2011 Program - Living Gallery

Transcription

April 21 4:30 & 7:30 p.m.
April 22 4:30 & 7:30 p.m.
April 23 2, 4:30 & 7:30 p.m.
Rodeheaver Auditorium
WELCOME!
Welcome to our fourteenth annual Living Gallery,
a production unlike any other on the East Coast,
integrating drama, music and the visual arts in a
dynamic Easter presentation.
The Living Gallery features a type of drama known
as “living art”—artistic masterpieces brought to life
with real human models—which is accompanied
by orchestral and vocal music. 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.
A number of the reproductions depicted in the program are of works from
museums around the world, and one is of a work in the Bob Jones University
Museum & Gallery collection, which is open Tuesday–Sunday, 2–5 p.m. (2–7 p.m.
on performance days) for your enjoyment.
Through this year’s production, “This Same Jesus,” it is our prayer that you will
behold the Savior, Jesus Christ. We hope that the Living Gallery will become an
important part of your annual Easter observance 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
Please Note
To provide an uninterrupted experience for our guests, ushers will not reseat those who leave
the auditorium during the program.
The use of still and flash photography, video cameras, and recording equipment is not
permitted. We request that personal communication devices be turned off during the
performance.
Because of the sacred nature of the program, we request that there be no applause after
selections or at the end of the program.
Paintings marked with
may be viewed at the Museum & Gallery at Bob Jones University.
4
“For God hath not appointed
us to wrath, but to obtain
salvation by our Lord Jesus
Christ, Who died for us, that,
whether we wake or sleep, we
should live together with
him.”
1 Thessalonians 5:9–10
Rembrandt:
Fourteen Men
in a Boat
Painting With Light:
The Glory of Stained Glass
The 2011 Living Gallery features tableaux
vivant of three stained glass windows created
in Germany at the turn of the 20th century:
Christ’s blessing of children (Matthew 19:13–
15; Mark 9:36–37; Luke 18:15–17); Christ
and the rich young ruler (Matthew 19:16–26;
Mark 10:17–27; Luke 18:18–23); and Christ’s
ascension to heaven (Mark 16:19–20; Luke
24: 50–53). The windows were designed and
made in 1903 in the Franz Mayer studios of
Munich, Germany.
R
embrandt’s painting Christ in the
Storm on the Sea of Galilee depicts a
group of men on a small vessel that, having
been raised by high waves, is about to come
crashing down. The five men at the front of
the boat struggle with ropes and pulleys to
maintain control of the sail. At the back of
the little vessel the artist places nine more
men. The helmsman, ordinarily the man
who directs the boat’s course, wrestles with
the rudder. Another man hangs over the side
because the roiling sea has made him ill.
Others cluster around the figure of Christ,
Who is the only character in the painting to
look toward the golden light that is breaking
in the sky in front of the boat. It seems as
if Christ is reassuring His disciples that the
storm will soon end.
Details from:
The Ascension
The Rich Young Ruler
Christ Blessing the Children
Rembrandt portrays the drama enacted by
the men clustered around Christ through his
presentation of several pairs of hands. One
pair prays; another underscores a point he
has made as a speaker; another reaches out
and touches Christ’s shoulder. In contrast,
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Detail: The Storm on the Sea of Galilee, by Rembrandt Harmensz. van Rijn. From the The Bridgeman Art Library.
Christ rests one hand on His lap, the other
on His heart, as if to suggest that during
this hour of elemental turbulence His true
disciples should
be reassured with
an inner peace.
Typical of
Rembrandt’s history paintings, the
work reveals the
dramatic scene at
its climax—in this
case just before
the Lord commands the storm to be
still. The vividness of the
artist’s vision gives us the
illusion of being present at
the event, which we gaze
upon as eyewitnesses. We
wait with anticipation for
the miracle Christ will perform momentarily. Already
light is breaking in front of
the boat.
