Do artists who deal with biblical scenes study the texts that inspire them? At the same time, do scholars pay attention to artists as biblical interpreters? Eminent biblical scholar Samuel Terrien seeks to answer these questions in this first ever comprehensive survey of Jobian iconography from the third century to modern times.

Through an analysis of the varying depictions of Job, he finds that artists were not usually subservient to directives of religious authorities; rather, they often contradicted or preceded the exegetical trends of these commentators.

This rich interdisciplinary work reveals for the first time that Jobian artists saw in the ancient hero not only the prophet of a new life or the model of revolt and faith but also - and surprisingly - the intercessor of sexual reprobates, the patron saint of musicians, and, in modern times, the existential man.