The parable of the Widow's Mite illustrates piety in its purest form. A widow, here depicted as a young woman in tattered finery, the last vestiges of her privileged former life, offers all that she has to the temple. Her contribution of two small coins may seem small when compared to the lavish donations of the city fathers, but, said Jesus, ". . . this poor widow hath cast more in, than all they which have cast into the treasury: for all they did cast in of their abundance; but she of her want did cast in all she had, even her living." (Mark 12: 43-44)
The square halo formed by the window behind the young widow hearkens back to 11th century Christian iconography. At that time, living saints and holy persons were depicted with a square nimbus, or halo, in order to differentiate them from the immortals.

Kings, queens, knaves and clowns . . . your favorite Shakespearean characters come to life!
The Bard and more than 50 of his dramatis personae take a bow in this
remarkable tribute to Shakespeare’s entire canon — 38 plays, including the
obscure "Two Noble Kinsmen." With the Old Globe Theatre as backdrop, James
assembles an eclectic cast of fictional characters and actors in rehearsal
mingling with a few thespians who never tread the boards (but might have
flittered above them). You’ll find Romeo proffering a rose to Juliet, who
rebuffs the salacious overtures of Henry VIII. Viola of Twelfth Night is in the act of binding her breasts to fill the manly role of Cesario, while beside her other Shakespearean heroines don male apparel to play their virile counterparts — all the more interesting when you consider that in Shakespeare’s day men played all the female roles. Caesar is a self-portrait—an opportunity for the artist to make a statement about backstabbing (he doesn’t like it!) and revel in applause (notice Titus Andronicus giving him a warm hand). All humor aside . . . James’ prodigious knowledge of Shakespeare manifests in a work offering multiple layers of meaning and countless discoveries. "All the World’s a Stage" was commissioned by the Utah Shakespearean Festival — winner of the 2000 Tony Award for Outstanding Regional Theatre — in celebration of its 40th anniversary.

“You’ve probably heard the phrase ‘excessive force’—well this knight is the embodiment of excessive preparation,” says artist James C. Christensen. “He has armored himself to the point of immobility, and his quarry will almost certainly evade him.”
Fans of the artist will recognize many of his signature traits, however iron-clad, including the floating fish, the charming yet self-important little man, and the hilarious detailed flourishes to the costumes right down to the bell lashed to the bird’s leg. Are those chicken feet? Say, those tail feathers look a bit suspicious… Don’t miss the opportunity to hang this delightful warrior in your home.

"I like this painting because the shapes, designs, colors and patterns work so well. It's all about the pleasures of wonderfully ornate costumes and fish that float magically through the air."

All Four of the above are included.
The Believers Edition comes with "The Court of the Fairies" Limited Edition print, "The Oldest Professor" Limited Edition print, linen bound signed copy of "The Voyage of the Bassett" book and a hand-colored etching, colored by the Artist.

_“Tree of Life imagery and its symbolism are present in almost every world creation myth and mythology. References, in one form of another, can be found in the Book of Genesis, Chinese and Norse mythology, Hinduism and pre-Columbian Mesoamerican cultures,” explains artist James C. Christensen.
“Most often these trees represent or act as a connection between heaven and all forms of creation. Our own scriptures are rich with stories and we are often taught by parables, visions, and dreams recorded by the writers of our sacred books to give us in¬sights into the nature of man and God’s relationship to his children.”
“Lehi’s Dream (1 Nephi 8) is a wonderful example of this and the Tree of Life is a powerful image. The story and the painting remind us that the fruits of the tree are available to everyone that tries to live a good life. There is a path to be followed and at the end there is the Tree, the love of God, and his fruits are there for all of us to enjoy.”
Desirable Above All Other Fruit is a featured painting in James C. Christensen’s new book, Lehi’s Dream, published by Deseret Book in November 2011. It is the second collaboration between Christensen and author Robert Millet. Their first book was Parables, produced by The Greenwich Workshop Press for Deseret Book in 1999.
The Greenwich Workshop, Inc. gratefully acknowledges Deseret Book for the artist’s statements above which appear in the book Lehi’s Dream.

