M E R I D I A N     M A G A Z I N E

The Living Christ: What Think Ye of Christ?

Museum of Church History and Art
Exhibit Dates: 23 September 2000--3 September 2001
Gallery Space: West Gallery
Salt Lake City, Utah

Editors' Notes: Meridian Magazine has worked with the Museum of Church History and Art in publishing a number of galleries of fine art, including the International Art Competition which centered in the theme of The Book of Mormon ( http://www.meridianmagazine.com/arts/000920bomart.html ) and the showcase of two twentieth century photographers ( http://www.meridianmagazine.com/arts/010313witness5.html ). The following exhibit centers in Christ. You are invited to read about the artists and look at the images (click on them to enlarge and enjoy) and feel of the testimonies and feelings of each individual artist.

Special thanks to Museum Curator Glen Leonard and to Ron Read for his untiring efforts in bringing these images to us in electronic format.

Introduction to the Exhibit
Jesus Christ is the center of our religion, and the focus of our faith. The exhibit communicates this concept through visual and symbolic means. The exhibit team has selected thirty-one paintings and sculptural pieces of large size and impressive emotional impact which express the character, nature or message of the Lord Jesus Christ and His Atonement.

The exhibit does not attempt to give a particular face to the Savior, showing true physical characteristics. Rather, the exhibit is meant to incite and elicit feelings of reverence, awe and devotion about the majesty of the Savior. The artwork chosen comprises a variety of styles and media.

The accompanying texts are scriptural: from the four Standard Works or from the writings of General Authorities. Although one's individual perspective of Him might be different from another's (as expressed in the variety of images presented in the exhibit), the message is the same: that He is the very Son of God, who created the universe, intercedes on our spiritual behalf, heads this Church and is the hope of all the world. The works of art selected for this exhibit testify of these truths.

This exhibit incorporates the messages in the new document from the First Presidency and the Quorum of the Twelve entitled The Living Christ ( http://www.lds.org/library/display/0,4945,163-1-10-1,FF.html ) The exhibit mirrors the thoughts expressed in this powerful testimonial by visually matching the poignancy and majesty of these important truths. Excerpts from this document are used as individual label texts, and a facsimile of the original document is on display as part of the exhibit. It is near the size of the largest painting in the exhibit; prominent and as forthright as its claims.

General Interpretive Themes
This exhibit itself intends to testify of our collective belief and faith in Jesus Christ. The paintings and attendant texts attest that He was not merely a historical figure who lived two millennia ago, but is a living being, a Deity who cares about us individually and impacts our lives. While these facts are strongly asserted, they are contemplative and subtle enough to invite the patron to reflect on these teachings himself.

Although each work of art has an accompanying label with the artist, title and date-created information, there is no further information describing the picture, nor is there constituent educational interpretation for that picture. Later on in this guide, you will find individual artist and art information intended to be explained by docents to parties interested in specific details.

The premise for this mode of labeling is to symbolically express the idea that the glory-in our lives, minds and hearts and as shown through this exhibit-should be given to the Lord Jesus Christ, the "author and finisher of our faith." This art exhibit is not meant, as in the antecedent Fifth International Art Competition, to specifically showcase the artists and explain their impetus for creating the work in a particular fashion, style or context. Rather, it concludes through the power and impact of the pieces that Christ lives in very deed, and that thoughts of Him should live within our hearts, thoughts and actions. These ideas are communicated through the artwork as well as the scriptures or quotations from General Authorities.

Artwork as Testimony
The exhibit is entitled The Living Christ: What Think Ye of Christ. Its name consists of two ideas: first, that Christ lives-that He lived before ancient Jerusalem, that He lived and dwelt among men, that He was resurrected and lives now to guide a marvelous work. The second part of the title carries this significant point even further. Not only does Christ live as an existing being who loves us and is concerned about our welfare, thoughts of Him should reside in our hearts and minds. As His followers, our thoughts should portray this belief. How else can we form a life patterned after His than by constantly thinking of Him and His Atonement? The Atonement, as stated by Elder Neal A. Maxwell, comprises the entire mission of the Savior.

