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Oloryn: The seal of disapproval.
Rick: Leading by example.
A Blog of Geek Eccentricities
One of the surprising elements of the pastorate (now that I have been in one for three months) is sleazy Christian telemarketing. It is, from my limited experience, more dishonest than is secular equivalent.
Jean-Antoine Watteau (1684-1721) was a French Rococo painter. He was born in Valenciennes to an impoverished tiler who used what little money he earned to educate his son. Watteau was apprenticed to Gerin, a local painter in Valenciennes. When Gerin died in 1702, Watteau went to Paris and gained employment as a scene painter, and later in a factory that mass produced devotional art. He worked in the ateliers of various masters, and his reputation grew until he attracted the attention of painter Charles de la Fosse, who ensured his admission into the Academy. There Watteau's fame reached meteoric heights, and he exerted a commanding influence on on the next generations of the French Rococo style. Most notably, he created the genre of depicting wealthy people relaxing in Edenic splendor.
The Venetian Festival. (oil on canvas, National Galleries of Scotland)
The Festival of Love. (oil on canvas, at the Gemäldegalerie in Desden)
The Music Party. (Oil on canvas, at the Wallace)

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Peter Paul Rubens (1577-1640) was a Flemish Baroque painter. His greatest achievement was to merge the realism of Dutch painting with the classicism of the Italian Renaissance. His father, a highly-educated Calvinist, was forced to flee the Spanish-occupied Netherlands for Germany before Rubens was born. When Rubens' father died in 1587, he and his family settled in Antwerp. He was apprenticed to various painters in that city and came under the influence of the Romanists -- Dutch painters who imitated the style of the Italian Renaissance. Rubens himself later went to Italy and worked in Mantua for eight years, drinking deep from the well of Italian painting. In the ensuing years, he gained commissions for devotional works and portraits throughout Italy. Upon his mother's death he returned to Antwerp, intending to stay only briefly, only to find the expensive commissions offered to him so enticing that he settled there permanently. In Antwerp, with Hapsburg backing, he sold works throughout all of the great courts of Europe and became fabulously wealthy. In short, he translated Italian Renaissance painting into ways that all of Europe could understand it.
The Fall of the Rebel Angels (1620, oil on canvas, at the Alte Pinakothek in Munich). The swirling, tempestuous violence of this scene almost pours off of the canvas.
The Martyrdom of St. Stephen (oil on canvas, at the Musée des Beaux-Arts in Valenciennes).
Portrait of Helena Forment (1630, oil on canvas, at the Musées Royaux des Beaux-Arts in Brussels). This was Rubens' second wife.
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John Everett Millais (1829-1896) was a British Pre-Raphaelite painter. He hailed from the English middle class and, displaying a prodigious talent at an early age, became the youngest ever student at the Royal Academy in 1840. Along with Dante Gabriel Rossetti and William Holman Hunt, he was a founding member of the Pre-Raphaelite Brotherhood in 1848. Millais was famous for his attention to minute detail in his works, although he became increasingly spontaneous as he matured. This change came due to pressing financial needs which encouraged Millais to produce a greater output of work. Embracing Victorian sentimentality, Millais achieved financial success, but gained the derision of his colleagues within the Brotherhood. Nevertheless, he thrived as a portraitist, acquiring great wealth, a boronetcy, and at the end of his life, the Presidency of the Royal Academy.
Christ In The House of His Parents (oil on canvas, 1849-1850, at the Tate). This painting, which earned a scathing public review by Charles Dickens and thereby unintentionally catapulted Millais from obscurity to fame, is laden with symbolism, typical of Pre-Raphaelite narrative painting. It is a pictographic summary of the Gospel story: Christ has accidentally pierced his hand with a nail in his father's workshop, young John the Baptist rushes to bring him water to wash the wound, and a dove rests on a ladder in the background.
A Huguenot, on St. Bartholomew's Day Refusing to Shield Himself from Danger by Wearing the Roman Catholic Badge (oil on canvas, 1852, at Manson and Woods). Inspired by Jakob Mayerbeer's 1838 opera The Huguenots, Millais composed this decidedly Protestant painting in the midst of an age of paranoia about Papal conspiracy theories.
The Order of Release, 1746 (oil on canvas, 1852-1853, at the Tate). In 1745, exiled Prince Charles ("Bonnie Prince Charlie") of the House of Stuart landed in Scotland and raised an army in an attempt to reclaim the throne. With most of the British Army occupied in Flanders and France, he almost succeeded. This vivid and colorful image depicts a Scottish woman securing the release of her P.O.W. husband.
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In the rush of daily life, it can become too easy to treat our devotional practices as items on a checklist. In her book The Organic God, Christian author Margaret Feinberg calls on readers to find wonder, mystery, and joy in God in the world around us:
Yesterday was the centennial of the birth of science fiction author Robert Anson Heinlein (1907-1988). Heinlein was one of the greatest innovators in the field. In the Golden Age of science fiction, alongside Isaac Asimov and Arthur C. Clarke, Heinlein mainstreamed science fiction and elevated it from pulp fiction to serious literature. A graduate of the Naval Academy, he served until tuberculosis led to his medical discharge. Later he became involved in Socialist politics and unsuccessfully ran for the California State Assembly. Over time, he embraced a more libertarian political ideology, as many of his works demonstrated.
My favorite of his works is the 1959 classic Starship Troopers. It is a great yarn about a radically different future earth in which military service is a prerequisite for citizenship, and a highly sought-after honor. This novel follows the life of trooper Johnny Rico as Earth battles an alien insect race across interstellar space. Controversial at its release, Heinlein wrote the work in response to a growing advocacy for appeasement with the Communist Bloc among science fiction authors.
I first read Job: A Comedy of Justice about fifteen years ago. It is a satire of evangelical Christianity (at least, an evangelicism from two generations ago, even though it was written in 1984). The main character is a minister who suddenly finds himself in an alternate universe and then experiences the eschaton. The Final Judgment separates him from the woman he loves, and he goes on a quest to find her. This book is theologically preposterous, but a great love story.
Let's revisit this classic of Internet humor, the Evil Overlord List. If I ever become an evil overlord (e.g. Emperor Palpatine, Queen Gedren, Prince Humperdinck, Phaeton, etc.), I will do these things:
Picture via Ace.
John William Waterhouse (1849-1917) was an English Pre-Raphaelite painter. He was born in Rome to an English family which returned to London during his childhood. Waterhouse was educated at the Royal Academy and rose to prominence during the 1880s. He was particularly noted for his depictions of either tragic or dangerous women. Waterhouse painted extensively from Medieval literature and Classical mythology, as well as profited from portrait commissions. His subject matter was therefore heavily Pre-Raphaelite, but Waterhouse (unlike, for example, Burne-Jones and Rossetti) was willing to make use of traditional Academic styles.
The Lady of Shallot (oil on canvas, 1888, at the Tate). This is Waterhouse's most famous work. It is a reference to a romantic figure in English literature. Elaine of Astolat first appeared in Malory's Le Morte D'Arthur as a woman cursed to fall in love with Sir Lancelot, whose heart belonged entirely to Queen Guinevere. During Waterhouse's time, Tennyson had revived interest in the legend with a poem in which Elaine had been cursed by a fairy with this overwhelming love for Lancelot, and she then tries desperately to reach Camelot in a boat:
The Beautiful Woman Without Mercy (oil on canvas, 1893, at the Landesmuseum, Darmstadt). It is a reference to a Medieval European legend about a knight who encountered a strange but beautiful woman in the forest. She seduced and then killed him. The legend first appeared in a 15th Century poem, and again by Keats in a 1820 poem:
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