“Fishing is fun,” Christensen says. “It’s a gentle poke at myself, my colleages and other people who constantly fish in the same old bucket rather than explore new waters.” Popular Christensen artistic touches are here in abundance, including the ornate costumes, and, of course, the trademark fish, symbolizing the fantastic made real.

A footfall breaks the silence as the mist drapes aimlessly about ruins that date back to the time of Avalon. The woman in the painting has just heard the sound and turns in its direction. A rendezvous is about to take place . . . .
You cannot accuse Jim Christensen of being anything but an incurable romantic. While exploring the grounds of Castle Combe in southern England, Jim found himself taken in by the mood of a foggy day and stunning a rock wall that seethed a storied history. “This piece” Jim says, “is about a sense of place and the flights of fancy a location can evoke if you let it.”
Jim lost himself in the painting of the old stones and textures. He spent about a month working on the wall and far less time painting the woman. “I felt my job here was to set the scene, to breathe life into a magical location. However, what noise she heard, and the meeting about to take place —that’s up to the viewer’s imagination.”

After partaking of the Last Supper with his disciples, Jesus went to the Mount of Olives to pray. The olive grove is still there, in a garden in the valley of Kidron, just east of the city of Jerusalem. On that night, in that garden, Christ took upon himself the sins of mankind and through his atonement made it possible for all of us to return to the presence of God. The Bible indicates that his agony was such that "his sweat as it were great drops of blood falling down to the ground." As he began his ordeal, he asked his Father if there were another way and if he could pass that bitter cup, but the same verse ends with "nevertheless not my will, but thine, be done." It was then that angel appeared stregthening him.

This is the interior of the College of Magical Knowledge, warmed up by carpets. These are not dwarves with names. These are simply Fellowes of the College and we have been allowed to go backstage and see them get ready for the day.
Part of the humor of the piece is that all the multiple layers are part of the same garment. The outfits are prefabricated to some extent, like theatrical costumes. Although they're pretending that it's all 'oh, ho-hum, time to get dressed,' they're pretty caught up in what they're doing-despite the look of disorganization. This is actually serious business.
By the way, these mice are not nasty rodents that eat holes in their outfits. They are friends, fellow dwellers and part of the entire environment.

_Hold to the rod, the iron rod; ’Tis strong, and bright, and true.
The iron rod is the word of God;
Twill safely guide us through.
Joseph L. Townsend, The Iron Rod, LDS Hymns, no. 274

As we walk the road of life, we tend to collect things that make us feel safer and more sure of ourselves. These may be material possessions, titles or responsibilities, but in the end they amount to the same thing: a fleeting and superficial sense of security. It is only by holding fast to our beliefs that we can navigate life with any confidence.
The character in "Hold to the Rod" finds himself so burdened with the mundane objects he has collected that, while he hopefully eyes the rod, he cannot reach up to hold it for fear of losing something else. The man has become little more than a vehicle for his adornments. He demonstrates that what is truly important is keeping sight of our true belief and faith, that they alone will guide us through.

You have to love a second chance! From now, until January 31, you can purchase James C. Christensen’s Hold to the Rod as a Greenwich Workshop Personal Commission Fine Art Paper Print. It has been the most requested image of Christensen’s since its release and immediate sell out as a Fine Art Canvas edition in 2007. The size of this edition will be set by the number of orders we receive between December 15, 2011 and January 31, 2012. And for those collectors looking for something original and unique, we have created a special hand-colored Remarque Edition of Hold to the Rod that will be limited to just 350 pieces.

The Personal Commission
Hold to the Rod focuses on one of James’ ubiquitous, puffy-guy characters in a predicament. He has become so burdened with his belongings and the items he has collected that, while he eyes the rod longingly, he cannot reach up to hold it for fear of losing some of his possessions. His dilemma is one we all share daily; how prepared are we to let go of the things we think we need to keep us safe and secure in order to hold fast to our beliefs and thereby navigate life with confidence?
The Hold to the Rod Personal Commission Paper Print has an image area of 14" x 14" with a retail price of $175.00. Again, the size of this edition will be set by the number of orders we receive between December 15, 2011 and January 31, 2012.