Each artist represented in the exhibit is a Latter-day Saint. For each, the process of creating art is a spiritual enterprise. Many of the works were originally created to be entered into one of the Museum's past five International Art Competitions.

The making of art is, of course, a creative process. Jehovah created the earth, and by creating we share in this process. We must create worthwhile lessons to pass on to our families, neighbors

Exhibit Text and Commentary
(Click images below to see enlargements.)

Christ Raises the Son of the Widow of Nain
Robert T. Barrett (1949- )
Oil on canvas, 1999

"Now when he came nigh to the gate of the city, behold, there was a dead man carried out, the only son of his mother, and she was a widow...He had compassion on her, and said. . . weep not. And he came and touched the bier;...And he said, Young man, I say unto thee Arise. And he that was dead sat up, and began to speak, and he delivered him to his mother." Luke 7:12-15

This is another of the masterful paintings of Robert Barrett illustrating events from the New Testament.

The Well of Life
Robert T. Barrett (1949- )
Oil on board, 1996
Loaned by the artist

"Whosoever drinketh of this water shall thirst again: But whosoever drinketh of the water that I shall give him shall never thirst; but the water that I shall give him shall be in him a well of water springing up into everlasting life." John 4:13-1

In this finely-illustrated account of Jesus and the Samaritan woman at the well, the artist has posed the Savior in a stance of teaching and the woman listening with rapt attention. Barrett explains: “I have chosen to show Christ standing and taking an active role in the conversation. It doesn’t take long for the woman to perceive that he is a prophet by the things he says and knows about her. He speaks to her metaphorically of living water that he has to give. I wanted to use the cool colors of blue and green, contrasted with the warmer background, to symbolize the story in visual terms. The olive tree arches over both figures, offering protection and drawing them together. The coolness of the foreground elements equates, in various ways, with the refreshing nature of the message Jesus has to impart.” (All Things Testify of Him, p. 2)

Robert Barrett is a professor of illustration at Brigham Young University and a prolific professional artist, producing illustrations for Church magazines and numerous national publications. He trained at the University of Utah, the University of Iowa, and at the Hochshule der Künste in Berlin, Germany.

The Last Supper
Harrison Begay, Jr. (1961 - )
Fired clay, 1990

"Then Judas, which betrayed him . . . said, Master, is it I? He said unto him, Thou has said. And as they were eating, Jesus took bread, and blessed it . . . Take, eat; this is my body. . . . And he took the cup, and gave thanks, and gave it unto them, saying . . . This is my blood of the new testament, which is shed for many for the remission of sins." Matthew 26:24-28

In this simple, but eloquent portrayal of the Last Supper, the artist has tried to capture the moment following Christ’s announcement that one of the Apostles will betray him. In shock, one group asks each other, “Is it I?” Another group sits in silence. Judas sits apart from the rest, slumping forward, gesturing to himself, and beginning to turn away from the rest. The simple style and curved, flowing lines inherent in the medium invite the viewer to focus on the religious experience of the Last Supper and the universal question, “Would I betray Christ?”

Although Begay is Navajo, he works in New Mexico in a traditional Santa Clara blackware pottery style that he learned from his wife’s family. His wife, Marie, is a member of the Naranjo family of Santa Clara potters. Blackware pottery is made black by using an oxygen reduction technique at the end of the firing process that thoroughly impregnates the clay with black carbon. The shiny surfaces were polished with a smooth stone before firing.

The Tree of Life
Nathan Bennett (1971- )
Bronze, patina, wood, & paint, 1999

"The tree of life was a representation of the love of God." I Nephi 11:25

The Tree of Life is included here because it represents the love of God and the path to eternal life through the atoning sacrifice of Jesus Christ. This exquisite rendition of the tree with shimmering white fruit, is surrounded by a wood frame featuring the sun, the moon, and the stars (the big dipper) of the three degrees of glory.

