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| john rewald the history of impressionism: The History of Impressionism John Rewald, 1973 Text and pictures chronicle the impressionist movement. |
| john rewald the history of impressionism: The History of Impressionism John Rewald, 1946 |
| john rewald the history of impressionism: Studies in Impressionism John Rewald, Irene Gordon, Frances Weitzenhoffer, 1986 Essays discuss the work and family life of Renoir, Degas, and Cezanne, the impressionist style of painting, and the role of Paul Durand-Ruel, an influential art dealer |
| john rewald the history of impressionism: Impressionism Véronique Bouruet Aubertot, 2017-10-10 A comprehensive, accessible, and richly illustrated guide to impressionism—the perennially popular artistic movement that led to the radical renewal of Western art. Monet, Renoir, Degas, Rodin, Cezanne, Van Gogh, and the other Impressionist artists burst onto the art scene in the second half of the nineteenth century, creating shock waves with their rebellious rejection of the academy’s strict rules dictating subject matter, style, and even color. Their art, labeled impressionism, coincided with the Industrial Revolution, when the world was suddenly jettisoned into modernity. The young artists who gave rise to the movement confronted public disdain and oppression in Europe, but were applauded overseas for their radically contemporary aesthetic. This complete and accessible guide renews and refreshes conventional views on impressionism by placing this seminal moment in art in its historical context. Emblematic masterpieces are examined with a focus on each detail, allowing a deeper understanding and appreciation of the artworks. Biographies of all the major artists of the movement provide insight about their life and significant works, and period photographs illustrate this incredibly rich and exciting time in art history. Organized thematically, the guide includes chapters on photography, fashion, female impressionists, exhibitions, galleries and dealers, writers, the movement’s influence on later artists, and recurrent impressionist themes including leisure activities, the garden, the city, and industry. Replete with illustrations and numerous firsthand accounts and quotations, this book recounts a story of emancipation. |
| john rewald the history of impressionism: Origins of Impressionism Gary Tinterow, 2013 |
| john rewald the history of impressionism: Impressionism Reflections and Perceptions Meyer Schapiro, 1997 Presents a revision of the late Columbia University art historian's lectures given at Indiana University in 1961. |
| john rewald the history of impressionism: Cézanne Landscapes John Rewald, Paul Cézanne, 1958 |
| john rewald the history of impressionism: A Companion to Impressionism André Dombrowski, 2028-08-14 The 21st century's first major academic reassessment of Impressionism, providing a new generation of scholars with a comprehensive view of critical conversations Presenting an expansive view of the study of Impressionism, this extraordinary volume breaks new thematic ground while also reconsidering established questions surrounding the definition, chronology, and membership of the Impressionist movement. In 34 original essays from established and emerging scholars, this collection considers a diverse range of developing topics and offers new critical approaches to the interpretation of Impressionist art. Focusing on the 1860s to 1890s, this Companion explores artists who are well-represented in Impressionist studies, including Monet, Renoir, Degas, and Cassatt, as well as Morisot, Caillebotte, Bazille, and other significant yet lesser-known artists. The essays cover a wide variety of methodologies in addressing such topics as Impressionism's global predominance at the turn of the 20th century, the relationship between Impressionism and the emergence of new media, the materials and techniques of the Impressionists, and the movement's exhibition and reception history. Part of the acclaimed Wiley Blackwell Companions to Art History series, this important new addition to scholarship in this field: Reevaluates the origins, chronology, and critical reception of French Impressionism Discusses Impressionism's account of modern identity in the contexts of race, nationality, gender, and sexuality Explores the global reach and influence of Impressionism in Europe, the Middle East, East Asia, North Africa, and the Americas Considers Impressionism's relationship to the emergence of film and photography in the 19th century Considers Impressionism's representation of the private sphere as compared to its depictions of public issues such as empire, finance, and environmental change Addresses the Impressionist market and clientele, period criticism, and exhibition displays from the late 19th century to the middle of the 20th century Features original essays by academics, curators, and conservators from around the world, including those from France, Germany, the United States, the United Kingdom, Japan, Turkey, and Argentina The Wiley Blackwell Companion to Impressionism is an invaluable text for students and academics studying Impressionism and late 19th century European art, Post-Impressionism, modern art, and modern French cultural history. |
