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Artwork of the Week

'The Denial of Peter' by Ary Scheffer

Artwork of the Week: September 22

 The Denial of Peter
Ary Scheffer (1795-1858), The Denial of Peter, 1855, oil on canvas, 52 x 73 inches. Brigham Young University Museum of Art, gift of Donald Greenwood, 1976.
Ary Scheffer (1795-1858), The Denial of Peter, 1855, oil on canvas, 52 x 73 inches. Brigham Young University Museum of Art, gift of Donald Greenwood, 1976.

Simon Peter was a direct witness to many of Christ’s miracles: once-empty fishing nets suddenly overflowing, storms calmed, the dead given life, and his own wondrous walk on water. Yet even Peter’s role as an ardent follower of the Savior was challenged. In the hours preceding His betrayal and arrest, Jesus prophesied to Peter, “The cock shall not crow, till thou hast denied me thrice” (John 13:38). In the very same hour that priests of the Sanhedrin interrogated Christ, Peter denied knowing Jesus. Upon his third denial, the Lord’s prophecy was fulfilled. Christ gazed toward Peter, “and Peter remembered the word of the Lord . . . And Peter went out, and wept bitterly” (Luke 22:61 – 62). Scheffer’s painting captures Peter’s anguish as well as the radiant goodness of Christ, who looks at his grieved disciple benevolently, knowing that Divine mandate required He tread the winepress alone.

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Past Artworks of the Week

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Artwork of the Week: 'Waiting' By Rose Hartwell

April 20, 2026
This painting’s enigmatic title is a perfect fit for its intriguing subject, where an unknown woman dressed in black sits with her hands in her lap, her eyes seemingly focused on nothing. What is she waiting for? Perhaps she waits for a family member or friend to pay her a visit. Given the woman’s attire and the painting’s somber tone, whether knowingly or not, she also seems to be waiting for death. We will likely never know what Rose Hartwell intended this painting to mean, so we too are left waiting to know this woman’s story.
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Artwork of the Week: 'French Landscape Near Paris' By John Henri Moser

April 13, 2026
Painted while Moser was studying art in Paris, this painting lacks the bold color and loose brushwork that came to dominate the artist’s style when he returned to Utah. In Paris, he was surrounded not only by academic tradition, but by modern art’s many new aesthetic possibilities. Judging from his mature style, he was observing much during this time, even though his own output remained relatively conservative. This painting, and others of the time, show the influence of the Barbizon School of landscape painting, an influential nineteenth-century movement that emphasized painting outdoors.
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Artwork of the Week: 'Collonade of Lights' By Max Thalmann

April 06, 2026
Thalmann evokes the notion of communion in a series of prints of worshippers within dramatic cathedral interiors. His strong lines and contrast of deep pools of shadow with bold spaces of radiant light conveys the reverence and anticipatory sublime of a worship experience. The cathedral, with its Gothic-style archways, and hooded bowed forms moving silently, exude a timeless quality of devotion, where man—insignificant compared to the vast reaches of the cathedral space—is brought to feel the immensity of the divine.
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