Drawn to the Light: Poems on Rembrant's Religious Paintings

by Marilyn Chandler McEntyre

Drawn to the Light offers a fresh way of viewing this selection of Rembrandt's familiar masterpieces as well as the religious characters and events that inspired them. The book features eighteen of... This description may be from another edition of this product.

• Format: Hardcover
• Language: English
• ISBN: 0802812821
• ISBN13: 9780802812827
• Release Date: May 2006
• Publisher: William B. Eerdmans Publishing Company
• Length: 69 Pages
• Weight: 0.50 lbs.
• Dimensions: 0.5" x 6.6" x 7.7"

Customer Reviews

*A transforming encounter with the Word interpreted by Art*

"Drawn to the Light" is the perfect book with which to celebrate the 400th anniversary of Rembrandt's birth. The meditative poems of Marilyn Chandler McEntyre will convince you that no full-blown biography is needed to appreciate the strengths of this artist. Your celebration should involve the opening of heart, mind and soul to Rembrandt's gift of shedding light - illuminating those aches we hold in common - the Joys, also. Many will have absorbed vague prejudices, that Rembrandt was profligate. Yes, he did suffer his wife Saskia's death in 1642, and a traumatic bankruptcy in the mid-1650s. He was not known to be an active church-goer but his spirituality is revealed through his art. It is evident in his paintings from Biblical themes that his knowledge of these stories was not shallow. Poet McEntyre must have experienced many different emotions as she studied the paintings, and wrote about Rembrandt's interpretations. Readers, too, doubtless have many varied reactions while studying these paintings, shown here in excellent reproduction. In reverie I feel as though I've 'audited' three courses : in religion, painting & writing, and there has been revealed a new understanding of Rembrandt's ingenious use of brush & palette. Augmented by one's favored translation from the New Testament, it becomes an unforgettable encounter. It isn't widely known that the famous "Return of the Prodigal" was left on Rembrandt's easel at his death and later completed by a pupil. The poignancy and power of this story in poetry and painting, foretelling a future of living with consequences - does make us more aware of the universality of an aching need for forgiveness. The painting is a threefold revelation with meditation, and the study of Henri Nouwen's "Return of the Prodigal Son"(isbn # 0385473079) and McEntyre's poem. The world could be transformed by such study, believes this reviewer.

contemplative poetry on art

This book is a treat. As one explores Rembrandt and delights in McEntyre's poetic responses, a relationship of exploration and response is created. And through this process we, the readers, are encouraged to first pause with DRAWN TO THE LIGHT and then find our own poems and our own subjects worthy of exploring-a lovely invitation well worth taking.

Great book for personal meditation and communal religious retreats

I loved this book. The poems, like the art work, are beautiful and provocative. And true. I spent a peaceful, prayerful afternoon with it, but am looking forward to working with it at a women's conference and at another meeting where members enjoy experiencing art in various contexts. It would also be a great gift idea for homebound people, for it is both broadening but not intimidating. Experience it for yourself.

Something divine

Marilyn Chandler McEntyre, professor of English, is an accomplished poet, with grace and sensitivity that crosses artistic media and achieves great expression in volumes such as 'Drawn By the Light: Poems on Rembrandt's Religious Paintings.' The layout and print quality of this text is remarkable. The colours leap from the page, even given the relatively muted tones and darker tones Rembrandt often used in his sacred topics. Some of the paintings in this small text are the most famous of Rembrandt's; besides his self-portrait on the cover, the book includes the following:Two Scholars Disputing; Woman Bathing in a Stream; The Sacrifice of Isaac; Jacob Wrestling with the Angel; Jacob Blessing the Children of Joseph; Moses Smashing the Tablets; Hannah and Samuel; The Reconciliation of David and Absalom; Simeon with the Christ Child; The Head of Christ; Christ and the Woman of Samaria; The Return of the Prodigal Son; The Apostle Peter Denying Christ; Christ on the Cross; Christ at Emmaus; Self-Portrait as the Apostle PaulRembrandt had an art for taking the ordinary and making it extraordinary; he also brought the biblical stories into his own time period, in architecture, decoration, style of dress. McEntyre similarly brings the biblical stories and paintings into relief in words that are both timeless and current for the present. One cannot tell if the paintings adorn the poems or the poems adorn the paintings. The details brought out of the paintings, both in McEntyre's words and the highlighted sections of paintings assist in setting a mood of reflection that includes both the big picture and the details.McEntyre's poetry sometimes seeks the thoughts and emotions of Rembrandt. Other times, the poetry seeks to elaborate upon and seek the meaning brought out in the paintings themselves. Her words invite emotional reflection, spiritual growth, theological inquiry, and a search into the mysteries of life, particularly life with God. God is in the shadows of the paintings; God is in the deep-etched faces of the people; God is in the verse. God is also in the questions. Perhaps the most powerful piece here, and one of the most famous painting accompanying, is the Sacrifice of Isaac. McEntyre's verse speaks of the questions: 'What kind of God would require such appalling fidelity?' Of course, Abraham was faithful, but not without cost, as McEntrye continues that 'some madness will always haunt him', and Sarah his wife will always mistrust him, her eyes darkened with suspicion.Further in the text, McEntyre explores another famous painting, the Return of the Prodigal Son. Here she speculates on the painter's gaze, as well as the human condition -- so little in life is private, and even reconciliation comes with a great cost. The prodigal son receives forgiveness, but the painting, like the gospel parable, is just a snapshot. The prodigal now returned will continue to bear his brother's enmity and be in his father's debt. McEntyre compares