Queen Esther
Artist: Edwin Long (English, 1829-1891)
Date: 1878
Medium: Oil on canvas
Collection: National Gallery of Victoria, Melbourne, Australia

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@artandthebible
Queen Esther
Artist: Edwin Long (English, 1829-1891)
Date: 1878
Medium: Oil on canvas
Collection: National Gallery of Victoria, Melbourne, Australia

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The Vision of Jacob and the Ladder
Artist: Joseph Mallord William Turner (English, 1775–1851)
Date: c. 1830
Medium: Oil on canvas
Collection: Tate Britain, London, United Kingdom
Abraham and the Three Angels
Artist: Giovanni Battista Tiepolo (Italian, 1696-1770)
Date: c. 1770
Medium: Oil on canvas
Collection: Museo Nacional del Prado, Madrid, Spain
Description
The story of Abraham and the three angels in Genesis 18 highlights a famous act of desert hospitality. As Abraham rested by the oaks of Mamre, three men approached. He welcomed them with food and water. One messenger revealed that Sarah would have a son, while the other two proceeded to Sodom.
David with his Sword
Artist: Salomon de Bray (Dutch, 1597-1664)
Date: 1636
Medium: Oil on canvas
Collection: Getty Museum Collection, Los Angeles, CA, United States
Esau Selling his Birthright
Artist: Follower of Michelangelo Merisi da Caravaggio (Italian, 1573-1610)
Date: c. 1625
Medium: Oil on canvas
Collection: The Museum of Fine Arts, Budapest, Hungary
Esau Sells his Birthright
Genesis 25:33 Then Jacob said, “Swear to me as of this day.” So he swore to him, and sold his birthright to Jacob.
Jacob’s name meant “supplanter.” This account shows us how Jacob lived up to that name. Esau, as the firstborn twin, was to be the recipient of the birthright blessing from his father Isaac. But Jacob, understanding the value of the birthright more than Esau did, desired the birthright for himself and his descendants. Jacob schemed to get the birthright blessing from his brother.
On a particular day, Jacob was cooking a stew when Esau came in from the fields very hungry. He was so hungry that he felt physically weak and desired food immediately (verse 29). Jacob, seizing on Esau’s moment of weakness, offered to feed him in return for Esau’s birthright blessing. Esau, being driven by his hunger and emotion, foolishly reasoned that he would die without Jacob’s stew—and what good would the birthright be to a dead man?
Esau then swore to sell his birthright to Jacob in return for the stew (verse 33). We are told that Esau “despised his birthright” (verse 34). This does not mean that Esau hated his birthright—later we will see that it did have value to him (Genesis 27:38). This means that Esau did not place a high enough value on the birthright. He allowed his momentary hunger to cloud his judgment and did not think past the feeling in his belly to grasp what he was truly giving up and how it would affect his descendants.
The book of Hebrews draws a spiritual lesson from Esau’s action. Esau is used as an example of someone who falls from God’s way and becomes bitter and spiritually defiled (Hebrews 12:15). We are warned not to be a “profane person like Esau, who for one morsel of food sold his birthright” (verse 16).

