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ALTAR

Size: 16 X 20 X .5

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Acrylic on canvas, unframed

May the fire on the altar never go out, make me a house of prayer.

 

 

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The altar of incense is first mentioned in Exodus chapter 30 as one of the items inside the Holy Place of the tabernacle. The top of the altar was square—one cubit per side—and the whole altar was two cubits high. A cubit was about twenty inches, or just under two feet. The altar of incense was made of acacia wood and overlaid with gold. It had four “horns,” one at each corner, similar to the altar of sacrifice in the courtyard (Exodus 30:2; cf. 27:2). Rings of gold were built into the altar so that it could be carried with acacia wood poles that were slipped through the rings. The altar of incense was placed before the veil that separated the Holy Place from the Holy of Holies. On the other side of the veil was the Ark of the Testimony, where the presence of God was (Exodus 25:22).

Aaron was instructed to burn incense on the altar each morning and at twilight, every day, as a regular offering to the Lord (
Exodus 30:7–8). God gave the recipe for making the incense and stipulated that no other incense ever be burned on the altar (verses 34–38). The fire used to burn the incense was always taken from the altar of burnt offering outside the sanctuary (Leviticus 16:12). Never was the altar of incense to be used for a burnt offering, a grain offering, or a drink offering (Exodus 30:9). Once a year, on the Day of Atonement, the high priest was to put blood on the horns of the altar of incense to cleanse it. The altar of incense was called “most holy to the Lord” (verse 10).

Of course, God’s primary desire for His people is that they be holy. Simply going through the rituals required by the Law—including the burning of incense on the altar of incense—was not enough to make the Israelites right with God. The Lord wanted their hearts and lives to be right, not just their formalities. During Isaiah’s time, the people were disobedient to God, yet they still maintained the temple rites, and that’s why God said through the prophet, “Stop bringing meaningless offerings! Your incense is detestable to me” (
Isaiah 1:13). More important than burning the proper incense at the proper time with the proper fire with the proper implements was having a proper heart before God.

In Scripture, incense is often associated with prayer. David prayed, “May my prayer be set before you like incense” (
Psalm 141:2). In his vision of heaven, John saw that the elders around the throne “were holding golden bowls full of incense, which are the prayers of God’s people” (Revelation 5:8; cf. 8:3). As Zechariah the priest was offering incense in the temple in Luke 1:10, “all the assembled worshipers were praying outside.”

The altar of incense, then, can be seen as a 
symbol of the prayers of God’s people. Our prayers ascend to God as the smoke of the incense ascended in the sanctuary. As the incense was burned with fire from the altar of burnt offering, our prayers must be kindled with heaven’s grace. The fact that the incense was always burning means that we should always pray (Luke 18:11 Thessalonians 5:17). The altar of incense was holy to the Lord and was atoned for with the blood of the sacrifice; it is the blood of Christ applied to our hearts that makes our prayers acceptable. Our prayers are holy because of Jesus’ sacrifice, and therefore they are pleasing to God.

The altar of incense can also be seen as a picture of the intercession of Christ. Just as the altar of sacrifice in the courtyard was a type of Christ’s death on our behalf, the altar of incense in the Holy Place was a type of 
Christ’s mediation on our behalf—Christ’s work on earth and in heaven. The altar of incense was situated before the mercy-seat of the Ark—a picture of our Advocate’s standing in the presence of the Father (Hebrews 7:259:24). The incense was to be burning continually on the altar of incense, which shows the perpetual nature of Christ’s mediation. Christ’s intercession on our behalf is a sweet-smelling savor to God.

It is beautiful to know that God considers the prayers of believers to be like a sweet smell of incense. Because of Christ, we can now enter God’s holy presence by faith, with full assurance (
Mark 15:38Hebrews 4:16). We offer our prayers upon the altar, trusting in Jesus, our eternal, perfect, and faithful High Priest (Hebrews 10:19–23).

 

Altar 7, print

$

1 Medium

2 Size

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Currency: USD

Open Edition Fine Art Print

I created Altar 7 as a print of fire, worship, and consecrated prayer — concentric rings of ember orange, rose, and smoky neutral gathering around a central altar-like form, suggesting a place where prayer rises and the fire of God remains.

Available sizes: 16×20 in, 24×30 in, 30×38 in. Available on archival fine art paper, metal, canvas, and acrylic.

Original artwork: Altar, 2019, acrylic on canvas, 16×20 in — studio original, available.

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Summary

Altar 7 is a prophetic fine art print rooted in worship, prayer, consecration, and the fire of God. The original painting was created live in 2019 in a church sanctuary in Thamesville, Ontario, during a regional worship gathering. The print carries the image of an altar being established before the Lord: prayer rising like incense, fire kept alive, and heaven's answer descending. It is a piece for rooms where spiritual focus and consecrated beauty belong together.

Artwork Statement

I painted the original Altar live in 2019 in Thamesville, Ontario, while traveling in Southwestern Ontario as part of a gathering where churches were being invited to come together, worship, build relationships, and seek the Lord for revival in the region. I was invited to paint in the sanctuary during worship, and I began with colors that felt joyful and alive — orange, pink, yellow, and gold. As I worked, I found myself moving in circles again and again. Over time, that circular motion became part of the meaning of the piece.

In Scripture and in worship, there is a rhythm of returning: prayer morning and evening, incense rising, seasons repeating, the worshipper drawn higher. The circular movement in Altar 7 carries that sense of return and ascent — cycles of worship and prayer that circle through a life, a home, a church, or a region, becoming deeper and more consecrated. At the center is a form that became, for me, like an altar. I saw it as an altar of incense, a place where prayer rises before the Lord. The darker inner colors suggest flame, smoke, offering, and mystery. The descending white marks suggest answered prayer — the bowls being tipped, heaven responding.

