DEAR READER
Claire Keane
Cosmic Funnies
Love Begins
pixel skylines
★
Lint Roller? I Barely Know Her
"I'm Dorothy Gale from Kansas"
todays bird
let's talk about Bridgerton tea, my ask is open
trying on a metaphor
noise dept.
祝日 / Permanent Vacation
Discoholic 🪩
Keni
we're not kids anymore.
Kaledo Art
he wasn't even looking at me and he found me
seen from United States
seen from Malaysia
seen from Japan
seen from Panama
seen from Germany
seen from Japan
seen from Canada
seen from Canada
seen from France
seen from United Kingdom
seen from Japan
seen from United States
seen from Türkiye
seen from Indonesia
seen from Estonia
seen from United States
seen from France
seen from United States
seen from Argentina
seen from United States
@pedroremor
The Lord Who Stands Now in Risen Glory is None Other than the Crucified One, by Christ Powers
Our life in Christ is the risen life. We live in the life of the One who has overcome death, who has come back from the dead and laid hold of the world again with wounded hands, who has taken hold of its soil with wounded feet and loved it with the heart which it has already betrayed and broken and pierced.
Caryll Houselander (The Passion of the Infant Christ, pages 35-36)
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
初日の出がエヴァすぎる
Elijah Taken Up in a Chariot of Fire
Artist: Giuseppe Angeli (Italian, 1712-1798)
Date: c. 1740-1755
Medium: Oil on canvas
Collection: National Gallery of Art, Washington, DC, United States
Elijah and the Chariots of Fire
The image of Elijah’s ascension into heaven has embedded itself in the popular mindset. That image is most often incorrect. The following example from the National Gallery of Art is illustrative: in the 18th century, Venetian artist Giuseppe Angeli produced a work that he titled “Elijah Taken Up in a Chariot of Fire”. In it, the disciple Elisha kneels, arms thrown wide, and watches as his mentor is taken up into heaven, seated in a chariot of fire. In reality, that’s not at all what happened in the text. In 2 Kings 2:11, Elisha and Elijah are walking and talking together when they are suddenly separated by supernatural chariots and horses, both made of flame. This fiery divine vanguard is not what transports Elijah; instead, it serves to sever the divine realm from the human realm, safeguarding from the explosive results of what could happen if the two realms were to mix. Elijah is then brought up to heaven by a whirlwind or a storm. In artistic interpretations, Elijah is often placed as riding the chariot instead of the whirlwind.
"As they were walking along and talking together, suddenly a chariot of fire and horses of fire appeared and separated the two of them, and Elijah went up to heaven in a whirlwind." 2 Kings 2:11 (New International Version)
Elijah Taken Up in a Chariot of Fire
Artist: Giuseppe Angeli (Italian, 1712-1798)
Date: c. 1740-1755
Medium: Oil on canvas
Collection: National Gallery of Art, Washington, DC, United States
Elijah and the Chariots of Fire
The image of Elijah’s ascension into heaven has embedded itself in the popular mindset. That image is most often incorrect. The following example from the National Gallery of Art is illustrative: in the 18th century, Venetian artist Giuseppe Angeli produced a work that he titled “Elijah Taken Up in a Chariot of Fire”. In it, the disciple Elisha kneels, arms thrown wide, and watches as his mentor is taken up into heaven, seated in a chariot of fire. In reality, that’s not at all what happened in the text. In 2 Kings 2:11, Elisha and Elijah are walking and talking together when they are suddenly separated by supernatural chariots and horses, both made of flame. This fiery divine vanguard is not what transports Elijah; instead, it serves to sever the divine realm from the human realm, safeguarding from the explosive results of what could happen if the two realms were to mix. Elijah is then brought up to heaven by a whirlwind or a storm. In artistic interpretations, Elijah is often placed as riding the chariot instead of the whirlwind.
"As they were walking along and talking together, suddenly a chariot of fire and horses of fire appeared and separated the two of them, and Elijah went up to heaven in a whirlwind." 2 Kings 2:11 (New International Version)
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
The Flood
Artist: Balthasar Beschey (Flemish, 1708-1776)
Date: 1737
Medium: Oil on panel
Collection: State Art Gallery Karlsruhe, Karlsruhe, Germany
The Flood
The global flood of Noah’s day was the direct judgment of a just God. The Bible says the flood wiped out “people and animals and the creatures that move along the ground and the birds”—everything that breathed air (Genesis 7:23). Some people today are offended by the flood story, saying it is proof of God’s injustice, arbitrariness, or just plain meanness. They accuse the Bible of promoting a temperamental God who judges indiscriminately and say that only a bully would drown everyone, including children and all those innocent animals.
