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The Visual Commentary on Scripture @thevcs.bsky.social · 14h

At the beginning of Acts, Jesus instructs his followers to remain in Jerusalem and await baptism by the Holy Spirit. Our exhibition of the week includes a 17th-century botanical manuscript, an altarpiece by Plautilla Nelli, and a work by Barbara Walker: thevcs.org/matthias-rep...

thevcs.org

Matthias Replaces Judas

Exhibition: Matthias Replaces Judas (Acts of the Apostles 1:12–26). Featuring works of art by Basilius Besler, Plautilla Nelli and Barbara Walker. Commentaries by Richard Stemp.

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The Visual Commentary on Scripture @thevcs.bsky.social · 02/10/2026

Why, in the place and time this text describes, did God choose to reveal himself in this way? Such questions draw us into the story. So does art that pursues truth through ambiguity, and unveils truth through tender offerings. Take a closer look at our exhibition of the week: thevcs.org/glory-lord

thevcs.org

The Glory of the Lord

Exhibition: The Glory of the Lord (1 Kings 8:1–13; 2 Chronicles 5:2–14; 6:1–2). Featuring works of art by Winslow Homer, Hyman Bloom and Tiffany Studios. Commentaries by William R. Cross.

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The Visual Commentary on Scripture @thevcs.bsky.social · 30/09/2026

Self-Portraiture may not be a topic you instinctively connect with the Bible. But in this episode of Bible & Art Reframed, we consider artists’ self portraits throughout time, and questions around image and what it is to be human that can be explored in the text: thevcs.org/episode-4-se...

thevcs.org

Episode 4: Self-Portraiture

Episode 4: Self-Portraiture > Content blocks

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The Visual Commentary on Scripture @thevcs.bsky.social · 30/09/2026

What does it mean to be human? How do we paint our own nature, and question our own image?

David Bailly, Vanitas Still Life with Self-Portrait, 1651, Oil on panel, 89.5 x 122 cm, Stedelijk Museum De Lakenhal, Leiden; S1351

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The Visual Commentary on Scripture @thevcs.bsky.social · 24/09/2026

Join Michelle and Joost in our third episode as they explore the topic of Wisdom & Discernment. Journey with them through five different scriptural passages and artworks, framing narratives around ancestral wisdom, personification, and life and death. thevcs.org/episode-3-wi...

Episode 3: Wisdom & Discernment

Bible & Art Reframed

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David B. Gowler @dgowler.bsky.social · 21/09/2026

Delighted to see that my latest @thevcs.bsky.social piece on the Persistent Widow was emailed out today. The brief essays include analyses of works of art by Elizabeth Catlett, Brothers Dalziel (John Everett Millais), and Pieter de Grebber: "Powerful Agents of Justice" thevcs.org/persistent-w...

thevcs.org

The Persistent Widow

Exhibition: The Persistent Widow (Luke 18:1–8). Featuring works of art by John Everett Millais, Brothers Dalziel, Pieter de Grebber and Elizabeth Catlett. Commentaries by David B. Gowler.

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The Visual Commentary on Scripture @thevcs.bsky.social · 18/09/2026

The Epistle of James is an exhortation to grow in wisdom, patience, and righteousness, resisting all evil and dreadful temptations, as an act of faith in God. Explore three French works of art of the 17th and 18th centuries in our exhibition on James 3:13–4:12: thevcs.org/purify-your-...

James 3:13–4:12
Purify Your Hearts, You Double Minded!
Commentaries by Alysée Le Druillenec

Works of art by Antoine Coysevox, Claude Mellan, Guillaume Coustou, Nicolas Coustou and Pierre Mignard

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The Visual Commentary on Scripture @thevcs.bsky.social · 16/09/2026

There are over 300 mentions of gold in the Bible: it’s a symbol of holiness and purity, and has historical associations with power and greed. In this second episode of Bible & Art Reframed, Joost and Michelle explore the topic of gold: thevcs.org/episode-2-gold

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The Visual Commentary on Scripture @thevcs.bsky.social · 16/09/2026

How better to open the door to our first episode of Bible & Art Reframed, than with the topic of Doorways & Thresholds? Join Michelle and Joost as they journey through five very different artworks—and their paired scriptural passages—that relate to Doorways & Thresholds: thevcs.org/episode-1-do...

