©2005, Crossway Books,  192 pages in paperback.

In the early and mid-twentieth century, few Christians saw any meaning in modern art. Hans Rookmaaker stood virtually alone in seeking to view art from a Christian perspective.  He interpreted modern art as teaching that man is dead.

Rookmaaker was born in the tumultuous, early l920s.  His native country, the Netherlands, would not escape being a recepient of various horrors in the oncoming decades.  His childhood was marked by privilege, uncertainty, and a love of nature.  He was a bright child.  He did not have biblical training or direction from his parents.  In adolescence, his life was marked by a love of music but marred by inner emptiness that music could not fill.

Before the age of twenty, he was imprisoned during Nazi occupation.  God, in His providence, gave Rookmaaker much idle time.  He began to examine Christian truth and came to faith in Christ.  This life-changing occurrence naturally affected his relationships and work.  His family was shocked to learn of his new commitment.  Their response did not dampen his commitment.  God provided continued comfort through a mentor and through the interest of his future wife.  She, too, became a Christian and introduced him to Francis Schaeffer.

Rookmaaker's commitment to a Christian understanding of art dovetailed with Schaeffer's commitment to Christian truth influencing all of life.  Both desired to teach anyone who would listen that modern art and philosophy were empty of eternal meaning and importance.

Rookmaaker devoted his life to teaching audiences nationally and internationally how to view art Christianly and how Christian artists could express their faith in their vocations.  His lectures, publications, and conversations left an enduring impact on multitudes open to Christian thinking.

Gasque provides an excellent volume that examines how God shaped Rookmaaker's life through the historic times in which he lived and the friendships that he treasured. The author knew Rookmaaker as a friend.  She was, also, able to interview family members who provided intimate background insights.

He had three children who greatly respected their father in their adulthood.  I wish the author had addressed the impact of Rookmaaker's numerous absences upon his family.  How was he able to regularly lead the home as husband and father?  Such insights could be very helpful to husbands and fathers today who are pulled in many directions.  If the family suffered due to his absence, this too would be instructive.

This volume will be of particular interest to readers of Rookmaaker's works such as Modern Art and the Death of Culture and to those interested in knowing more about twentieth century Christian thinkers.  In a concluding chapter, the author gives a fascinating look at the legacy of Rookmaaker and how many are advancing and building on that legacy.  All Christians should reflect on the legacy we will leave and how God will use it for His glory.

In the early and mid-twentieth century, few Christians saw any meaning in modern art. Hans Rookmaaker stood virtually alone in seeking to view art from a Christian perspective.  He interpreted modern art as teaching that man is dead.

Rookmaaker was born in the tumultuous, early l920s.  His native country, the Netherlands, would not escape being a recepient of various horrors in the oncoming decades.  His childhood was marked by privilege, uncertainty, and a love of nature.  He was a bright child.  He did not have biblical training or direction from his parents.  In adolescence, his life was marked by a love of music but marred by inner emptiness that music could not fill.

Before the age of twenty, he was imprisoned during Nazi occupation.  God, in His providence, gave Rookmaaker much idle time.  He began to examine Christian truth and came to faith in Christ.  This life-changing occurrence naturally affected his relationships and work.  His family was shocked to learn of his new commitment.  Their response did not dampen his commitment.  God provided continued comfort through a mentor and through the interest of his future wife.  She, too, became a Christian and introduced him to Francis Schaeffer.

Rookmaaker's commitment to a Christian understanding of art dovetailed with Schaeffer's commitment to Christian truth influencing all of life.  Both desired to teach anyone who would listen that modern art and philosophy were empty of eternal meaning and importance.

Rookmaaker devoted his life to teaching audiences nationally and internationally how to view art Christianly and how Christian artists could express their faith in their vocations.  His lectures, publications, and conversations left an enduring impact on multitudes open to Christian thinking.

Gasque provides an excellent volume that examines how God shaped Rookmaaker's life through the historic times in which he lived and the friendships that he treasured. The author knew Rookmaaker as a friend.  She was, also, able to interview family members who provided intimate background insights.

He had three children who greatly respected their father in their adulthood.  I wish the author had addressed the impact of Rookmaaker's numerous absences upon his family.  How was he able to regularly lead the home as husband and father?  Such insights could be very helpful to husbands and fathers today who are pulled in many directions.  If the family suffered due to his absence, this too would be instructive.

This volume will be of particular interest to readers of Rookmaaker's works such as Modern Art and the Death of Culture and to those interested in knowing more about twentieth century Christian thinkers.  In a concluding chapter, the author gives a fascinating look at the legacy of Rookmaaker and how many are advancing and building on that legacy.  All Christians should reflect on the legacy we will leave and how God will use it for His glory.

 Review ©2006 Byron Snapp, Hampton, Virginia