Such attacks on the character of God are nothing new. As long as there have been sinners in the world, there have been charges that God is unjust. Consider Adam’s subtle shifting of blame. When asked about eating the forbidden fruit, Adam said, “The woman you put here with me - she gave me some fruit” (Genesis 3:12). That is, it was the woman’s fault, and God’s, since He made the woman. But blaming God did not mitigate Adam’s sin. And calling God “unjust” for sending the flood will not lessen ours.
The flood of Noah’s day has many counterparts in history. God judged the people of Canaan with a command to wipe them out (Deuteronomy 20:16–18). He similarly judged Sodom and Gomorrah, Nineveh (Nahum 1:14), and Tyre (Ezekiel 26:4). And the final judgment before the Great White Throne will result in all the wicked from all time being cast into the lake of fire (Revelation 20:11–15). The plain message of the Bible is that God does judge sin, whether by an invading army, by fire and brimstone, or by a catastrophic global flood.
Job, Plague by Evil Spirits
Artist: Cornelis Saftleven (Dutch, 1607–1681)
Date: 1631
Medium: Oil on panel
Collection: Staatliche Kunsthalle Karlsruhe, Karlsruhe, Germany
"He will rescue you from six calamities; no harm will touch you in seven." Job 5:19
He will rescue you from six calamities; This phrase emphasizes God's deliverance and protection. The number six often symbolizes incompleteness or human effort in biblical numerology, suggesting that human efforts alone are insufficient without divine intervention. The context of Job involves intense suffering and testing, and this promise of rescue aligns with God's sovereignty and faithfulness. The idea of God rescuing from calamities is echoed in other scriptures, such as Psalm 34:19, which states, "Many are the afflictions of the righteous, but the LORD delivers him out of them all." This reflects a consistent biblical theme of God as a deliverer.
no harm will touch you in seven. The number seven in the Bible often represents completeness or perfection, indicating that God's protection is thorough and complete. This phrase suggests that even when trials seem to reach their fullness, God's protection remains steadfast. The use of "seven" can also be seen as a literary device to emphasize the totality of God's care. This assurance of divine protection is reminiscent of Psalm 91:10, "no evil shall be allowed to befall you, no plague come near your tent." It also foreshadows the ultimate protection and deliverance found in Jesus Christ, who provides eternal security for believers.
Saint Michael Striking Down the Rebellious Angels
Artist: Sebastián López de Arteaga (Spanish, 1610-1652)
Date: ca. 1650-1652
Medium: Oil on copper
Collection: The Hispanic Museum and Library, New York, NY, United States
Description
The subject of the print is taken from the Biblical Book of Revelation (12:7–9), in which a “war broke out in heaven; Michael and his angels fought against the dragon. The dragon and his angels fought back, but they were defeated, and there was no longer any place for them in heaven. The great dragon was thrown down. .. and his angels were thrown down with him.” The cult of angels, especially the Archangels Michael, Gabriel, and Raphael, was fervently embraced in the 17th century, and nowhere more than in Mexico.
Christ and St Mary Magdalene at the Tomb
Artist: Rembrandt van Rijn (Dutch, 1606-1669)
Date: 1638
Medium: Oil on panel
Collection: Royal Collection Trust, London, United Kingdom
Description
Christ and St Mary Magdalene at the Tomb reveals how imaginatively Rembrandt could interpret traditional religious subject-matter. The scriptural source for this scene is the Gospel of St John (20:11-18), who describes in some detail the burial and subsequent resurrection of Christ following the Crucifixion. Mary Magdalene returns to the tomb early the next morning, only to find the stone at the entrance removed and two angels inside it where the body should have been. She then fetches two of the disciples, who check that the tomb is empty and then leave her. The angels then ask Mary Magdalene, ‘Woman, why weepest thou?’ and she replies, ‘Because they have taken away my Lord, and I know not where they have laid him.’ At that moment she turns round and sees a man dressed as a gardener, not appreciating that he is the resurrected Christ. She appeals to him for information, but he calls her by her name and she instantly recognizes him. (‘Jesus saith unto her, Mary. She turned herself, and saith unto him, Rabboni; which is to say master.’) Rembrandt has depicted the moment of realization just before the actual recognition. Most artists chose to paint the next moment in the text, when Mary Magdalene reaches out towards Jesus and he forestalls her with the words ‘Touch me not’ (in Latin, Noli me tangere).