Variation & Edition Notes

The original painting Altar was completed in 2019 in Thamesville, Ontario. In 2021, I reworked the painting in my studio, deepening the orange field and strengthening the fire language of the work. Altar 7 is a 2026 fine art print produced from the painting in its 2021 reworked state. A print edition from the 2019 original state also exists as an archived version.

Color & Mood

  • Palette: ember orange, red-violet, rose, smoky neutrals, charcoal, and descending white — colors of fire, incense, and consecration.
  • Mood: warm, centering, and contemplative; strong across the room, quieter up close where the soft rings and smoke-like transitions become visible.
  • The number seven in the title hints at rest and completion — a calm after long labor, a finished offering.

Design Notes

  • Subject: a radiant orb and altar-like central form anchored in a quiet field.
  • Motifs: altar and hearth imagery; fire as consecration and announcement; the circular return of worship and prayer.
  • Composition: balanced negative space with strong inward pull to a single focal point; the center reads as hearth, sun, and altar.

Where It Works

  • Prayer rooms, worship spaces, and meditation corners where fire imagery is understood and welcomed.
  • Living rooms and dining areas needing a warm, centering anchor — especially with neutral woods, stone, brass, or natural textiles.
  • Studies, creative studios, and home offices where consecrated focus matters.
  • Hospitality and wellness spaces seeking warmth and spiritual depth.

Altar 7, print by Anne Reid Artist shown framed above a sofa in a neutral living room setting.

Altar 7, fine art print — shown framed in a living room setting.

Print Options & Materials

  • Archival fine art paper: rich tonality and tactile surface; suits intimate rooms and traditional framing.
  • Metal: sleek, modern sheen that heightens the luminous center; easy hanging.
  • Canvas: gallery-style presence for a warmer, painterly install.
  • Acrylic: bold, glass-like depth for contemporary settings.
  • All prints are made to order — choose size and finish to suit your wall, lighting, and decor.

Bathroom Suitability

Metal and acrylic are suitable for bathrooms and higher-humidity spaces. Archival paper and canvas are best kept in dry rooms.

Available sizes, media, framing, finishing, and greeting-card options appear in the product dropdown menu above; for more help choosing medium, framing, finishing, size, or placement, visit my Sizing & Placement Advice page.

Sizing Guidance

  • Available sizes: 16×20 in, 24×30 in, 30×38 in.
  • 16×20 in suits intimate rooms, bedside walls, study shelves, and smaller prayer corners.
  • 24×30 in works well as a room anchor above a sofa, console, or desk — a confident mid-size presence.
  • 30×38 in is a large-format size suited to open living rooms, dining rooms, entryways, and statement walls where the full fire and circular motion of the work can be felt.
  • Placement tip: target art width at 60–75% of nearby furniture width; center hanging height at approximately 57–60 in from the floor.
  • For paper: a 2–3 in mat with even margins keeps the center calm and contained.
  • For metal, canvas, or acrylic: a float mount or slim float frame provides a clean, modern presentation.

For personalized sizing and placement help, visit my Sizing & Placement Advice page.

Quality & Care

Printed with archival inks on premium media for long-term color stability. I personally review color and contrast so the glow feels alive without overpowering the room. Handle with clean, dry hands; avoid prolonged direct sunlight to preserve the warmth of the original palette.

Shipping & Fulfillment

Orders are produced to order and shipped by my professional print lab partner in the United States. Production and transit times vary by size and finish; tracking is provided when your artwork ships. International orders may be subject to local duties, taxes, or import fees at delivery.

Integrity Notes

Altar 7 is a fine art print produced in 2026 from the original painting Altar, acrylic on canvas, 16×20 in. The original was completed in 2019 in Thamesville, Ontario, and reworked in the studio in 2021, deepening the orange field and strengthening the fire and altar language of the composition. The current print reflects the painting in its 2021 reworked state. A print edition from the 2019 original state exists as an archived version. The composition, circular motion, central altar form, and palette are drawn directly from the original painting.

Copyright & Credits

© 2019, 2021 Anne Reid Artist. All rights reserved. Original painting: Altar, 2019, reworked 2021, acrylic on canvas, 16×20 in; studio original, available.

Notes from the Studio

Altar 7 is a fine art print from the original painting Altar, 2019, acrylic on canvas, 16×20 in — a studio painting created live during worship in a church sanctuary in Thamesville, Ontario. The original painting is available; view it at Altar, original painting.

Need sizing or placement advice? Visit my Sizing & Placement Advice page or contact me: info@annereidartist.com

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Original Art Materials: Golden Heavy Body Artist Acrylics contain pure pigments in a 100% acrylic emulsion vehicle with no added fillers or extenders. The are permanent and lightfast. Holbein Heavy Body Acrylics are highly concentrated, artist-grade paints made with high-quality, finely ground pigments suspended in a 100% acrylic emulsion. The offer intense color, excellent lightfastness and high pigment concentration. Canvases are made with archival-quality natural cotton. Smooth Fine Art Paper II Prints are printed on Hahnemühle, Photo Rag, 308gsm, Smooth Matte Finish, 100% Cotton, Archival Quality, Acid-Free papers. Fine Art Canvas Prints are printed directly onto museum quality canvas material using high-quality archival inks.

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Altar 7 - prophetic fine art print - Anne Reid Artist

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