Although this piece appears three dimensional, it is actually a single sheet of bronze. The artist achieves depth in his work through layers of patinas and polishing. Bennett was offered an art scholarship to BYU, but turned it down to work directly with artists. He apprenticed at Wasatch Foundry and soon learned the skill of applying patinas to bronze castings. He has studied with patina artists around the country and today he is considered one of the finest “patineurs” at work. In addition to running his own patina studio, he also uses his skills to create patina paintings in bronze, a unique art form which Bennett himself developed.

Gethsemane
James C. Christensen (1942- )
Acrylic on canvas, 1984
Loaned by Grant and Linda Marsh

"And there appeared an angel unto him from heaven, strengthening him." Luke 22:43

In an effort to understand the atonement, the artist was taken with the above scripture which states that an angel appeared to Jesus in the garden to strengthen him. Here, Christensen has placed the angel just behind the Christ figure as if he is about to place his hands on the Savior’s head and pronounce a priesthood blessing. The extreme darkness of this painting emphasizes the anguish of the garden experience.

James Christensen, a retired professor of art at Brigham Young University, began his career as an illustrator. Today he is considered one of the premier fantasy artists in the nation.

Ten Lepers Healed
Brian Kershisnik (1962- )
Oil on panel, 1997
Loaned by Brent and Bonnie Jean Beesley

"And one of them, when he saw that he was healed, turned back, and with a loud voice glorified God, ...and he was a Samaritan. And Jesus answering said, Were there not ten cleansed? But where are the nine?" Luke 17:15-17

Kershisnik’s simple style seems exquisitely appropriate for Ten Lepers Healed, one of the briefest and most poignant episodes in the New Testament. It eschews the distraction of detail, and instead boldly confronts the viewer with a composition in which the viewer himself seems to be among the nine who went away rejoicing. Kershisnik comments: “Ten Lepers Healed is a painful picture for me for several reasons. The account in the scriptures is, of course, heartbreaking. But as much as I would like to identify with the one grateful, returning beneficiary, I fear I am much more often in the foreground group. It is generally not my practice to anticipate the psychology in the relative placement of the figures, but rather to watch it unfold. This composition unfolded into a “you are here” map­here, in the foreground. Even when we are suitably grateful, the scriptural account is a potent reminder. This painting perhaps suggests one angle from which to observe that reminder.” (All Things Testify of Him, p. 54)

Kershisnik’s works are evocative in the sense that his simplified figures invite the viewer to question the meaning of the subject. His uncomplicated compositions usually contain jarring and contrasting elements intended to create a psychological and physical tension that provokes thoughtful inquiry.

This Tabernacle of Flesh
Robert L. Marshall (1944- )
Oil on canvas, 1986
Loaned by the artist

"He gave the body to Joseph. And he bought fine linen, and took him down, and wrapped him in the linen, and laid him in a sepulchre." Mark 15:46

"Ye Seek Jesus of Nazareth, which was crucified: he is risen; he is not here: behold the place where they laid him." Mark 16:6

"Then arose Peter, and ran unto the sepulchre; and stooping down, he beheld the linen clothes laid by themselves, and departed, wondering in himself at that which was come to pass." Luke 24:12

This powerful abstract painting is a part of Marshall’s series entitled “Resurrection.” Here he explores the power of Christ’s atonement through the billowing draperies. The lace covered table alludes to the significance of the sacrament in our lives.

For Marshall, a professor of art at Brigham Young University, the meaning of his paintings is often veiled, even to him. He senses an inspiration which informs his works, but is at the same time enigmatic. Describing one series, he writes: “After a while you stop questioning why and merely continue to respond to the whispering. I don’t believe that I even know yet what the paintings mean. There are times, however, when I think I know what I am trying to do.”

