View allAll Photos Tagged Repent
"
Quando esqueço a hora de dormir
E de repente chega o amanhecer
Sinto a culpa que eu não sei de que
Pergunto o que que eu fiz?
Meu coração não diz e eu...
Eu sinto medo!
Eu sinto medo!
Se eu vejo um papel qualquer no chão
Tremo, corro e apanho pra esconder
Com medo de ter sido uma anotação que eu fiz
Que não se possa ler
E eu gosto de escrever, mas...
Mas eu sinto medo!
Eu sinto medo!
Tinha tanto medo de sair da cama à noite pro banheiro
Medo de saber que não estava ali sozinho porque sempre...
Sempre... sempre...
Eu estava com Deus!
Eu estava com Deus!
Eu estava com Deus!
Eu tava sempre com Deus!
Minha mãe me disse há tempo atrás
Onde você for Deus vai atrás
Deus vê sempre tudo que cê faz
Mas eu não via Deus
Achava assombração, mas...
Mas eu tinha medo!
Eu tinha medo!
Vacilava sempre a ficar nu lá no chuveiro, com vergonha
Com vergonha de saber que tinha alguém ali comigo
Vendo fazer tudo que se faz dentro dum banheiro
Vendo fazer tudo que se faz dentro dum banheiro
Para...nóia
Dedico esta canção:
Paranóia!
Com amor e com medo (com amor e com medo)
Com amor e com medo (com amor e com medo)
Com amor e com medo (com amor e com medo)
Com amor e com medo (com amor e com medo)
Com amor e com medo"
Some poor saps trying to save souls at UW-Madison. I don't think they were very effective that day.
Shot with: Leica M4-P and Leica Summicron-C 40mm f/2 lens on expired Kodak Gold film.
De repente, Pancada escuta um barulhinho vindo debaixo da porta e vê um papelzinho dobrado que Chanti passou por baixo. Ele fica muito surpreso e agitado ao mesmo tempo:
- É verdade o que está escrito aqui, Chanti?
Chanti responde baixinho, depois de uma longa pausa, o suficiente para deixa-lo mais aflito:
- É...
Pancada: Não se preocupe, ok? Eu vou conversar com ele e resolver isso ainda hoje! Vai dar tudo certo!
Whatever your past may have been, your future is still spotless.... Repent and aim to do good for the rest of the journey.
Marie Madeleine repentante
Marie Madeleine est représentée, de manière traditionnelle pour l'époque, allongée dans sa grotte (de la Sainte-Baume), l'air farouche, dénudée et méditant, les bras appuyés sur un crâne. L'influence du Caravage est sensible dans les oeuvres de l'école d'Utrecht auquel appartient l'artiste. Le commissaire a placé cette "vanité" dans la partie de son exposition intitulée "Dévoiler l'émotion", car l'intériorité des personnages représentés commence à apparaître dans les toiles du 17è siècle.
Oeuvre de Johannes Moreelse (Utrecht, vers 1603 - vers 1634)
Vers 1630
Huile sur bois
58 x 71,5 cm
Caen, musée des beaux-arts
Notice complète dans le catalogue du musée
mba.caen.fr/oeuvre/marie-madeleine-penitente
Oeuvre présentée dans l'exposition "Le théâtre des émotions", Musée Marmottan Monet, Paris
L’émotion, avec ses « réactions souvent intenses », est systématiquement présente dans les arts visuels, travaillée, traquée, déclinée. Elle incarne même la plus grande partie de leur sens, suggérant la chair, stimulant la curiosité. Toutes les expressions y sont illustrées : de la souffrance à la joie, de l’enthousiasme à la terreur, du plaisir à la douleur... Extrait du site de l'exposition : "Le théâtre des émotions", au musée Marmottan Monet, Paris
“It is quite gratifying to feel guilty if you haven't done anything wrong: how noble! Whereas it is rather hard and certainly depressing to admit guilt and to repent.”