The most surprising
detail of the painting
is the number of disciples in addition to
Christ on the boat—
13 rather than the
traditional 12. That
is because Rembrandt
has placed himself in
the storm-tossed boat.
With his left hand he
holds on to his cap,
and with his right he
grips one of the boat’s
stays. Unlike the other
figures, Rembrandt
looks straight out at
the “audience.”
It is fascinating to speculate why
Rembrandt may have put himself “in the
same boat” as Christ and the disciples. We
know that at least later in his life,
Rembrandt understood that only
by faith and through faith could
one come to Christ.
The painting dates from 1633.
At that time few painters had
included self-portraits in their
history paintings. Rembrandt,
however, placed himself in two
other important portrayals of Christ from
that period of his
work. In The Elevation
of the Cross (c. 1633) he
appears as a soldier. In
Descent from the Cross
(c. 1633) he is a distraught figure mourning the death of his
Lord as he helps to
remove the Savior’s
Details: The Storm on the Sea of Galilee, by Rembrandt
Harmensz. van Rijn. From the The Bridgeman Art Library. body from the cross.
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These three works suggest that
Rembrandt identified himself with
Christ’s power to calm the winds and
waves as well as His suffering and His
death on the cross for the sins of mankind. They also perhaps suggest that the
artist had personalized the message of
the Gospel: “For God hath not appointed
us to wrath, but to obtain salvation by
our Lord Jesus Christ, Who died for us,
that, whether we wake or sleep, we should
live together with him” (1 Thessalonians
5:9–10).
Head of Christ by the School of
Rembrandt is admired for the
warmth and depth of feeling it
conveys. Christ is at once thoughtful,
strong and compassionate, an artistic representation of divine love in
human form.
Rembrandt
and
Christian Art
Currently this painting is on loan
to France’s Louvre museum for a
Rembrandt exhibition and will travel
later this year to the Philadelphia
Museum of Art and the Detroit
Institute of Art.
R
embrandt van Rijn (1606–1669) was
born in Leyden, Holland, the son of
a prosperous Dutch miller. His mother
was a Protestant Biblicist, a person who
accepted the Bible as truth and did not
attempt to reconcile its teachings with
any church dogma or tradition.
Roman Catholic Church. In general, they
portray Christ, Mary and the saints in
magnificent earthly terms as aristocratic
and heroic figures. As such, these figures
do not appear accessible to the fallible
and poor majority of humanity.
Rembrandt drew the myriad of subjects
for his paintings and etchings from many
sources. But he created more works on
religious subjects than any other type,
producing some 850 religious works
as compared to around 500 portraits,
the category second in number to his
religious works.
Several years into his career as an artist,
Rembrandt developed a deepening
interest in the Bible and a new approach
to portraying religious subjects. John
Newport describes and accounts for
this change as follows: “No longer did
Rembrandt present Christ in terms of
earthly power and Baroque magnificence.
He had learned the biblical and
It is certainly significant that none of
Rembrandt’s religious paintings were
created on commission for a church.
The great Italian Renaissance painters,
on the other hand, worked almost
exclusively under the patronage of the
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Rembrandt,
The Three
Crosses
Reformation understanding of religious
truth. Thereafter, he presented the Christ
in such terms of simplicity and humility
that only by faith and through faith could
one recognize in this ordinary man the
Christ of God.” Rembrandt’s new concept
of Christ was as a true man, One “who in
all points [was] tempted like as we are, yet
without sin.”
R
embrandt depicted Christ’s crucifixion again and again throughout his
career. The Three Crosses portrays Christ
hanging between two thieves who, like
Him, have been put to death. The etching,
executed in the medium of drypoint,
captures the confusion and anguish of the
scene. On Christ’s right His followers are
clumped together in despair. To the left
are a number of faceless, indifferent
soldiers. In the center foreground two
richly dressed men walk quickly toward
a tomb at the bottom right of the scene.