Episode 1: Doorways & Thresholds

Bible & Art Reframed

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The Visual Commentary on Scripture @thevcs.bsky.social · 10/09/2026

We're launching a podcast! Well, we're launching a podcast in a week –– but follow the link to subscribe and be the first to hear our initial two episodes: thevcs.org/bible-art-re... Bible & Art Reframed offers fresh dialogue on the world of scripture and the history of art.

Bible & Art Reframed

A New Podcast Series from the VCS Team

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The Visual Commentary on Scripture @thevcs.bsky.social · 08/09/2026

This week we feature an Egyptian Book of the Dead, together with famous frescoes by Raphael and Giotto. At the heart of Micah 6–7 is the imperative to do justice, love kindness, and walk humbly with God. Take a closer look at our Exhibition of the Week: thevcs.org/justice-kind...

Micah 6–7

Justice, Kindness, Humility

Commentaries by Amanda M. Burritt

Works of art by Giotto, Raphael and Unknown Egyptian artist

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The Visual Commentary on Scripture @thevcs.bsky.social · 25/08/2026

In what is our most 'Could be a Prog Rock album cover' artwork yet, it's Iain Andrews' painting for our Exhibition of the Week: Naboth's Vineyard. In 1 Kings 21, Ahab king of Samarʹia covets Naboth's grapes. Naboth says no. Consequences follow: thevcs.org/naboths-vine...

A screenshot of three artworks - a cast sculpture and two paintings showing Naboth in his vineyard.

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The Visual Commentary on Scripture @thevcs.bsky.social · 10/08/2026

Ira Mallory’s screen portrait of Queen Hadassah foregrounds the weightiness of wearing the crown. Hadassah started as a lower-class Hebrew girl, the descendant of enslaved people, and was transformed into a Persian queen.

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The Visual Commentary on Scripture @thevcs.bsky.social · 10/08/2026

Marcelle Hanselaar’s art accentuates both the intoxication and lasciviousness of the king and other ruling males in the story world (which leads to the legalization of male dominance) and the fiery dissent of Queen Vashti, which leads to her dethronement.

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The Visual Commentary on Scripture @thevcs.bsky.social · 10/08/2026

By overlaying images of Hadassah and Harriet, Fred Wilson foregrounds the multiple and intersecting oppressions that enslaved persons endure (including physical and sexual violence) in colonial cultures.

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The Visual Commentary on Scripture @thevcs.bsky.social · 10/08/2026

In our Exhibition of the Week, we explore three works of art which invite readers to demask the abuse of biblical and other ancient and modern girls and women alike.

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The Visual Commentary on Scripture @thevcs.bsky.social · 10/08/2026

“Let beautiful young virgins be sought out for the king" And so, in Esther 5, they are transported from the continent of Africa to the subcontinent of India to the court of King Ahasu-eʹrus. Historically, countless girls and women were subjugated by males who rendered females inferior.

Marcelle Hanselaar :

The Refusal, Queen Vashti, 2021–22 , Etching and aquatint

Ira Mallory :

Hadassah: Queen Esther, 2021 , Film

Fred Wilson :

Queen Esther/Harriet Tubman, by Fred Wilson, 1992 , Ink on acetate

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The Visual Commentary on Scripture @thevcs.bsky.social · 03/08/2026

The Exhibition of the Week explores Salvation and Judgement through this carving, a 9th/10th century cross, and a late 1980s Batik interpretation of the Incarnation. Explore all three here: thevcs.org/salvation-an...

thevcs.org

Salvation and Judgement

Exhibition: Salvation and Judgement (John 5:19–47). Featuring works of art by Unknown artist, Unknown Roman artist and Solomon Raj. Commentaries by Niamh Bhalla.

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The Visual Commentary on Scripture @thevcs.bsky.social · 03/08/2026

This is the earliest surviving representation of Christian judgement, appearing on this sarcophagus lid. It shows the separation of the sheep and the goats - eight sheep symbolise the redeemed and advance peacefully from the left; five goats shrink from Christ's hand and retreat with lifted heads.

A carved Roman sarcophagus lid, showing Jesus blessing sheep on his right and goats shrinking from his hand on the left.

