The Spanish Bible - Which one should I use?
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The Spanish Bible - Which one should I use?

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Page 1 of 12 The Spanish Bible Which one should you use: 1602,1865,1909,1960? There is a lot of confusion today about which Spanish Bible should be used. Most Bible believing churches have heard mainly about four different Spanish versions of the Reina-Valera: the 1602, 1865, 1909 and 1960—even though there are many other versions. Which of these Spanish Bibles is correct? Which Spanish Bible should all Spanish speaking people and ministries use? Which Spanish Bible is true to the Textus Receptus and Masoretic texts —the source of our blessed King James Bible? As Barry Burton said: “Let's weigh the
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The Artist:Donny Varnell
Donny Varnellis a Ketchikan carver whose early pieces were “a juxtaposition of art and culture” where he explored his Haida and Caucasian heritage.“There were so many good artists in my family I easily found people I could apprentice with and learn from,” he says.
Varnell likes to push the limits of woodcarving. He explores other media such as wax and clay looking for techniques that might be used in woodcarving, much like Haida carvers explored argillite in the1800s.
Varnell gets ideas for his art from museums, music,TV, books, other artists and friends.“I like pulling directly from the masters, but not doing it in exactly the same way. I like to put a spin on ideas, to make it personal.” He enjoys the freedom of creating ar tfor his own satisfaction while also making a living.
The history of Haida and Northwest Coast design also inﬂuences Varnell’s work. Haida design, according toVarnell, changed due
to the Civilian Conservation Corps (CCC)Totem Restoration Project from1939 to1953. Over 200 Alaska Native carvers and laborers restored and replicated totem poles in Southeast Alaska, bringing new ideas and images to the art form. Later, carvers like Bill Holm and Bill Reid went back to the older, original pieces and reconstructed the rules of classical formline design. Beginning in the 1970sthe non-classical CCC poles were replaced by more classical ones.
Varnell says:“…the CCC taught even shipwrights to make totem poles.They did the best they could, but there were many depar-tures from the classical formline design. Perhaps I am trying to pay homage to that [non-classical CCC] history by messing around with the secondary forms.”
Donny Varnellwas born in1973 in Ketchikan and raised in Alaska, Seattle and Oregon. His grandmother is Dolores Churchill, a Haida master weaver of baskets, hats, robes, and other regalia, who taught him weaving at an early age. He is the great grandson of the late Selina Peratrovich of the Haida Nation who was a world-renowned traditional cedar bark basket weaver.
He studied visual art at the University of Alaska Fairbanks and apprenticed under Haida carver Reggie Davidson in British Columbia and under his maternal aunt, Holly Churchill of Ketchikan, a cedar bark basket weaver.He was the resident carver at the Edwin DeWitt Carving Center in Saxman and has worked on totem poles under the supervision of carver Nathan Jackson. His work has been exhibited and collected around the world. He currently lives and works in Ketchikan,Alaska.
The Artwork:Self-Portrait 1996-1997 58x38x2inches2003red cedar, acrylic paint, leatherAlaska State Museum Collection
A carved chest in the beaver design at his grandmother’s house inspired DonnyVarnell’s relief panel carved as a self-portrait. He began with classic formline design using black line primaries and red line secondaries. He “tweaked” the design with classic ovoids reshaped to create multiple eyes. He balanced the weight and negative spaces on the top and the bottom.
In Northwest Coast art certain features help identify the beaver design and include ears, rounded nostrils, two large incisor teeth and a tail.The bottom area of the panel is draped with a leather cover and, when lifted, reveals the artist’s internal organs.“I had a serious illness and abdominal surgery in1997, and the carved area under the leather shows this,” saysVarnell.
The panel is in the Alaska State Museum Collection.When asked why the museum collected this artwork, Steve Henrikson, Curator of Collections, said,“Alaska Native arts are living and evolving and this piece riffs on a traditional Northwest Coast Native bentwood
See more artwork by Donny Varnell Rasmuson Foundation Art on Display: Internet search:“DonnyVarnell”
chest design.The artist is well versed in the traditional forms of the art and has, in this piece, taken it in new directions and has made it his own. He’s contorting shapes and applying new meanings in very innovative ways, while Detail: Bottom area of panel, covered by at the same time retaining a leather, reveals stylized internal organs. connection with historical Haida art. We were able to acquire this piece through a grant from the Rasmuson Foundation, which supports art acquisitions by museums all across the state.”
Donny Varnellsays, “Timewill tell if my work is accepted by my peers, if I am seen as a Northwest Haida artist. One hundred years from now, I may not be known, but if others see my work and get inspiration, that will be great.”