Hannah Arendt
Tudo começou assim, tão de repente, e de um jeito inexplicável você se tornou essencial para a minha vida, para a minha sobrevivência. Foi tanto tempo gasto tentando fazer isso tudo dar certo, parecia até uma eternidade, e esse tempo todo foi a melhor fase da minha vida. Jamais você vai entender o quanto eu te amei, você é simplesmente incapaz de compreender.
Tanto tempo eu esperei por aquele momento, tantas vezes eu já sonhei com isso e tantas vezes eu chorei por isso. Quando finalmente tudo o que eu mais sonhava, aconteceu, em poucas horas já havia acabado. E eu vi, tudo o que eu mais tinha sonhado e esperado, desmoronando. É difícil entender porque tudo acabou assim... tínhamos tudo para dar certo e infelizmente não deu. Eu simplesmente não consigo entender porque isso aconteceu, era tudo tão perfeito ao seu lado e você fazia todos os problemas do mundo parecerem migalhas só com três palavras, simples e singelas, aquelas que muitas pessoas temem... mas não sabem o quão bem fazem para a alma.
Te esquecer? Jamais. A única coisa que me resta agora é seguir em frente, como se nada tivesse importado para mim, da mesma forma que parecia não importar para você. Mas você me deixou marcas, cicatrizes e muita, mas muita tristeza e pra sempre vou carregá-las comigo... já que são as únicas coisas que você teve coragem de deixar para mim. Mas a saudade que eu sinto é algo bom, já que é uma das únicas coisas que me fazem acreditar que por um momento, só por um momento... que o que tínhamos foi real.
Foi de repente que a estação mudou. A seca insistente perdurou até há poucos dias; a desolação, o abatimento...
Uma chuvada e os olhos sedentos de imagens já olham para as cores molhadas, cheios de espanto como se fosse a primeira vez.
E a vida pulula, percebida pela vibração cromática ao redor, pelos voos surpreendidos onde se olha, os pios variados que se mesclam em sinfonias. Quase dá para sentir o crescer das folhas novas e das inflorescências das bromélias nas pedreiras bem acima de nós. Como se a natureza estivesse se exibindo e pedindo para ser vista.
O dia foi de árvores e aves nos arredores de Torreões. Talvez a câmera tenha se cansado, depois de 350 fotos.
Eu quero mais.
Sorri. De repente beijei-o, excitado pelo seu calor, pela sensação de maciez e flexibilidade de sua pele quase humana. Deus, como eu odiava a brancura de meus dedos tocando-o, dedos que agora poderiam esmagá-lo sem esforço! Perguntei-me se ele sequer imaginava isso. Encarei-o idiotamente. Como ele me parecia perfeito, parado ali, esperando com tanta delicadeza e tanta paciência! E então, como um tolo, soltei:
Lestat: Você ainda me ama?
Ele sorriu; ah, era torturante ver seu rosto suavizar-se e ao mesmo tempo iluminar-se quando ele sorria!
Louis: Sim.
"We will have to repent in this generation not merely for the hateful words and actions of the bad people but for the appalling silence of the good people."
"He who passively accepts evil is as much involved in it as he who helps to perpetrate it. He who accepts evil without protesting against it is really cooperating with it."
Martin Luther King, the author of the words quoted above, was as a thirty five year old in 1964, the youngest person in history to receive the Nobel Peace Prize. A year earlier, he had made his famous ‘I Have a Dream’ speech in Washington DC which has now been shown as truly prophetic. Four years later, he was assassinated. A man was convicted for this but it was widely believed that it was part of a conspiracy in which the FBI was also involved. Throughout his involvement with the civil rights movement, King had been receiving death threats, some of it allegedly emanating from the FBI itself. He had been a strident opponent of the Vietnam War and criticized the US Congress for the continuing to spend billions in the conduct of the war. "A nation", he declared, "that continues year after year to spend more money on military defence than on programmes of social uplift is approaching spiritual death". For this King was riled not only by the establishment but even by the mainstream media. The Life magazine called the speech "demagogic slander that sounded like a script for Radio Hanoi" and even the liberal Washington Post wrote that King had "diminished his usefulness to his cause, his country, his people." Later events however proved right the wisdom of King.