Raising the Daughter of Jairus
Wilson Ong (1958- )
Oil on canvas, 1996

"And he took the damsel by the hand, and said unto her. . . Damsel, I say unto thee, arise. And straightway the damsel arose" Mark 5:41-42

In this superb painting, Jairus and his wife are depicted with their young daughter just moments after she has been raised from the dead by the Lord. Although Christ is not depicted, the power of his presence is keenly felt. The focus of each figure is different, yet complimentary. The daughter gazes out of the painting with an almost other-worldly, dreamy quality of wonder. The mother stares intently at her daughter while holding her tightly, unwilling to let her go again. The father looks directly out of the painting at the imagined Savior with ineffable gratitude.

Primarily a portraitist, Ong trained at Brigham Young University and at the Art Students League in New York. He currently has a studio in Provo.

The Greatest of All
Delwin Parson (1948- )
Oil on canvas, 1987

"For behold, I, God, have suffered these things for all, that they might not suffer if they would repent; But if they would not repent they must suffer even as I; Which suffering caused myself, even God, the greatest of all, to tremble because of the pain. . ." D & C 19:16-18

In this painting which was originally conceived for the Museum’s 1987 Fine Arts Competition, the artist planned to portray the real suffering of Christ in the Garden of Gethsemane, but he found that he could not do it. He chose instead to depict the Savior’s triumph over suffering. The painting is meant to be a “remembrance” of Christ and draws on a number of different paintings of Jesus in Gethsemane to help evoke that memory.

Parson is one of the most utilized Latter-day Saint illustrators, with about 100 published works, including The Lord Jesus Christ, prints of which have been widely distributed around the world by the Church. After living for years in Idaho, Parson recently joined the art faculty at Southern Utah State University in Cedar City, Utah.

The First Vision
Joni Susanto (1961- )
Batik, 1990

"The Father has a body of flesh and bones as tangible as man’s; the Son also." D&C 130:22

In this batik by Indonesian artist Joni Susanto, the divine figures of the Father and the Son are embellished with elaborate surface patterns, reflecting the Indonesian tradition of decorating most ornately that which is most important. That is why the figures in the scene have such elaborate surface patterns. Also, like most non-Western artists from around the world, Susanto stresses continuity and community roots. Thus this piece is similar to a painting of the First Vision by Ted Henninger.

The artist, who lives in Yogyakarta, Java, Indonesia, learned the art of batik from his father-in-law, Hadi Pranato, another important Latter-day Saint batik artist.

These Twelve Jesus Sent Forth
Walter Rane (1949- )
Oil on canvas, 1999

"These twelve Jesus sent forth . . . And as ye go, preach, saying, The kingdom of heaven is at hand. Heal the sick, cleanse the lepers, raise the dead, cast out devils: freely ye have received, freely give." Matthew 10:5-8

In this masterful painting, Jesus charges the Twelve to go forth to the House of Israel preaching His gospel. The scene, set on a rocky landscape beneath the protecting branches of a tree, is bathed in the glowing light of early evening. Every apostle is portrayed with a different pose, demeanor, and personality­a truly remarkable feat for the artist.

Washed White
Ron Richmond (1963- )
Oil on canvas, 2000
Loaned by the artist

"There can be no man saved except his garments are washed white; through the blood of him of whom it has been spoken by our fathers." Alma 5:21

This abstract painting is part of a series by Richmond examining the power of the atonement. Each, carrying the super-title Catharsis, features a chair and red and white robes. They are meant to provoke the viewer to consider her own acceptance of the atoning power of the Savior. Although Christ is not visible in this painting, the promise of his atonement is evident.

