The D&C and Church History ARTbook, volume one, curated by Esther Hi’ilani Candari and published by By Common Consent Press, is a fantastic resource for gospel artwork. It is chock-full of beautiful and thought-provoking pieces on gospel themes that complement the Doctrine and Covenants “Come, Follow Me” curriculum. One of the strengths of the book is its practical design—it opens with helpful suggestions about how to use the art to meet the needs of a variety of Church settings, ranging from an average Sunday School class to groups with special needs. This shows an intentional effort not just to publish art, but to help members of the Church engage with it in meaningful ways.

As a test-run for the book, I spent several weeks using it during nightly scripture study with my six-year-old daughter. Each night we would look through the paintings together and discuss their meaning, especially as they related to stories from Church history. These conversations proved rich and memorable. We discussed the First Vision, the experience of obtaining and translating the golden plates, and the vision of Jesus Christ in the Kirtland Temple—moments that became springboards into thoughtful, age-appropriate conversations about faith and testimony. In this way, the book exceeded my expectations as a teaching tool. It brought stories I already knew into new focus, allowing me to share them with my daughter in a way that was accessible, visual, and spiritually uplifting.

For years, I have loved the official Gospel Art Book published by the Church in 2009. While The D&C and Church History ARTbook can stand on its own, it also serves as a wonderful complement to the Church’s volume. Unlike the official book, this new collection is curated by independent Latter-day Saint voices and therefore incorporates a wider variety of artistic styles and subject matter. It includes scenes and people often absent from official artwork, enriching the overall representation of the Restoration. Particularly powerful are the depictions of early Black Latter-day Saints, including Anthony Sweat’s Ordination of Q. Walker Lewis, Lori Hatfield’s Elijah Able, and portraits of Jane Manning James by Stacy Minch and Megan Rieker. Women are also prominently featured, with artistic portrayals of Emma Hale Smith, Vienna Jaques, and Diantha Morley, among others. Anthony Sweat’s painting of a Relief Society healing adds another layer, drawing attention to aspects of Latter-day Saint women’s spiritual contributions that are often overlooked in visual culture.

The book also extends beyond Church history to broader gospel themes relevant to the Doctrine and Covenants. Topics such as the nature of God and Christ, temple work, missionary service, and contemporary Latter-day Saint life receive visual treatment, creating a resource that connects past and present. This wide-ranging approach makes the book valuable not only for personal study but also for classroom or family settings, where art can open conversations that words alone might not spark.

My main critique is that the book does not provide enough explanation for the artwork it presents. While some paintings are straightforward, others—particularly the more abstract works like those of Ben Crowder—require interpretive guidance. A short paragraph contextualizing the imagery would have made the book even more accessible to readers who are not trained in art interpretation. Without such context, I occasionally felt uncertain about the intended message or symbolism of a piece, which limited my ability to fully engage with it.

Overall, however, The D&C and Church History ARTbook, volume one is a remarkable contribution to Latter-day Saint culture and pedagogy. It enriches the visual landscape of the Restoration by broadening representation, diversifying style, and placing familiar gospel narratives in fresh artistic settings. While I hope future volumes will offer more interpretive commentary, this installment succeeds in making art an accessible and inspiring part of scripture study. For families, teachers, and individuals alike, it provides a meaningful way to bring the Doctrine and Covenants to life through the power of image, symbol, and story.

For more book reviews and forthcoming books, see Mormon Studies Books in 2025