Take from:
JUST DO IT TRAILER
Cheguei hoje, de repente, a uma sensação absurda e justa. Reparei, num relâmpago íntimo, que não sou
ninguém. Ninguém, absolutamente ninguém.
Quando brilhou o relâmpago, aquilo onde supus uma cidade era um plaino deserto; e a luz sinistra que
me mostrou a mim não revelou céu acima dele. Roubaram-me o poder ser antes que o mundo fosse.
"Come, Come who or whatever you are
Should you be an unbeliever, a Magian or a pagan still come
Our lodge is not a lodge of despair
With hundred repentions unheeded you may be,still, come"
For Muslims and non-Muslims alike, the main reason to come to Konya is to visit the Mevlâna Museum, the former lodge of the whirling dervishes and home to the tomb of Celaleddin Rumi (later known as Mevlâna), who we have to thank for giving the world the whirling dervishes. This is one of the biggest pilgrimage centres in Turkey, and the building's fluted dome of turquoise tiles is one of Turkey's most distinctive sights.
For Muslims, this is a very holy place, and more than 1.5 million people visit it a year, most of them Turkish. You will see many people praying for Rumi's help. When entering, women should cover their head and no one should wear singlets or shorts.
After walking through a pretty garden you pass through the Dervişan Kapısı (Gate of the Dervishes) and enter a courtyard with an ablutions fountain in the centre.
At the entrance to the mausoleum, the Ottoman silver door bears the inscription, 'Those who enter here incomplete will come out perfect'. Put on the supplied plastic over-shoes before entering. Once inside the mausoleum, look out for the big bronze Nisan tası (April bowl) on the left. April rainwater, vital to the farmers of this region, is still considered sacred and was collected in this 13th-century bowl. The tip of Mevlâna's turban was dipped in the water and offered to those in need of healing. Also on the left are six sarcophagi belonging to Bahaeddin Veled's supporters who followed him from Afghanistan.
Continue through to the part of the room directly under the fluted dome. Here you can see Mevlâna's Tomb (the largest), flanked by that of his son Sultan Veled and those of other eminent dervishes. They are all covered in velvet shrouds heavy with gold embroidery, but those of Mevlâna and Veled bear huge turbans, symbols of spiritual authority; the number of wraps denotes the level of spiritual importance. Bahaeddin Veled's wooden tomb stands on one end, leading devotees to say Mevlâna was so holy that even his father stands to show respect. There are 66 sarcophagi on the platform, not all visible.
Mevlâna's tomb dates from Seljuk times. The mosque and semahane, the hall where whirling ceremonies were held, were added later by Ottoman sultans (Mehmet the Conqueror was a Mevlevi adherent and Süleyman the Magnificent made charitable donations to the order). Selim I, conqueror of Egypt, donated the Mamluk crystal lamps.
The semahane to the left of the sepulchral chamber contains exhibits such as the original copy of the Mathnawi, Mevlâna's cape and other clothing, a 9th-century gazelle-skin Christian manuscript and a copy of the Koran so tiny that its author went blind writing it. In the middle of the room is a display case holding a casket which contains strands of Mohammed's beard. The small mosque in front of the semahane is reserved for prayers but as you exit the building, look to the left of the mihrab for a seccade (prayer carpet) bearing a picture of the Kaaba at Mecca. Made in Iran of silk and wool, it's extremely fine, with some three million knots (144 per square centimetre).
The matbah (kitchen) of the lodge is in the southwest corner of the courtyard. It is decorated as it would have been in Mevlâna's day, with mannequins dressed as dervishes. Look out for the wooden practice board, used by novice dervishes to learn to whirl. The dervish cells (where the dervishes lived) run along the northern and western sides of the courtyard. Inside the cells are a host of ethnographic displays relating to dervish life. In particular, one room contains personal items belonging to Şems of Tabriz including his hat and a manuscript of the Mâkâlât, his most famous work.