Perhaps they are Joseph of Arimathea and
Nicodemus, hurrying away to prepare for
Christ’s burial.
Secular art historian Dale Cleaver also
observes that after 1640 Rembrandt’s
religious works became more introverted:
“Rembrandt visualized religious events in
terms of common people with unheroic
proportions and individual features.” In
the words of Simon Schama, “Rembrandt
was less interested in finding the god in
man than man in God.”
Rembrandt’s mature portrayals of Christ
reveal an unsentimental tenderness in a
figure Who is both divine and human.
Jane Dillenberger describes Rembrandt’s
conception of Christ as “richly human.
His face seems worn and its expression is
inward. ... The authority with which this
Christ teaches and proclaims the Good
News and speaks of the forgiveness of sins
is of divine origin. And yet he is wholly
human.”
Above them and slightly to the left, a
centurion kneels before the dead Christ,
Who hangs perfectly upright on the cross,
isolated above all the other figures—and
triumphant. The centurion’s arms are
outstretched in penitence and praise
to the glorified God. Historical writers
identify him as Longinus, who in extrabiblical sources was said to have pierced
Christ’s side to be certain He was dead.
The centurion then noticed darkness
descending on the earth, fell to his knees
and was converted.
Schama suggests that for Rembrandt the
“purpose of art” was “to bring Christians
into as immediate a relationship with
Scripture as possible … to make believers
aware of their subjection to the word of
God as revealed in the Bible.”
Finally, in assessing Rembrandt’s contribution to Christian art, Frank Gabelein
makes the following statement: “With
Rembrandt the Reformed tradition finds
its deepest pictorial expression.”
To execute the etching, Rembrandt covered
a copper plate into which he had etched
the scene with a heavy coat of ink. Then he
wiped off the area surrounding the figure
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Detail: Christ Crucified between Two Thieves: The Three Crosses, by Rembrandt Harmensz. van Rijn. The Metropolitan Museum of Art.
“What is there more wonderful and
of Christ to suggest rays of supernatural light
that permeate the horrible darkness.
precious than Christ? Men do not know
the gold which lies in the mine of Christ
or surely they would dig for it night
In The Three Crosses Rembrandt creates a
revelatory setting, a poignant story and a
diverse cast of characters—all etched into a
copper plate. By wiping ink off the plate, the
artist bathed the figure of Christ in a light
that illuminates the entire scene of confusion
and anguish. This light from heaven, falling
upon Christ, suggests the redemptive power
of His death. The etching reminds us that
because of our Lord’s crucifixion we can
find hope and salvation in the midst of
pain and confusion.
and day. They have not yet discovered
the ‘pearl of great price,’ or they would
have sold all they had to buy the field in
which it lies.
“Words of eloquence fail to describe the
person of Christ. It paralyzes the artist's
arm when he would try to portray Him;
it would overwhelm the sculptor to
carve His image—even were it possible to
chisel it in a massive block of diamond.
And it was about the sixth hour, and there was a
darkness over all the earth until the ninth hour.
“There is nothing in nature comparable
to Christ. In comparison to His radiance
And the sun was darkened, and the veil of the temple
was rent in the midst.
the brilliance of the sun is nothing but
a dim light. Heaven itself blushes at
And when Jesus had cried with a loud voice, he said,
Father, into thy hands I commend my spirit: and
having said thus, he gave up the ghost.
its own plainness when His ‘altogether
lovely’ Person is beheld.”