| john rewald the history of impressionism: Cézanne and the End of Impressionism Richard Shiff, 2014-12-15 Drawing on a broad foundation in the history of nineteenth-century French art, Richard Shiff offers an innovative interpretation of Cézanne's painting. He shows how Cézanne's style met the emerging criteria of a technique of originality and how it satisfied critics sympathetic to symbolism as well as to impressionism. Expanding his study of the interaction of Cézanne and his critics, Shiff considers the problem of modern art in general. He locates the core of modernism in a dialectic of making (technique) and finding (originality). Ultimately, Shiff provides not only clarifying accounts of impressionism and symbolism but of a modern classicism as well. |
| john rewald the history of impressionism: The New Painting Charles S. Moffett, Richard R. Brettell, 1986 |
| john rewald the history of impressionism: Impressionism Robert L. Herbert, 1988-01-01 Examines the use of cafes, opera houses, dance halls, theaters, racetracks, and the seaside in impressionist French paintings |
| john rewald the history of impressionism: Seurat John Rewald, 1990 A study of the master of pointillism by a highly respected historian of impressionism has been complemented with reproductions of all of the artist's major works, preparatory sketches, and studies. |
| john rewald the history of impressionism: Basic Art Series: Ten in One. Impressionism Taschen, 2020-01-15 A must-have for any art buff, this definitive who's who of Impressionism gathers 10 monographs from the Basic Art series for the price of three. Precise texts and impeccable reproductions guide us through the life and works of Cézanne, Degas, Gauguin, Manet, Monet, Renoir, Rousseau, Seurat, Toulouse-Lautrec, and van Gogh. |
| john rewald the history of impressionism: Cezanne Biography John Rewald, 1986 A new edition of the classic biography of artist Paul Cezanne, the most complete, fully illustrated survey of the artist's life available, containing 118 color and 152 black-and-white illustrations. |
| john rewald the history of impressionism: The Private Lives of the Impressionists Sue Roe, 2006-10-31 Manet, Monet, Pissarro, Cézanne, Renoir, Degas, Sisley, Berthe Morisot and Mary Cassatt. Though they were often ridiculed or ignored by their contemporaries, today astonishing sums are paid for the works of these artists, whose paintings are celebrated for their ability to capture the moment, not only in the fleeting lights of a landscape but in scenes of daily life. Their dazzling pictures are familiar—but how well does the world know the Impressionists as people? The Private Lives of the Impressionists tells their story. It is the first book to offer an intimate and lively biography of the world's most popular group of artists. In a vivid and moving narrative, biographer Sue Roe shows the Impressionists in the studios of Paris, rural lanes of Montmartre and rowdy riverside bars as Paris underwent Baron Haussmann's spectacular transformation. For more than twenty years they lived and worked together as a group, struggling to rebuild their lives after the Franco-Prussian War and supporting one another through shocked public reactions to unfamiliar canvases depicting laundresses, dancers, spring blossoms and boating scenes. This intimate, colorful, superbly researched account takes us into their homes and studios, and describes their unconventional, volatile and precarious lives, as well as the stories behind the paintings. |
| john rewald the history of impressionism: Paul Cézanne John Rewald, 1958 |
| john rewald the history of impressionism: The Annenberg Collection Metropolitan Museum of Art (New York, N.Y.), Colin B. Bailey, 2009 The Walter and Leonore Annenberg Collection of Impressionist and Post-Impressionist paintings, watercolors, and drawings constitutes one of the most remarkable groupings of avant-garde works of art from the mid-19th to the early 20th century ever given to The Metropolitan Museum of Art. A revised and expanded edition of the 1989 publication Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection, this volume presents more than fifty masterworks by such luminaries as Manet, Degas, Morisot, Renoir, Monet, Cezanne, Gauguin, Van Gogh, Picasso, and Matisse, accompanied by elucidating texts and a wealth of comparative illustrations. -- From publisher. |
| john rewald the history of impressionism: Crumbling Idols Hamlin Garland, 2022-10-27 This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. |
| john rewald the history of impressionism: Pioneering Modern Painting Joachim Pissarro, Paul Cézanne, Museum of Modern Art (New York, N.Y.), Los Angeles County Museum of Art, Musée d'Orsay, 2005 Catalog of an exhibition held at the Museum of Modern Art, June 26-Sept. 12, 2005, the Los Angeles County Museum of Art, Oct. 20, 2005-Jan. 16, 2006, and the Musée d'Orsay, Paris, Feb. 27-May 28, 2006. |
