque monster showing that sin, though temporarily covered, will ultimately reveal itself. (Unfortunately, the drapery monster is invisible in the web reproduction.) From the background emerges a hooded figure, through whom a skeleton can be faintly seen, expressing the fact that evil deceives by masquerading as good. His ringed fingers hold out a narcissus, mythical symbol of self-love. In the past, the mourners had given in to the temptation of self-love and consented to the elimination of their preborn children. Aware of their folly, they no longer listen to his lies. The figure therefore turns his gaze upon us. After the Bath The Newborn, 1989 Four O'clock, 1988 The Recorder Lesson Lentissimo, 1979 Admiration, 1998 The Late Show, 1993 Heroes of the West, 1988 Reflections, 1992 The Precious One The Aerie, 1992 출처 : │▒▒▶ 그림을 배우자 ◀▒▒│ 글쓴이 : 프레이즈 원글보기 메모 : 'dialogue > Gallery' 카테고리의 다른 글 새해 새로운 꿈  (0) 2006.12.31 [스크랩] David Hockney  (0) 2006.12.28 [스크랩] Rembrandt  (0) 2006.12.28 [스크랩] Don Hatfield 의 나들이  (0) 2006.12.28 [스크랩] Marc Chagall  (0) 2006.12.21 공지사항 최근에 올라온 글 최근에 달린 댓글 Total Today Yesterday 링크 춘추학사 TAG 홀홀히 Helmut Dorner 폴헨리브리흐 해군항적도 문명 열정 Bruce Cohen 홍익인간 연의 논어 자연주의 시공 Carmen Cicero 한스 호프만 하늘그리기 이상 문재인 편향지지율 새벽 일기 Twitter 유교 존재 휘쳐 폴 레몬 요즘 헬렌후랑켄탈러 항적도 Karin Batten 삼재사상 회흑색 팔괘 more «   2025/04   » 일 월 화 수 목 금 토 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 글 보관함 Blog is powered by Tistory / Designed by Tistory 티스토리툴바 개인정보 티스토리 홈 포럼 로그인