Tag Archives: Dr. Jonathan Master

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 6 The Adoration of the Lamb by Jan Van Eyck which was saved by MONUMENT MEN IN WW2 (Feature on artist Makoto Fujimura)


Christians used to be the ones who were responsible for the best art in the culture. Will there ever be a day that happens again?

The Gospel of John Chapter 1 verse 29:

The next day John saw Jesus coming toward him and said, “Look, the Lamb of God, who takes away the sin of the world!” (Speaking of Christ).

At the 5 minute mark in the above video clip you see Francis Schaeffer analyse this painting below:

Artist: Jan van Eyck

Start Date: 1425

Completion Date:1429

Style: Northern Renaissance

Genre: religious painting

Technique: oil

Material: wood

Dimensions: 137.7 x 242.3 cm

Gallery: Koninklijk Museum voor Schone Kunsten

Image dimension 500x272px, View All Sizes

This artwork is in the public domain.

The Church’s One Foundation

Uploaded on Aug 16, 2009

“The Lamb of God” – The Ghent altar piece is in St. Bavo Cathedral in Ghent, Belgium. Hubert van Eyck began creating the altar piece. Jan van Eyck, his brother, completed the the beautiful painting which Hubert left unfinished (1425-1429). The music is from Hymns Triumphant II and includes, “The Church’s One Foundation”, “We’re Marching to Zion”, and “I Love Thy Kingdom, Lord”. The hymns were performed by the Amen Choir. Orchestration is by the London National Philharmonic Orchestra. The musical score was arranged and conducted by Lee Holdridge.


1390 – 1441
The Painting
This is an altarpiece containing panels of several different paintings. They include Mary, Jesus, Adam and Eve,and singing angels. Notice the beauty and intricacies.
The central part of this painting is in the lower panels. Focus your study on these panels. Notice that there are several groups coming to the center.
The Principle
Dr. Francis Schaeffer explains that “most impressive is the central theme: the rich, the poor – people of all classes and backgrounds – coming to Christ. And who is this Christ? Van Eyck comprehended the Biblical understanding of Christ as the Lamb of God who died on the cross to take away the moral guilt of those who accept Him as
Savior. But this Christ is not now dead. He stands upright and alive on the altar, symbolizing that He died as the substitute, sacrificed, but He now lives! As van Eyck painted this, almost certainly he had Jesus’ own words in mind, as Christ speaks in the Apocalypse, the last book in the Bible: ‘I am the living one that became dead, and behold, I am alive for evermore, Amen; and I have the keys of death and Hades.’” (How Should We Then Live?, page 66).
The Painter
While Masaccio was working out techniques of perspective for the Italian Renaissance painters, Jan van Eyck was working in Northern Europe under the influence of Reformation thought. He too painted people and objects in their proper place – just as if you could see into the painting. If Masaccio is ‘The Father of Renaissance Art’, Jan
van Eyck is ‘The Father of Reformation Art.’ Van Eyck mastered light and landscape as well as discovering oil painting, a technique in which linseed oil serves as the solvent for pigment rather than egg, which was used in the Italian technique of tempera. This technique allows for greater beauty and delicacy in art.



Monuments Men – Examining the Ghent Altarpiece

(Click image for full resolution version)

January 15, 2014
Monuments - Examining the Ghent Altarpiece

Photo courtesy of Archives of American Art, Smithsonian Institution

Lt. Daniel J. Kern and German conservator Karl Sieber examining Jan van Eyck’s Adoration of the Mystic Lamb, also known as the Ghent Altarpiece (1432).

