Salomé

(click to enlarge)

Paul de La Boulaye

(French, 1849-1926)

Salomé, ????

Oil on canvas

The Morning of the Resurrection

 (click to enlarge)

Edward Burne-Jones

(British, 1833-1898)

The Morning of the Resurrection, 1882

Oil on canvas

     But Mary was standing outside the tomb weeping; and so, as she wept, she stooped and looked into the tomb; and she saw two angels in white sitting, one at the head and one at the feet, where the body of Jesus had been lying. And they said to her, " Woman, why are you weeping?" She said to them, "Because they have taken away my Lord, and I do not know where they have laid Him."
     When she had said this, she turned around and saw Jesus standing there, and did not know that it was Jesus.
     Jesus said to her, " Woman, why are you weeping? Whom are you seeking?" Supposing Him to be the gardener, she said to Him, "Sir, if you have carried Him away, tell me where you have laid Him, and I will take Him away."
     Jesus said to her, "Mary!" She turned and said to Him in Hebrew, "Rabboni!" (which means, Teacher).

John 20:11-18

The Star of Bethlehem

 (click to enlarge)

Edward Burne-Jones

(British, 1833-1898)

The Star of Bethlehem, 1888-91

Oil on canvas

The Nativity

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Edward Burne-Jones

(British, 1833-1898)

The Nativity, 1888

Oil on canvas

Called The Nativity, its true subject is the redemption of mankind through cycles of birth, death, and rebirth exemplified by the life of Christ. The somber mood of the scene results not only from muted coloring and static figures, but also from many symbols of death: the crown of thorns, chalice, and urn; the shroudlike garments; and the draping of the manger reminiscent of a bier. The Latin inscription refers to the Resurrection: Because of the misery of the poor and the groaning of the needy, now will I arise, saith the Lord. As in the unusual iconography of The King and the Shepherd, nearby, this inscription is a subtle allusion to the social miseries of Victorian Britain. 

from the website of the Carnegie Museum of Art

Rest on the Flight to Egypt

(click to enlarge)

Federico Fiori Barocci

(Italian, 1526-1612)

Rest on the Flight to Egypt, 1570

Oil on canvas

Why Seek Ye the Living Among the Dead?

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John Rodham Spencer Stanhope

(English, 1829-1908)

Why Seek Ye the Living Among the Dead?, ????

Oil, gesso, gold leaf, wax medium on canvas

Now upon the first day of the week, very early in the morning, they came unto the sepulchre, bringing the spices which they had prepared, and certain others with them. And they found the stone rolled away from the sepulchre. And they entered in, and found not the body of the Lord Jesus. And it came to pass, as they were much perplexed thereabout, behold, two men stood by them in shining garments: And as they were afraid, and bowed down their faces to the earth, they said unto them, "Why seek ye the living among the dead? He is not here, but is risen: remember how he spake unto you when he was yet in Galilee, Saying, The Son of man must be delivered into the hands of sinful men, and be crucified, and the third day rise again."

Luke 24:2-7 KJV

The Annunciation

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Domenico Beccafumi

(English, 1486-1551)

The Annunciation, 1545

Oil on wood

Faith, Hope and Love

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Mary Lizzie Macomber

(American, 1861-1916)

Faith, Hope and Love, ????

Oil on canvas

And now these three remain: faith, hope and love. But the greatest of these is love.
1 Corinthians 13:12-13

The Annunciation

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George Lawrence Bulleid

(French, 1858-1933)

The Annunciation, 1903

Watercolor

They Toil Not, Neither Do They Spin

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Eleanor Fortescue Brickdale

(English, 1871-1945)

They Toil Not, Neither Do They Spin, 1903

Watercolor

And why take ye thought for raiment? Consider the lilies of the field, how they grow; they toil not, neither do they spin: 
And yet I say unto you, That even Solomon in all his glory was not arrayed like one of these.
Matthew 6:28-29

The Gift That is Better Than Rubies

(click to enlarge)

Eleanor Fortescue Brickdale

(English, 1871-1945)

The Gift That is Better Than Rubies, 1899

Watercolor and bodycolor

Receive my instruction, and not silver; and knowledge rather than choice gold.
For wisdom is better than rubies; and all the things that may be desired are not to be compared to it.
Proverbs 8:10-11

Truly the Light is Sweet

(click to enlarge)

John Byam Liston Shaw

(English, 1872-1919)

Truly the Light is Sweet, 1901

Oil on canvas

The full title is "Truly the light is sweet, and a pleasant thing it is for the eyes to behold the Sun... Yet let him remember the days of darkness; for they shall be many." From Ecclesiastes 11:7-8

A Dinner of Herbs

(click to enlarge)

George William Joy

(Irish, 1844-1925)

A Dinner of Herbs, 1900

Oil on canvas

The title comes from this bible verse:

Better is a dinner of herbs where love is, than a fattened ox served with hatred.
Proverbs 15:16-18

George Joy wrote of this painting:

"It is spring-time, as is suggested by the daffodils which the man has picked on his way from work. Their fare is of the simplest; and, though the young wife feels the cares of life, and perhaps the pinch of poverty, yet love sits at the feast."

 Isn't it sweet? :)

The Flagellation of Christ

(click to enlarge)

William Adolphe Bouguereau
(French, 1825-1905)
Flagellation de Notre Seigneur Jésus Christ (The Flagellation of Christ), 1880

Oil on canvas

The Last Supper

 
(click to enlarge) 

Pascal-Adolphe-Jean Dagnan-Bouveret 

(French, 1852-1929) 

The Last Supper, ????

Oil on canvas

Christ in the House of His Parents

(click to enlarge) 

John Everett Millais

(English, 1829-1896)

Christ in the House of His Parents, 1849-50

Oil on canvas

This painting is full of Pre-Raphelite detail! Enlarge it and check it out! As for what's going on in the painting, Wikipedia sums it all up perfectly:

The painting depicts the young Jesus assisting Joseph in his workshop. Joseph is making a door, which is laid on his carpentry work-table. Jesus has cut his hand on an exposed nail, leading to a sign of the stigmata, prefiguring the crucifixion. As Saint Anne removes the nail with a pair of pincers, his concerned mother Mary offers her cheek for a kiss while Joseph examines his wounded hand. The young John the Baptist brings in water to wash the wound, prefiguring his later baptism of Christ. An assistant of Joseph's, representing potential future Apostles watches these events. In the background various objects are used to further point up the theological significance of the subject. A ladder, referring to Jacob's ladder is visible leaning against the back wall; a dove standing for the Holy Spirit rests on it. Other carpentry implements refer to the Holy Trinity. . . . The sheep in the fold in the background represent the future Christian flock.