| john rewald the history of impressionism: The history of impressionism, 2nd ed., by john rewald John Rewald, 1946 |
| john rewald the history of impressionism: The Letters of Paul Cézanne Alex Danchev, 2016-09-23 Revered and misunderstood by his peers and lauded by later generations as the father of modern art, Paul Cézanne (1839-1906) has long been a subject of fascination for artists and art lovers, writers, poets, and philosophers. His life was a ceaseless artistic quest, and he channeled much of his wide-ranging intellect and ferocious wit into his letters. Punctuated by exasperated theorizing and philosophical reflection, outbursts of creative ecstasy and melancholic confession, the artist’s correspondence reveals both the heroic and all-toohuman qualities of a man who is indisputably among the pantheon of all-time greats. This new translation of Cézanne’s letters includes more than twenty that were previously unpublished and reproduces the sketches and caricatures with which Cézanne occasionally illustrated his words. The letters shed light on some of the key artistic relationships of the modern period—about one third of Cézanne’s more than 250 letters are to his boyhood companion Émile Zola, and he communicated extensively with Camille Pissarro and the dealer Ambroise Vollard. The translation is richly annotated with explanatory notes, and, for the first time, the letters are cross-referenced to the current catalogue raisonné. Numerous inaccuracies and archaisms in the previous English edition of the letters are corrected, and many intriguing passages that were unaccountably omitted have been restored. The result is a publishing landmark that ably conveys Cézanne’s intricacy of expression. |
| john rewald the history of impressionism: Camille Pissarro Richard Thomson, Camille Pissarro, 1990 Camille Pissarro (1830-1903) was at the very center of the Impressionist movement. Although his paintings seem to typify the impressionist style, the variety of media in which he worked and his working practices, which involved careful studio preparation as well as plein air painting, lead us to redefine our concept of Impressionism. |
| john rewald the history of impressionism: French Landscape Magdalena Dabrowski, Museum of Modern Art (New York, N.Y.), 1999 Published on the occasion of the exhibition of the same name held at the Museum of Modern Art, New York, October 27,1999 - March 14, 2000. French landscape is a part of larger exchbition, ModernStarts which is in turn part of a cycle of exchibitions entitled MoMa 2000. |
| john rewald the history of impressionism: Claude Monet Claude Monet, Paul Hayes Tucker, Gagosian Gallery, 2010 In May of 2010, Gagosian Gallery presented the most significant gathering of late Claude Monet paintings in New York in more than thirty years. The catalogue for the exhibition that the New York Times described as a gorgeous 'where on earth did this come from?' show, focuses on important subjects drawn from the artist's gardens at Giverny. Nymphéas, Le pont japonais, and L'allée de rosiers are among the most treasured paintings of Monet's long and prodigious career. Reproduced in luscious color are early Nymphéas that were first shown in 1909 at the Galerie Durand-Ruel to great critical acclaim. From these delicate, poetic paintings follow the more experimental post-1914 paintings, which were never exhibited during the artist's lifetime. In addition to the 27 sumptuous colour plates, the catalogue is illustrated by numerous colour images of paintings, as well as black-and-white historical photos. It includes a new essay by Paul Hayes Tucker, one of the foremost authorities on Monet and curator of the exhibition; an extract from Michel Butor's seminal 1962 text, Monet, or the World Turned Upside Down and a detailed chronology of Monet's life and exhibitions while at Giverny written by leading Monet scholar Charles Stuckey. Also included is a compendium of historical reviews that have been translated from their original French, Italian, or German language and which have been assembled for the first time by Claire Durand-Ruel Snollaerts. |
| john rewald the history of impressionism: The Wild Beasts John Elderfield, 1976 |
