April 1 4:30 & 7:30 p.m.

April 2 4:30 & 7:30 p.m.

April 3 2:00, 4:30 & 7:30 p.m.

Rodeheaver Auditorium

WELCOME!

Welcome to our thirteenth annual Living Gallery, a production unlike any other on the East Coast, integrating drama, music and the visual arts into a dynamic Easter presentation.

Living Gallery features a type of drama known as “living pictures.” Accompanied by orchestral and vocal music, each living picture is a scene consisting of costumed actors who remain silent and motionless to reproduce great mas-terworks of religious art. Unifying all of the music and living pictures in a common theme is a traditional play with a dramatic story line that presents the Gospel of salvation through Jesus Christ.

This year’s production, “A New Creation,” introduces a work sculpted specifically for this 2010 performance. A number of the reproduc-tions depicted in the program are works from museums around the world, and one is part of the Bob Jones University Museum & Gallery collection, which is open Tuesday–Sunday, 2–5 p.m., for your enjoyment.

It is our prayer that through this extraordinary Easter event you will behold the Savior, Jesus Christ. We hope that Living Gallery will become an important part of your annual Easter obser-vance and that you and your family will come time and time again.

May the power and presence of our Lord, Who rose bodily from the grave and Who lives and reigns forever, be impressed anew on your heart through what you see today.

Stephen Jones President

Related EVENTSEaster Scavenger HuntMarch 2–April 4, 2010Children 6 to 12 are invited to participate in an Easter-themed scavenger hunt in the museum gal-leries. This self-guided, informative activity takes 30 to 45 minutes and is designed to captivate children’s imaginations and expose them to Old Master paintings.Fee: Free for children.

A Closer Look at the Living GalleryApril 1–4, from 2–7 p.m.M&G at BJUAlthough the resurrection and ascension are fre-quent subjects in religious painting, sculptural representations are rare. Jonathan Andrews, who has been part of the Living Gallery since the first production in 1998, was commissioned to create a sculpture for this year’s program that integrate both of these momentous events into a single piece. The finished sculpture will appear in this year’s program; however, the artist’s working model will be at M&G. The display will include images of the behind-the-scenes processes of cre-ating the annual Living Gallery.

Free AdmissionThe Museum & Gallery is open from 2–7 p.m. on performance days for guests to see other great masterworks of art. Your Living Gallery tickets grant you free admission to M&G on performance days, as well as on Sunday, April 4.

Please NoteTo provide an uninterrupted experience for our guests, ushers will not reseat those leaving the auditorium during the program.

Because of the sacred nature of the program, we request that there be no applause after selections or at the end of the program.

The use of still and flash photography, video cameras and recording equipment is not permit-ted. We request that signal watches and personal communication devices be turned off during the performance.

Paintings marked with may be viewed at the Museum & Gallery at Bob Jones University.

Cover detail: The Resurrected Christ, Jonathan Andrews, BJU

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he greatest news the world has ever heard is that God provided a way for

us to be forgiven of all our sins when He gave His Son Jesus to pay the death pen-alty on our behalf. He offers full and free forgiveness to everyone who repents and truly believes in Him. We may at times believe that God is angry at us or that we are so sinful that we are beyond God’s forgiveness. But God will lovingly forgive a person who has com-mitted many sins—or sins that other peo-ple view as especially heinous—just as He will forgive those who have commit-ted fewer or so-called “lesser” sins. Christ’s death on the cross

“For thou, Lord, art good, and ready to forgive; and plenteous in mercy unto all them that call upon thee.” Psalm 86:5

Our Forgiving God

T

Since the sixth century the dramatic events Joseph experienced have inspired countless artists to portray various epi-sodes from his life according to the bibli-cal accounts in Genesis chapter 37 and chapters 39 through 50. The Italian paint-er Giovanni Battista Carlone (1603–1684) created several paintings of scenes from Joseph’s life. Two of these paintings are in the Bob Jones University Museum & Gallery collection.