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Samson with the Jawbone
Artist: Salomon de Bray (Dutch, 1597-1664)
Date: 1636
Medium: Oil on canvas
Collection: Getty Museum, Los Angeles, CA, United States
Description
The biblical account states that Samson was a Nazite, and that he was given immense strength to aid him against his enemies and allow him to perform superhuman feats, including slaying a lion with his bare hands and massacring an entire enemy army of Philistines using only the jawbone of a donkey (Judges 15:19).
Holding the jawbone as his attribute, Samson looks upward, perhaps to God. The great strongman just slew a thousand Philistines with that jawbone. Overcome by thirst, he then drank from the rock at Lechi, a name that also means “jawbone” in Hebrew. Due to a mistaken translation in the Dutch Bible, some artists, like Salomon de Bray on the painting above, depicted Samson with a jawbone and water dripping out of the bone, rather than the rock issuing water.
Saint Michael the Archangel
Artist: Giovanni Francesco Caroto (Italian, 1480-1555)
Date: ca. 1524-1531
Medium: Oil on canvas
Collection: Museum of Fine Arts, Budapest, Hungary
Description
Saint Michael the Archangel is the chief leader of the heavenly hosts and God's mighty defender against darkness in Jewish, Christian, and Islamic traditions. His name, meaning "Who is like God?," serves as a battle cry against pride. He is venerated as a spiritual warrior and protector.
Balaam and the Donkey
Artist: Rembrandt van Rjin (Dutch, 1606-1669
Date: 1626
Medium: Oil on panel
Collection: Musée Cognacq-Jay, Paris, France
Description
The biblical story (Numbers. 22:1-35) represented here is the following:
The arrival of the Israelites in the Jordan valley alarmed Balak, king of Moab, who sent for Balaam, a foreigner, to pronounce a curse on them. On his journey an angel, invisible to Balaam, barred the way, causing his ass to turn aside. This led to an altercation between the man and his beast in which the latter, like the animals of fable, acquired the gift of speech. Balaam's eyes were then opened and he saw the angel with a drawn sword.
Jesus Christ at the home of Martha and Mary
Artist: Jean Jouvenet (French,1 644-1717)
Date: c. 1688
Medium: Oil on canvas
Collection: Louvre Museum, Paris, France
Luke 10:38-42, NIV
“As Jesus and his disciples were on their way, he came to a village where a woman named Martha opened her home to him. She had a sister called Mary, who sat at the Lord’s feet listening to what he said. But Martha was distracted by all the preparations that had to be made. She came to him and asked, “Lord, don’t you care that my sister has left me to do the work by myself? Tell her to help me!” “Martha, Martha,” the Lord answered, “you are worried and upset about many things, but few things are needed—or indeed only one. Mary has chosen what is better, and it will not be taken away from her.”
The Vision of the White Horse
Artist: Philip James De Loutherbourg (British, 1740–1812)
Date: 1798
Medium: Oil on canvas
Collection: Tate Britain, London, United Kingdom
Description
Here, Loutherbourg shows the first two of the four horsemen of the Apocalypse: the ‘conquerer’ on a white horse, drawing a bow, and ‘War’ on a red horse, wielding a sword. With ‘Famine’ and ‘Death’, they ride out after the breaking of the first four seals of the Book of Judgement.
The first Horseman likely refers to the Antichrist. He is the false imitator of the true Christ, who is also associated with a white horse (Revelation 19:11–16). At the beginning of the tribulation, the Antichrist will be given authority (“a crown”), and he will wage war (“a bow”), conquering all who oppose him. This description agrees with Daniel’s vision of the “little horn” that rises to power and is bent on conquest: “This horn was waging war against the holy people and defeating them” (Daniel 7:21; cf. Revelation 13:7).
When the Lamb opens the second seal, the second living creature says, “Come!” (Revelation 6:3). John looks and dutifully records what he sees: “Then another horse came out, a fiery red one. Its rider was given power to take peace from the earth and to make men slay each other. To him was given a large sword” (Revelation 6:4). The second Horseman refers to terrible warfare that will break out in the end times. Those wars will include the Antichrist’s rise to power, which requires the downfall of three other kings (Daniel 7:8), and possibly the Battle of Gog and Magog (Ezekiel 38—39).
Source: Who are the Four Horsemen of the Apocalypse?