| john rewald the history of impressionism: Van Gogh Steven Naifeh, Gregory White Smith, 2011-10-18 NEW YORK TIMES BESTSELLER • “The definitive biography for decades to come.”—Leo Jansen, curator, the Van Gogh Museum, and co-editor of Vincent van Gogh: The Complete Letters Steven Naifeh and Gregory White Smith, who galvanized readers with their Pulitzer Prize–winning biography of Jackson Pollock, have written another tour de force—an exquisitely detailed, compellingly readable portrait of Vincent van Gogh. Working with the full cooperation of the Van Gogh Museum in Amsterdam, Naifeh and Smith have accessed a wealth of previously untapped materials to bring a crucial understanding to the larger-than-life mythology of this great artist: his early struggles to find his place in the world; his intense relationship with his brother Theo; and his move to Provence, where he painted some of the best-loved works in Western art. The authors also shed new light on many unexplored aspects of Van Gogh’s inner world: his erratic and tumultuous romantic life; his bouts of depression and mental illness; and the cloudy circumstances surrounding his death at the age of thirty-seven. Though countless books have been written about Van Gogh, no serious, ambitious examination of his life has been attempted in more than seventy years. Naifeh and Smith have re-created Van Gogh’s life with an astounding vividness and psychological acuity that bring a completely new and sympathetic understanding to this unique artistic genius. NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The New York Times Book Review • The Washington Post • The Wall Street Journal • San Francisco Chronicle • NPR • The Economist • Newsday • BookReporter “In their magisterial new biography, Van Gogh: The Life, Steven Naifeh and Gregory White Smith provide a guided tour through the personal world and work of that Dutch painter, shining a bright light on the evolution of his art. . . . What [the authors] capture so powerfully is Van Gogh’s extraordinary will to learn, to persevere against the odds.”—Michiko Kakutani, The New York Times “Brilliant . . . Steven Naifeh and Gregory White Smith are the big-game hunters of modern art history. . . . [Van Gogh] rushes along on a tide of research. . . . At once a model of scholarship and an emotive, pacy chunk of hagiography.”—Martin Herbert, The Daily Telegraph (London) |
| john rewald the history of impressionism: Impressionists in London Caroline Corbeau-Parsons, 2017 This title charts the story of the French artists who took refuge in London during and after the devastating Franco-Prussian War and the Paris Commune. Following these traumatic events there was a creative flourishing in London as the exiles responded to British culture and social life - regattas, processions, parks, and of course the Thames. |
| john rewald the history of impressionism: Impressionism Karin H. Grimme, 2017 Discover how scenes of daily life and delicate dabs of color shocked the art world establishment. In this TASCHEN Basic Art introduction to Impressionism, we explore the artists, subjects, and techniques that first brought the easel out of the studio and shifted artistic attention from history, religion, or portraiture to the evanescent ebb and flow of modern life. As we tour the theaters, bars, and parks of Paris and beyond, we take in the movement's radical innovations in style and subject, from the principle of plein air painting to the rapid, broken brushwork that allowed the Impressionists to emphasize spontaneity, movement, and the changing qualities of light. We take a close look at their unusual new perspectives and their fresh palette of pure, unblended colors, including many vividly bright shades that brought a whole new level of chromatic intensity to the canvas. Along the way, we recognize Impressionism's established greats, such as Edgar Degas, Claude Monet, Berthe Morisot, and Camille Pissarro, as well as many associated artists worthy of closer attention, including Marie Bracquemond, Medardo Rosso, and Fritz von Uhde. |
| john rewald the history of impressionism: The Great Book of French Impressionism Horst Keller, 1980 |
| john rewald the history of impressionism: Seurat Re-viewed Paul Smith, 2009 An anthology of essays exploring the work of Georges Seurat (1859-1891). Sections are devoted to technique and theory, Seurat's engagement with social issues, irony regarding the paintings' content, aesthetic effects, and the relation of his work to literary symbolism. |
| john rewald the history of impressionism: Impressionism David Bomford, 1990 The third catalogue in a series of exhibitions entitled: Art in the making, organized by the National Gallery - Exhibition dates: 28 Nov. 1990 to 21 April 1991. |
| john rewald the history of impressionism: Mad Enchantment Ross King, 2016-09-08 Claude Monet's water lily paintings are among the most iconic and beloved works of art of the past century. Yet these entrancing images were created at a time of terrible private turmoil and sadness for the artist. The dramatic history behind these paintings is little known; Ross King's Mad Enchantment tells the full story for the first time and, in the process, presents a compelling and original portrait of one of our most popular and cherished artists. By the outbreak of war in 1914, Monet, then in his mid-seventies, was one of the world's most famous and successful painters, with a large house in the country, a fleet of automobiles and a colossal reputation. However, he had virtually given up painting following the death of his wife Alice in 1911 and the onset of blindness a year later. Nonetheless, it was during