The Remarque Edition
With the Hold to the Rod Remarque Edition we have the pleasure of watching the character develop through a beautiful hand-colored Remarque. On the ground around him lay much of his discarded baggage. He has made the commitment to reach out and grab hold of what is actually important: keeping sight of true belief and faith, knowing that these alone can and will guide him through.
The Hold to the Rod Remarque Edition is limited to 350 pieces. This edition is comprised of the Fine Art Print signed by the artist and numbered, plus a matching numbered and signed hand-colored remarque. The hand-colored remarque is 6 ½” x 7 ½” on Strathmore Fine Art Paper and has an image area of 4” x 5 5/8”. It can be framed with your Hold to the Rod print or framed separately. The Remarque Edition retails for $375 and presents the complete Hold to the Rod, the Iron Rod story.

"What you probably see first in this image are the beautiful wings on Everyman. Next you notice that he's chained to a pillar - and then, if you look closely, you'll spot a key within his reach. I'm trying to suggest that we all have 'wings of potential,' the means to do or become whatever we want.
"When I showed the still-untitled image to some friends, they said it reminded them of the story of Icarus. According to myth, Icarus learned to fly on wings made of wax and feathers. In some versions of the tale, he flies too close to the sun, which melts the wax and causes him to plummet into the ocean below. In other versions, he was also warned to say well above the waves because the spray could soak the feathers and destroy them.
"The message of the myth is certainly relevant here. Although we may fly on wings of potential, we shouldn't do it recklessly - freedom and license are not the same things. We need to keep a steady course - and it wouldn't hurt to draw up a flight plan before departure."

There are oodles of adages associated with "when pig fly": events extremely unlikely to occur or just plain nonsensical. In the world of artist James C. Christensen, a flying pig might seem perfectly commonplace. But the hunchback holding a candle in If Pigs Could Fly is oblivious to his winged counterpart. In Christensen's art, the hunchback represents the imperfect "everyman" and the candle he carries signifies his wisdom and faith (or the faith in his wisdom, as the case may be). Our hero forges onward, walking ahead, not expecting the unexpected, nor noticing what's happening just over his shoulder. If Pigs Could Fly reminds us that anything and everything is possible, and not to eliminate any possibility.

"Sometimes I try to paint as if I were looking at a theatre state, so that if you moved the view to right or left, you'd find this tiny, unreal set. I was having alliterative fun with the title, but other people made some interesting symbolic connections with the Levites, members of one of the twelve tribes of Israel."

The indomitable spirit of the space age barnstormer is what made the space program work. Before there was a high tech, there had to be a low tech

This king has placed himself in a position of power, surrounded by his symbols of pride and puffery, but perhaps he should be more self-aware to see that his "kingdom" is precariously balanced and it wouldn't take much to upset it.

Exercise, anyone? Everyone?

The playwright Shakespeare and the poet Shelley fell under her spell. Countless lovers dream of her, waking to a happy bewitchment. Yet of all mortal men only one artist — James C. Christensen — has ever been admitted to the royal circle, privileged to meet the legendary Faerie Queen Mab and her attendants in all their enchanting glory

This foremost fantasy fine artist answers the question "How does Santa know who's naughty and nice?" in a limited edition fine art print in the tradition of "A Gift for Mrs. Claus" (1985) and "Olde World Santa" (1986) - both Sold Out at the Publisher. "Whether on paper or in porcelain, Santa has a special connection with the animal, bird and insect world," says the artist.

Click here to view the key to the 18 Shakespeare plays in James C. Christensen's "Shakespearean Fantasy."

“I’ve had a lifelong love affair with Shakespeare’s works. Of all the artists—and certainly of all the playwrights and poets—who have ever lived, Shakespeare comes closest to my ideal” says James C. Christensen. “If I took all my best artistic qualities and exaggerated them to become some sort of creative superhero, I like to think I’d be a lot like Shakespeare.
“This painting was commissioned by the Utah Shakespearean Festival. People ask me, ‘Why do you only have some of his plays represented here?’ My answer is always the same: ‘The other plays are on the back of the island, just go around!’ Seriously, a few of the references are tough, so you may need to revisit your Shakespeare to get them all.
“The Bard had such a deep and intimate understanding of the human condition, so much so that his plays, which were written nearly a half-millennium ago, are still being performed. Why? Because the messages, trials and joys of his characters are universal and because they are beautifully expressed. The pleasure of reading Shakespeare’s sonnets or attending a performance of one of his plays is in his finely crafted language. He says things the way I wish I could say them.”