Additional reference materials Looking at Indian Art of the Northwest Coastby Hilary Steward (1979) Northwest Coast Indian Art:An Analysis of Formby Bill Holm (1971)
AlaSka MaSTERwORkSArt educAtion posters 2008 To honor Alaska Master Artists and inspire students through Alaska’s rich cultural and artistic legacy
Responding toArtwork
Standing in front of a carving by a master can take your breath away. Seeing “real art” is one of the great visual highlights in life – and one that we don’t often have the opportunity to experience. Closely viewing a reproduction is different than seeing the real thing but is a creative, useful teaching tool.
Stimulate student discussion and understanding by asking questions about the imageSelf-Portrait, 1996-1997before providing details. Encourage students to express as many different ideas as they can. Record their ideas. See if students generate new ideas or change their opinions after learning more about the artist DonnyVarnell and his work. (See Artist and Artwork section for details.)
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Do you like this image? Why or why not? Who is the artist? (Donny Varnell) What is the name of this image? (Self-Portrait, 1996 -1997) How big is this object? (58 x 38 x 2inches) When was it made? (2003) What is it made of? (red cedar, acrylic paint, leather) Where is the real artwork? (Alaska State Museum)
Describe Ask students questions that allow them to describe what they see. Encourage responses based on what one actually sees, rather than what one feels. If you can point to it you can see it. (Elements of Art: color, shape, line, texture, pattern)
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What do you see? How many colors do you see? Which color do you notice ﬁrst? Second? Describe the kinds of lines you see. Describe the shapes: are they geometric, organic, natural? What patterns to you see? If you were to touch the artwork, what would it feel like? What materials did the artist use? How was this artwork made?
Analyze Discuss how the artist arranged the elements of art to give the artwork meaning and expression. (Principles of Art: emphasis, balance, unity, variety, rhythm/movement)
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What seems like the most important part of the artwork? What catches your eye when you ﬁrst look at the artwork? Is the artwork symmetrical? Are the right side and the left side the same? Different? How is the artwork organized? Do some areas look heavier? Lighter? What are the dominant elements (or objects) in the composition? What objects, shapes or colors are repeated?
www. akartsed. org
are challenging and broadening the The contemporary artists of today perception of Northwest Coast art…. The next generation of artists will continue to use the traditional skills that have been passed on from their ancestors, but will adapt to their modern culture – John Brent Bennett superimposing Haida designs on photographs and DonVarnell combining pop culture with Northwest Coast designs.”
Chief Wiah wrote,“I am conﬁdent that in the hands of our young artists we shall continue giving the world our unique form of art.”
Dolores Churchill,Alaska Native Collections, Sharing Knowledge, Haida, Smithsonian Institution,
Interpret & Judge We all bring different background knowledge and experiences to the works of art we are viewing.This helps to inform our judgments and allows us to form ideas of taste about what we like and don’t like. It helps us understand individual works of art, and how we view art in general. nHave you ever seen artwork like this before? nDo you know which cultures made work like this? What other things does this artwork remind you of? nHow does the artwork make you feel? nWhat does that mean?The artist called this a “self-portrait.” nWhat do you think the artist is trying say? Why do you think the artist made this artwork? nIs there anything you wonder about when you look at this image? nWhich shapes are most interesting to you? nWhat do you think is the most important part of this artwork? nWhat do you think was most important to the artist?
Folded Symmetric Design:Fold a sheet of plain white paper in half. Open it up and make a design or pattern using red and black paint on just one side. Fold the paper again, pressing evenly over the paper with your hand, to allow the painted side to be transferred to the unpainted side. Open the paper and allow it to dry.Add lines and ovoid shapes to create a simple symmetric design.
Self-portraits:Ar tistsuse self-portraits to tell us about them-selves. Whatinformation does this piece tell you about the artist? What can you guess about the culture of this artist? What is your culture? How would you describe it? What places or objects would tell someone about you? After discussing the self-portrait, ask students to draw a self-portrait that includes clues about their lives and cultures. Share the drawings in a classroom or school gallery for observation and discussion.
Alaska Content Standards for theArts
Standard A: Perform and create A student should be able to create and perform in the arts.
Standard B: Understand historical and contemporary roles A student should be able to understand the historical and con-temporary role of the arts in Alaska, the nation, and the world.
Standard C: Critique and analyze A student should be able to critique his/her art and the ar tof others.
Standard D: Recognize beauty and meaning A student should be able to recognize beauty and meaning through the arts in his/her life.
Lessons Online
Alaska Animal Designs:Students look for geometric shapes in paintings and sculptures of Alaskan animals, and then draw one animal.The animal drawing then becomes a pattern to arrange and trace several times to create a design. Oil pastels are used as students choose between warm and cool colors to separate animals from the background
Art as Cultural History:Students discuss how art history may also be called cultural history for a variety of reasons. Students research art objects and create their own cultural statement.
Butterﬂies and Bugs:Students use butterﬂies and bugs in nature to learn about and create symmetry.