Joseph Sold into Bondage by His Brethren is a colorful depiction of Joseph, his broth-ers and the men to whom Joseph was sold. Carlone envisions young Joseph as a mere boy, frail and partially clothed. The central portion of the painting fea-tures two men with turbans who appear to be wealthy and powerful merchants. One is in the act of placing coins on a rock as one of Joseph’s brothers greedily counts the money given to buy Joseph into slavery. A second, wearing a bright red garment and carrying a sword, clasps his hands behind his back, a gesture that apparently suggests he is involved in an unsavory piece of business.

Joseph Sold into Bondage by His BrethrenGiovanni Battista CarloneFrom the Bob Jones University Collection

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allows us to know God’s full forgive-ness regardless of the number or type of sins we have committed.

We may be prone to think that we have been so evil we are beyond God’s forgiveness, but the truth is that God foreknew all the sins that mankind would ever commit. Before we were even created, He knew how each of us would live our lives. But because of His great love and mercy toward us, He provided the means of our forgiveness through faith in Jesus Christ. By dying on the cross, Jesus paid the pen-alty for all our sins, great or small. No sin is too great for God to forgive.

The Bible offers many records of God’s forgiveness of sin. In addition, it offers some accounts of human figures who serve as types of God’s forgiveness. Joseph, the son of Jacob and Rachel, grew to be a teen in his homeland, Canaan. His half-brothers were deeply jealous of him because their elderly father favored Joseph and demonstrated great love for him. Joseph’s jealous brothers secretly sold him into slavery in Egypt. Then they deceived Jacob into believing that Joseph had been killed by a wild animal. In Egypt, in a culture that despised Hebrews, Joseph became the property of the captain of pharaoh’s guard. As a morally upright man, Joseph steadfastly resisted tempta-

The central figure in Carlone’s Joseph’s Brothers Showing Jacob the Bloodstained Coat is a grief-stricken Jacob. The painter shows him raising his hands in astonishment, his gaze fixed on the heavens, as one of his sons—probably Reuben, the eldest—shows him Joseph’s torn, blood-stained coat. Jacob draws the exact conclusion his deceitful, heartless sons intend for him to draw: Joseph has been attacked and devoured by a wild beast. Jacob then goes into a prolonged period of mourning the loss of his beloved son Joseph. No efforts from his sons or daughters can assuage his grief or comfort him in his loss. Jacob believed that he would remain unhappy for as long as he lived.

Little did Jacob realize that a loving God was weaving together all these seemingly tragic events in his family’s life for the eventual good of Joseph as well as for his own welfare and that of his other sons. Years would pass before God’s sovereignty and providential care would be made apparent to Jacob. Jacob’s story exempli-fies the principle that God carries out His plan through the agency of sinful men and women even as they strive to resist Him.

Jacob Shown the Coat of JosephGiovanni Battista CarloneFrom the Bob Jones University Collection

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tion and modeled a strong faith in God, even when his enemies held him captive. Eventually he worked his way into a posi-tion of influence and power in the cap-tain’s household.

After a time Joseph incurred the wrath of his owner’s wife and was thrown into prison. There, because of his God-given ability to interpret dreams, he came into favor with the prison governor and Pharaoh himself. As a result, he was released from prison and given the posi-tion of viceroy along with authority to rule the land.

Soon after Joseph was promoted to this enviable position, the half-brothers—who had years earlier wronged him so great-ly—appeared in Egypt, seeking to find relief from the famine in their own land. Joseph knew who they were, but they did not recognize the man they had treated so treacherously. After a period of testing that ended with the brothers’ repentance, Joseph welcomed them along with their father to the Egyptian pharaoh’s court. Because of Joseph’s integrity, the pharaoh allowed his family members to settle in Egypt. Rather than acting vengefully toward his brothers, Joseph returned good to them for the evil they had perpe-trated against him. Throughout the rest of their lives, Jacob, Joseph’s half-brothers and their families enjoyed Joseph’s favor and protection.

