When Jesus Needed A Genius

Men who produce works of genius are not those who live in the most delicate atmosphere, whose conversation is the most brilliant or their culture the most extensive, but those who have had the power, ceasing suddenly to live only for themselves, to transform their personality into a sort of mirror, in such a way that their life, however mediocre it may be socially and even, in a sense, intellectually, is reflected by it, genius consists in reflecting power.

~Marcel Proust

Continue reading “When Jesus Needed A Genius”

Prayer by George Herbert


Old Man in Prayer by Rembrandt Harmensz. van Rijn (1606–1669), Museum of Fine Arts, Boston

Prayer the Churches banquet, Angels age,
Gods breath in man returning to his birth,
The soul in paraphrase, heart in pilgrimage,
The Christian plummet sounding heav’n and earth;

Engine against th’ Almightie, sinner’s towre,
Reversed thunder, Christ-side-piercing spear,
The six daies world-transposing in an houre,
A kinde of tune, which all things heare and fear ;

Softnesse, and peace, and joy, and love, and blisse,
Exalted Manna, gladnesse of the best,
Heaven in ordinarie, man well drest,
The milkie way, the bird of Paradise,

Church-bels beyond the stars heard, the souls bloud,
The land of spices, something understood.

Malcolm Guite reads today’s poem

Matthew 7:7–8

Ask, and it will be given to you; seek, and you will find; knock, and it will be opened to you. For everyone who asks receives, and he who seeks finds, and to him who knocks it will be opened.

RickOur pilgrimage on earth is a companioned journey.  We are not alone.  Beyond the fellowship of fellow believers, scripture says we are cheered on by saints who have gone before us.  Most importantly, because of Christ we have access to our Father who welcomes the prayers of His children.

George Herbert’s poem today is a magnificent celebration of that glad fact.  As Malcom Guite points out in The Word in the Wilderness, “Its richly laden 14 lines contain no fewer than 27 images or reflections of what prayer might be for us.”  Here we see poetry at its finest.  As Malcolm wrote:

Our first impression is of the sheer wealth, almost over-abundance, of beautiful images contained in striking and memorable phrases we are being offered. This is not the honing and concentration on the single vision, but a kind of rainbow refraction of many insights, a scattering of broadcast seeds. For each of these images is in its own way a little poem, or the seed of a poem, ready to grow and unfold in the reader’s mind.

Do you have a testimony of the power of prayer?

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John 1:1

In the beginning was the Word, and the Word was with God, and the Word was God.




D I G  D E E P E R

George Herbert by Malcolm Guite

George Herbert
George Herbert

On February 27th the Church of England keeps the feast and celebrates the memory of George Herbert, the gentle poet priest whose book the Temple, published posthumously in 1633 by his friend Nicholas Ferrar has done so much to help and inspire Christians ever since. In an earlier blog post I gave a talk on George Herbert and the Insights of Prayer.  I offer this sonnet, part of a sequence called ‘Clouds of Witness” in my most recent poetry book The Singing Bowl. The sequence is a celebration of the saints, intended to complement my sequence Sounding the Seasons.

You can get this book in the UK by ordering it from your local bookshop, or via Amazon, and I am vey happy to say that both books are now available in North America from Steve Bell who has a good supply in stock. His page for my books is HERE

Read and hear Malcolm Guite’s A Sonnet for George Herbert HERE

Malcolm Guite
Malcolm Guite

Malcolm Guite is poet-priest and Chaplain of Girton College Cambridge, but he often travels round Great Britain, and to North America, to give lectures, concerts and poetry readings.  For more details of these and other engagements go to his Events Page

Photo courtesy Lancia E. Smith


51vg-xoskvl-_sy346_For every day from Shrove Tuesday to Easter Day, the bestselling poet Malcolm Guite chooses a favourite poem from across the Christian spiritual and English literary traditions and offers incisive seasonal reflections on it.

Lent is a time to reorient ourselves, clarify our minds, slow down, recover from distraction and focus on the values of God’s kingdom. Poetry, with its power to awaken the mind, is an ideal companion for such a time. This collection enables us to turn aside from everyday routine and experience moments of transfigured vision as we journey through the desert landscape of Lent and find refreshment along the way.
Following each poem with a helpful prose reflection, Malcolm Guite has selected from classical and contemporary poets, from Dante, John Donne and George Herbert to Seamus Heaney, Rowan Williams and Gillian Clarke, and his own acclaimed poetry.