Richmond received a master’s degree in fine art from Brigham Young University. He is intrigued with the ability to explore religious faith through abstract style. He writes: “I believe in the emotional power of the arts, whether positive or negative. I am an idealist and am concerned with the potential that art has for the good. The negative in our world is obvious and ubiquitous; it is tiresomely exploited and constantly confronts our awareness in the arts. Art with a message of hope, peace, and faith is what I want to create.” (All Things Testify of Him, p. 98)

Christ in a Red Robe
Minerva Teichert (1889-1976)
Oil on canvas, 1948

"And the Lord shall be red in his apparel. . . . And so great shall be the glory of his presence that the sun shall hide his face in shame, and the moon shall withhold its light, and the stars shall be hurled from their places." D&C 133:48-49

“Coming ‘in a cloud with power and great glory’ (D&C 34:7), Christ returns to the earth clothed in ‘glorious apparel,’ the red robes of judgement (D&C 133: 46, 48). As if treading a winepress, he will bring the wicked and proud low to the ground in death. In that day, their wealth cannot save them but will spill from their hands [notice the coins on the ground]. To those who reach out to him, Christ lovingly offers redemption. They are those who can abide the day of his coming. Teichert was fond of quoting Isaiah, who prophesied that Christ will be clothed in red at his second coming (Isaiah 63:2).” (The Book of Mormon Paintings of Minerva Teichert, p. 158)

Jesus Christ is the God of That Land
Minerva Teichert (1889-1976)
Oil on panel, no date
Loaned by the Springville Museum of Art

"Behold, this is a choice land, and whatsoever nation shall possess it shall be free from bondage, and from captivity, and from all the other nations under heaven, if they will but serve the God of the land, who is Jesus Christ, who hath been manifested by the things which we have written." Ether 2:12

“Long before the subtitle was added to the Book of Mormon identifying it as ‘Another Testament of Jesus Christ,’ Minerva Teichert singled out this image of Christ to express the overriding testimony of both the ancient record and the modern artist. Lord of the Western Hemisphere, Christ smiles down at his inhabitants and welcomes them with outstretched arms. He invites us to inspect his wounds­tokens of his Atonement­and witness that he is risen. In proof that he is indeed an exalted being of flesh and bone, his arms and hands are bared and his robe billows around his feet.” (The Book of Mormon Paintings of Minerva Teichert, p. 48)

The mural-like border, reflects Teichert’s study of the culture and decorative arts of the ancient inhabitants of Meso-america. Jesus Christ Is the God of That Land is part of a major series of murals, paintings, and sketches in which Teichert illustrated the Book of Mormon. Her scriptural works, as well as those depicting Mormon pioneers, stem from her teacher Robert Henri’s charge to return home and paint “the great Mormon story.”

Bibliography
Library call numbers are provided in brackets for all books which are in the Museum's library. The library also has many of the periodicals mentions, including a complete run of the Ensign and Southwest Art from 1980 to the present. Many of the articles cited are available as photocopies in the artist files in the Docent Office.

General Studies
All Things Testify of Him: Inspirational Paintings by Latter-day Saint Artists. Salt Lake City: Bookcraft, 1998. Several of the paintings in this exhibit are featured in this volume (The Well of Life, Gethsemane, Ten Lepers Healed, O Jerusalem, and The Greatest of All, as are other works by featured artists (Wilson Ong, Ron Richmond, and Gary Smith). [M281/A416/1998]

Museum of Church History and Art. Images of Faith: Art of the Latter-day Saints. Salt Lake City: Deseret Book, 1995. Most of the artists included in the exhibit are featured in this volume. [M281/I31/1995]

Oman, Richard G. "'Ye Shall See the Heavens Open': Portrayal of the Divine and the Angelic in Latter-day Saint Art." BYU Studies 35:4(1995-96): 112-41.

Books and Articles on Artists

Harrison Begay
Porter, Carole. "Santa Clara Pottery of the Last Supper." Ensign 22(April 1992): 32-35.

Richard Burde
Oman, Richard G. and Doris R. Dant. "Richard Burde: Spiritual Reflections. BYU Studies 34:1(1994): 32-40.