After Jacob died, Joseph’s brothers feared that he would retaliate against them. Realizing the depth of their guilt, they fell down at Joseph’s feet to confess their sins and beg for his forgiveness. In the sense that he freely forgave the evil half-brothers who had rejected him, Joseph

is a type of God’s forgiveness. Joseph, in fact, went beyond forgiveness and took on the role of his family’s lifelong protector. Regardless of our abandonment of God and the extent to which we have sinned against Him, He loves us and wants to forgive us. God and His Son, Jesus Christ, will in love and mercy save anyone who repents and calls out for forgiveness. God wants all sinners to be reconciled with Him. Like Joseph, who forgave those who sold him into slavery, God graciously for-gives us even though we do not deserve to be forgiven. God puts only one con-dition on forgiveness: The sinner must confess his or her sin and repent. God will not only forgive those who have sinned against Him but will also shower us with spiritual blessings.

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The Storm on the Sea of Galilee Rembrandt Harmensz. van Rijn Tableau Artist: Harrell WhittingtonModels: Barnabas Amber, Michael Blaj, Ryan Nichols, Timothy Rogers, Keith Sorge, Bob Taylor, Daniel Vazquez, Jonathan Webster

The Divine Servant Max GreinerTableau Artists: Kenn Brinson, Barb FilipsicModels: Aaron Gellos, John Harrison

The Last Supper Pascal Adolphe Jean Dagnan-BouveretTableau Artist: Kevin IsgettModels: Jared Almaroad, Jeremy Bowen, Christopher Chapman, Mickey Cooper, Jim Knisely, Brandon Peed, Michael Pulver, David Rudie, Brian Stark, Timothy Tittiris, Ashton Tucker

Ecce HomoFrance du NordTableau Artist: Jonathan AndrewsModel: Brian Fahrni

Flagellation of Christ Lucas Faydherbe (1617–1697)Tableau Artist: Jonathan AndrewsModel: Matthew Galvan

Christ Leaving the Praetorium Gustave DoréTableau Artist: Harrell WhittingtonModels: Megan Brown, Andrew Carlisle, Gabriel Gerdt, Caleb Houck, Daniel Layson, Ben McElmurray, John Prain, Noel Tyrpak

o r d e r o f p r o g r a m

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The Fall of Christ under the Cross (Via Dolorosa)Lucas Faydherbe (1617–1697)Tableau Artists: Jonathan Johnson, Jonathan AndrewsModels: Sam Brenneman, Joseph Dickson, Timothy Petersen, Micah Price, Brian Tojdowski, Seth Weaver

Christ Crucified between the Two Thieves: The Three Crosses Rembrandt Harmensz. van Rijn Tableau Artist: Harrell WhittingtonModels: Brian Davis, Bonnie Detwiler, Tyler Eubanks, Nancy Lohr, Donald Oberman, Jed Roberts, Matthew Sands, Caroline Stanton, Kent Wadsworth, Matt Wakefield, James Walker, Gordon Weigand

Descent from the CrossAdam LenckhardtTableau Artist: Kevin IsgettModels: Guillaume Allardice, Amy Bach, Chet Bednar, Will Broadwater, An-drew Geiger, Robert Hanson, Alaina Rogers, Lindsey Vaught

PietàMichelangelo BuonarrotiTableau Artist: Harrell WhittingtonModels: Camas Johnson, Sarah Woodard

The Resurrected ChristJonathan AndrewsTableau Artist: Jonathan AndrewsModels: Caroline Cornelius, Angelica Fries, Caleb Perry, Alex Pettit, Michael Ritschard, Joel Stewart

o r d e r o f p r o g r a m

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The Forgiving Father: A New Testament Parable of Love, Repentance and Forgiveness

nother biblical figure who is a type of God’s forgiveness is the father in the par-able of the prodigal son, as told by Christ in chapter 15 of the Gospel of Luke (verses 11 through 32). The prodigal is an impetu-ous young man who takes his portion of his paternal inheritance and leaves home to pursue a life of decadence. Having spent all his money in riotous living, the son becomes so broken and desperate that he eats the husks that fall from the swine’s trough. But at this his low point in life, he remembers his good father and sees the error of his own way: “How many hired ser-vants of my father’s have bread enough and to spare, and I perish with hunger! I will arise and go to my father, and will say unto him, Father, I have sinned against heaven and before thee, and am no more worthy to be called thy son: make me as one of thy hired servants” (Luke 15:17–19). The father lovingly receives his prodigal son back and rejoices at his return.