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Landscape with Christ and the Disciples
Artist: Jean-François Millet (French, 1642-1679)
Date: Mid-17th century
Medium: Oil on canvas
Collection: The State Hermitage Museum, Saint Petersburg, Russia
The Virgin in Prayer
Artist: Sassoferrato (Italian, 1609-1685)
Date: c. 1640-1650
Medium: Oil on canvas
Collection: The National Gallery, London, United Kingdom
The Martyrdom of Saint Stephen
Artist: Bernardo Cavallino (Italian, 1616-1656
Date: ca. 1645
Medium: Oil on canvas
Collection: Museo Nacional del Prado, Madrid, Spain
Description
The scene illustrates a passage from the Acts of the Apostles (7:54-60). Stephen was one of the seven deacons chosen by the Apostles to assist them; accused by the Jews, he was ordered to be stoned at the city gates, and as this was happening, his face shone, and praying, he asked God not to impute the sin to his executioners.
When the members of the Sanhedrin heard this, they were furious and gnashed their teeth at him. But Stephen, full of the Holy Spirit, looked up to heaven and saw the glory of God, and Jesus standing at the right hand of God. “Look,” he said, “I see heaven open and the Son of Man standing at the right hand of God.” At this they covered their ears and, yelling at the top of their voices, they all rushed at him, dragged him out of the city and began to stone him. Meanwhile, the witnesses laid their coats at the feet of a young man named Saul. While they were stoning him, Stephen prayed, “Lord Jesus, receive my spirit.” Then he fell on his knees and cried out, “Lord, do not hold this sin against them.” When he had said this, he fell asleep. (Acts 7:54-60, NIV)
King David
Artist: Guercino (Italian, 1591-1666)
Date: 1651
Medium: Oil on canvas
Collection: The National Gallery, London, United Kingdom
Description
King David was a biblical warrior king and musician, who is credited with writing several Psalms in the Old Testament. Here, David is not young but not yet old. He looks at a tablet inscribed with a line from a Psalm: ‘Glorious things of thee are spoken, O City of God’.
The Man with the Withered Hand
Artist: James Tissot (French, 1836–1902)
Date: 1886-1896
Medium: Opaque watercolor over graphite on gray wove paper
Collection: Brooklyn Museum, Brooklyn, New York, United States
Description
When Jesus heals a man with a withered hand on the Sabbath, he flouts rules against work and further upsets the devout. Although Jewish law permitted the saving of lives on the holy day, Jesus defies the rigid rules of the Sabbath by extending his help to a man afflicted but not threatened with death.
A Man with a Withered Hand: Mark 3:1–6; Matthew 12:9–14; Luke 6:6–11

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God Speaks to Noah after the Flood
Artist: Jacopo Bassano (Jacopo dal Ponte) (c. 1510-1592)
Date: c. 1578
Medium: Oil on canvas
Collection: Uffizi Galleries, Florence, Italy
Description
Genesis 8:15–9:17 marks the end of the global flood and God's new covenant with humanity. God commands Noah and his family to exit the ark, establishes the sanctity of life, and sets the rainbow in the clouds as a perpetual sign that He will never again destroy the earth by flood.
Key details of God's post-flood address to Noah include:
God blessed Noah and his sons, commanding them to "be fruitful and increase in number and fill the earth" (Genesis 9:1)
God granted humanity permission to eat meat, but strictly prohibited eating meat with its lifeblood still in it
God instituted capital punishment for murder, declaring that because human beings are made in His image, the life of a person is sacred.
God made an unconditional covenant with Noah, all his descendants, and every living creature, promising never to destroy the earth with a global flood again.
God set the rainbow in the clouds as the visible, permanent sign and reminder of His covenant promise.
Judith
Artist: Charles Landelle (French, 1821-1908)
Date: 1895
Medium: Oil on canvas
Collection: Russell-Cotes Art Gallery & Museum, Bournemouth, England
Description
Judith is described in the Bible as a rich, beautiful widow who saved her town of Bethulia from the Assyrian army. She seduced the Assyrian General, Holofernes in his tent and when he collapsed from drink, beheaded him while he slept.
‘Then she came to the pillar of the bed, which was at Holofernes’ head… And approached to his bed, and took hold of the hair of his head, and said, Strengthen me, O Lord God of Israel, this day. And she smote him twice upon his neck with all her might, and she took away his head from him’. (Judith, 13:6-8)
Landelle shows Judith drawing back the bed’s curtain, clasping the sword about to decapitate the general. Judith was a popular subject for artists because of her strength and beauty.