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The Visual Commentary on Scripture @thevcs.bsky.social · 27/07/2026

This woodcut illustration is part of our Exhibition of the Week: Perseverance over Perfection. Read more here: thevcs.org/perseverance... Images from: www.loc.gov/item/2021667...

The other two miracles, which are not pictured here, were to make his hand leprous and then cure it; and turning the Nile water into blood.

By offering three miraculous transformations, it prefigured Moses’s own metamorphosis from shepherd to great leader and prophet.

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The Visual Commentary on Scripture @thevcs.bsky.social · 27/07/2026

These miracles serve as tangible affirmations of divine power, suggesting that faith does not emerge in the absence of doubt but through engagement with it.

The first is to turn his staff into a serpent.

Moses is depicted as having horns, a convention caused by Jerome translating the Hebrew term qâran (shining) as qérén (horned)
(Exodus 34:29, 30, 35)

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The Visual Commentary on Scripture @thevcs.bsky.social · 27/07/2026

When Moses, fearing disbelief and rejection, protests, ‘They will not believe me or listen to my voice’ (Exodus 4:1), God does not rebuke him but provides signs and reassurances.

Here, In Exodus 4, Moses is reluctant to accept his fate as deliverer of the Hebrews.

God reassures him by offering three miraculous transformations

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The Visual Commentary on Scripture @thevcs.bsky.social · 27/07/2026

Moses is not immune to this struggle. His prophetic vocation is marked by hesitation, fear, and a sense of inadequacy. Yet it is these very moments of vulnerability that are integral to his spiritual formation.

This scene between God and Moses is one of 109 woodcut illustrations made by the press of
Anton Koberger in the 15th century.

It was among the first to be ‘mass-produced’ and was made in three versions: unadorned woodcuts, modestly hand-coloured, and this deluxe version.

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The Visual Commentary on Scripture @thevcs.bsky.social · 27/07/2026

Exodus 4:1–18, 27–31 is the first of many moments in which Moses and the Hebrews face trials of faith. Their mortal and moral lapses—of judgment, of faith—frustrate their ability to fulfil their divine destiny. It is also, however, these human moments of failure that are integral to their journey.

Three miracles that convinced Moses, with a woodcut illustration of God in a tree.

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The Visual Commentary on Scripture @thevcs.bsky.social · 20/07/2026

This week's exhibition is on Ephesians 6:10–24, titled 'The Armour of God'. In Roberto Oderisi's painting, a strange constellation of objects floats in the flattened space around Christ’s crucified body. Click here to take a closer look: thevcs.org/armour-god#a...

ROBERTO ODERISI
The Man of Sorrows, c.1354, Tempera and gold on panel, 62.2 x 38 cm, The Harvard Art Museums/Fogg Museum, Cambridge, MA; Gift of Grenville L. Winthrop, Class of 1886, 1937.49, ©️ Harvard Art Museums / Bridgeman Images

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The Visual Commentary on Scripture @thevcs.bsky.social · 17/07/2026

Muslim commentators have always been interested in the life of the great prophet Ibrâhîm (Abraham) before his divine ‎call. This Persian illumination stems from a tradition about his early battles with idolaters. Click here to take a closer look: thevcs.org/abrahams-ear...

UNKNOWN PERSIAN ARTIST
Ibrâhîm (Abraham) rescued from Nimrûd's fire by Jabrâ'îl (Gabriel), 1577, Manuscript, 210 x 127 mm, The New York Public Library; Spencer Collection, Qisas al-Anbiyâ, fol. 23v, Courtesy New York Public Library

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The Visual Commentary on Scripture @thevcs.bsky.social · 15/07/2026

Azoulay's painting is clearly inspired by Caspar David Friedrich‘s ‘Wanderer above the Sea of Fog’, which you can find in our exhibition on Psalm 19, and our curated commentaries on the 'Romantic Spirit': thevcs.org/heavens-are-... thevcs.org/curated-comm...

CASPAR DAVID FRIEDRICH
Wanderer above the Sea of Fog (Der Wanderer über dem Nebelmeer), c.1817, Oil on canvas, Hamburger Kunsthalle; HK-5161, bpk Bildagentur / Hamburger Kunsthalle, Hamburg / Elke Walford / Art Resource, NY

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The Visual Commentary on Scripture @thevcs.bsky.social · 15/07/2026

Shai Azoulay paints Abraham standing alone on a hill, facing away from the viewer and looking down on the terrain through which he will be travelling. Read about this painting in our exhibition on Abraham’s early life and journey to Canaan: thevcs.org/abrahams-ear...

