The Good Samaritan
Artist: Gustave Moreau (French, 1826-1898
Date: ca. 1865
Medium: Oil on wood
Collection: Musée d'Orsay, Paris, France
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The Good Samaritan
Artist: Gustave Moreau (French, 1826-1898
Date: ca. 1865
Medium: Oil on wood
Collection: Musée d'Orsay, Paris, France
The Prodigal Son
Artist: Russell Cowles (American, 1887-1979)
Date: 1948
Medium: Oil on canvas
Collection: Pennsylvania Academy of the Fine Arts, Philadelphia, PA, United States
The parable of the friend at midnight (from Luke 11:5-8) illustrates the importance of persistence abs boldness in seeking God’s provision for our lives.
If a reluctant friend will eventually give a necessary request if it’s persistent, how much more will the loving God of the universe answer our persistent prayers?
God bless, Jesus loves you ✝️❤️
The Good Samaritan
Artist: Joseph Highmore (English, 1692–1780)
Date: 1744
Medium: Oil paint on canvaa
Collection: Tate Britain, London, United Kingdom
Description
This painting illustrates the parable of the Good Samaritan from the Gospel of Luke. The Samaritan has bound the wounds of an injured man attacked by robbers and is helping him to his feet. Heading off into the distance behind them are the priest and the Levite, who have ignored the man’s plight. The painting was made for the aristocrat John Sheppard, possibly for a private chapel in his home at Campsey Ashe in Suffolk. This makes it a comparatively rare example of a sacred subject commissioned from a British artist by an independent patron, outside of the church.
Lazarus and the Rich Man or “In Luxury Beware”
Artist: Jan Steen (Dutch, 1626-1679)
Date: c. 1677
Medium: Oil on canvas
Collection: The Leiden Collection, New York City, NY, United States
Lazarus and the Rich Man
Luke 16:19-31 contains the account of a very rich man who lived a life of extreme luxury. Laid outside the gate of this rich man’s house, however, was an extremely poor man named Lazarus who simply hoped “to eat what fell from the rich man’s table”. The rich man was completely indifferent to the plight of Lazarus, showing him no love, sympathy, or compassion whatsoever. Eventually, they both died. Lazarus went to heaven, and the rich man went to hell. Appealing to “Father Abraham” in heaven, the rich man requested that Lazarus be sent to cool his tongue with a drop of water to lessen his “agony in this fire.” The rich man also asked Abraham to send Lazarus back to earth to warn his brothers to repent so that they would never join him in hell. Both requests were denied. Abraham told the rich man that if his brothers did not believe in Scripture, neither would they believe a messenger, even if he came straight from heaven.
The Parable of Lazarus and the Rich Man
Artist: Domenico Fetti (Italian, 1589-1623)
Date: 1618-1628
Medium: Oil on panel
Collection: National Gallery of Art, Washington, DC, United States
Description
Luke 16:19-31 contains the account of a very rich man who lived a life of extreme luxury. Laid outside the gate of this rich man’s house, however, was an extremely poor man named Lazarus who simply hoped “to eat what fell from the rich man’s table” (v. 21). The rich man was completely indifferent to the plight of Lazarus, showing him no love, sympathy, or compassion whatsoever. Eventually, they both died. Lazarus went to heaven, and the rich man went to hell. Appealing to “Father Abraham” in heaven, the rich man requested that Lazarus be sent to cool his tongue with a drop of water to lessen his “agony in this fire.” The rich man also asked Abraham to send Lazarus back to earth to warn his brothers to repent so that they would never join him in hell. Both requests were denied. Abraham told the rich man that if his brothers did not believe in Scripture, neither would they believe a messenger, even if he came straight from heaven.
The Parable of the Unworthy Wedding Guest
Artist: Attributed to Jacob Adriaensz Backer (Dutch, 1608-1651)
Date: c. 1644
Medium: Oil on Canvas
Collection: Rijksmuseum, Amsterdam, Netherlands
Description
Matthew 22:1–14 contains Jesus' parable of the wedding feast. Jesus compares the kingdom of heaven to a king who threw a banquet for his son. The king's chosen guests refuse to come, to the point of violence against his messengers.
Sir John Everett Millais The Lost Piece of Silver (1864)