More than ever before, today’s moral climate compels us to engage the culture as Christ’s ambassadors, making the appeal on His behalf for people to come to Him and be reconciled to God.

We know the answer to all the darkness of this world is the Light of the world. And the answer to all of society’s ills is the same now as it has always been: a sinful, wicked heart made brand new by the finished work of Christ on the Cross.

Jesus Christ is the Light of the world, and He makes all things new, including our wicked hearts.

The “bumper sticker” saying is true: Jesus is the answer. So let’s stay on our knees and in His Word, and keep appealing to all people to come to Him and be reconciled to God.

From the daily devotional Winning Walk

Take a min. Reflect on all you have to be grateful for.

Then, get up and fight to keep it.

God Bless America!

"To Make Men Free" by Norman Rockwell (1943)

It depicted all the wars which the United States fought from the Revolutionary to it’s entry into WWII.

“Gilding the Eagle” by Norman Rockwell (1928)
The work originally appeared on the May 26, 1928 cover of The Saturday Evening Post.

Described by Norman Rockwell as "one of my best of this period," the painting features one of his favorite models of the 1920s, James K. Van Brunt. An ideal model and source of inspiration, Van Brunt posed for Rockwell in a wide variety of narratives and as numerous characters, including a cowboy (Dreams of Long Ago, 1927, Private Collection), and two old ladies gossiping (The Gossips , 1929, Private Collection).

In Man Painting the Flagpole , Brunt sits near the top of a lofty flagpole, holding himself upright with one arm as he diligently gilds the stately eagle that adorns its pinnacle. A faint, city skyline appears in the distance beneath him. With an extra paintbrush in his pocket and a bucket of gold paint at his side, he methodically completes his work while puffing on a pipe that protrudes from underneath his bushy mustache. The composition emphasizes the patriotic symbolism of the American eagle, while simultaneously portraying a sympathetic view of people at work--a theme Rockwell revisited throughout his career.

“Homecoming Marine (The War Hero)” by Norman Rockwell (1945)

Homecoming soldiers were a popular subject for illustrators in 1945. But for this end-of-war cover, Rockwell took an unusual approach to capturing a Veteran’s welcome home.

A traditional cover would have shown a G.I. standing tall and proud among civilian admirers, and Rockwell had produced a cover like that after the last war. It showed a tough, confident doughboy surrounded by adoring younger boys. But at the end of this world war, he gives us a slim, young Marine sitting on a box. As if to emphasize his youth, he is seated beside a little boy who is mimicking his pose.

The newspaper on the wall gives us his back story: The mechanic who’d enlisted for the war has now returned a hero, probably from the Asian theater, judging by the flag he is holding. But, instead of recounting tales of glory, he is looking up with a thoughtful, almost troubled expression at the boy who has just asked him a question.

Rockwell was a master at conveying the subtleties of human expression, and it’s clear his intention wasn’t merely to show a hometown boy back in familiar surroundings, but also to capture the newly returned Veteran’s feeling of isolation — knowing he can never adequately convey to the folks at home the things he experienced in the war.

“Liberty Girl (Rosie to the Rescue)” by Norman Rockwell (1943)

Norman Rockwell hired a professional model for the Post cover Liberty Girl (Rosie to the Rescue), honoring the mythical embodiment of all the new roles that now belonged to the American woman during wartime.

As a symbol of the ability of Americans to mobilize and transform themselves during the war effort, Rockwell might have chosen a more idealized or classic portrayal, just as he based Rosie the Riveter on a classic Michelangelo painting, but he chose to paint her as a girl-next-door, accentuating her authenticity.