SHAI AZOULAY
Living as a Pilgrim, 2019, Oil on canvas, 45 x 60 cm; ©️ Shai Azoulay, courtesy of artist

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The Visual Commentary on Scripture @thevcs.bsky.social · 13/07/2026

Traditions developed about Abraham's rejection of the idol worship practised by the inhabitants of his birthplace, the Babylonian city of Ur. This image in our exhibition of the week from the Passover Haggadah provides the earliest extant depiction of this tradition: thevcs.org/abrahams-ear...

ABRAHAM BAR JACOB
Abraham smashing the Idols, from the Passover Haggadah, 1695, Engraving, 315 x 205 cm, Gross Family Collection, The Center for Jewish Art, Tel Aviv; B.66, Courtesy of William Gross, Photography by Ardon Barhama

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The Visual Commentary on Scripture @thevcs.bsky.social · 10/07/2026

Another marvellous manuscript, thank toys for making the connection.

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The Visual Commentary on Scripture @thevcs.bsky.social · 10/07/2026

St Dunstan portrays himself as a miserable sinner, whose only saving grace is a pious hope for Christ’s redemption. He lies prostrate, and his posture signals unreserved submission. Take a closer look at this illumination from the so-called Glastonbury Classbook: thevcs.org/do-not-let-y...

UNKNOWN ARTIST, POSSIBLY ST DUNSTAN, WALES/GLASTONBURY
Jesus Christ, opening page of Glastonbury Classbook (St. Dunstan's Classbook), 850, Manuscript illumination, 250 x 180 mm, Bodleian Libraries, The University of Oxford; MS Auct. F. 4. 32, fol. 1r, Photo: ©️ Bodleian Libraries, University of Oxford

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The Visual Commentary on Scripture @thevcs.bsky.social · 08/07/2026

Wearing mirrored contact lenses, Giuseppe Penone provides an opportunity to contemplate different perspectives on oneself and of others in 'Rovesciare i propri occhi' (‘to reverse one’s eyes’). Read about this work in our exhibition 'Do Not Let Your Left Hand Know': thevcs.org/do-not-let-y...

GIUSEPPE PENONE
Rovesciare i propri occhi (To Reverse One's Eyes), 1970, Gelatin silver print with selenium tone and ink on baryte paper, handwritten inscription, 396 x 296 mm; Edition of 7, ©️ 2025 Artists Rights Society (ARS), New York/ADAGP, Paris. Photo: Lucy Dawkins. Courtesy Gagosian.

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The Visual Commentary on Scripture @thevcs.bsky.social · 06/07/2026

Gustave Doré's engraving illustrates Dante in the ninth circle of hell. Even by Dante’s standards, the episode is especially gruesome. The souls are submerged up to the neck, leaving just their heads sticking out. Find out more in our exhibition on Matthew 6: thevcs.org/do-not-let-y...

GUSTAVE DORÉ
Dante addresses the traitor Bocca Degli Abati, from Inferno Canto 32, verse 97, 1857, Wood engraving, 430 x 310 mm; Realy Easy Star / Alamy Stock Photo

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The Visual Commentary on Scripture @thevcs.bsky.social · 03/07/2026

Edvard Munch’s provocatively-titled 'Self-Portrait in Hell' features in this week's exhibition on Job 15–17. Curious? Click on the link to take a closer look and read the commentary: thevcs.org/dissenting-o...

EDVARD MUNCH
Self-Portrait in Hell, 1903, Oil on canvas, 82 x 66 cm, Munchmuseet, Oslo; MM.M.00591, ©️ Munchmuseet / Juri Kobayashi

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The Visual Commentary on Scripture @thevcs.bsky.social · 01/07/2026

In this manuscript illumination, Job sits on a bench covered in sores, while his wife looks on sorrowfully. A large beast dominates the left side of the composition, combining the heads of a dragon, a lion, and a snake. Take a closer look in our exhibition of the week: thevcs.org/dissenting-o...