The Return of the Prodigal Son by Rembrandt van Rijn (c.1669)

The Return of the Prodigal Son by Rembrandt, Hermitage Museum, St. Petersburg

I came to see it as, somehow, my personal painting, the painting that contained not only the heart of the story that God wants to tell me, but also the heart of the story that I want to tell to God and God’s people. All of the Gospel is there. All of my life is there. All of the lives of my friends is there. The painting has become a mysterious window through which I can step into the Kingdom of God

~Henri Nouwen,  from The Return of the Prodigal Son

It’s not for sale, but Rembrandt’s The Return of the Prodigal Son is valued at over $300 million.  There are about 350 certified paintings of his in existence and only about 14 are in private hands.  If one comes on the market you can expect to pay around $50 million for it.  All of that would be staggering to the painter who spend much of his life in financial hardship.  He was also a man deeply appreciative of the true treasure of God’s grace.

As Terry Glaspey explains in 75 Masterpieces Every Christian Should Know:

Created near the end of his life, during a time of mourning, personal and artistic disappointment, and ongoing financial struggles, Rembrandt’s The Return of the Prodigal Son is a testament to his security in the love and mercy of God in the face of all these trials. Throughout his artistic career, Rembrandt had revisited scenes from this story several times in drawings, etchings, and paintings. He was clearly moved by Jesus’s parable of God’s unconditional love, and in this late canvas he made his culminating statement. It is a painting of great tenderness, capturing the moment when the wayward son returns to his father to beg for forgiveness. The hands of the father rest gently on his kneeling son’s shoulders as he leans forward with an expression of absolute acceptance and love. No matter what paths the son has trod, no matter what mistakes and betrayals he has committed, no matter how much he has hurt and disgraced his family, his father has been awaiting his return and welcomes him home.

The emotion in Rembrandt’s famous painting is palpable, and made even more emotionally resonant by its quiet dignity. It is obvious to the viewer that something important and life changing is taking place among this cluster of family members. But there is clearly more going on here than a simple family reunion. In the face of this loving and merciful father, we glimpse the very face of God.

What’s the difference between worth and value?

John 1: 1-5

In the beginning was the Word, and the Word was with God, and the Word was God. The same was in the beginning with God. All things were made by him; and without him was not any thing made that was made. In him was life; and the life was the light of men. And the light shineth in darkness; and the darkness comprehended it not.

D I G  D E E P E R

Rembrandt van Rijn


Portrait of the Artist Bare-Headed, oil on wood by Rembrandt van Rijn

Rembrandt (1606–69) (Rembrandt Harmensz or Harmenszoon van Rijn), Dutch painter. The son of a wealthy miller of *Leiden, he showed an early inclination for his art and, at the age of 25, was one of the most famous portrait painters of his country. In 1631 he moved to Amsterdam, where he lived till his death. In 1634 he married the beautiful Saskia, who during the rest of her life was the inspiration of his art. His pictures on scriptural subjects in these years, which treat mostly of vivid scenes such as the story of *Samson, are full of vigour and imagination though they have not reached the spirituality of his later period. With the death of Saskia, in 1642, sorrow entered his life, and his troubles were increased by financial difficulties ending in bankruptcy and, in 1654, the scandal of having a child by his servant, Hendrickje, which brought him into conflict with the Reformed Church at Amsterdam. These sufferings, which threw him more and more into solitude, helped further to deepen and spiritualize his art and to give him an understanding of the Passion—a theme treated in about 90 paintings and etchings—such as few artists have possessed. Characteristic was his treatment of light and shade out of which his human figures appear to grow, thereby producing the impression of a happening beyond space and time. The supernatural atmosphere of the Last Supper and the Disciples at Emmaus, and the union of Divine majesty and redeeming love in the face of his Christ blessing the children or healing the sick, are unsurpassed in Christian art. Among his last great works is his famous Return of the Prodigal Son (Leningrad, c. 1668), a painted confession of faith in the goodness of God expressed in the face and hands of the father, who receives the kneeling beggar with infinite love. Rembrandt has rightly been termed the painter of the soul.