“This is the look on my face,” says artist James C. Christensen, “when I glance up from painting and realize an entire afternoon has passed!”

"Themes run through nearly every artist's work. Sometimes a combination of themes creates a theme unto itself. This image, like 'Piscatorial Percussionist' and 'Serenade for an Orange Cat,"'depicts one of my musicians and combines my loves of music and ornate costumes.
"If you look closely, you'll see that this is not your everday bassoon and the bassoonist isn't ordinary either. Note how our hero has adapted: he has eleven fingers . . . just a little something extra I was pleased to include."

There are 1,327 named openings and variations to a match in The Oxford Companion to Chess, but how can a player remember any of them when the day’s spectators include a pair of dragons? “Actually, I don’t think anyone is worried about them at all,” laughs the artist James C Christensen. “They enjoy a well played game. It’s the little guys with the lances that get ornery when they are captured.”
Welcome to The Chess Match as imagined by James, the professor of the imagination. “These characters are quite passionate about the game. You’ll notice that they’ve incorporated the checkerboard pattern into their clothing and even onto the castle walls. But, they’ve only learned the game as distant observers, somewhat like you or me getting fascinated over a rugby match on the Aussie Channel. We could get all excited, run into the backyard and form up a scrum but we wouldn’t know the nuances of the game. Still, we’d have all sorts of fun and maybe even lose some teeth in the process.”
“The two players remind me of Oberon, in red, and Titania, in blue, from Shakespeare’s Midsummer Night’s Dream, each with their own castles and followers. Instead of playing with the traditional black and white pieces I was going to tip a hat to Alice in Wonderland by using red and white. From a design point of view, it was a little boring,” reveals Christensen, “so I went with blue instead of white. I didn’t think much about it until a friend stopped by and pointed out that I happened to choose the colors of Utah’s own Holy War--the University of Utah (red) vs. BYU (blue).”
As for the field of play, it’s classic Christensen. There is little doubt that the two queens, one with her magical staff and the other with her broadsword, are the most powerful players on the board. The kings, being slightly less so, have compensated for their diminutive stature with rather tall thrones. At this point in the game, the blue king has opted for a nap, while the red king does his best to direct traffic with a staff not as potent as his queen’s.
“I had fun playing the different pieces off of each other,” relates James. “Knights, castles and kings all employ minions and ogres to move them about the field. The red bishop is very ‘Rome’, as if he has just arrived, ornate mitre and all, from a conference at the Vatican. His counterpart is a red-haired, crazy druid running around (technically, diagonally) with a bunch of skulls on his belt. You have the Napoleonic, Great Garabaldi pawn in the foreground very serious and very fired up for his role while his opposite number seems to be having trouble mustering any real sincerity.” 
Then, there’s the crowd that surrounds the main event. Advisors, apprentices and dragons are part of the action. Like children mimicking adults, a group of faeries plays their own version of the game. A traveling salesman, in this case a “pawn-broker,” entices the locals with his wares.  A chip monk hides in the woods holding a pawn. Has he swiped it, or is he looking to get in a game?
An old, lost king lies half buried in the ground. Seventy-eight of his companions, known as the Lewis Chessmen, were discovered in 1831 on the Isle of Lewis, Scotland. These medieval ivory pieces date back to the 12th century and are believed to have been brought to the Scottish islands by the Norwegians, who ruled Scotland at the time.
“For those who know me well and that think I’ve forgotten something here, I haven’t. Hidden in the forest are at least three (maybe more) fish adding their enchantment to the day’s festivities. After all, it wouldn’t be a Christensen without magic in the air….. And, oh, by the way, it’s red’s move.