UNKNOWN ARTIST
Job attacked by a monster representing the disease sent by the devil (Job 2:7), c.776–825, Manuscript illumination, 280 x 275 mm, Biblioteca Apostolica Vaticana, Vatican City; MS Vat. gr. 749 pt.1, fol. 25r, ©️ 2025 Biblioteca Apostolica Vaticana

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The Visual Commentary on Scripture @thevcs.bsky.social · 29/06/2026

The Latin phrase ‘NOLI ME CONDEMNARE’ rises diagonally from the mouth of the seated figure. It was assumed originally that the subject of the work was the Stoic philosopher Seneca, but he is in fact the biblical Job. Our exhibition of the week is on Job 15–17: thevcs.org/dissenting-o...

UNKNOWN SPANISH ARTIST, POSSIBLY SEVILLE
Job, 1618–30, Oil on canvas, 120.3 x 95 cm, The Art Institute of Chicago; Gift of Mr. and Mrs. Chauncey McCormick, 1936.355, The Art Institute of Chicago / Art Resource, NY

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The Visual Commentary on Scripture @thevcs.bsky.social · 26/06/2026

In John Reilly's painting, the ripples of a circle begin with the face of the young Jesus, together with Mary and Joseph. These ripples appear to hold together the surrounding landscape, with its creatures, figures, plants, and angels. Click here to find out more: thevcs.org/establishing...

JOHN REILLY
Holy Family, Date unknown, Oil on board, 106.7 x 106.7 cm, Private collection; ©️ Jillian Reilly, courtesy of https://thejohnreillygallery.co.uk

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The Visual Commentary on Scripture @thevcs.bsky.social · 24/06/2026

Antoine Camilleri depicts his quiet life working with his hands in his studio as a holy life. In this respect, it is a vocation that fulfils Paul’s charge to the Christians in Thessalonica. Take a closer look in this week's exhibition on 1 #Thessalonians 2:17–4:12: thevcs.org/establishing...

ANTOINE CAMILLERI
The Prayer, 1982, Clay and resin on wood panel; ©️ Antoine Camilleri, courtesy of the artist

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The Visual Commentary on Scripture @thevcs.bsky.social · 22/06/2026

Stanley Spencer saw the divine in everyday life. Similarly, Paul encouraged the community of Christ in Thessalonica to live holy lives where they were. Our exhibition of the week is called 'Establishing the Heart' and is on 1 Thessalonians 2:17–4:12: thevcs.org/establishing...

STANLEY SPENCER
The Lovers (The Dustmen), 1934, Oil on canvas, 115 x 123.5 cm, Laing Art Gallery, Newcastle Upon Tyne; Purchased from Arthur Tooth and Sons Ltd, 1948, TWCMS : B7412, North East Museums / ©️ Estate of Stanley Spencer. All rights reserved 2025 / Bridgeman Images

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The Visual Commentary on Scripture @thevcs.bsky.social · 19/06/2026

Like the exchange between Jesus and Mary in the story of the wedding at Cana, artist Mary Kelly's 'Post-Partum Document' is cryptic. At once private and public, it engages the threshold between the maternal and the social. Find out more in our exhibition of the week: thevcs.org/wedding-cana...

MARY KELLY
Post-Partum Document. Documentation III: Analysed Markings And Diary Perspective Schema (Experimentum Mentis III: Weaning from the Dyad), 1975, Graphite, crayon, chalk and printed diagrams, mounted on paper, 286 x 361 x 35 mm, Tate, London; Purchased 1984, T03925, ©️ Mary Kelly 2025 courtesy Tate Images, Courtesy Pippy Houldsworth Gallery

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The Visual Commentary on Scripture @thevcs.bsky.social · 18/06/2026

Paolo Veronese's monumental canvas in the Louvre, originally made for the Venetian monastery of San Giorgio Maggiore, might be the best-known depiction of the Wedding at Cana. Visit our site to zoom in and take a closer look: thevcs.org/wedding-cana...

PAOLO VERONESE
The Wedding at Cana, 1562–63, Oil on canvas, 677 x 994 cm, Musée du Louvre, Paris; INV 142, ©️ RMN-Grand Palais / Art Resource, NY

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The Visual Commentary on Scripture @thevcs.bsky.social · 16/06/2026

Helen Frankenthaler does away with likeness and instead draws attention to the paint itself, a different, more hidden, alchemical process. The turning of water into wine in John 2:1–12 is an alchemical miracle. Find out more in this week's exhibition: thevcs.org/wedding-cana...

