Art Gallery

Lorenzo Monaco (Piero di Giovanni)

Italian, ca. 1370–1425

The Nativity Florence(?), Italy, ca. 1406–10 Tempera on wood, gold ground 8.75 × 12.25 in. (22.22 x 31.12 cm)

“Lorenzo Monaco, the leading painter in Florence in the early fifteenth century, was active as a painter of illuminated manuscripts, frescoes and panel paintings. A major proponent of the International Gothic style, his style is characterized by luminous color and graceful, rhythmic, flowing lines. In this exquisite depiction of the Nativity, the compositional elements are brilliantly adapted to the quatrefoil field, and the rich and subtle color harmonies reflect the artist's skill as a manuscript painter. Particularly striking is the nocturnal setting, which is suffused by the supernatural light emanating from the Christ Child and the angel. This panel formed part of a predella, which also included a Visitation, an Adoration of the Magi, and a Flight into Egypt believed to have come from an altarpiece of the Annunciation by Lorenzo Monaco (Galleria dell'Accademia, Florence).” – Description from The Met

This is a reproduction of the original Digital print on paper Reproduction: 24" × 16.02" (61 × 40.7 cm) Robert Lehman Collection, 1975 Public Domain On view at The Met Fifth Avenue in Gallery 952

Madonna and Infant Jesus

Mughal India, ca. 1620–1630 CE

Opaque watercolor and gold on paper 4.41" × 6.54" (11.2 × 16.6 cm)

“This painting is one of the highly Indianized versions of a European print of “The Holy Family with St. Anne and the two angels” by Aegidius Sadeler, a print of which must have come to India during the reign of Jahangir. Though the theme is European, the setting is partially Mughal. The wall decoration and the front railing indicate the typical Mughal chamber while St. Joseph, trying to push aside a huge drape to allow sufficient light for St. Anne to behold the divine Child is true to the prototype. The heavily brocaded costume of Mary and a tilaka mark on her forehead cannot be missed as strikingly Indian elements. It is quite a challenge for the artist to introduce the figure of an angel in the small space behind the mother and the Child. Considerable charm is added to the painting by rendering it in the Nim qalam, using only white contrasting with gold.” – The Museum Mumbai/Chhatrapati Shivaji Maharaj Vastu Sangrahalaya

This is a reproduction of the original Digital print on paper Reproduction: 26" × 22.05" (66 × 56 cm) Trustees, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai Public Domain

The Nativity

Burgundy, France, ca. 1440

Pot-metal, white glass, vitreous paint, silver stain 25" × 23 1/8" × 3/8" (63.5 × 58.7 × 0.95 cm)

“These scenes, together with a representation of the Adoration of the Magi, were once part of a series paired with earlier scenes from the Life of the Virgin. The attribution of these panels to Burgundy is based on their style and iconography, which reveal the influence of Netherlandish panel painting, particularly the work of Robert Campin.” – Description from The Met

This is a reproduction of the original Digital print on paper Reproduction: 18" × 19.19" (45.7 × 48.7 cm) Bequest of George D. Pratt, 1935 Public Domain On view at The Met Fifth Avenue in Gallery 306

Sawai Chinnawong

Thai, b. 1960

Thai Nativity 2003 Acrylic on canvas 33" × 38" (83.8 × 96.5 cm)

When Sawai Chinnawong, 63, first committed his life to Christ in college in 1983, the artist tried painting Bible stories using the style of art found covering the walls of Thai Buddhist temples and palaces. Thai art typically depicts scenes from the life of Buddha or the Thai version of the Hindu epic Ramayana. At times gilded with gold, the colorful figures are painted with curved lines in two dimensions without perspective. The size of the person and the use of empty space dictate what is important in the frame. Since then, Chinnawong’s body of Thai Christian art has grown and spread. He has showcased his work at art exhibits in Thailand, the United States, and around the world. He designed Payap University’s chapel, including three floor-to-ceiling stained-glass windows. He illustrated a book telling the story of Jesus in the traditional northern Thai style of art. And he’s blazed a trail for Thai Christian artists, demonstrating that they don’t have to abandon their culture in pursuit of artistic expression of their faith. “My belief is that Jesus did not choose just one people to hear his Word, but chose to make his home in every human heart,” Chinnawong wrote in the description for a 2003 painting depicting the Garden of Eden. “And just as his Word may be spoken in every language, so the visual message can be shared in the beauty of the many styles of artistry around the world.”- Christianity today

This is a reproduction of the original Digital print on paper Reproduction: 21" × 17.83" (53.3 × 45.3 cm) © Sawai Chinnawong Collection of the Overseas Ministries Study Center

Marcia Carole

American, 1953 – 2018

Peruvian Nacimiento (God with us) 2015 Watercolor, pen and ink on 300 lb. watercolor paper

I am completing a nativity scene in response to my time in Peru. I love all the vivid colors there. No one is afraid of deep blue, bright orange or a green that pops with life. – Marcia Caroles words from her website. Thecreativecall.net Marcia Carole continued to work on art during her time battling cancer. This was one of the many art pieces she completed during this time. Throughout her battle she continued to worship the Lord through her art. Her family is excited to have her work on display for our congregation to see.