The Sacrifice of Manoah
Artist: Pieter Lastman (Dutch, 1583–1633)
Date: 1622
Medium: Oil on panel
Collection: Property of a distinguished private collection
"Then Manoah took a young goat and a grain offering and offered it on a rock as a sacrifice to the LORD. And as Manoah and his wife watched, the LORD did an amazing thing." (Judges 13:19, NLT)
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
The Death of Moses
Artist: Alexandre Cabanel (French, 1823–1889)
Date: 1851
Medium: Oil on canvas
Collection: Dahesh Museum of Art, New York City, NY, United States
Description
After winning the Prix de Rome in 1845, Cabanel spent five productive years in Italy, working as apensionnaire at the Villa Medici, the seat of the French Academy in Rome. The present picture, completed in 1851, was his dernier envoi, the final work he sent back to Paris as proof of his artistic accomplishments. His subject - Moses dying before God while seeing from afar the Promised Land that he would never reach - was rather intimidating for the young artist, as he recounted in a letter to his brother: “I have imposed upon myself a large, very difficult, formidable task, since I seek to represent the image of the Eternal Master of the sky and the earth - to represent God - and next to Him, one of His most sublime creatures, deified in some way by His contact.” For inspiration, Cabanel turned to the Renaissance artists whose works surrounded him in Rome, especially Michelangelo.
Job and his Friends
Artist: Ilya Repin (Ukranian-Russian,1844-1930)
Date: 1869
Medium: Oil on canvas
Collection: The State Russian Museum, Saint Petersburg, Russia
Description
In the Old Testament, Job is portrayed as a martyr who endured superhuman suffering. Having lost his children and all his possessions, the happy righteous man was transformed into an old man, shattered by a terrible disease (leprosy). The emaciated Job stuns even his closest friends who come to visit him.
The Annunciation to the Shepherds
Artist: Joachim Wtewael (Netherlandish, 1566–1638)
Date: 1606
Medium: Oil on canvas
Collection: Museum of Fine Arts, Houston, Texas, United States
In that region there were shepherds living in the fields, keeping watch over their flock by night. Then an angel of the Lord stood before them, and the glory of the Lord shone around them, and they were terrified. But the angel said to them, “Do not be afraid; for see—I am bringing you good news of great joy for all the people: to you is born this day in the city of David a Savior, who is the Messiah, the Lord.”
(Luke 2:8–11, New Revised Standard Version of the Bible)
The Conversion of Saint Paul
Artist: Jacopo Tintoretto (Venetian, 1518/1519-1594)
Date: c. 1544
Medium: Oil on canvas
Collection: National Gallery of Art, Washington, DC, United States
Description
The Conversion of Saint Paul is a pivotal biblical event where Saul of Tarsus, a persecutor of Christians, is miraculously blinded by a heavenly light and hears the voice of Jesus on the road to Damascus, leading to his profound transformation into the Apostle Paul, a key missionary for Christianity. This transformative experience, described in Acts 9:3-5 and Acts 22:6-7, redirected his zealous persecution into tireless preaching of the Gospel, making him the "apostle to the Gentiles" and a central figure in spreading Christianity.
The Annunciation to the Shepherds (L'Annunciation aux Bergers)
Artist: Jules Bastien-Lepage (French, 1848-1884)
Date: 1875
Medium: Oil on canvas
Collection: National Gallery of Victoria, Melbourne, Australia
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Gideon Overcoming the Midianites
Artist: Workshop of Peter Paul Rubens (Flemish, b. 1577- 1640)
Date: ca. 1625-1630
Medium: Oil on cradled panel
Collection: North Carolina Museum of Art, Raleigh, NC, United States
Description
Gideon was the fifth judge and renowned as the greatest of Israel. The account of his life is recorded in Judges 6:11—8:32. The backdrop for Gideon’s biography begins with the Israelites being ravaged by the Midianites as a consequence of Israel’s disobedience to God (Judges 6:1). For seven years they faced invasions from the Midianites, Amalekites, and Eastern foreigners who ruined their crops and destroyed their cattle. God’s discipline through the foreign nations caused the Israelites to cry out to God for help (Judges 6:6). God sends them a prophet to remind them of how the one true God had provided for them in the past and how quickly they had forsaken Him (Judges 6:8–10).
Victory O Lord
Artist: Sir John Everett Millais (English, 1829-1896)
Date: 1871
Medium: Oil on canvas
Collection: Manchester Art Gallery, Manchester, England
Description
Moses' two brothers, Aaron & Hur, holding up his arms in prayer during battle with the Amalekites. According to Exodus, as long as Moses raised his arms in prayer the Israelites prevailed, but as soon as he grew tired and lowered them the battle went against them. Exodus 17:12 relates:
"But Moses' hands were heavy; and they took a stone, and put it under him, and he sat thereon; and Aaron and Hur stayed up his hands, the one on the one side, and the other on the other side; and his hands were steady until the going down of the sun."