"Look again. Paintings grow out of many things and this one is from my love of things not being what they seem. The inside scoop is that "The Great Garibaldi" is the fish (the gold perch is called a “garibaldi”), not the impressive - looking mountebank or the little sycophant. THE GREAT GARIBALDI

A new marriage is like a tiny nest of sticks and twigs. On the river of life, our relationships act as boats that keep us together as we travel along its meandering path. Through their journey, this couple will incorporate stronger supports and shelter into their fledgling nest until it will be able to withstand even the fiercest of storms.
The shore of the river of life abounds with signs that good fortune will accompany this newlywed couple throughout their journey. The lemon, abundant on a tree, is a universal symbol of marital happiness, while the oranges signify that they hope to start a family. The white lilies are an indication of purity and virtue and the orchids represent perfection. Peace and friendship in the family are to be expected as a pair of swallows blesses this couple with their presence.
The Nest is not the first time James Christensen has focused his brush on the institution of marriage. The Bride, a highly popular and sold out edition, was of a similar theme. This is the ideal gift for the newlyweds in your life.

The beloved Storyteller from James C. Christensen’s 1999 Greenwich Workshop limited edition print "Once Upon a Time" returns in this fanciful new image commissioned for the 20th Anniversary of the Timpanogos Storytelling Festival.
Twenty years have passed since that magical meeting in the forest and the Storyteller is out and about on his circuit. Scores of characters are coming into town to greet him including some familiar Christensen dwarves, dragons, faeries and characters like the oddball twins Tweedle Dee and Tweedle Dum. Four well-known Timpanogos storytellers make costumed appearances. Can you find the two homage-to-fantasy-artist-Brian Froud characters? Even Mount Timpanogos peeks over the Tudor-inspired buildings to welcome back the Storyteller.

This piece has a little of the flavor of Handel's work. The ship, the instruments and even the angle are things based on research or hearsay. The king's lion's-head lute is based on one in the Victoria and Albert Museum music collection. The other characters are simply supporters of music.
The mouse, playing a three-stringed ancestor of the violin, seems to sit nicely in the crow's next. He makes the whole thing diminutive because it's easier to accept a little king than a gigantic mouse. The angel has butterfly wings and the bird is simply listening . . . or maybe doing vocals.

“The best friendships can and will endure,” explains James Christensen. “My wife has a life-long friend that lives in California. We live in Utah. Their relationship is more like that of sisters, although possibly even stronger. They have been friends for decades. Over that period of time they have had the chance to share all the joys life has presented them. They have also looked to and supported each other through hardship, distance and change. Separately, they have grown but never have they grown apart. The physical distance between them is overcome by an unseen connection.
“This painting is a diptych, each panel its own character. Unlike my diptych Sisters, both of these women are equals in their relationship as indicated by the similar style of clothing between the two. Both women lightly grasp the tie that binds them together. It is not a difficult thing to manage. Additionally, each has an ample length of cord in reserve, ensuring that no physical distance between them can severe their tie. ”
As with James Christensen’s original diptych, both Greenwich Workshop Fine Art Editions of "The Tie That Binds" are presented in two panels. One of artist’s ideas in creating the work was that each of the sister panels could reside in a separate residence, serving as a beautiful and thoughtful reminder of the relationship that makes this painting complete.

“These three are obviously on an important mission,” says James Christensen, “dressed in their finest clothes and all very serious, even the camel. We’re not sure who they are but they each appear to be carrying a special gift.”
Their magical golden boat, complete with Moorish-inspired stone arches and a filigreed rudder, sports a “lateen” sail common around the Mediterranean Sea and other Mideast coastal waters. Is this ship floating or has it run aground? Perhaps they are near Bethlehem . . . but it looks a lot like northern Europe. Then again, this journey in a spectacular vessel of imprecise ancestry across a Flemish landscape might just be a jewel of a metaphor for life itself.
“These three wise men are taking a shortcut,” says the artist with a twinkle in his eye.
“There’s only one camel on deck. The other two are below because they get seasick.”
This holiday-inspired image from the professor of the imagination, James C. Christensen, is a treasure for your home year round.

This piece," James tells us, "was influenced by Gothic painting and manuscript illumination, but the departure point is, of course, a pun on the word 'perspective.' For centuries, old men in villages have sat around tables and philosophized, trying to put life into perspective. Here are two fellows-looming large because they're the main subjects of the image as well as the center of their own conversation - discussing the community around them, the different strata of society being represented by a nobleman, scholar, beggar and so on. Once rumor and innuendo are nicely digested, this duo may chew on larger issues."