Like this father in Luke 15, God, our heav-enly father, loves us in spite of our sin and our abandonment of Him. He will gladly welcome us as His children back into His loving arms, forgive our sins and bring us into His eternal kingdom if we, like the prodigal son, confess and repent of our sins and find our refuge in Him.

Christ’s parable of the prodigal son is the most frequently illustrated biblical para-ble in Western art. From the 11th century to the present day it has inspired paint-ings, stained glass, sculpture, manuscript illuminations, tapestries and elaborate designs for furnishings. Many artists have, in fact, created a whole cycle of scenes on the story. The cathedral at Chartres in France, for example, boasts 27 stained glass windows depicting scenes from the parable.

In The Return of the Prodigal Son (c. 1668) Spanish painter Bartolomé Murillo (1617–1682) of Seville has concentrated on the human significance of the story as it concerns a father and two sons: the prodigal and his elder brother. The prodi-gal wears ragged shreds of clothing that testify to the depth of his degradation. His feet are bare. He falls on his knees before the father, casting himself upon his mercy. The father responds by bending over and holding the son in the pose of a father bestowing a parental blessing. The father’s love is condescending. He reaches down to the son in unconditional love.

On the right the elder brother dutifully holds a set of brightly colored clothing and new shoes for his wayward brother who has returned. Although in Christ’s parable the prodigal son’s elder brother becomes jealous of his father’s gener-ous forgiveness of the returning brother, Murillo chooses to omit this detail in the

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moment of the story he freezes in time. A man on the brother’s right holds a ring the father will present to the prodigal in celebration of his return. Such finery sym-bolizes the restoration of privileges to the prodigal, who is again the father’s son. The ring is a family ring. The father regards his son as one who has been dead but now is alive again—as one who was lost but has been found.

Murillo’s emphasis on the new garments held by the prodigal son’s brother is unusu-al. He chose to highlight this element of the parable because the large-scale painting was one of six commissioned by a lay brother-hood devoted to Christian acts of charity. The purpose of this particular piece is to portray the charitable act of clothing the naked.

Detail from The Return of the ProdigalBartolomé Esteban MurilloGift of the Avalon FoundationImage courtesy of the Board of TrusteesNational Gallery of Art, Washington

But when he was yet a great way off,

his father saw him, and had compas-

sion, and ran, and fell on his neck,

and kissed him.

And the son said unto him, Father,

I have sinned against heaven, and in

thy sight, and am no more worthy to

be called thy son.

But the father said to his servants,

Bring forth the best robe, and put it

on him; and put a ring on his hand,

and shoes on his feet:

And bring hither the fatted calf, and

kill it; and let us eat, and be merry:

For this my son was dead, and is alive

again; he was lost, and is found. And

they began to be merry.

Luke 15:20–24

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aul was a zealous first-century Pharisee who scrupulously kept the

Old Testament Law and mercilessly perse-cuted anyone he could find who was a fol-lower of Christ. All his energies were bent on stopping the spread of Christianity in his region or anywhere in Judaism.

In pursuit of Christians, Saul traveled some 175 miles north of his own city, Jerusalem, to Damascus. As he came near his destina-tion, a light from heaven suddenly shined upon him, causing him to fall to the ground. Then a voice from heaven spoke to him, saying, “Saul, Saul, why persecutest thou me?” (Acts 9:4). At that moment Saul came face to face with the risen Christ. When Saul discovered Who was speaking to him, he responded, “Lord, what wilt thou have me to do?” The Lord promised to reveal the answer to Saul’s question if he would go into Damascus.

At this point Saul was blind from the great light he had encountered. Others led him

S

“This is a faithful saying, and worthy of all acceptation, that Christ Jesus came into the world to save sinners, of whom I am chief.” the Apostle Paul, 1 Timothy 1:15

Paul: Confident in God’s Forgiveness

into the city, where he learned that Christ had chosen to reveal Himself to him as a means of bringing him to saving faith. After three days his sight was restored. Saul’s experience was unique. The Lord entered his life by spectacular means to reveal to him God’s generous love, which is unconditional and entirely unmerited.