—Charles H. Spurgeon, The Saint and
His Saviour
Now when the centurion saw what was done, he
glorified God, saying, Certainly this was a righteous
man. (Luke 23: 44–47)
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order of
The Storm on the Sea of Galilee
Rembrandt Harmensz. van Rijn
Tableau Artist: Harrell Whittington
Models: Michael Blaj, William Brunton, Jamie Bumanglag,
Caleb Perry, Ben Ritschard, Timothy Rogers, Keith Sorge, Bob Taylor
The Ascension
Mayer Company of Munich, Germany
Tableau Artist: Lewis Carl
Models: Dale Brunner, Steven Coon, Janelle Gunter,
Matthew Hensley, Zachary Sparkman
Models: Leslie Bowman, Alexandra Miller, Philip Peck, Jessa Pierson,
Molly Scheibner, Ella Weier
Models: Timothy Breil, Timothy Lashley
Christ Healing the Blind
Domenico Fiasella
Models: William Brodwater, Matthew Galvan, Andrew Gieger
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program
Christ and the Samaritan Woman
Francois de Troy
Tableau Artists: Harrell Whittington, Kevin Isgett
Models: Alan Lohr, Nancy Lohr
Ecce Homo
Antonio Ciseri
Models: Matthew Bowersox, Clinton Holden, Ricky Johnson,
Claire Polk, Benjamin Scheele, Sarah Woodard
The Suffering Christ
Franz Schreiber
Tableau Artist: Jonathan Johnson
Models: Brian Tojdowski
Christ Crucified between the Two Thieves:
The Three Crosses
Models: Sarah Clark, Brian Davis, Bonnie Detwiler, Catherine
Norton, Donald Oberman, Stephen Piercy, Samuel Stephens,
Kent Wadsworth, Susan Wadsworth, Matthew Wakefield,
James Walker, Gordon Weigand, Nathaniel Wise
The Descent from the Cross
Jacopo Tatti, called Sansovino
Models: Michael Asire, Stephen Ball, Jeremy Bowen, Sam Brenneman,
Megan Brown, Mickey Cooper, Heidi Desmarais, Anna Griffith,
Stephen King, Jim Knisely, George Myers, Michael Ritschard, Seth Weaver
Ascension Window
Louis Comfort Tiffany
Tableau Artist: Kevin Isgett
Models: Lisa Burden, Eric Fjetland, Amanda Porter, Brian Stark, Gregory
Thomas, Lindsey Vaught, Elizabeth Wunderly
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Works to revive the trades associated with
cathedral building during the Middle Ages.
Around 1860 the institute began to produce stained glass, using artists to design
the pieces and to direct the artisans and
craftsmen who executed their designs.
Painting
with Light:
The Glory of Stained Glass
Most of those artists created stained glass
that was pictorial and extremely detailed,
influenced by the late Gothic glass
painting of Peter Hemmel von Andlau
(1447–1501) and the Renaissance altars
of Hans Holbein the Elder (1465–1524).
Mayer mouth-blown stained glass helped
to popularize the “Munich style” around
the world. It features sensitively rendered
biblical characters, clothing with realistic
drapes and folds, and lead lines that separate various colors and shapes within
the window.
T
he beauty of stained glass originates
in the humblest of natural materials—
sand. The first stained glass was probably
made in the Middle East, which is also the
birthplace of glass manufacturing.
Since the Middle Ages, however, stained glass
has been largely a Western and a Christian
art. During the medieval period stained glass
windows in churches spoke powerfully to
a populace who could not read. The sun’s
natural illumination of the biblical figures
and scenes illustrated in those windows was
regarded as symbolic of the divine grace that
illuminates human souls.
At the beginning of the 20th century when
the windows featured in the 2011 Living
Gallery were made, Franz B. Mayer (1848–
1926) was the studio’s director. Since he
admired the English transcendent style,
he employed a number of English stained
glass artists and painters along with professors from the Munich Academy of Art.
By the end of the 18th century, stained
glass had become virtually a lost art
because Renaissance, Baroque and Rococo
architecture, in contrast to the architecture
of the Middle Ages, created dim and dark
churches and cathedrals.
The Mayer stained glass windows featured
in the Living Gallery were completely
assembled in Munich, packed in stable
crates and shipped ready for installation
in the window frames of Atlanta’s First
United Methodist Church. They date
from 1903 and approximately 1905. When
the Munich studio was bombed in 1944,
almost all records of the stained glass
were lost.