this period of sorrow, ill health and creative uncertainty that – as the guns roared on the Western Front – he began the most demanding and innovative paintings he had ever attempted. Encouraged by close friends such as Georges Clemenceau, France's dauntless prime minister, Monet would work on these magnificent paintings throughout the war years and then for the rest of his life. So obsessed with his monumental task that the village barber was summoned to clip his hair as he worked beside his pond, he covered hundreds of yards of canvas with shimmering layers of pigment. As his ambitions expanded with his paintings, he began planning what he intended to be his legacy to the world: the 'Musée Claude Monet' in the Orangerie in Paris. Drawing on letters and memoirs and focusing on this remarkable period in the artist's life, Mad Enchantment gives an intimate portrayal of Claude Monet in all his tumultuous complexity, and firmly places his water lily paintings among the greatest achievements in the history of art. |
| john rewald the history of impressionism: European master paintings from Swiss collections John Elderfield, 1976 |
| john rewald the history of impressionism: Impressionists on the Water Christopher Lloyd, Phillip Dennis Cate, Daniel Charles, Gilles Chardeau, 2013 Published...on the occasion of the exhibition Impressionists on the Water on view at the Legion of Honor Museum, San Francisco, from June 1 to October 6, 2013 and at the Peabody Essex Museum, Salem Massachusetts, from November 9, 2013 to February 9, 2014.--Colophon. |
| john rewald the history of impressionism: The Painting of Modern Life Timothy J. Clark, 1984 The Paris of the 1860s and 1870s was supposedly a brand-new city, equipped with boulevards, cafes, parks, and suburban pleasure grounds--the birthplace of those habits of commerce and leisure that constitute modern life. Questioning those who view Impressionism solely in terms of artistic technique, T. J. Clark describes the painting of Manet, Degas, Seurat, and others as an attempt to give form to that modernity and seek out its typical representatives--be they bar-maids, boaters, prostitutes, sightseers, or petits bourgeois lunching on the grass. The central question of The Painting of Modern Life is this: did modern painting as it came into being celebrate the consumer-oriented culture of the Paris of Napoleon III, or open it to critical scrutiny? The revised edition of this classic book includes a new preface by the author. |
| john rewald the history of impressionism: Paul Cézanne Lawrence Gowing, Paul Cézanne, Museum of Modern Art (New York, N.Y.), 1988 Published on the occassion of the exhibition Paul Cezanne: The Basel sketchbooks, March - June 1988. |
| john rewald the history of impressionism: Letters to His Son Lucien (Classic Reprint) Camille Pissarro, 2018-11-21 Excerpt from Letters to His Son Lucien Lucien Pissarro was twenty years old when he left his parents' home to try his luck in England. Never before had a son of Camille Pissarro been separated from him, and the father was concerned that his eldest should not lack for affectionate advice. In his almost daily letters the impressionist painter drew on his vast experience in life and art to encourage, chide and solace the young Lucien. It was no easy matter for Lumen, shy and given to dreaming as he was, to leave the house of his parents at Osny near Pontoise, where his brothers and his sister spent their carefree youth in the fields and meadows while their father noted with unconcealed joy the capacities for observation and expression which he found in each of them. Lucien himself had begun to draw at a very early age and, when sent to work in Paris for a firm merchandising English fabrics, he spent the evenings with his friend Louis Hayet making drawings in the cafés and music halls. His mother, who knew only too well the sufferings artists have to endure, had wanted at all costs to prevent her eldest son from choosing his father's profession. However, the young man's employer soon informed the parents that their boy, although in other respects a fine fellow, would never make good in business. After this, Lucien got a job working with hand-made plates for color impressions. His parents finally decided, by the end of 1882, to send him to England to learn the language. In London he found a position with a music publisher, but continued to paint and draw. First he lived at the home of his uncle, Phineas Isaacson, whose wife was the half-sister of Camille Pissarro. Later he took a studio, gave drawing lessons and devoted himself mostly to the art of wood engraving. Lucien Pissarro often came to France to spend months at a time with his family, which meanwhile had settled in Eragny. But even during these sojourns in France his correspondence with his father was not interrupted. For almost every month Camille Pis sarro went to Paris for a few days to see dealers and collectors, to take in the new exhibitions, to make purchases and to visit his friends. At such times he wrote his son to inform him about every thing. There were also occasions when Lucien himself undertook to go to the capital. His father, thus enabled to continue his work, discussed with him by mail the paintings he was working on at Eragny and sent him news of the children and their mother. This correspondence, which began in 1885 and stopped only with the death of Camille Pissarro twenty years later, was religiously preserved by Lucien. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. |