The complex can get oppressively busy, and seeing any of the contents of the museum display cases can be a pushing and shoving, head-ducking affair. Come early on a weekday if you want to see all the items in peace. On the other hand, the atmosphere on busy days is almost addictive and more than makes up for not being able to properly examine the museum pieces.
Beside the museum is the Selimiye Camii.
Thank you so much for visiting my stream, whether you comments , favorites or just have a look.
I appreciate it very much, wishing the best of luck and good light.
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De repente bateu uma vontade enorme de usar um Dote ,e dentre todas as opções resolvi usar um dos primeiros da marca que comprei:o Porto de Galinhas,lilás/rosa SUPER clarinho e meigo,mas é aquela coisa depois de um tempo ele acaba perdendo a graça!
E nada melhor do que uma carimbada para animar um pouquinho,durante o processo fui fazendo vários testes para achar algum esmalte que não fosse branco ou preto que funcionasse para carimbar,e ecabei achando o Speciallità Free Rosa Neon que foi usado na Konad M51!
Titian: Mary Magdalene Repenting
"A good rendering of Mary Magdalene was to contain three elements: the aesthetic, in the form of female beauty, the penitential, generally with a stark landscape, and the ecstatic. This painting is praised in the Musaeum for “the artist’s skill in maintaining proper modesty in such nudity”, and indeed the viewer’s eye is immediately attracted by the saint’s face enraptured in ecstasy." (From the Pinacoteca Ambrosiana website.)
The Pinacoteca Ambrosiana is home to the Portrait of a Musician -- the only Leonardo da Vinci panel painting still in Milan -- as well as the world-famous Codex Atlanticus of 1,119 folios of his designs, sketches, and notes. This small art museum near the Duomo in Milan also has paintings and sculptures by many further famous artists including Caravaggio, Titian, Botticelli, Veronese, Bramantino, and Brueghel but is small enough to appreciate in not much more than an hour. A further top attraction is Raphael's Cartoon for the School of Athens fresco.
De repente intentó aprender la Ligereza, maravillosa virtud existencial que consiste en saber vivir el presente con plenitud serena…
Rosa Montero – La ridícula idea de no volver a verte
Se o toque do outro de repente for bom? Bom, a palavra é essa. Se o outro for bom para você. Se te der vontade de viver. Se o cheiro do suor do outro também for bom. Se todos os cheiros do corpo do outro forem bons. O pé, no fim do dia. A boca, de manhã cedo. Bons, normais, comuns. Coisa de gente. Cheiros íntimos, secretos. Ninguém mais saberia deles se não enfiasse o nariz lá dentro, a língua lá dentro, bem dentro, no fundo das carnes, no meio dos cheiros. E se tudo isso que você acha nojento for exatamente o que chamam de amor? Quando você chega no mais íntimo, No tão íntimo, mas tão íntimo que de repente a palavra nojo não tem mais sentido. Você também tem cheiros. As pessoas têm cheiros, é natural. Os animais cheiram uns aos outros. No rabo. O que é que você queria? Rendas brancas imaculadas? Será que amor não começa quando nojo, higiene ou qualquer outra dessas palavrinhas, desculpe, você vai rir, qualquer uma dessas palavrinhas burguesas e cristãs não tiver mais nenhum sentido? Se tudo isso, se tocar no outro, se não só tolerar e aceitar a merda do outro, mas não dar importância a ela ou até gostar, porque de repente você até pode gostar, sem que isso seja necessariamente uma perversão, se tudo isso for o que chamam de amor. Amor no sentido de intimidade, de conhecimento muito, muito fundo. Da pobreza e também da nobreza do corpo do outro. Do teu próprio corpo que é igual, talvez tragicamente igual. O amor só acontece quando uma pessoa aceita que também é bicho. Se amor for a coragem de ser bicho. Se amor for a coragem da própria merda. E depois, um instante mais tarde, isso nem sequer será coragem nenhuma, porque deixou de ter importância. O que vale é ter conhecido o corpo de outra pessoa tão intimamente como você só conhece o seu próprio corpo. Porque então você se ama também.