Stained glass was rediscovered, however, in
19th-century Germany by various artists
working mainly in porcelain factories. The
Bavarian King Ludwig I founded a royal
stained glass studio in 1848. He employed
a close-knit group of artists who had ties
to a school of German Christian artists
known as the “Nazareners,” an allusion to
the Nazarites in Numbers 6. They developed
a style that was both romantic and naturalistic, pious and gentle. Called the “Munich
style,” it was in vogue from the second half
of the 19th century until World War I.
Two of the Atlanta church windows,
however, are among the few listed in the
order books that survived World War II:
“Christ Blessing the Children” and “The
Ascension.” Mayer’s of Munich has no evidence to date “The Rich Young Ruler.”
In 1847 Joseph Gabriel Mayer (1808–1883)
founded the Institute for Christian Art
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Detail: Ecce Homo, by Domenico Feti. Uffizi, Florence, Italy. Scala / Art Resource, NY
Ecce
Homo:
A Visual Reminder of
Christ’s Dying Love
E
cce homo”—“Behold the man!”—were
the words of the Roman governor
Pontius Pilate when he gave up Christ to
a bloodthirsty mob. The Lord had already
been beaten, clothed in a royal robe and
crowned with thorns to mock His claim to
royalty. When Pilate presented Christ to the
crowd in this pitiful state, the chief priests
and officers cried out, “Crucify him!” Their
demands brought about the fulfillment of
Old Testament prophecy concerning the
Messiah: Jesus died on the cross so that
we could be saved from our sins and given
eternal life.
for me?” Zinzendorf later wrote, “From
this time I had but one passion, and that
was He, only He.” Several years later on his
wedding day Zinzendorf and his bride laid
aside their rank of nobility to devote their
lives to the service of Christ.
Exactly 100 years after Zinzendorf’s
death—and almost 150 years after the
German count saw Feti’s “Ecce homo”—
the young English hymnwriter Frances
Havergal (1836–1879) published a gospel
song titled “I Gave My Life for Thee.”
Havergal’s inspiration was the very same
painting that had inspired Zinzendorf.
Count Nicholas Louis von Zinzendorf
(1700–1760) is an important figure in
Protestant history. For a time he was torn
between a desire to enter the ministry and
his family’s expectation that he occupy himself with the affairs of a hereditary count
from one of Saxony’s wealthiest families.
On January 10, 1858, the 21-year-old
Havergal visited the Dusseldorf gallery.
Her heart was deeply touched by Feti’s
inscription. At that moment she began to
conceive the words of the song and jotted
them down. After she returned to England,
her father helped compose music to go
with the text:
As an adolescent, Zinzendorf was a
member of a small band of Christian
boys who dedicated themselves to world
evangelization. These boys called themselves
“The Order of the Grain of Mustard Seed.”
They adopted the phrase “Ecce homo” as
their watchword and the focal point of
their emblem.
Later, when Zinzendorf was a young teenager, the phrase “Ecce homo” again intersected
with his life very vitally. On a visit to an
art gallery in Dusseldorf, he saw a painting titled “Ecce homo” by Domenico Feti.
Beneath it was the following inscription:
“All this I did for thee. What hast thou done
13
I gave My life for thee,
My precious blood I shed,
That thou might’st ransom’d be
And quickened from the dead.
I gave, I gave my life for thee;
What hast thou given for me?
