Counting the Omer is keeping the commandment to count 50 days (seven Sabbaths plus one day) between the offering of the first fruits of the barley harvest (often called First Fruits) until the feast of Shavuot (Pentecost) (Leviticus 23:15-21). This year The Barking Fox is counting the omer with modern pictures of places named in the Bible.
© Albert J. McCarn and The Barking Fox Blog, 2018. Permission to use and/or duplicate original material on The Barking Fox Blog is granted, provided that full and clear credit is given to Albert J. McCarn and The Barking Fox Blog with appropriate and specific direction to the original content.
Followers of The Barking Fox may have noticed the frequent appearance of illustrations by the French artist Jacques Joseph Tissot (1836-1902), better known in English as James Tissot. His works quickly came to my attention from the beginning of this blog as I began to look for pictures to enhance the impact of each post. Several qualities make Tissot’s work ideal for this purpose: a large selection of material (several hundred paintings on biblical themes); accurate depictions of the subject matter which reflect Tissot’s extensive research and personal experience in the Holy Land; the artist’s ability to capture the genuine humanness of his ancient subjects; and, perhaps most important for a blog, the fact that most of his work is in the public domain.
As a suitable close to an eventful year of blogging, it is my pleasure to share an article about the life of James Tissot written by Erik Ross, an American-born Catholic priest who teaches at a Dominican school of theology in Krakow, Poland. The article contrasts Tissot’s Catholic faith with his painstakingly accurate depiction of Jesus (Yeshua) as the first-century Jew. Oddly enough it appeared in The Times of Israel, a Jewish Israeli publication. Here it is reproduced in a Hebrew Roots blog for the enjoyment and edification of everyone.
Originally published in The Times of Israel, December 28, 2015
He was born in 1836 in Nantes to a rich cloth merchant and his wife. Jacques (“James”) Tissot had Catholic parents and was a good Catholic boy. He became a good painter and not such a good boy.
Yet, though he took his time, Tissot finally handed over his brushes to God. And in the latter years of his life, Tissot showed the mysteries of Christianity in a way no one has duplicated since.
Acting on an instinct that is second nature to Catholics — and perhaps anathema to Jews — he tried to paint the face of God.
The young Tissot wanted to live by art, but the real money was in vanity. There was no Paris Hilton in 1860s Paris, but there were plenty of goldflake beauties. Tissot painted their selfies.
© Albert J. McCarn and The Barking Fox Blog, 2013-2016. Permission to use and/or duplicate original material on The Barking Fox Blog is granted, provided that full and clear credit is given to Albert J. McCarn and The Barking Fox Blog with appropriate and specific direction to the original content.
At the distance of two hundred years the specter of Napoleon Bonaparte is no longer frightening. Now he is nothing more than a historical figure often depicted as a comic caricature of the man who once ruled most of Europe. In his lifetime he inspired admiration to the point of worship not only for his genius at the art of war, but for his genius at bringing responsible government out of the chaotic revolution of France. Yet his ambition pushed him beyond the limits of himself and of France, and in time he lost everything.
We have a picture passed on through the years of a bitter Napoleon who blames everyone but himself for his setbacks. That is the picture C.S. Lewis invokes in his description of Napoleon in hell in his classic work, The Great Divorce. A similar picture appears in Waterloo, the 1970 movie about Napoleon’s final battle starring Rod Steiger as the Emperor. In the midst of the battle, illness overcomes Napoleon and compels him to leave the field briefly. During that time Marshal Michel Ney (played by Dan O’Herlihy), Napoleon’s trusted subordinate, orders the French cavalry to attack when he believes the enemy is retreating. What he does not realize is that the Duke of Wellington (played by Christopher Plummer) has ordered his infantry to shift their position to the other side of the hill they occupied. As the French cavalry charge, the British infantry form squares, a tactic designed for defense against cavalry. In charge after charge, the French horsemen expend their lives to little effect, eventually crippling that arm of Napoleon’s force and contributing significantly to his ultimate defeat. In the movie, Napoleon returns to the field just as Ney is leading the charge. In rage and dismay he says,
What’s he doing? What’s Ney doing? What’s happening? Can’t I leave the field for a minute? What’s he doing there? How can a man go forward with the cavalry without infantry support? What’s the matter with you?
To the military mind this outburst is perfectly understandable. Napoleon the general trained his men well and expected them to act not only with initiative, but also according to his commands and within the parameters of good order and discipline. It is no surprise that he became angry at learning that a trusted and experienced subordinate acted impetuously, violating a cardinal principle of war and endangering the entire army. It is the same reason our God becomes very angry when His people disregard the good order, discipline, and sound judgment He expects of them.