F. L. Cross and Elizabeth A. Livingstone, eds., The Oxford Dictionary of the Christian Church (Oxford; New York: Oxford University Press, 2005), 1390–1391.


Sorrows of an Artist

At age 14, Rembrandt, the son of a wealthy miller, left the University of Leyden to study painting under an inconsequential painter of hell scenes. Three years later, however, he left the town he had lived in since birth to study art in Amsterdam, where he would live for the rest of his life.

In Amsterdam he developed both his affinity for depicting dramatic personal reactions and for chiaroscuro (painting in light and dark). In most of his paintings, light emerges from darkness, creating a timeless, emotional movement that draws the viewer into the scene.

By the late 1620s, he was already a renowned artist. “The Leyden miller’s son is much praised, but before his time,” wrote one critic, and a year later, the secretary of the Prince of Orange wrote an enthusiastic report commending Rembrandt’s “penetration” into the essence of his subjects.

In 1634 Rembrandt married the wealthy and beautiful Saskia van Uylenburgh, who during the rest of her life was his inspiration. It was a time of professional triumph, as portrait commissions poured in and his paintings were highly praised. But though Rembrandt and Saskia’s marriage was a happy one, it was also full of sorrow. Three children were born and died before a son, Titus, survived infancy. But the pregnancy was too difficult for Saskia, and she died the following year.

Rembrandt was also plagued by financial difficulties. He had a penchant for extravagant living, and when he purchased an expensive house in 1639, it placed him deep in debt.

Rembrandt acknowledged this extravagance by painting himself as the Prodigal Son, squandering money in the taverns with his wife, whom he depicted as a prostitute. In fact, Rembrandt often featured himself in his Bible paintings. In The Raising of the Cross, he even kept himself in his modern clothes to emphasize his personal involvement in the crucifixion. He believed the personalities in the Bible were like those of his Amsterdam acquaintances, so he painted these characters as he would his friends, with “the greatest and most natural emotion.”

Then, on top of sorrow and a growing debt, came scandal. Rembrandt’s servant, Hendrickje Stoffels, was summoned to appear before the Reformed church council. The official transcripts record that there, visibly pregnant, she “confesses to fornication with Rembrandt the painter, is gravely punished for it, admonished to penitence, and excluded from the Lord’s Supper.” Rembrandt himself was not censured, but his commissions, for which he could still command a good price, had dwindled in number.

In 1656 Rembrandt was forced to file for bankruptcy. He lost his house, his art collection, and soon after, his pride. He was forbidden from selling his own works and had to work for a firm set up by his servant Hendrickje and his son Titus. In 1663 Hendrickje died, and in 1668 Rembrandt’s son Titus died.
The following year, Rembrandt died, leaving behind only one daughter, 650 paintings, 280 etchings, and 1,400 drawings. Among his last works is his one of his most famous, The Return of the Prodigal Son, which depicts the opulent and sinful sinner returning home to the presence of his father.

Mark Galli and Ted Olsen, “Introduction,” 131 Christians Everyone Should Know (Nashville, TN: Broadman & Holman Publishers, 2000), 107–108.



Reproductions of his Paintings incl. edn. by A. Bredius (Utrecht, 1935; Eng. edn., 1937, rev. by H. Gerson, 1969); of his Drawings, ed. O. Benesch (6 vols., London, 1954–7; rev. by E. Benesch, 1973); of his Etchings, ed. L. Münz (2 vols., London, 1952), and K. G. Boon (ibid., 1963). The very extensive lit. incl. general studies by A. M. Hind (Charles Eliot Norton Lectures, 1930–1; London, 1932), J. Rosenberg (2 vols., Cambridge, Mass., 1948; rev. edn., London, 1964), B. Haak (Amsterdam, 1968; Eng. tr., 1969), C. [J.] White (London, 1984), S. Partsch (ibid., 1991), and E. van Wetering (Amsterdam, 1997). K. Clark, Rembrandt and the Italian Renaissance (1966), and other works by this author. C. [J.] White, Rembrandt as Etcher (2 vols., 1969). Id. and K. G. Boon, Rembrandt’s Etchings: An Illustrated Critical Catalogue (2 vols., Amsterdam and New York [1970]). A. Bruyn and others, A Corpus of Rembrandt’s Paintings (The Hague, Boston, and London, 1982 ff. [challenging the attribution of many paintings traditionally ascribed to Rembrandt]); cf. S. Alpers, Rembrandt’s Enterprise: The Studio and the Market (1988).