Thomas Carr Howe papers, Archives of American Art, Smithsonian Institution

The Monuments Men – Official Trailer (2013) [HD] George Clooney, Matt Damon

Published on Aug 8, 2013

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The Monuments Men – Official Trailer (2013)

Release Date: December 18, 2013
Genre: Action, Thriller
Director: George Clooney
Writer: George Clooney, Grant Heslov
Starring: George Clooney, Matt Damon, Bill Murray
Studio: Columbia Pictures (Sony)

Plot: Based on the true story of the greatest treasure hunt in history, “The Monuments Men” is an action-thriller focusing on an unlikely World War II platoon, tasked by FDR with going into Germany to rescue artistic masterpieces from Nazi thieves and returning them to their rightful owners. It would be an impossible mission: with the art trapped behind enemy lines, and with the German army under orders to destroy everything as the Reich fell, how could these guys — seven museum directors, curators, and art historians, all more familiar with Michelangelo than the M-1 — possibly hope to succeed? But as the Monuments Men, as they were called, found themselves in a race against time to avoid the destruction of 1000 years of culture, they would risk their lives to protect and defend mankind’s greatest achievements.



Francis Schaeffer pictured below:



Francis Schaeffer has written extensively on art and culture spanning the last 2000 years and here are some posts I have done on this subject before : Francis Schaeffer’s “How should we then live?” Video and outline of episode 10 “Final Choices” episode 9 “The Age of Personal Peace and Affluence”episode 8 “The Age of Fragmentation”episode 7 “The Age of Non-Reason” episode 6 “The Scientific Age” episode 5 “The Revolutionary Age” ,  episode 4 “The Reformation” episode 3 “The Renaissance”episode 2 “The Middle Ages,”, and  episode 1 “The Roman Age,” . My favorite episodes are number 7 and 8 since they deal with modern art and culture primarily.(Joe Carter rightly noted, “Schaefferwho always claimed to be an evangelist and not a philosopher—was often criticized for the way his work oversimplified intellectual history and philosophy.” To those critics I say take a chill pill because Schaeffer was introducing millions into the fields of art and culture!!!! !!! More people need to read his works and blog about them because they show how people’s worldviews affect their lives!

J.I.PACKER WROTE OF SCHAEFFER, “His communicative style was not thaof a cautious academiwho labors for exhaustive coverage and dispassionate objectivity. It was rather that of an impassioned thinker who paints his vision of eternal truth in bold strokes and stark contrasts.Yet it is a fact that MANY YOUNG THINKERS AND ARTISTS…HAVE FOUND SCHAEFFER’S ANALYSES A LIFELINE TO SANITY WITHOUT WHICH THEY COULD NOT HAVE GONE ON LIVING.”

Francis Schaeffer’s works  are the basis for a large portion of my blog posts and they have stood the test of time. In fact, many people would say that many of the things he wrote in the 1960’s  were right on  in the sense he saw where our western society was heading and he knew that abortion, infanticide and youth enthansia were  moral boundaries we would be crossing  in the coming decades because of humanism and these are the discussions we are having now!)

There is evidence that points to the fact that the Bible is historically true as Schaeffer pointed out in episode 5 of WHATEVER HAPPENED TO THE HUMAN RACEThere is a basis then for faith in Christ alone for our eternal hope. This link shows how to do that.

Francis Schaeffer in Art and the Bible noted, “Many modern artists, it seems to me, have forgotten the value that art has in itself. Much modern art is far too intellectual to be great art. Many modern artists seem not to see the distinction between man and non-man, and it is a part of the lostness of modern man that they no longer see value in the work of art as a work of art.

Francis and Edith Schaeffer


Francis Schaeffer with his son Franky pictured below. Francis and Edith (who passed away in 2013) opened L’ Abri in 1955 in Switzerland.


The first episode in this series included a feature on Tracey Emin of England and the second post featured Peter Howson of Scotland, and the third and fourth posts were  extensive pieces on the art and writings of Mike Kelley of LA (sadly Kelley committed suicide in 2012). The fifth post featured the german painter Gerhard Richter and  sixth post today featured Makoto Fujimura who was born in Boston  to Japanese parents, but now lives in New York City.


Makoto Fujimura pictured below:

A Conversation with Makoto Fujimura

Published on Jul 31, 2012

Dean of the School of Divinity at Cairn Univeristy, and Director of the Center for University Studies, Dr. Jonathan Master, sat down for a conversation with artist Makoto Fujimura to discuss his life and work, and his thoughts on the intersection of art, culture, and the Christian life.