This is a reproduction of the original Digital print on paper Reproduction: 23" × 17.96" (58.4 × 45.6 cm) Reproduction with permission from the artist’s estate via thecreativecall.net

Roundel with the Nativity

Louvain(?), South Netherlands, ca.1510-20

Colorless glass, vitreous paint and silver stain 8 3/8" (21.3 cm)

This small circular panel, known as a roundel, depicts the Nativity in a style characteristic of the South Netherlandish workshops active in the early 16th century. Roundels were often installed in domestic or ecclesiastical windows as objects of devotion. In this roundel Mary and Joseph kneel in adoration before the Christ Child. This depiction shows a simple stable as the place of Jesus’ birth. Reminding the viewer of the humble way in which our Savior took on a human body to save us.

This is a reproduction of the original Digital print on paper Reproduction: 15" × 14.79" (38.1 × 37.6 cm) The Cloisters Collection, 1977 Public Domain On view at The Met Cloisters in Gallery 10

Konrad von Soest

German, ca. 1370 - 1422

Nativity (left panel of Niederwildungen Altarpiece) 1403 Tempera on wood 28.7" × 22" (73 × 56 cm)

In this tender family portrayal, father Joseph prepares food for the new mother and child. Symbolically, Joseph's meal preparation is a breaking of the fast of the vigil, the watching and waiting for the baby Jesus to be born. This tradition of understanding Christmas Eve as a time of vigil was popular in areas of Germany and northern Europe. Christians gathered in their homes and then waited for the first star of the evening to appear. When the dark sky yielded its bright star, heralding the advent of the Christ Child, preparation for the feast began. The artist of this touching work is Konrad von Soest, a financially and socially successful German artist active in at the turn of the 15th century. Active in the religious networks of the Marienkirche (devotion to Mary) and the Nikolaikirche, he trained in Dortmund and Paris. The painting of Joseph tenderly preparing food for the family is from the Niederwildungen Altarpiece. It depicts Christ's life in panels flanking a central Crucifixion. from Medieval Germany: an Encyclopedia, by John M. Jeep, 2001. Routledge Encyclopedias of the Middle Ages.

This is a reproduction of the original Digital print on paper Reproduction: 18" × 23.94" (45.7 × 60.8 cm) Stadtkirche (City Church) of St. Nikolaus in Bad Wildungen, Germany Public Domain

Sadao Watanabe 渡辺禎雄

Japanese, 1913-1996

Nativity 'Christmas' 降誕 「クリスマス」 1964 Hand colored stencil print on momigami 26" × 23" (67 × 59 cm)

Sadao Watanabe was a devout Christian with skill in traditional Japanese art. Momigami, kneaded mulberry paper, is a traditional Japanese technic for softening paper by crumpling it repeatedly. The paper your become soft like fabric and change the textural appearance. Using this technic along with a traditional Japanese folk – art style, Sadao depicted many Christian stories. The nativity displayed here is one of many nativity scenes Sadao created. His son, Tatsuo Watanabe hopes many people will see and be impacted by his father’s work on display here.

This is a reproduction of the original Digital print on paper Reproduction: 14" × 16.54" (35.6 × 42 cm) Reproduction with permission from the artist’s estate, Tatsuo Watanabe, son of the artist

Joseph Mulamba-Mandangi

Congolese, 1964

Nativity 1997 Peinture grattée (scraped painting) 27.6" × 23.6" (70 × 60 cm)

Joseph Mulamba-Mandangi depicts the Nativity scene with unmistakable Congolese visual idioms. The garments and setting for the figures in the nativity would evoke a sense of cultural resonance for Congolese people. The scraped painting is not traditional Congolese style which makes this painting stand out in comparison to other Congolese paintings.

