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A Prophet in the Darkness: Exploring Theology in the Art of Georges Rouault
Many consider Georges Rouault (1871–1958) to be one of the most important religious painters of the last few centuries. Yet both the secular art world and the church have struggled to engage with his work, which is profoundly shaped by his Christian faith and also starkly explores the pain and darkness of human experience.
In this volume, a group of theologians, artists, and historians seek to bring Rouault out of the shadows. They offer a deeper understanding of the theological impulse of modern art and of Rouault's distinct contributions. Chapters explore how Rouault's unique work was influenced by his historical context, by personal suffering, and by biblical themes, especially the Passion of Christ. Essays are interspersed with original artistic responses to Rouault in the form of images and poetry, with contributions from Sandra Bowden, William A. Dyrness, Thomas Hibbs, Soo Kang, and others.
Rouault displays our need for mercy within a world of anguish. This book explores how his prophetic creativity continues to inspire artists and thinkers seeking to understand the powerful intersection of lament and hope.
The Studies in Theology and the Arts series encourages Christians to thoughtfully engage with the relationship between their faith and artistic expression, with contributions from both theologians and artists on a range of artistic media including visual art, music, poetry, literature, film, and more.
In this volume, a group of theologians, artists, and historians seek to bring Rouault out of the shadows. They offer a deeper understanding of the theological impulse of modern art and of Rouault's distinct contributions. Chapters explore how Rouault's unique work was influenced by his historical context, by personal suffering, and by biblical themes, especially the Passion of Christ. Essays are interspersed with original artistic responses to Rouault in the form of images and poetry, with contributions from Sandra Bowden, William A. Dyrness, Thomas Hibbs, Soo Kang, and others.
Rouault displays our need for mercy within a world of anguish. This book explores how his prophetic creativity continues to inspire artists and thinkers seeking to understand the powerful intersection of lament and hope.
The Studies in Theology and the Arts series encourages Christians to thoughtfully engage with the relationship between their faith and artistic expression, with contributions from both theologians and artists on a range of artistic media including visual art, music, poetry, literature, film, and more.
- GenresArt
183 pages, Kindle Edition
Published December 10, 2024
14 people want to read
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Displaying 1 - 2 of 2 reviews
January 10, 2025
Great read - opened my eyes and my heart to the magnificent gift of art and the way art awakens my senses and births new hope in my Christian faith.
May 19, 2025
Summary: An exploration of the work of Georges Roualt and his identification of human suffering with Christ’s sufferings.
“Paul Klee says ‘Art does not reproduce the visible; rather it makes visible.’ This is what the art of Georges Roualt (1871-1958) has done; his images have penetrated deeply into the human dilemma to find meaning and offer hope, helping us to see light in the darkness, making visible the invisible.”
Thus Sandra Bowden, in the forward of this work, introduces A Prophet in the Darkness, an exploration of the theological significance of the works of Georges Roualt. A theme running through all these essays was that Roualt’s faith and artistic vision came together in a body of work that identified deeply with the suffering and the marginalized. However, juxtaposed with these works are paintings of the suffering Christ, in whom suffering is transformed into redemption.
Many of the essays reference Roualt’s Miserere series. These were executed in the 1920s as paintings transferred to copper plates, and finally printed in 1948. A number of these are reproduced in the book. One triptych includes “Are we not all slaves,” “Believing ourselves to be kings,” and “Who does not wear the mask?” (an image of a clown). The series portrays human folly and suffering juxtaposed with images of the Passion. They communicate visually our desperate need for mercy (hence Miserere). And they also reflect Roualt’s style of images outlined with thick black lines.
The collection of essays opens with a biography of Roualt by his son, Philippe. He discusses Roualt’s experience of war, family tragedy, and personal suffering. Then he considers how these intersected with his deep faith to form his aesthetic. Thomas Hibbs argues amid contemporary hopelessness, Roualt’s work enables us to “see, feel, and say” in a way that counters nihilism without lapsing into sentimentality. Soo Y Kang explores the influence of writer Leon Bloy, who wrote of poverty. Joel Klepac, an artist and therapist considers the healing power of Roualt’s images.
Pamela Rossi-Keen writes from her experience of community-centered art in post-industrial Aliquippa, Pennsylvania. Drawing on Walter Brueggeman’s ideas of prophetic imagination, she shows how Roualt’s art carries prophetic weight for communities like hers. Then James Romaine compares Roult’s work to that of Romare Bearden for their ability to evoke empathy.
