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How to capture the Savior visitation was a challenge. The scriptures do not give details about his features. I remember DeMille telling me “I serve a higher purpose, the men I need are sent to me, you were sent to me.” I suppose something higher is involved in all of this.

This was the great winding up scene. You may noticed I have Captain Moroni’s blood soaked cloak in the background. Also one symbolic final leaf hanging on the tree. The battle scene was tricky. These paintings were originally intended to be for children under 12 years old, but the record said tens of thousands were killed in those last bat

	More about the collection:
	A s a 35 year old illustrator, Arnold Friberg was just completing a painting for the centennial celebration of the first pioneer Sunday school held in Salt Lake City. He had no idea what a profound effect that painting would have on his career. "Pioneer Sunday School- 1950" caught the eye of the President of the Sunday school for the LDS church, Adele Cannon Howells. Mrs. Howells knew she found her artist. She wanted to commission twelve paintings that would illustrate key events in the Book of Mormon and use one for the cover of the Children's Friend magazine each month. Adapting these religious scenes to capture the power of the stories and the imagination of a child was only part of the challenge. Mrs. Howells had no funding and she knew it would take the artist a year to complete. With blind faith she commissioned Friberg to begin. With so many stories to choose from, she decided to give the artist a broad license to decide which key scenes he would paint. No one could imagine that the project personally funded by Mrs. Howells would be reproduced in the Book of Mormon years later. This honor secured Friberg as a true pioneer of religious art. Today the originals hang in the LDS Church Visitor Center in Salt Lake City. The first painting he completed in the series caught the eye of legendary film producer Cecil B. DeMille and thrust Friberg onto the world stage. The limited edition sets contain a complete lithograph series of each original painting, personally signed and numbered by the artist himself. Each set comes with a numbered certificate of authenticity, a collector's book detailing each painting in the collection. Each piece is meticulously matted and framed to exacting artistic specifications to match the integrity of the art and add value to the collection. We have put together a group of the largest framing providers in the country and combined them with the best framing artisans to create a premium experience for each piece. It is through the harmonizing of art with the mats, glazing, and framing profiles that a beautiful framing design is accomplished. As such, great care has been taken in the designing and framing of these powerful images. Materials have been chosen for their ability to help preserve and protect the artwork. While Friberg consistently paints in a rich and earthy pallet, each image is distinct in the collection. This requires a combination of mat colors that have been specifically chosen for each individual image. All of the selected mats are acid free and of conservation quality. The glazing in a frame design must protect the art without inhibiting one's ability to appreciate it. Acrylic glazing products, also known as safety glass, boast outstanding optical clarity and superior impact strength for less than half the weight of regular glass. Should the frame ever be dropped, bumped, or kicked, the likelihood of damage to the art is greatly reduced with the use of acrylic glazing. In addition, this conservation quality acrylic has been chemically treated to filter 98% of ultraviolet light before it can reach the art. This helps reduce the irreversible effects of fading, yellowing, and cracking caused by ultraviolet light. In keeping with the mood and subject matter of the art, the framing profiles have been selected for their rich finish and awe inspiring style. Friberg had a quirky habit of signing each piece in a slightly different location. This creates a framers nightmare but a collector's windfall. The artist's signature has been preserved and showcased in the entire collection. This framing strategy will enhance and preserve your investment and create maximum enjoyment for the collector from each one of a kind piece. Collectors have a choice of three frames for their collection. We have professionally selected each frame to match the art, not the room. When done correctly the art makes the room. We highly encourage you to take the "Professional's choice" when making your frame selections. We do however leave you the option to decide which frame you would like for each piece.

The entire limited edition Arnold Friberg
collection is exclusively available through one of our gallery partners or directly through LDS Art Collector.

APPLE FRAME GALLERY 70 North Main Street Suite 104 Bountiful, UT 84010 Send to Friend | View Map

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This painting was the one that grabbed the attention of Cecile B. DeMille, the most successful movie producer of his time. DeMille liked the concept so much in this painting, we copied the clothing elements for Moses and the burning bush scene in the movie “The Ten Commandments”

I remember DeMille really liked this painting a lot. He said, “If I made a movie of this, wouldn’t it be great to have two arrows hitting each other in the air?”

I wanted to capture the tense scene just before the fight broke out. Imagine gathering a stack of arms that had been hacked off and take them to the King as evidence of your faithfulness. The actual scene of the fight was too gory to depict.

I went to a Rabbi and asked him to write the words for the flag in the style as they would be written during the time of Jeremiah, about 600BC. The square Jewish lettering had not been invented yet and what he came up with is similar to what we used on the tablets in the movie the Ten Commandments.

I had to make the young men strong in this painting to show they had real power. Like Michelango’s depiction of David going in the strength of the Lord, that statue was a depiction of him 17-18 years old, clean and strong, fantastic! I needed my young men to also have that same feeling.

I have been asked what was the inspiration for Abinadi in this painting? He actually was the man
that taught my father the gospel, as I imagined him late in life. Also Alma was a central character in this painting
and I have him as the man to the far right corner standing up. You can tell he was impressed with what he is hearing.

The Book of Mormon also does not
give us details of Nephi’s appearance.
I need to not paint a portrait, but
capture what he was capable of doing.

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I came to the conclusion that the compass needed to have a base. They would not let something so valuablejust roll around
in the dirt or on the deck of a ship. I determined the Liahona must have a tripod to hold it when not in use.

I chose to not depict this scene as Alma preaching. I wanted to show the absolute tranquility and unseen beauty contrasted with the danger
they were still in with armed guards watching over them in the bottom of the scene.

Must create a boat that was “not built after the manner of men.” It still needs to be practical in my mind; God would not just create something just to prove he was God. It might be something as simple as the difference between using a steering oar, versus a steering rudder that had not been invented yet.