Please read this. It is important.
Charles Spurgeon:
This chapter speaks to many people who know nothing of peace, for “there is no peace, saith my God, to the wicked” (Isa. 57:21). “The wicked is like the troubled sea, which cannot rest, whose waters cast up mire and dirt.” I do not address this to you with any desire of making a false peace with your souls. Woe to the prophets who say, “Peace, peace, when there is no peace!” (Jer. 6:14). Rather let me, first of all, expose the warring state of your soul that is without peace.
O soul! You are at war with your conscience. You have tried to quiet it, but it will prick you. You have shut up the recorder of the town of Mansoul in a dark place, and you have built a wall before His door. Still, when he has His fits, your conscience will thunder at you and say, “This is not right; this is the path that leads to hell; this is the road to destruction.” Oh! there are some of you to whom conscience is like a ghost, haunting you by day and night. You know the good, though you choose the evil. You prick your fingers with the thorns of conscience when you try to pluck the rose of sin. To you the downward path is not an easy one; it is hedged up and ditched up. There are many bars and gates and chains on this road but you climb over them, determined to ruin your own souls.
Oh, there is war between you and conscience. Conscience says, “Turn,” but you say, “I will not.” Conscience says, “Alter this system of trade, it is cheating.” Conscience says, “Lie not one to another, for the Judge is at the door.” Conscience says, “Away with that drinking cup, it makes the man into something worse than a brute.” Conscience says, “Rip yourself from that unchaste connection, be done with that evil, bolt your door against lust;” but you say, “I will drink the sweet though it damns me. I will go still to my haunts, though I perish in my sins.”
There is war between you and your conscience. Still your conscience is God’s vicegerent in your soul. Let conscience speak a moment or two this morning. Fear him not, he is a good friend to you, and though he speak roughly, the day will come when you will know that there is more music in the very roarings of conscience than in all the sweet and enticing tones that lust adopts to cheat you to your ruin. Let your conscience speak.
But more, there is war between you and God’s law. The Ten Commandments are against you this morning. The first one comes forward and says, “Let him be cursed, for he denies me. He has another God besides me. His God is His belly; he yields homage to His lust.” All the Ten Commandments, like ten great cannons, are pointed at you today, for you have broken all God’s statutes, and lived in the daily neglect of all His commands.
Soul! You will find it a hard thing to go to war with the law. When the law came in peace, Sinai was completely in smoke, and even Moses said, “I do exceedingly fear and quake” (Heb 12:21). What will you do when the law comes in terror, when the trumpet of the archangel shall tear you from your grave, when the eyes of God will burn their way into your guilty soul, when the great books shall be opened, and all your sin and shame shall be published? Can you stand against an angry law in that day? When the officers of the law will come forth to deliver you up to the tormentors, and cast you away forever from peace and happiness, sinner, what will you do? Can you dwell with everlasting fires? Can you abide the eternal burning? Oh,
“agree with your adversary quickly, whiles you are in the way with him: lest at any time the adversary deliver you to the judge, and the judge deliver you to the officer, and you be cast into prison. Verily I say unto you, you shalt by no means come out thence, till you have paid the uttermost farehing.” (Matt. 5:25-26)
But, sinner, do you know that you are this morning at war with God? He that made you and was your best friend you have forgotten and neglected. He has fed you, and you have used your strength against him. He has clothed you, — the clothes you have upon your back today are the garb of His goodness — yet, instead of being the servant of Him whose garments you wear, you are the slave of His greatest enemy. The very breath in your nostrils is the loan of His charity, and yet you use that breath perhaps to curse Him, or at the best, in lewdness or loose conversation, to do dishonor to His laws. He who made you has become your enemy through your sin, and you are still today hating him and despising His Word.
You say, “I do not hate him.” Soul, I charge you then, “believe in the Lord Jesus Christ.” “No,” you say, “I cannot, I will not do that! “Then you hate Him. If you loved him, you would keep His great command. “His commandments are not grievous” (1 John 5:3), they are sweet and easy. You would believe in His Son if you did love the Father, for “everyone that loveth the Father loveth him also that is begotten of him” (1 John 5:1).