}
C r e at i v e T e a m
Producer . . . . . . . . . . . . . . . . . . . . . . . . . Darren Lawson
Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anne Nolan
Assistant Director . . . . . . . . . . . . . . . Jeanine Aumiller
Playwright . . . . . . . . . . . . . . . . . . . . . . . . . . David Burke
Production Manager . . . . . . . . . . . . . Rodney McCarty
Lighting Designer . . . . . . . . . . . . . . . .Richard Streeter
Set Decorator . . . . . . . . . . . . . . . . . . . .Jason Waggoner
Costume Artisan . . . . . . . . . . . . . . . . . . . . . Barb Filipsic
Makeup Coordinator . . . . . . . . . . . . . . . . . . Dan Sandy
Music Producer . . . . . . . . . . . . . . . . . . . Kenon Renfrow
Graphic Designer . . . . . . . . . . . . . . . . . . Will Meadows
Program Essay Author . . . . . . . . . . . . Janie McCauley
Sound Designer . . . . . . . . . . . . . . . . . . . Bob Johansen
Front of House Audio . . . . . . . . . . . . . . Matthew Steel
Music Mixer . . . . . . . . . . . . . . . . . . . . . . . . Max Masters
14
}
P l ay C a s t
Dan Stevens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ryan Meers
Adonis Vionis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dan Olinger
Beverly Stevens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rebekah Rudie
Susan Stevens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anna Kate Streeter
Church Program Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emily Steele
}
P r o d u c t i o n s ta f f
Makeup Artists
Peggy Alier
Jon Andrews
Matt Appleby
Kathy Bell
Zoey Cook
Nicolette Cromer
Terry Davenport
Barb Filipsic
Kara Gaffney
Katrina Greenwald
Carol Gribick
Sallie Harrison
Sarah Hart
Chris Hartwick
Lynda Hendrix
Kevin Isgett
Zachery Johnson
Karissa Kincaid
Sarah Lourenco
Katie Lynch
Sandy Mehus
Lindsay Morgan
Sarah Neal
Philip Ogden
Amber Raab
Valli Rassi
Rachel Reed
Bamby Roy
Kimberly Schmidt
Caroline Sebris
Elizabeth Sowers
Gin Wen Sue
Costume
Construction
Barb Filipsic
Cynthia Long
Joyce Parsons
Valli Rassi
Becky Sandy
Kimberly Schmidt
}
Gentle Voice
Words and music by Lee and Susan Dengler
©2006 Harold Flammer Music (adm. by The
Music Sales Group)
All rights reserved. Used by permission.
O Sacred Head Now Wounded
Words and music by Paul Gerhardt and Hans
Leo Hassler
Alicia Carr, wig master
Elizabeth Sowers,
assistant wig master
Production
Dale Burden
Micha Moyer
Randall Snively
David Vierow
}
Music credits
Compassion Hymn
Words and music by Keith Getty, Kristyn
Lennox Getty and Stuart Townend
©2009 Thankyou Music (PRS) (adm. worldwide
at EMICMGPublishing.com)
All rights reserved. Used by permission
Hairstylists
Musicians
When I Survey the Wondrous Cross
Words and music by Isaac Watts and Lowell
Mason
Adagio in G minor (Albinoni)
Music by Tomaso Albinoni
From the recording Shapes by Domenic Miller
©2004 Universal Music Enterprises
The Wonder of the Cross
Words and music by Vicky Beeching
©2007 Thankyou Music (PRS) (adm. worldwide at EMICMGPublishing.com)
Jesus, Draw Me Ever Nearer (May This
Journey)
Words and music by
Keith Getty and Margaret Becker
©2002 Modern M. Music. (admin. by Music
Services) (SESAC)/Kingsway’s ThankYou
Music (admin. by EMI Christian Music
Publishing) (ASCAP)
Dustin Battles
Justen Blackstone
Laura Brundage
Steven Brundage
Lauren Cunningham
Sarai Dahlhausen
Stephanie Darlin
Nikki Eoute
Caleb French
John Hudson
Meghan Leach
Mattaniah Merrill
Lydia Minnick
Kenon Renfrow
John Robertson
Warren Cook, choral director
15
}
production image credits
Ecce Homo
Antonio Ciseri
(1821–1891)
Palazzo Pitti, Florence, Italy
©Scala / Art Resource, N.Y.