William A. Dyrness explores the resistance within the Christian tradition to modern art. And he argues that engaging Roualt’s work might lead to a more nuanced approach. Stephen Schloesser focuses on the Miserere series, showing how Roualt deals with appearance and reality and how the beauty of a broken world meets in the beauty of a suffering Savior in the series. Finally, editor Wesley Vander Lugt weighs why Roualt resonates with contemporary viewers.
This work “shows” as well as “tells.” The book includes a number of black and white images of Roualt’s works. In addition, the book points to links available on the publisher’s website (https://www.ivpress.com/rouault) for works not included in the book. Finally, “Artistic Interludes” offers artist responses to the work of Georges Roualt, including a number of color plates of works by the artists inspired by Roualt. Two of the color plates reproduce works of Romare Bearden and of Georges Roualt.
This book introduced me to Roualt’s work. I came to understand not only its power to evoke empathy but also his profound insights into human suffering and the suffering of Christ.. For Christians skeptical of modern art, this book offers a profound counter argument that represents a deep Christian spirituality expressed through modern art. This book is a feast for both the eyes and the heart!
____________________
Disclosure of Material Connection: I received a complimentary copy of this book from the publisher for review.
“Paul Klee says ‘Art does not reproduce the visible; rather it makes visible.’ This is what the art of Georges Roualt (1871-1958) has done; his images have penetrated deeply into the human dilemma to find meaning and offer hope, helping us to see light in the darkness, making visible the invisible.”
Thus Sandra Bowden, in the forward of this work, introduces A Prophet in the Darkness, an exploration of the theological significance of the works of Georges Roualt. A theme running through all these essays was that Roualt’s faith and artistic vision came together in a body of work that identified deeply with the suffering and the marginalized. However, juxtaposed with these works are paintings of the suffering Christ, in whom suffering is transformed into redemption.
Many of the essays reference Roualt’s Miserere series. These were executed in the 1920s as paintings transferred to copper plates, and finally printed in 1948. A number of these are reproduced in the book. One triptych includes “Are we not all slaves,” “Believing ourselves to be kings,” and “Who does not wear the mask?” (an image of a clown). The series portrays human folly and suffering juxtaposed with images of the Passion. They communicate visually our desperate need for mercy (hence Miserere). And they also reflect Roualt’s style of images outlined with thick black lines.
The collection of essays opens with a biography of Roualt by his son, Philippe. He discusses Roualt’s experience of war, family tragedy, and personal suffering. Then he considers how these intersected with his deep faith to form his aesthetic. Thomas Hibbs argues amid contemporary hopelessness, Roualt’s work enables us to “see, feel, and say” in a way that counters nihilism without lapsing into sentimentality. Soo Y Kang explores the influence of writer Leon Bloy, who wrote of poverty. Joel Klepac, an artist and therapist considers the healing power of Roualt’s images.
Pamela Rossi-Keen writes from her experience of community-centered art in post-industrial Aliquippa, Pennsylvania. Drawing on Walter Brueggeman’s ideas of prophetic imagination, she shows how Roualt’s art carries prophetic weight for communities like hers. Then James Romaine compares Roult’s work to that of Romare Bearden for their ability to evoke empathy.
William A. Dyrness explores the resistance within the Christian tradition to modern art. And he argues that engaging Roualt’s work might lead to a more nuanced approach. Stephen Schloesser focuses on the Miserere series, showing how Roualt deals with appearance and reality and how the beauty of a broken world meets in the beauty of a suffering Savior in the series. Finally, editor Wesley Vander Lugt weighs why Roualt resonates with contemporary viewers.
This work “shows” as well as “tells.” The book includes a number of black and white images of Roualt’s works. In addition, the book points to links available on the publisher’s website (https://www.ivpress.com/rouault) for works not included in the book. Finally, “Artistic Interludes” offers artist responses to the work of Georges Roualt, including a number of color plates of works by the artists inspired by Roualt. Two of the color plates reproduce works of Romare Bearden and of Georges Roualt.
This book introduced me to Roualt’s work. I came to understand not only its power to evoke empathy but also his profound insights into human suffering and the suffering of Christ.. For Christians skeptical of modern art, this book offers a profound counter argument that represents a deep Christian spirituality expressed through modern art. This book is a feast for both the eyes and the heart!
____________________
Disclosure of Material Connection: I received a complimentary copy of this book from the publisher for review.
Displaying 1 - 2 of 2 reviews