Later after Saul was given the new name Paul, he would refer to himself as hav-ing been “chief” of sinners. By this he meant that he had been a major enemy of Christianity. He saw himself as having been at the forefront of the ranks of sin-ners. Yet, in Paul’s words, “when it pleased God,” God called Saul to repentance and faith in Christ. Paul went on to live a joy-ous life of service to Christ. Ever conscious of God’s gracious forgiveness of sin, he became a new creature in Christ. He faith-fully labored to reach unbelievers with the Good News of the Gospel.

Grace is the good pleasure of God

that inclines Him to bestow benefits

upon the undeserving. It is a self-exis-

tent principle inherent in the divine

nature and appears to us as a self-

caused propensity to pity the wretch-

ed, spare the guilty, welcome the

outcast, and bring into favor those

who were before under just disap-

probation. Its use to us sinful men is

to save us and make us sit together

in heavenly places to demonstrate to

the ages the exceeding riches of God's

kindness to us in Christ Jesus.

~A.W. Tozer (1897–1963)

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Like the prodigal son’s father, God reach-es out to us with compassion, forgives all our sins and embraces us in His arms for all eternity. No sin is too great for God to forgive. He desires to see even the “chief” of sinners come to Him in repentance and faith.

John Wesley, who penned the words of the hymn text below, wrote to Joseph Bradford in 1783 that he had personally grieved God with a “thousand falls”:

I have been reflecting on my past life; I have been wandering up and down between fifty and sixty years, endeavoring in my poor way to do a little good to my fellow–creatures; and now it is probable there are but few steps between me and death; and what have I to trust to for salvation? I can see nothing which I have done or suffered that will bear looking at. I have no other plea than this: ‘I the chief of sinners am, But Jesus died for me.’

Pasquale Ottini (1578–1630), a rather obscure Italian artist, used oil on copper to create a painting titled The Conversion of Paul. In this work Paul appears in the cen-ter portion of the foreground, sprawled on his back on the ground, his horse underneath one of his legs. A running soldier on Paul’s left grasps the horse’s reins. Another soldier stands above him on the right. In the middle of the paint-ing several men, many of whom appear to be soldiers, are portrayed in less color-ful, gray hues. Above them a great light streams down from heaven, where Christ can be seen holding a cross. A trio of angels appears in the clouds to the right of Christ.

The Conversion of St. PaulPasquale Ottini, called PasqualottoFrom the Bob Jones University Collection

Depth of mercy! Can there be

Mercy still reserved for me?

Can my God His wrath forbear,

Me, the chief of sinners, spare?

I have long withstood His grace,

Long provoked Him to His face,

Would not hearken to His calls,

Grieved Him by a thousand falls.

I my Master have denied,

I afresh have crucified,

Oft profaned His hallowed name,

Put Him to an open shame.

There for me the Savior stands,

Shows His wounds and spreads His hands.

God is love! I know, I feel;

Jesus weeps and loves me still.

Now incline me to repent,

Let me now my sins lament,

Now my foul revolt deplore,

Weep, believe and sin no more.

