We have just spent a few days in Amsterdam doing some of the things I've wanted to do for years. So I spent a long time in the Van Gogh Museum, looking at some of his most famous work. It's a busy place. Even if you book online and miss the long entrance queue, there are still long queues, guided tours, people with audio guides enwrapt in the context and detail, and most folk jostling for a good view of the celebrity paintings. It would have been easy to become grumpy at the sheer struggle to look, see, gaze, admire, appreciate these masterpieces. And I often find those in front of me are bigger than I am which means a total eclipse of the painting if it's one of those really big tourists.And I haven't developed that brass knecked assertiveness that proceeds through an art gallery oblivious of courtesy, - an art gallery seems an inappropriate place to text out the survival of the fittest.
But standing amongst such riches of aching beauty, soul piercing eagerness to articulate deepest pain and deepest joy, and the anguish of someone who was unheard, misunderstood, and at times ridiculed by those who thought his art was merely madness, the least of my concerns was the bustling art lovers. Enough to be amongst those who have found there way here, to stand in front of this man's soul shaped and passionately coloured art, and to feel the depths of my own humanity, my own needs, and yes my own anxieties and joys. Some of these paintings expose our most cherished hopes, and our most self-diminishing fears, while also drawing us to see in the angst and exuberance of the artist, the two poles of human longing.
All that said, how can you look at the painting of his bedroom and not feel a deep love for the man who saw like that, and thought to paint a place so constrained and ordinary, with such extraordinary freedom and emotional investment. The story of Van Gogh and his brother Theo is one of remarkable courage, vision, tragic struggle against illness, faithful friendship between brothers, grabbing life with both hands yet unable to hold firmly to all that is life affirming and humanly fulfilling.
Some have tried to write about the spirituality of Van Gogh, or have used his paintings as devotional sounding boards. I don't doubt there are profound symbols and hints obvious and obscure in his work that encourages spiritual reflection. Indeed several of the overtly religious paintings do their own kind of aesthetic homiletic. But sometimes the message isn't in the painting; the painting reaches beyond articulated understanding and wounds us where comprehension is unnecessary, and recognition of who we are and why we are is sensed in that place deeper than reason and more permanent than passion.
I took a photo and removed the picture frame - better than some of the prints on sale, but the power is in the original.
FF Bruce and the Epistle to the Hebrews - A Test Case for Evangelical Critical Scholarship Half a Century Ago.
There are several reasons why Bruce was an ideal commentator on Hebrews for a commentary series launching into the market unsure of its credibility beyond evangelicalism. Bruce was a member of the Christian Brethren, a moderately conservative evangelical (how he tired of these carefully worded theological categories), and there are few traditions more theologically sympathetic to the rich symbolism and typology and the book of Hebrews. He was also a first rate historian, an erudite and meticulous scholar, and with an intellect weighted with both intelligence and integrity.
His commentary was commissioned in 1954, published in 1963 and revised in 1990, the year of his death. From the start Bruce on Hebrews was recognised as a lucid, historically thoughtful and theologically sensitive commentary which has enabled generations of readers to make sense of a book that is enigmatic, mysterious and for some downright perplexing in places. Melchizedek was as puzzling to readers in the 1960's as any complex theory of Derridean postmodern hermeneutics!
So it's interesting that Bruce's volume will remain in print as a stand alone treatment of Hebrews. Much of his exposition is not significantly qualified by more recent scholarship and it remains a responsible and spiritually rewarding companion. Old fashioned it may be, but fashions of hermeneutic theory and practice are not the only criteria for exegesis that is faithful to the text because arising from within the faith tradition of the documents that are that same faith's foundation charters. Anyway, Bruce's commentary has no use by date, and in my view no expiry date.
I mention the replacement of a commentary for two reasons. First I own two copies of this commentary. It was one of the first commentaries I bought as a student minister and I read it through. my second copy was a gift from the library of the late Dr Eleanor Walker who died over a decade ago, before she could complete her studies for the Church of Scotland ministry.
Second, I have all the commentaries mentioned above, and I still go back to this veteran commentary by a veteran scholar who changed the opinion of the academy about the seriousness, creativity and integrity of evangelical critical scholarship. Bruce almost singlehandedly demonstrated the possibility that those three words could sit together without threatening oxymoron.
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