Are you at war with God in this way? Surely this is a sorry plight for you to be in. Can you meet Him who comes against you with ten thousand? Can you stand against Him who is Almightly, who makes heaven shake at His reproof, and breaks the crooked serpent with a word? Do you hope to hide from Him? “Can any hide in secret places, that I shall not see him? saith the Lord” (Jer. 23:24). Though you dive into the caverns of the sea, He will there command the crooked serpent, and it will bite you. If you make your bed in hell, He will find you out. If you climb to heaven, He is there. (Ps. 130:8). Creation is your prison house, and He can find you when He will. Or do you think you can endure His fury? Are your ribs of iron? Are your bones brass? If they are so, they will melt like wax before the coming of the Lord God of hosts, for He is mighty, and as a lion will He tear in pieces His prey, and as a fire will He devour His adversary, “for our God is a consuming fire” (Heb. 12:29).
This, then, is the state of every unconverted man and woman. You are at war with conscience, at war with God’s law, and at war with God himself. And, now, then, as God’s ambassadors, we come to talk of peace. I urge you to give heed. “As though God did beseech you by me, I pray you, in Christ’s stead, be you reconciled to God.” (2 Cor. 5:20).
Look and listen. It is Christ speaking to you now. I think I hear Him speak to some of you. This is the way He speaks, “Soul, I love you; I love you from my heart, I would not have you at enmity with my Father.” The tear proves the truth of what He states, while He cries, “How often would I have gathered you, as a hen gathereth her chickens under her wing, but you would not” (Matt. 23:37). “Yet,” He says, “I come to treat with you of peace. Come, now, and let us reason together. (Isa. 1:18). I will make an everlasting covenant with you, even the sure mercies of David. (Isa. 55:3). Sinner,” He says, “you are bidden now to hear God’s note of peace to your soul, for thus it runs — ‘You are guilty and condemned; will you confess this? Are you willing to throw down your weapons now, and say, Almighty God, I yield, I yield, I would no longer be Your foe?’ If so, peace is proclaimed to you. “Let the wicked forsake his way, and the unrighteous man his thoughts, and let him turn unto the Lord, for he will have mercy upon him, and to our God, for He will abundantly pardon.” (V. 7) Pardon is freely presented to every soul who sincerely repents of his sin; but that pardon must come to you through faith.
So Jesus stands here, points to the wounds upon His breast, and spreads His bleeding hands. He says, “Sinner, trust in me and live!” God no longer proclaims to you His fiery law, but His sweet, His simple gospel, which is “believe and live.” “He that believeth on the Son is not condemned, but he that believeth not is condemned already, because he hath not believed in the name of the only begotten Son of God” (John 3:18). “As Moses lifted up the serpent in the wilderness, even so must the Son of Man be lifted up, that whosoever believeth on him should not perish, but have eternal life” (vv. 14-15).
O soul! does the spirit of God move in you this morning? Do you say, “Lord, I would be at peace with you?” Are you willing to take Christ on His own terms in the matter, and give yourself up, body, soul, and spirit, to be saved by Him? Now, if my Master were here visibly, I think He would plead with you in such a way that you would say, “Lord, I believe; I would be at peace with you.” But even Christ Himself never converted a soul apart from the Holy Spirit, and even he as a preacher won not many to him, for they were hard of heart. If the Holy Ghost is present as you are reading this, He may as much bless you when I plead in Christ’s stead as though he pleaded Himself.
Soul! Will you have Christ or not? Young men, young women, you may never hear about this Word again. Will you die at enmity against God? You who are sitting there, still unconverted, you may never see tomorrow. Would you go into eternity “enemies to God by wicked works (Col. 1:21)?” Soul! will you have Christ or not? Say “No,” if you mean it. Say “No, Christ, I never will be saved by You.” Say it. Look the matter in the face. But I pray you do not say, “I will give no answer.” Come, give some answer this very moment — yes, this very moment. Thank God you can give an answer. Thank God that you are not in hell. Thank God that your sentence has not been pronounced — that you have not received what you have deserved. God help you to give the right answer!