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}Creative Team

Darren Lawson. . . . . . . . . . . . . . . . . . . . . . .producer

David Schwingle . . . . . . . . . . . . . . . . . . . . . .director

David Burke . . . . . . . . . . . . . . . . . . . . . . . playwright

Rodney McCarty . . . . . . . . . .production manager

Jonathan Andrews. . . . . . . . . . . . . . . .tableau artist

Harrell Whittington . . . . . . . . . . . . . .tableau artist

Kevin Isgett . . . . . . . . . . . . . . . . . . . . . .tableau artist

Jason Waggoner . . . . . . . . . . . . . . . . . . . set designer

Dan Sandy. . . . . . . . . . . . . . . . . . . makeup director

Barb Filipsic . . . . . . . . . . . . . . . . . . costume artisan

Bob Johansen . . . . . . . . . . . . . . . . . . sound designer

Richard Streeter . . . . . . . . . . . . . . lighting designer

Will Meadows. . . . . . . . . . . . . . . . .graphic designer

Kenon Renfrow . . . . . . . . . . . . . . . music producer

Max Masters . . . . . . . . . . . . . . . . . . . . . .music mixer

Matthew Steel. . . . . . . . . . . . .front of house mixer

Janie McCauley. . . . . . . . . . .program essay author

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Anne Michelson. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anne NolanDane Swift. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Kevin LoweLaurel Reed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lauren JacobsJoanne Koch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Rebecca ClementsThomas O’Neill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Steve SkaggsBrooke Johnson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ashley LoveGallery Crowd . . . . Melody Allardice, Matt Ayers, Jim Cook, Monique Cook, Robin Deason, Jamie Hatfield

Billy Lanier, Rebekah Rudie, Andy Scheer and Cheryl Slocum

}Play Cast

}Musicians

Peter AngleaLaura BrundageLauren CunninghamCaleb FrenchSharon GerberCarolyn HollandJohn HudsonJonathan JarrettCaleb LynchCallie MerrilMeagan O'MalleyEric ReaKenon RenfrowGlorianne Vasso

Makeup ArtistsPeggy AlierJonathan AndrewsKathy BellRachel ChapmanMorgan ColeNicolette CromerHeather DavenportHannah DiseBailey EllisSarah EnsmingerBarb FilipsicKara GaffneyKatrina GreenwaldCarol GribickSallie HarrisonSarah Hart

Chris HartwickKevin IsgettJeremiah LangnerSarah LourencoKatie LynchGeorgia MarshallMiquela MedellinSandy MehusLindsay MorganFreyja NalerSarah NealBen OslinLean PateAmber RaabValli RassiRachel ReedElizabeth Reynolds

}Production staff

Jane RobinsonBamby RoyKimberly SchmidtElizabeth SowersGin Wen SueAubree TippsBetsy TojdowskiJennifer WetzelDoug Young

Costume ConstructionPam AdamsBarb FilipsicCynthia LongJoyce ParsonsValli Rassi

“Still, My Soul, Be Still”Words and music by Keith Getty, Kristyn Getty

and Stuart Townend©2009 Thankyou Music (PRS)(adm. worldwide

by EMT CMG Publising excluding Europe which is adm. By Kingswaysongs.com)/Gettymusic (PRS). International Copyright secured. All Rights reserved. Used by permission.

“Whiter Than Snow”Music by William Gustavus FischerArranged by Kenon D. RenfrowPublic Domain.

“Beautiful Hands”Words and music by Cheryl Reid and Ron

Hamilton©2009 Majesty Music, Inc. Used by permission.

“Jesus Paid it All”Words and Music by Elvina M. Hall and John

T. Grape Arranged by Joan PinkstonFrom the Soundforth recording Promises©1997 Beckenhorst Press. Used by permission

of Beckenhorst Press, Inc.

}Music credits

“Via Dolorosa”Words and music by Billy Luz Sprague and Niles

Borop©1983 BMG Songs (ASCAP) Meadowgreen Music

Company (ASCAP) (adm. by EMI CMG Pub-lishing)/Word Music (ASCAP). International Copyright secured. All Rights reserved. Used by permission.

“The Look”Words and music by Bob Kauflin and John Newton©2001 Sovereign Grace Praise (adm. by Integrity’s

Praise! Music). International Copyright secured. All Rights reserved. Used by permission.

“Vocalise, Op. 34 No. 14”Music by Sergei RachmaninoffArranged by Kenon D. RenfrowPublic Domain.

“A New Creation”Words and music by Kenon D. RenfrowUsed by permission.