Masks and Symmetry:Students look at cultural mask examples to discuss symmetry and design and make their own symmetrical mask using paper and oil
My Family Portrait:Students learn that visual images and por traitshelp us share stories and then draw or paint a family por traitand write a story about their
Ovoids: Northwest Coast Form Line Design:Students identify ovoids found in images of traditional and contemporary Nor thwestCoast art and make their own contemporary design, using
Personal Style:tist’s personal style byStudents explore an ar drawing and copying drawings. In this process they learn what is acceptable when imitating another’s artwork, ideas about compar-ing diverse styles and how to reproduce an
Picasso Portraits:traits to seeStudents look at Picasso por the difference between realistic and abstract styles, and the characteristics of the Cubist style.They learn how to draw and correctly locate facial features through a portrait collage.
Art Resources Online
ALasKa ALasKa Arts EducatiOn d.state. ALasKa State COunciL On the ALasKa State MuseumTeacher ResOurcesw ww.m ALasKa’s DigitaL Archihttp://vil dex.php ALasKa’s Museum Of the NatiOnaL EndOWment fOr the PrOject ARTic tiOnw RasmusOn
AlASkA MASTERwoRkS is spOnsOred by the NatiOnaL EndOWment fOr the Arts American Masterpieces PrOgram, ALasKa Arts EducatiOn COnsOrtium,ALasKa State COunciL On the Arts and PrOject ARTicuLate.
Argillite:Black stone (principally black slate) from the Queen Charlotte Islands, used by the Haida to carve decorative items.
Carve, Carver:Creation of a three-dimensional artwork by cutting away unwanted par tsof a block of hard material, such as wood or stone.This is the subtractive method.
Formline:The characteristic swelling and diminishing line-like ﬁgure delineating design units in Northwest Coast art.
Primaries:The primary color is usually black and used for the main formlines of the design.
Secondaries:The secondary color is usually red and used in formlines of secondary impor tanceto the design, for details, accents and continuants of primary design. (Holm)
Haida:One of three Alaska representatives of the large culture group known as the North-west Coast.A small group of Haida moved to what is now Alaska in the18th century from Queen Charlotte Island in British Columbia. The Haida are well known for their exquisite ar tworkin the Northwest Coast style, including woodwork (totem poles, masks, dance paddles, bentwood boxes) twined spruce root baskets, beaded and appliquéd dance regalia, and bead-ing done in crest designs. Source:AKART
Juxtaposition:To contrast side by side.
Negative space:An enclosed empty space that helps deﬁne forms and makes an essential contribution to the composition.
Ovoids:an oval or ovoid is any curve resembling an egg or an ellipse. Speciﬁcally in Haida carving: the basis of formline design.
Self-portrait:twork showing a likenessAn ar of the artist who created it.
Totem poles:Monumental sculptures carved from great trees, usually cedar, by a number of indigenous cultures along the Paciﬁc northwest coast of North America.
Woodcarving:A form of working wood by means of a cutting tool held in the hand (this may be a power tool), resulting in a wooden ﬁgure or ﬁgurine (this may be abstract) or in the sculptural ornamentation of a wooden object.
Elements ofArt Lineis the path Of a pOint mOving thrOugh space.
Shape / Form.Shape impLies spatiaL fOrm and is usuaLLy perceived as tWO-dimensiOnaL. FOrm has depth, Length, and Width and resides in space. It is perceived as three-dimensiOnaL.
ColorsaLL cOme frOm the three primaries (red, yeLLOW, bLue) and bLacK and White.They have three prOperties – hue, vaLue, and intensity.
Valuerefers tO reLative Lightness and darKness and is perceived in terms Of varying LeveLs Of cOntrast.
Space / Perspective.Space refers tO the area in Which art is Organized. Perspective is representing a vOLume Of space Or a three-dimensiOnaL Object On a ﬂat surface.
Texturerefers tO the tactiLe quaLities Of a surface (actuaL) Or tO the visuaL representatiOn Of such surface quaLities (impLied).
Patternrefers tO the repetitiOn Or reOccurrence Of a design eLement, exact Or varied, Which estabLishes a visuaL beat.
Principles ofArt Balanceis the impressiOn Of equiLibrium in a pictOriaL Or scuLpturaL cOmpOsitiOn. BaLance is Often referred tO as symmetricaL, asymmetricaL, Or radiaL.
Unityis achieved When the cOmpOnents Of a WOrK Of art are perceived as harmOniOus, giving the WOrK a sense Of cOmpLetiOn.
Rhythm / Movementrefers tO the suggestiOn Of mOtiOn thrOugh the use Of variOus eLements.
Proportion / Scale.PrOpOrtiOn is the size reLatiOnship Of parts tO a WhOLe and tO One anOther. ScaLe refers tO reLating size tO a cOnstant, such as a human bOdy.
Emphasisrefers tO the created center Of interest, the pLace in an artWOrK Where yOur eye ﬁrst Lands.