This is a reproduction of the original Digital print on paper Reproduction: 18" × 21.48" (45.7 × 54.6 cm) © Missio Aachen

Unbo Kim Ki Chang 운보 김기창

Korean, 1914-2001

The Birth of Jesus Christ 1952-53 Ink and color on paper

Kim Ki-chang represents the Nativity scene through a distinct Korean perspective. Mary and Joseph are clothed in traditional hanbok. The composition of the painting and placing the Holy Family within the aesthetics of Korean brush painting. Created during the Korean War, this work is part of the artist’s celebrated Gospel series, which sought to express the story of Christ in a way that resonated with Korean cultural identity. The gentle brushwork and muted palette evoke humility and tenderness, inviting contemplation through both faith and heritage.

This is a reproduction of the original Digital print on paper Reproduction: 26" × 22.05" (66 × 56 cm) ©(재)운보문화재단 (Unbo Cultural Foundation)

Bartolomé Estebán Murillo

Spanish, c. 1618–1682

The Nativity Spain, c. 1665–1670 Oil on obsidian 15" × 13 7/16" × 1 1/4" (38.1 × 34.1 × 3.2 cm)

Bartolomé Esteban Murillo, one of the greatest 17th-century Spanish painters, executed The Nativity on obsidian, a lustrous volcanic black glass. Scholarship suggests that the obsidian was originally created by an Aztec craftsman for use as a "smoking mirror," a ceremonial tool for spiritual communication and divination. Murillo used the Pre-Columbian object as a painting surface, cleverly taking advantage of the vertical inclusions in the glass to suggest heavenly rays shining down on the Holy Family. – The Museum of Fine Arts, Houston

This is a reproduction of the original Digital print on paper Reproduction: 24" × 26.42" (61 × 67.1 cm) The Rienzi Collection, gift of Mr. and Mrs. Harris Masterson III Public Domain On view at The Museum of Fine Arts, Houston, Mexican Room

Azaria Mbatha

South African, 1941–2018

Nativity 1964 Linocut 13.2" × 22.6" (33.5 × 57.5 cm)

South African artist Azaria Mbatha (1941–2018) reimagines the Nativity through an African lens in this linocut. Depicting the Holy Family amidst indigenous wildlife, including a Nguni bull, bushpigs, and an antelope calf, Mbatha infuses the biblical scene with local cultural elements. The intricate patterns and rhythmic composition reflect his training at the Lutheran Art and Craft Centre in Rorke’s Drift and his studies in Sweden. Linocut, a printmaking technique in which the artist carves their design into a sheet of linoleum, became especially popular among South African artists in the mid-20th century. Its bold contrasts, textured patterns, and reproducibility made it ideal for depicting African narratives and integrating local motifs, giving Christian stories like the Nativity a distinct African visual identity.

This is a reproduction of the original Digital print on paper Reproduction: 23" × 13.39" (58.4 × 34 cm) © 2025 Artists Rights Society (ARS), New York

Father John B. Giuliani

1932-2021

Guatemalan Nativity c. 1990s painting

Father John B. Giuliani (1932–2021), a Benedictine monk, reimagines the Nativity through a Central American lens in this Nativity scene. This work is part of his Guatemalan Marian Cycle, which includes depictions of the Annunciation, Visitation, Nativity, and Adoration. Giuliani's painting reflects his deep respect for indigenous cultures and his commitment to portraying sacred narratives within diverse cultural contexts.

This is a reproduction of the original Digital print on paper Reproduction: 24" × 13.05" (61 × 33.1 cm) Reproduction with permission from the artist’s estate via www.jbgicon.com

I Wayan Turun

Indonesian, 1935–1986

In Bethlehem 1958 Acrylic on canvas 18.1" × 25.2" (46 × 64 cm)

This is a reproduction of the original Digital print on paper Reproduction: 20" × 11.25" (50.8 × 28.6 cm) © Stichting Zendingserfgoed Collection of Stichting Zendingserfgoed (Missionary Heritage Foundation), Zuidland, Netherlands

Chen Yuandu 陳緣督

known as Lucas Chen 陳路加

The Nativity Date unknown (Digitized in 2017) Color Reproduction of original painting

This is a reproduction of the original Digital print on paper Reproduction: 18" × 30.42" (45.7 × 77.3 cm) Société des Auxiliaires des Missions (SAM) China Photograph Collection, Whitworth University Library, Spokane.

Hanna Cheriyan Varghese

Malaysian, 1938-2009

God is with Us Malaysia, 2006 Acrylic on canvas 16" × 20" (40.6 × 50.8 cm)

This is a reproduction of the original Digital print on paper Reproduction: 22" × 17.68" (55.9 × 44.9 cm) Reproduction with permission from the artist’s estate via www.hanna-artwork.com