Depaulis, Julien, ed. Rembrandt (Sirrocco/Confidential Concepts, 2003).

Muhlberger, Richard. What Makes a Rembrandt a Rembrandt? (Viking Juvenile, 2002).

Wheelock, Arthur K., Jr. Rembrandt’s Late Religious Portraits (The University of Chicago Press, 2005).



Joe Garland, Cindy Garland, and Jim Eichenberger, God’s Word on Canvas, Through Artists’ Eyes: An Exploration of Bible-Inspired Art, 6 Studies (Cincinnati, OH: Standard Publishing, 2010), 35–40.

Bockemühl, Michael. Rembrandt. Köln: Taschen, 2000.
Bonafoux, Pascal. Rembrandt: Master of the Portrait. New York: Abrams, 1992.
Dewitt, Lloyd, ed. Rembrandt and the Face of Jesus. Philadelphia: Philadelphia Museum of Art, 2011.
Durham, John I. The Biblical Rembrandt. Macon, GA: Mercer University Press, 2004.
Housden, Roger. How Rembrandt Reveals Your Beautiful, Imperfect Self. New York: Harmony Books, 2005.
Rosenberg, Jakob. Rembrandt: Life and Work. New York: Phaidon, 1964.


Terry Glaspey


Terry Glaspey

I’m really looking forward to discussing my book, “75 Masterpieces Every Christian Should Know,” with the members of Literary Life Book Club. I can’t wait to hear your thoughts and perspectives on some of the art, music, and literature you’ll discover in the book. I’m interested in how it speaks to you in your life and the ways it inspires, challenges, or maybe even annoys you! I’ll try to share some “deleted scenes” stuff I had to leave out and will tell a few stories about what I experienced while doing the writing and research. Hope that many of you can join us as we look at he stories behind some truly wonderful art.

Let’s explore together!


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Terry Glaspey is a writer, an editor, a creative mentor, and someone who finds various forms of art—painting, films, novels, poetry, and music—to be some of the places where he most deeply connects with God.

He has a master’s degree in history from the University of Oregon (Go Ducks!), as well as undergraduate degrees emphasizing counseling and pastoral studies.

He has written over a dozen books, including 75 Masterpieces Every Christian Should Know:  Fascinating Stories Behind Great Art, Music, Literature, and Film, Not a Tame Lion: The Spiritual Legacy of C.S. Lewis, The Prayers of Jane Austen, 25 Keys to Life-Changing Prayer, Bible Basics for Everyone, and others.

Terry enjoys writing and speaking about a variety of topics including creativity and spirituality, the artistic heritage of the Christian faith, the writing of C.S. Lewis, and creative approaches to apologetics.

He serves on the board of directors of the Society to Explore and Record Church History and is listed in Who’s Who in America Terry has been the recipient of a number of awards, including a distinguished alumni award and the Advanced Speakers and Writers Editor of the Year award.

Terry has two daughters and lives in Eugene, Oregon.

Dig Deeper at TerryGlaspey.com


Some of the greatest painters, musicians, architects, writers, filmmakers, and poets have taken their inspiration from their faith and impacted millions of people with their stunning creations. Now readers can discover the stories behind seventy-five of these masterpieces and the artists who created them. From the art of the Roman catacombs to Rembrandt to Makoto Fujimura; from Gregorian Chant to Bach to U2; from John Bunyan and John Donne to Flannery O’Connor and Frederick Buechner; this book unveils the rich and varied artistic heritage left by believers who were masters at their craft.

Terry Glaspey, 75 Masterpieces Every Christian Should Know: The Fascinating Stories behind Great Works of Art, Literature, Music, and Film (Grand Rapids, MI: Baker, 2015).

Order it HERE today.

The Return of the Prodigal Son by Rembrandt, Hermitage Museum, St. Petersburg