HELEN FRANKENTHALER
Dream Walk Red, 1978, Acrylic on canvas, 149.9 x 262.9 cm, Private collection, Springfield, N.J.; ©️ 2026 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York

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maidstonevicar.bsky.social @maidstonevicar.bsky.social · 15/06/2026

"Experiences of all kinds are poured into us and expression pours forth from us, but we change in our most intimate depths in ways that even those closest to us cannot see, even in ways that are hidden from ourselves." The @thevcs.bsky.social this week is the wedding at Cana:

Helen Frankenthaler's Dream Walk Red, 1978, Private collection, Springfield, N.J.; ©️ 2026 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York via https://thevcs.org/wedding-cana
"Helen Frankenthaler is known for pouring paint onto unprimed canvases in large pools that bleed into one another, presenting, simultaneously, the pure medium of paint itself—its flows and movements—and the interior world of mood, emotion, and psychic energy. She called this technique ‘soak-stain’."
It's a variety of reds, strewed across the image.

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The Visual Commentary on Scripture @thevcs.bsky.social · 12/06/2026

Giacomo Balla's 'The Speed of an Automobile' does not overtly relate to #Ezekiel, but provides an imaginative visual ‘intertext’. It is characteristic of the Futurists in emphasising dynamism, light, and technology. Curious? Take a look at our exhibition of the week: thevcs.org/vision-god#s...

GIACOMO BALLA
The Speed of an Automobile, 1913, Oil on card, 60 x 98 cm, Galleria Civica d'Arte Moderna, Milan; ©️ Mark Edward Smith / Bridgeman Images

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Reposted by The Visual Commentary on Scripture

David B. Gowler @dgowler.bsky.social · 10/06/2026

Elizabeth Catlett's "In Sojourner Truth I fought for the rights of women as well as Blacks" is my favorite (of 3) image in my latest @thevcs.bsky.social piece. Her Sojourner Truth functions as a powerful agent of justice and a moral exemplar of perseverance and action: thevcs.org/persistent-w...

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The Visual Commentary on Scripture @thevcs.bsky.social · 10/06/2026

William Blake has been heralded as a significant voice in the history of biblical interpretation. In 'The Whirlwind: Ezekiel’s Vision of the Cherubim and Eyed Wheels', Ezekiel himself appears at the very bottom of the composition. Click here to take a closer look: thevcs.org/vision-god#d...

WILLIAM BLAKE
Detail of The Whirlwind: Ezekiel's Vision of the Cherubim and Eyed Wheels (Illustration to the Old Testament, Ezekiel I 4–28), c.1803–05, Pen and watercolour over graphite on paper, 394 x 295 mm, Museum of Fine Arts, Boston; Museum purchase with funds donated by contribution, 90.108, Photo: ©️ 2021 Museum of Fine Arts, Boston

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The Visual Commentary on Scripture @thevcs.bsky.social · 08/06/2026

'the heavens were opened, and I saw visions of God.' In this week's exhibition we look at #Ezekiel 1. The most distinctive feature of Marc Chagall’s presentation of this passage is that he gives breasts to the figure with the human face. Click here to find you why: thevcs.org/vision-god#l...

MARC CHAGALL
La Vision d'Ezéchiel, pl.104 (from Bible II), 1931–39, Handcoloured etching, 328 x 260 mm; ©️ 2020 Artists Rights Society (ARS), New York / ADAGP, Paris; Photo: akg-images / Album

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The Visual Commentary on Scripture @thevcs.bsky.social · 04/06/2026

Curated Commentaries offer a new way to explore the VCS collection. We have selected topics familiar and unexpected to help you encounter the Bible and Art. Each is explored through seven artworks and commentaries from across the site. Click here to explore them all: thevcs.org/curated-comm...

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Reposted by The Visual Commentary on Scripture

David B. Gowler @dgowler.bsky.social · 04/06/2026

This painting (Pieter de Grebber, Parable of the Unfair Judge, 1628, Oil on oak, 88.5 x 74 cm, Szépművészeti Múzeum, Budapest) is one of the three works of art that I explore in my recent @thevcs.bsky.social entry: thevcs.org/persistent-w....

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