Becky SandyKimberly Schmidt

HairstylistsRose Marie Blumer, wig masterAlicia CarrElizabeth Sowers

ProductionDale BurdenMicha MoyerRandall SnivelyDavid Vierow

Assistant To DirectorLydia Stewart

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The Storm on the Sea of Galilee, 1633Oil on canvasRembrandt Harmensz. van Rijn

(1606–1669)©Isabella Stewart Gardner Museum,

Boston, MA, USAThe Bridgeman Art Library The Divine ServantMax GreinerThe copyrighted and trademarked

creation of Christian artist,Max Greiner Jr. of Kerrville, Texas©www.maxgreinerart.com

The Last SupperPascal Adolphe Jean Dagnan-BouveretUnknown Private Collection Ecce HomoFrance du NordMusée du LouvrePhoto: Bruce Byers Flagellation of Christ Lucas Faydherbe (1617–1697)1680?Inv. Nr. B152Hanswijk Church, Mechelen, Belgium Christ Leaving the PraetoriumGustave DoréBob Jones University Collection

}production image credits

The Fall of Christ under the Cross

(Via Dolorosa)Lucas Faydherbe (1617–1697)Hanswijk Church, Mechelen, Belgium Christ Crucified between the Two Thieves:

The Three Crosses, 1653Rembrandt Harmensz. van Rijn

(1606–1669)Drypoint and engraving on vellum; first

state of five,Gift of Felix M. Warburg and his family,

1941(41.1.31)The Metropolitan Museum of Art,

New York, N.Y.Image Copyright ©The Metropolitan

Museum of Art, New York, N.Y./Art Resource, N.Y.

Descent from the Cross, 1653Adam Lenckhardt (Austria, 1610–1661)Ivory 44.75 x 16.50 x 12.10 cmThe Cleveland Museum of ArtJohn L. Severance Fund, 1967.134 PietàMichelangelo Buonarroti (1475–1564)Photo: G. CigoliniSt. Peter’s Basilica, Vatican State© DeA Picture Library/Art Resource,

New York, N.Y.

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The Old Master Painting Collection at the Museum & Gallery at Bob Jones University beauti-fully traces the artistic, cultural and religious history of Western Europe from the 14th through 19th centuries. M&G at Heritage Green, an innovative educational satellite facility of M&G at Bob Jones University, rotates special exhibits of works selected from M&G’s collection plus features interactive, educational displays that bring the art and time of the Old Masters to life for all ages.

• Walk-in tours are offered weekly for $3 in addition to admission.• Private group tours are available by advance reservation.• Children’s Learning Centers and scavenger hunts are available for free to help children

explore M&G at both sites.• Exciting events for adults and children at both locations.

Visit www.bjumg.org for monthly event offerings. Call (864) 770-1331 for additional information.

Upcoming EventsArt Exhibit: Annual Art & Photography ContestsApril 19–May 7, 2010, Open DailyExhibition Corridor, Sargent Art BuildingA showing of juried entries from the annual student art and photography contests, featuring the three finalists in each contest.

The Winter’s TaleMay 5–6, 2010, 8 p.m.May 7, 2010, 2 p.m.Rodeheaver AuditoriumOne of Shakespeare’s final plays, this tragicomedy is conceived in contrasts: age and youth, cruelty and goodness, jealousy and faith. Intense drama and hilarious comedy are all part of this beautiful production.

Commencement ConcertMay 7, 2010, 8:00 p.m.Founder’s Memorial AmphitoriumJoin the Symphonic Orchestra, under the direction of R. Christine Lee, and the choirs of Bob Jones University, under Warren Cook, for this exciting year-end gala concert featuring the power of the classics! Rediscover those familiar favorites as well as explore new works that will become your new favorites.

Order tickets online at www.bju.edu/events/fine-arts/cod/ or call the Box Office at (864) 770-1372.

is sponsored in part by the following organizations and individuals

Jackson Marketing Solutions

Piano Central

Mr. & Mrs. Paul Burket

Mr. & Mrs. Jerry Morgan

If you have comments or questions regarding Living Gallery, please contact us at finearts@bju.edu.

This year’s Living Gallery is dedicated tothe memory of Fletcher Anderson, Bob Jones University board member, whose prompting led the University to undertake the first production

of Living Gallery in 1998.

AG043/01 (7123) 03/10