Highlights of Encounter 11: Mako Fujimura on Being Generative

Published on May 30, 2012

“Being Generative” is the theme of Encounter 11. Makoto Fujimura invites us to consider that “being generative” means dwelling in the liminal spaces of culture. He suggests that the poet Emily Dickinson best exemplifies this generative quality through her use of dashes that humanize her poetry.

View full video here at http://vimeo.com/25191805

More of Mako on Emily Dickinson at: http://www.makotofujimura.com/writing…

Makoto Fujimura is an artist, writer, and speaker who is recognized worldwide as a cultural influencer by both faith-based and secular media. A Presidential appointee to the National Council on the Arts (2003-2009), Fujimura has contributed internationally as an advocate for the arts, speaking with decision makers and advising governmental policies on the arts. Fujimura’s second book, Refractions: A Journey of Faith, Art and Culture, is a collection of essays bringing people of all backgrounds together in conversation and meditation on culture, art, and humanity. Fujimura founded International Arts Movement in 1991.


Fujimura, Makoto – VM – Cisca Ireland-Verwoerd

Golden Pines-Gordon by Makoto Fujimura
Visual Poetry
by Cisca Ireland-Verwoerd
Makoto Fujimura (1960) was born in Boston to Japanese parents. He was educated in the US (Bucknell University) and Japan, where he studied traditional Japanese art. Fujimura’s work reflects two cultures, as he combines the medieval technique of Nihonga (using ground minerals and precious metals in hide glue) with abstract expressionism. Just as in Asian art, nature and human experience are often suggested with colors and vague forms rather than with explicit outline. This makes the world of Fujimura one of mystery. We can only enter this world when we take the time to stand still and look and meditate.
Fujimura’s paintings change over time. For instance, he uses silver that will tarnish and become cloudy and dark, and gold leaves that become more transparent as the minerals “settle.” Fujimura uses natural materials. He grinds up minerals and metals and combines them with a glue of animal hide. This painstaking process and the visible effects of aging tell us of Fujimura’s philosophy: art reflects the materiality of the created world, as well as the reality of suffering (crushing and aging). At the same time, his work also tells us of the transcendent splendor of God and his creation. We see the metals and minerals refracting light in ever-changing ways, and we think of the subtleties and enchantment of life. Slowly, Fujimura draws us into his deeply spiritual visual poetry and we marvel at the ethereal beauty that can be present in the midst of life’s darkness and destruction.
Golden Pines-Gordon was commissioned by Gordon College, a Christian College in Massachusetts, for their new Science Center (2008). When Fujimura visited the yet unfinished building, he was inspired by two pine trees outside in front of the Coy Pond. Today the same trees and pond are still visible through the window left of the painting. The real trees and the painting exist side by side, just as science and art exist in close relationship. Science and art both describe and explore God’s creation, only expressed in different “languages.”
The painting is fairly large (48×60 inches, 122×152 cm) and is almost entirely covered by thin squares of gold leaf. We associate gold with spirituality and eternity; it reminds us of the golden backgrounds of icons and illustrated manuscripts. Fujimura uses layers of gold and vibrant, earth-bound colors. Alternatively, they hide and reveal each other.
In the middle of the painting we see a large tree that refers to the mystery of creation. The silvery trunk with its shadow are planted in a layer of unpainted kumohada (Japanese rag paper). It stretches out its branches and clusters of pines throughout the expanse of gold. We notice some brush strokes, but much of the tree is suggested by dripped splotches of deep blue azurite and blue-green malachite. Diagonally on the right we see several trunks with leaves that suggest the receding line of trees on the other side of the college’s Coy Pond. This perspective creates a depth between the large tree in the middle and the trees on the right.
A small tree on the lower right stretches out its main bare branch toward the large tree, as in deference. This tree connotes the scientific realm, bound to the closed system of nature. If we look carefully, we see golden squiggles under the small pine, as if forming its foundation. Only when we are familiar with the text from Ps. 19:1-2 can we decipher it: “The heavens declare the glory of God; the skies proclaim the works of his hands. Day after day they pour forth speech. For Gordon College.” In Fujimura’s visual poetry science and creation express the same: we experience the glorious presence of God.
More about Makoto Fujimura: For Fujimura, art is not something he “produces,” but a process that reveals the core of his humanity. This is why his activities are not limited to studio painting. Fujimura also makes video installations, writes, lectures, collaborates with musicians, mentors art students, and helps with church planting activities. Based in New York City, two blocks from “Ground Zero,” he initiated the TriBeCa Temporary project to provide a place of healing for local artists after 9/11. In 1990, Fujimura founded the non-profit organization IAM (International Arts Movement), whose mission is to “gather artists and creative catalysts to wrestle with the deep questions of art, faith and humanity in order to inspire the creative community to engage the culture that is and create the world that ought to be.” www.makotofujimura.com and www.iamny.org
– Refractions: A Journey of Faith, Art, and Culture, Makoto Fujimura and Tim Keller (Colorado Springs: NavPress, 2009)
– Objects of Grace: Conversations on Creativity and Faith, James Romaine (Baltimore: Square Halo Books, 2002), p 150-173.
– English Standard Version of the Bible, to be released by Crossway in January 2011 to commemorate the four hundred year anniversary of the King James Bible, will have five works of Fujimura illustrating the four gospels.
Fujimura’s main exhibitor is the Dillon Gallery in New York City.
Cisca Ireland-Verwoerd resides in Boston, MA, with her husband and son. She lectures and writes about her two favorite topics: mission and theology in art.
ArtWay Visual Meditation August 15, 2010