Will you have Christ or not? “I am not fit.” There is no question of fitness; it is, will you have Him? “My heart is black.” He will come into your black heart and clean it. “Oh, but I am hard-hearted.” He will come into your hard heart and soften it. Will you have Him? You can have Him if you will. When God makes a soul willing, it is a clear proof that He means to give Christ to that soul, and if you are willing He is not unwilling. If He has made you willing, you may have Him. “Oh,” says one, “I cannot think that I might have Christ.” Soul, you may have Him now. Mary, he calls you! John, he calls you! Sinner, whoever you may be reading this, if there is a holy willingness towards Christ in your soul, or if there is even a faint desire towards Him, He calls you, He calls you! Oh, do not tarry, but come and trust in Him.
Oh, if I had such a gospel as this to preach to lost souls in hell, what an effect it would have upon them! Surely, surely, if they could once more have the Gospel preached in their ears, I think the tears would wet their poor cheeks, and they would say, “Almighty God, if we may but escape from Your wrath, we will lay hold on Christ.” But here it is preached among you, preached every day, until I fear you listen to it as an old, old story. Perhaps it is my poor way of telling it; but God knows, if we knew how to tell it better, we would do so. O my Master, send better ambassadors to people, if that will woo them. Send more earnest pleaders, and more tender hearts, if that will bring them to Yourself! But oh! bring them, bring them! Our hearts long to see them brought.
Sinner, will you have Christ or not? This morning is the time of God’s power to some of your souls, I know. The Holy Spirit is striving with some of you. Lord, win them, conquer them, overcome them! Do you say, “Yes, happy day! I want to be led in triumph, captive to my Lord’s great love?” Soul, it is done, if you believe. Trust Christ, and your many sins are all forgiven you. Cast yourself before His dear cross, and say —
“A guilty, weak, and helpless worm, Into your arms I fall;
Be you my strength and righteousness, My Jesus and my all.”
And if He rejects you, tell of it. If He refuses you, let us hear it. There was never such a case yet. He always has received those who come. He always will. He is an openhanded and an openhearted Savior.
O sinner, may God bring you to put your trust in Him once for all! Spirits above! Tune your harps anew. There is a sinner born to God this morning. Lead the song, O Saul of Tarsus! And follow the sinner with sweetest music, O Mary! Let music roll up before the throne today; for it is there that heirs of glory are born, and prodigals have returned! To God be the glory forever and ever! Amen.
Finished Project
Goal: To promote an upcoming baptism service. We are trying to emphasize the importance of baptism – an initiatory act that visualizes repentance.
Audience: Churchwide.
Direction: Wanted to avoid the more common text-in-a-fish-tank sort of images. Fresh and direct.
Project: Web and digital signage.
Other important info: This is finished up, but I would still appreciate any input. Would it make you want to get baptized?
De repente el aire te asfixia y necesitas diferencias artificiales. El agujero se cierra y como si se tratara de un reloj de arena, cada minuto de tu vida sigue perfectamente la ley de la gravedad de Newton. Sientes que lo unico que puedes hacer es sobrevivir con resignación. Intentar ser feliz con las risas de los demás y repartir tus ultimos granos de arena, antes que caigan en el olvido.
Hendrick Jansz. ter Brugghen, ou Terbrugghen, né en 1588 à La Haye ou Utrecht et mort le 1ᵉʳ novembre 1629 à Utrecht, est un peintre néerlandais du siècle d’or. Il est, avec Gerrit van Honthorst et Dirck Van Baburen, l'un des chefs de file de l’école caravagesque d'Utrecht.