The Storm on the Sea of Galilee
Isabella Stewart Gardner Museum,
Boston
The Ascension
Artist unknown
Mayer Company—Munich, Germany
From the Atlanta First United
Methodist Church
The Suffering Christ
Franz Schreiber, Munich, 1915
Munster Unserer Lieben Frau (Basilica of
Our Lady)
Konstanz, Germany
Photo: David Vierow
Artist unknown
Methodist Church
Christ Crucified between the Two Thieves:
The Three Crosses
The Metropolitan Museum of Art
Gift of Felix M. Warburg and his family,
1941
(41.1.32)
Artist Unknown
Methodist Church
The Descent from the Cross
Jacopo Tatti, called Sansovino
(1486–1570)
The Victoria and Albert Museum, London
Christ Healing the Blind
Domenico Fiasella, 17th century
Oil on canvas, 109 5/8 x 71 7/8 inches,
SN113
Bequest of John Ringling, Collection
of The John and Mable Ringling
Museum of Art, the State Art
Museum of Florida
Ascension Window
Louis Comfort Tiffany (1848–1933)
First Presbyterian Church, Topeka, Kan.
Christ and the Samaritan Woman
Francois de Troy
Oil on canvas, 31 x 36 1/2 inches
From the Bob Jones University
Collection
16
Current Offerings
EXTENDED HOURS and FREE ADMISSION
April 21–23
Museum & Gallery at Bob Jones University
Your Living Gallery ticket grants you free admission to M&G at Bob Jones University on performance
days! The museum is open from 2–7 p.m. each day of Living Gallery for guests to see hundreds of
great masterworks.
CELEBRATING 60!
Each month during this special 60th anniversary year M&G is celebrating. For
April, visit M&G during Living Gallery, and you’ll have a chance to win a door prize.
For every 60 guests, one will receive a special gift!
Easter Scavenger Hunt
March 8–April 24
Children are invited to participate in an Easter-themed scavenger hunt in the museum galleries.
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.
Free for children
Art Exhibit: Annual Art & Photography Contests
April 18–May 6, Open Daily
Exhibition Corridor, Sargent Art Building
A showing of juried entries from the annual student art and photography contests, featuring the
three finalists in each contest.
Free admission
Upcoming Events
Pride and Prejudice
May 4 & 5, 8 p.m.
May 6, 2 p.m.
Rodeheaver Auditorium
Jane Austen’s splendid wit and wisdom are vividly on display in this crisp adaptation of her most
popular novel. This play delightfully depicts the unforgettable battle of wills between a spirited Miss
Elizabeth Bennet and her aloof admirer, Mr. Darcy.
Commencement Concert
May 6, 8 p.m.
Founder’s Memorial Amphitorium
“This Struggle Called America,” a stirring concert of patriotic music, will feature the BJU Symphony
Orchestra and choirs with a special tribute to our veterans.
Order tickets online at www.bju.edu/tickets or call the Box Office at (864) 770-1372.
Kids Create! 2011: Careers in Art
May 31–June 4, June 13–18 or June 20–25
If you’re 5 to 14 years old and interested in art, being a painter isn’t the only option to express your
creativity—there are endless opportunities! Aspiring creatives are invited to come and discover society’s reliance on art, meet local art professionals, and of course, design some art of your own! Don’t
miss this inspiring week at M&G!
Fee: Members, $40 (ages 5–11), $45 (ages 12–14). Non-members, $45 (ages 5–11), $50 (ages 12–14)
i s s p o n s or e d i n pa rt by t h e f ol lo w i n g
or g a n i z at io n a n d i n d i v i d ua l s
Jackson Marketing Group
Mr. & Mrs. Paul Burket
Mr. & Mrs. Jerry Morgan
If you have comments or questions regarding Living Gallery,
please contact us at finearts@bju.edu.
AG043/01 (9002) 04/11

2011 Program - Living Gallery

Transcription

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