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Drury looks at religious paintings through the ages and presents them as works filled with passion, stories and meaning. He views the whole picture, its composition, colour, figures, even architecture, examining how they speak to audiences across time and space allowing us to respond at a more imaginative, empathetic level.
- Sales Rank: #1265264 in Books
- Published on: 1999-11-10
- Original language: English
- Number of items: 1
- Dimensions: .94" h x 7.08" w x 10.04" l, 2.02 pounds
- Binding: Hardcover
- 220 pages
Amazon.com Review
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
From Library Journal
Historic Christianity is a foreign country, and we are tourists, just visiting but often not understanding. Drury offers a guidebook of sorts to help the contemporary reader decipher the messages conveyed in Christian art. Priest, scholar, and dean of Christ Church at Oxford, Drury is well qualified to offer this course. Using paintings from the 14th to 17th centuries, he attempts to show us the breadth and depth of culture at that time so that we can better understand the theology and meaning behind Christian art. Aiming at the educated lay reader, Drury peppers the chapters with poetry and Bible quotes. The paintings discussed are selective, focusing on religious theme rather than periods. Though one wishes the illustrations had been bigger, this well-written art history and art appreciation is a delight to read. Highly recommended for larger public libraries or any art history collection.
-Karen Ellis, Nicholson Memorial Lib. Syst., Garland, TX
Copyright 2000 Reed Business Information, Inc.
Review
This is fascinating, religiously revivifying, and just plain revealing art history, cleanly, intelligently, and yes, reverently written. -- Booklist starred review
Most helpful customer reviews
14 of 18 people found the following review helpful.
Beautiful Book to Ponder Painters View of Scripture
By rodboomboom
This is an absolutely exquisite book, with highgloss paper and wonderful color reproductions of marvelous paintings.
To this, Drury offers his expert commentary on how one might look at these paintings to see the painter's perspective on the Christian faith.
One will learn much about looking at paintings, and will never casually observe a painting again. I especially have grown fond of two paintings that this marvelous book acquainted me with, Titian's "Vendramin Family" and Lippi's "The Annunciation." Drury's comments here are very useful.
I would like to give this five stars, but withheld this because of my disagreement theologically with Drury. His theology is far too liberal for me, and I'm afraid that he will sway many who will trust his opinion of Divine Scripture as "the gospel truth, or historical critical truth."
A book to consider to turn to to aid one in viewing Christian painting.
0 of 0 people found the following review helpful.
The Artist as Agent of the Revelatory
By William W. Fraker
On the most basic of levels, John Drury, Dean of Christ Church, Oxford, provides a rich commentary on paintings with religious and Biblical themes hanging in The National Gallery, London. He admits from the start that he will be introducing the reader to a Christian world-view that he cannot take for granted, as the painters he surveys did. His writing, while exquisite, did not immediately captivate me. However, his insights and appreciation for the details of these paintings kept me reading through to the conclusion. Drury concentrates on selected works from the Middle Ages, through the Renaissance and Baroque, to Velazquez in the 17th Century. In so doing, he demonstrates how many of the central ideas of Christendom reflected the style, cultural currents, and science of their day. He sees the progression of religious painting into the secular as a natural development in artistic production and theological thought.
I wish Drury had used more examples outside the walls of The National Gallery. He made me want to spend more time with Rembrandt. He places Rubens as a pacifist. He also tantalizes the reader with an excursion into the modern, with appreciation for a couple of works of Cezanne which he augments with quotes from Dietrich Bonhoeffer. He eloquently ends the main section of the book with a marvelous description of any artist who provides a sense of the revelatory: "...painters, if they are to be `God's spies', have to go a good way further than theologians down the ethical road of incarnation, with the silent renunciations, the obedient humility and the love of the world of mortal appearances which it demands, if they are to make the mystery of things visible."
5 of 5 people found the following review helpful.
Glorious images, beautiful ideas
By FrKurt Messick
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.
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