Evangelicals start push in the arts

By Eric Gorski, AP Religion Writer  |  July 26, 2007

There are no crosses in Makoto Fujimura’s paintings. No images of Jesus gazing into the distance, or serene scenes of churches in a snow-cloaked wood.

Fujimura’s abstract works speak to his evangelical Christian faith. But to find it takes some digging.

After the 2001 terrorist strikes on the World Trade Center, three blocks from Fujimura’s home, his work explored the power of fire to both destroy and purify, themes drawn from the Christian Gospels and Dante’s “The Divine Comedy.”

“I am a Christian,” says Fujimura, 46, who founded the nonprofit International Arts Movement to help bridge the gap between the religious and art communities. “I am also an artist and creative, and what I do is driven by my faith experience.

“But I am also a human being living in the 21st century, struggling with a lot of brokenness — my own, as well as the world’s. I don’t want to use the term ‘Christian’ to shield me away from the suffering or evil that I see, or to escape in some nice ghetto where everyone thinks the same.”

By making a name for himself in the secular art world, Fujimura has become a role model for creatively wired evangelicals. They believe that their churches have forsaken the visual arts for too long — and that a renaissance has begun.

On the grass-roots and institutional level, evidence is mounting to support that view: Art galleries are opening in churches; prominent seminaries are investing in new centers exploring theology and the arts; and, graduates from evangelical film schools are making Hollywood movies.

These artistic evangelicals, though still relatively small in number, are striving to be creators of culture rather than imitators, said Dick Staub, a Seattle-based radio talk show host and author of “The Culturally Savvy Christian: A Manifesto for Deepening Faith and Enriching Popular Culture In an Age of Christianity-Lite.” There is a desire, he said, to avoid inventing a parallel arts universe with Christian knockoffs for Christian audiences.

“They want to make art that connects to everybody,” Staub said. “The call is first and foremost to make good art.”

That doesn’t necessarily mean overtly religious art, but rather art informed by faith. Fujimura, for example, shares more with abstract expressionist Jackson Pollock than with Thomas Kinkade, a self-described devout Christian whose brushwork of idyllic landscapes, crosses and churches are big sellers.