James C. Christensen
King, Heather. "Fantasy Artist: James Christensen." Salt Lake City 9:3(May-June 1998): 31-33.

"Windows on Wonder." New Era 19 (Aug. 1989): 44-51.

Winters, Charlene. "Living Left of Reality." Brigham Young Magazine 50:4(Nov. 1996): 36-41.

Winters, Charlene. "Winged Words: A Portfolio of Paintings and Drawings by James C. Christensen." BYU Studies 28:2(Spring 1988): 31-46.

Del Parson
Moser, Steve. "A World-Wide Influence." Summit 6:1(Spring 1993): 8-9.

Gary Price
"Gary L. Price: Lifting the Human Spirit." This People 15:3(Fall 1994): 40-42.

Moser, Steve. "Gary Price: A Gift of Love." Summit 11:1(Spring 1998): 6-7.

Swanson, Vern G. "Gary Price." Southwest Art 21:3(Aug. 1991): 82-87.

Gary Smith
Dant, Doris R. "Gary Ernest Smith: Invitation to the Viewer." BYU Studies 31:4(Fall 1991): 29-30.

Ho, Donna. "Bound to the Land." Salt Lake City Magazine 1:1(Holiday 1989): 68-70, 104-105.

Pyne, Lynn. "Gary Ernest Smith." Southwest Art (March 1991): 60-66, 131.

McGarry, Susan Hallsten. "Dealer Dialogue." Southwest Art (July 1991): 38, 40-41, 43.

Smith, Gary E. American Icons: The Art of Neo-regionalist Gary Ernest Smith. Scotsdale, Ariz.: Overland Gallery of Fine Art, 1994. [759.13/S648a/1994]

Smith, Gary E. Form, Color & Symbol: The Art of Gary Ernest Smith. N.P.: N.P., 1983. [759.13/S648f/1983]

Smith, Gary E. Journey in Search of Lost Images: Neo-regionalist Gary Ernest Smith. N.P.:

Ray E. Johnson, 1989. [759.13/S648j/1989]

Swanson, Vern G. "Gary E. Smith: Rooted Substance and Surface." Southwest Art (August 1984): 43-48.

Minerva Teichert
Boren, Karen. "'I Must Paint': Minerva Teichert's Mission to Tell the Pioneer Story Through Art." Pioneer (Spring 1996): 16-19.

Cannon, Elaine A. and Shirley A. Teichert. Minerva!: The Story of an Artist with a Mission. Salt Lake City: Bookcraft, 1997. [M270.07/T262c/1997]

Dant, Doris R. "Minerva Teichert's Manti Temple Murals." BYU Studies 38:3(1999): 6-44.

Davis, Robert O. Rich in Story, Great in Faith: The Art of Minerva Kohlhepp Teichert. SLC: Museum of Church History and Art, 1988. [M281/M986ri/1988]

Eastwood, Laurie Teichert, ed. Letters of Minerva Teichert. Provo: BYU Studies, 1998.

Johnson, Marian Ashby. "Minerva's Calling." Dialogue 21:1(Spring 1988): 127-43.

Johnson, Marian Ashby. "Minerva Teichert: Scriptorian and Artist." BYU Studies 30:3(Summer 1990): 66-70.

Oman, Richard G. and Susan S. "A Passion for Painting: Minerva Kohlhepp Teichert." Ensign (December 1976): 52-58.

Pinborough, Jan U. "Minerva Kohlhepp Teichert: With a Bold Brush." Ensign (April 1989): 34-41.

Slover, Timothy. Minerva Teichert: A Mission in Paint. Provo: Brigham Young University, 1988. Video recording. [Mus AV]

Webb, Nancy. "Minerva Kohlhepp Teichert." Southwest Art (November 1989): 90-94, 171, 174.

Welch, John W. and Doris R. Dant. The Book of Mormon Paintings of Minerva Teichert. Provo & Salt Lake City: BYU Studies and Bookcraft, 1997.

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