Saint Pierre repentant (1616)
Huile sur Toile
Conservé au Centraal Museum, Utrecht Pays-Bas (Netherlands)
Exposition
Georges de La Tour
"Entre ombre et lumière"
Du 11 septembre 2025 au 22 février 2026
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Website : GALERIE JUGUET
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Website : MÉMOIRE DES PIERRES
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Contexte artistique et historique
Ce tableau est l’une des toutes premières œuvres connues de Ter Brugghen après son retour d’Italie (vers 1614), où il découvre le caravagisme.
Il s’inscrit dans le mouvement des caravagesques d’Utrecht, qui adaptent l’héritage du Caravage au contexte nordique :
clair-obscur dramatique
figures à mi-corps, proches du spectateur
réalisme presque brutal
Mais dès cette œuvre, Ter Brugghen ne copie pas : il développe une sensibilité plus douce, plus intériorisée, caractéristique de son style.
Sujet et iconographie : Pierre après la chute
Le tableau représente saint Pierre après le reniement du Christ (Évangile, notamment Luc 22, 62).
Moment choisi
Ce n’est pas l’acte du reniement
mais le moment du repentir
Pierre :
vient de trahir
prend conscience de sa faute
entre dans une crise spirituelle intense
Attributs iconographiques
Même si la composition varie selon les versions :
les clés → symbole de sa mission apostolique
les mains jointes → prière et contrition
les larmes → signe de repentance
Ce thème est fondamental dans la spiritualité catholique post-tridentine :
il illustre la possibilité du salut par la pénitence.
Analyse psychologique : une intériorité radicale
Ce qui frappe immédiatement chez Ter Brugghen :
Une émotion silencieuse
Contrairement au baroque spectaculaire :
pas de narration complexe
pas de foule
pas de dramatisation excessive
Tout est concentré sur :
le visage
les mains
la lumière
Le visage de Pierre
marqué par l’âge
presque rustique
profondément humain
On est loin d’un apôtre idéalisé :
c’est un homme ordinaire confronté à sa faute.
Les mains
Ter Brugghen accorde une importance capitale aux mains (héritage caravagesque) :
crispées
jointes
expressives
Elles deviennent le véritable lieu du drame intérieur.
Lumière et composition : un caravagisme transformé
Le clair-obscur
lumière dirigée
fond sombre
contraste net
typique du Caravage, mais ici :
moins violent
plus diffus
presque méditatif
Composition
figure isolée
cadrage serré (mi-corps)
absence de profondeur narrative
effet :
le spectateur est placé face à la conscience de Pierre.
Couleur et matière
Ter Brugghen se distingue par :
une palette adoucie et nuancée (rouges, ocres, verts subtils)
une lumière qui fusionne avec la couleur plutôt que de l’opposer brutalement
Cela crée :
une atmosphère plus humaine que théâtrale
une peinture moins tragique que contemplative
Entre Caravage et tradition nordique
Ce tableau est passionnant car il est à la croisée de deux mondes :
Héritage italien
clair-obscur
naturalisme
présence physique du modèle
Tradition nordique
goût pour les visages typés
expressivité intérieure
héritage de Albrecht Dürer ou des primitifs
Résultat :
un style hybride, où le drame devient introspection.
Portée spirituelle
Ce tableau n’est pas seulement narratif :
Il propose une expérience
Le spectateur est invité à :
s’identifier à Pierre
méditer sur la faute et le pardon
Message théologique
la faiblesse humaine est universelle
la rédemption est possible
C’est une image de pénitence intérieure, presque moderne.
Place dans l’œuvre de Ter Brugghen
Daté de 1616, il marque le début de sa carrière documentée
Il montre déjà :
son goût pour les figures isolées
son humanisation des sujets religieux
Plus tard, ses œuvres deviendront :
plus complexes
plus baroques (ex : scènes narratives)
Mais ici :
tout est encore concentré, essentiel, presque austère
Conclusion
Le Saint Pierre repentant de Ter Brugghen est une œuvre clé car :
elle inaugure le caravagisme à Utrecht
elle transforme le drame religieux en expérience intérieure
elle remplace le spectaculaire par la vérité psychologique
C’est une peinture du silence, de la conscience et de la fragilité humaine.
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