As a result, Fujimura — whose work has been displayed at museums in Tokyo and Washington, D.C. — gets questions from his fellow believers dubious about abstract and modern art.

“The Bible is full of abstraction,” said Fujimura, an elder at a Greenwich Village church he helped start. “Think about this God who created the universe, the heavens and the earth from nothing. In order to have faith you have to reach out to something, to a mystery.”

It isn’t always an easy sell.

Evangelical unease with the visual arts dates to the Protestant Reformation of the 16th century. Andy Crouch, editorial director for Christianity Today’s Christian Vision Project, which examines how evangelicals intersect with the broader culture, notes that Protestantism traces its origins to an era when noses were snapped off sculptures in a rejection of Catholic visual tradition while the word of God was elevated.

Attitudes began to change in the 1960s and 1970s, when Christian theologian Francis Schaeffer and Dutch art historian Hans Rookmaaker challenged believers to emerge from their cocoons and engage the culture, including in the arts.

Now, Crouch said, those ideas are resonating with a younger generation of believers who live in an image-saturated culture. They sense a disconnect worshipping in churches bare of anything that’s visually arresting.

“The very parched nature of evangelical visual culture is making people who have grown up in this culture thirsty for beauty,” he said.

Increasingly, that ground is being explored on seminary campuses. One of the most ambitious examples is the Brehm Center for Worship, Theology, and the Arts at Fuller Theological Seminary in Pasadena, Calif., founded in 2001 and bankrolled by a $15 million donation from a Virginia couple that earned a fortune in information technology.

The center aspires to be an evangelical arts think tank, with five stand-alone institutes focused upon worship and music, film and moving images, art and architecture, drama, journalism and creative writing, preaching and the study of the “emerging church,” which incorporates painting, dance and other fine arts into worship.

Craig Detweiler, co-director of the center’s Reel Spirituality Institute, said students are fascinated with finding the sacred in the mundane and exploring life’s mysteries. In other words, themes with far-reaching appeal.

“Maybe 20 years ago, young filmmakers wanted to tell stories for their own audience,” said Detweiler, a screenwriter. “Today’s young filmmakers … find holy moments within mainstream movies and want to create more of the same.

“For too long, Christian art has implied pale imitation,” Detweiler said. “We’re trying to get back to the days of the Renaissance, where the church was the patron of the finest art.”

In another sign that institutional evangelicalism is taking the arts seriously, a Center for Theology and the Arts was founded last year at the flagship seminary of the nation’s largest Protestant denomination: Southern Baptist Theological Seminary in Louisville, Ky. The center’s work begins modestly this summer with a workshop drawing parallels between the art of drawing and Bible study, arguing both are about seeing and observing.

“If we as Christians believe that creativity and imagination is a gift from God, why have we neglected it for so many years?” said center director Steve Halla, a former Dallas Theological Seminary professor and a woodcut artist.

Already, evangelicals are exerting greater influence in the film industry.

Even before the success of Mel Gibson’s “The Passion of the Christ,” Southern California was home to a Christian screenwriting factory called Act One, an on-the-rise film school at the evangelical Biola University and a film studies center sponsored by the Council for Christian Colleges & Universities.

More recently, evangelicals have turned their attention to the contemporary art world. For the past two years, students primarily from Christian colleges and universities have studied and interned at galleries and graphic-design firms through the New York Center for Art and Media Studies, a satellite of Bethel University in St. Paul, Minn.

“We are not trying to recruit missionaries into New York City or anything like that,” said James Romaine, an art historian and the center’s director. “We’re helping young artists grow and become the best artists they can be.”

Echoing others, Romaine describes an evolution in evangelical thinking about the arts.

“For people of my parents’ generation, there was always a question of, ‘Can you be a Christian and an artist?'” he said. “When I was a student, the question was, `How can I be a Christian and an artist, in a philosophical sense?’ Now, there’s a sense of, ‘Let’s get to it. How can I be a part of this art world?'”

© Copyright 2007 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


The painting “White Tree”


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