Putting God in His place: Here, everywhere, and nowhere | The audacity of Christian art

How do artists handle the challenge of attempting to depict a figure who lived a human life on earth - at a specific time and in specific places - but who was simultaneously divine, beyond place and time?
In this episode Chloë Reddaway shows how artists have used ‘place’ in their paintings to point to the limitations of our vision and understanding when pondering this mystery, focusing on the mysterious location of Lorenzo di Credi’s ‘The Virgin and Child’ (about 1480-5) and the spatial metaphors at work in Filippo Lippi’s ‘The Annunciation’ (about 1450-3).
‘The audacity of Christian art: The problem of painting Christ’ is a seven-part series in which Dr Chloë Reddaway, Howard and Roberta Ahmanson Curator in Art and Religion at the National Gallery, explores the theological and artistic challenges involved in painting Christ as fully human and fully divine, and reveals some of the ingenious and surprising ways in which Renaissance artists responded.
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[@AnonYmous-lm3uv]

The presenter looks like a lady from the beginning of 20th century paintings, her face has classical features, her hair is styled so beautifully. Her voice is soft, her gaze is deep. It's a pleasure to listen to her. I love these videos. So much art, so many interesting things, so much beauty.

[@theblueprint2001]

Cap

[@jessblatch4686]

I could watch these all day long, thank you so much! This is exactly my interest in art and theology

[@lephilistin]

Wonderful. This series is a delight. Thank you!!

[@9964jjc]

I deeply hope Dr Reddaway makes more

[@celesteaida48]

I could look and listen all day long! Thank you

[@brandonburrell8517]

Marvelous study. God bless you.

[@edrandomed]

Very well stated. I doubt I could say much of what is presented here as clearly as this. The artist is solving problems through their art. I enjoyed learning about this by adding an element of the impossible or unreal in the architecture.

[@sajdahamad9980]

W o w. Wonderfully articulated and presented.

[@tomaslindstrom6829]

This is so great in a spiritual understanding!

[@DarryanDhanpat]

Please make new videos with Dr Reddaway

[@lynnblack6493]

Really love to be made to think!

[@naecarol.1988]

So talented young woman.

[@theblueprint2001]

Young?

[@samehgayed]

Wonderful... thanks so much

[@wilddrums6205]

I like Ur persantion and voice to ...,,,

[@turegoodoverlooked]

I know this video is three years old, but a question: The stone wall in the back also looks like a stairway/ staircase? Could that be representative of the spiritual "climb" or being drawn up in time toward the infinite? Or is it just not a staircase?

[@mobiledude5229]

it is such a wonderful lecture.

[@albertoclonado]

Great series on the topic, very interesting! I hope more videos on the subject are made.

[@Diana-dx2eg]

Wonderful depiction!

[@BeyzaByza]

I don't know Christianity so well, so I don't understand the fact that Christ is eternal but between His death and resurrection, what happened? Or isn't there any time between death and resurrection? I hope someone answer cause lately I study Christian art

[@lGalaxisl]

Check out the Anasthasis icons. They are depictions of what happens when Jesus died on the cross. They depict him going all the way into Hades, to pull out Adam and Eve out of death, effectively destroying the power of death.

[@turegoodoverlooked]

This has typically been explained by his absolutely unique status as a divine person with both a divine and human nature. There is no admixture or separation between the two. So Christ is always present to himself as God in eternity, but he also exists in time with a human nature. Between the death and resurrection we believe that Christ's human soul (again always united with his divinity) descended to "Sheol" or 'hades' and brought deliverance to the souls of the just who died before him. In time this "process" takes three days, but it's mysterious because it's hard for us to conceive being 1. a disembodied soul 2. of time without physical markers.

[@tsjechovtolstoj496]

These videos are absolutely splendid.

[@Myself23512]

So true!

[@LouisHansell]

why do the pillars have to be symmetric with the wall apertures? Perhaps there is one in between, which we cannot see.

[@shoegal]

Interesting collar on the dress

[@stevemiller7271]

More good stuff.

[@dodie23]

@erehwon😊