| john rewald the history of impressionism: The Collected Essays and Criticism, Volume 2 Clement Greenberg, 1986 Clement Greenberg (1909–1994), champion of abstract expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed by many as the greatest art critic of the second half of the twentieth century, and possibly the greatest art critic of all time. On radio and in print, Greenberg was the voice of the new American painting, and a central figure in the postwar cultural history of the United States. Greenberg first established his reputation writing for the Partisan Review, which he joined as an editor in 1940. He became art critic for the Nation in 1942, and was associate editor of Commentary from 1945 until 1957. His seminal essay, Avant-Garde and Kitsch set the terms for the ongoing debate about the relationship of modern high art to popular culture. Though many of his ideas have been challenged, Greenberg has influenced generations of critics, historians, and artists, and he remains influential to this day. |
| john rewald the history of impressionism: The History of Impressionism John Rewald, 1973 Text and pictures chronicle the impressionist movement. |
| john rewald the history of impressionism: The History of Impressionism. [With Plates.]. John Rewald, 1949 |
John 1 NIV - The Word Became Flesh - In the - Bible Gateway
John the Baptist Denies Being the Messiah. 19 Now this was John’s testimony when the Jewish leaders in Jerusalem sent priests and Levites to ask him who he was. 20 He did not fail to …
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John’s Witness: The True Light. 6 There was a man sent from God, whose name was John. 7 This man came for a witness, to bear witness of the Light, that all through him might believe. 8 …
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John 8:28 The Greek for lifted up also means exalted. John 8:38 Or presence. Therefore do what you have heard from the Father. John 8:39 Some early manuscripts “If you are Abraham’s …
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John the Baptist Denies Being the Messiah. 19 Now this was John’s testimony when the Jewish leaders in Jerusalem sent priests and Levites to ask him who he was. 20 He did not fail to …
John 1 KJV - In the beginning was the Word, and the - Bible Gateway
26 John answered them, saying, I baptize with water: but there standeth one among you, whom ye know not; 27 He it is, who coming after me is preferred before me, whose shoe's latchet I …
John 1 NLT - Prologue: Christ, the Eternal Word - In - Bible Gateway
6 God sent a man, John the Baptist, 7 to tell about the light so that everyone might believe because of his testimony. 8 John himself was not the light; he was simply a witness to tell …
John 1 NKJV - The Eternal Word - In the beginning was - Bible …
John’s Witness: The True Light. 6 There was a man sent from God, whose name was John. 7 This man came for a witness, to bear witness of the Light, that all through him might believe. 8 …
John 6 NIV - Jesus Feeds the Five Thousand - Some - Bible Gateway
Jesus Feeds the Five Thousand - Some time after this, Jesus crossed to the far shore of the Sea of Galilee (that is, the Sea of Tiberias), and a great crowd of people followed him because they …
John 11 NIV - The Death of Lazarus - Now a man named - Bible …
The Death of Lazarus - Now a man named Lazarus was sick. He was from Bethany, the village of Mary and her sister Martha. (This Mary, whose brother Lazarus now lay sick, was the same …
John 5 NIV - The Healing at the Pool - Some time - Bible Gateway
John 5:4 Some manuscripts include here, wholly or in part, paralyzed—and they waited for the moving of the waters. 4 From time to time an angel of the Lord would come down and stir up …
John 16 NIV - “All this I have told you so that you - Bible Gateway
“All this I have told you so that you will not fall away. They will put you out of the synagogue; in fact, the time is coming when anyone who kills you will think they are offering a service to God. …
JOhn 19 NIV - Jesus Sentenced to Be Crucified - Bible Gateway
Jesus Sentenced to Be Crucified - Then Pilate took Jesus and had him flogged. The soldiers twisted together a crown of thorns and put it on his head. They clothed him in a purple robe …
John 8 NIV - but Jesus went to the Mount of Olives. - Bible Gateway
John 8:28 The Greek for lifted up also means exalted. John 8:38 Or presence. Therefore do what you have heard from the Father. John 8:39 Some early manuscripts “If you are Abraham’s …
