I am often asked for recommendations of classes that would be good for Catholics to learn traditional iconography. One place to consider is Hexaemeron.org which has just announced the first of its icon painting and icon carving courses for 2018. They are now taking students for their ‘Six Days of Creation’ integrated series of workshops for different levels of experience. Go to their site for more details.
Furthermore, you can earn credit on these classes from Pontifex University that would be recognized as part of studio requirement of their Master of Sacred Arts degree. Again, details can be found at Hexaemeron.org and www.Pontifex.University.
Hexaemeron.org a non-profit based in the US which was founded in 2003 which offers short courses and workshops in a variety of locations around the world but has its main focus in North America. It is founded by Orthodox Christians and is welcoming and respectful to Roman and Byzantine Catholics.
All their classes in painting, carving and embroidery are always of the highest quality and the work of two of their teachers has been featured in the past on this site. Some readers will be familiar with painter Marek Czarnecki, who is Catholic. I wrote about two icons of Western saints that he painted for Our Lady of the Mountains, in Jasper Georgia, here.
Here is his Saint Cecilia:
Another teacher that readers may be familiar with is the Canadian icon carver, Jonathan Pageau. Here is his icon of Jonah.
“Geometric pattern is the abstract art of Christianity.”
We tend to think of abstract as something that has come about only within the last one hundred years. But liturgical artists have had their own form of abstract art for nearly two thousand years. Geometric pattern is the abstract art of Christianity.
God made all of creation, visible and invisible, to teach us about Himself. When we perceive the order and pattern that is inherent in creation, the numbers that underlie all of creation, we see the thumbprint of God.
Geometrical forms, built up from mathematical (numerical) forms, are a symbolic expression of Christian Truth. They represent the thoughts of God.
In the Christian world, numbers have both a quantitative meaning and a qualitative meaning. They tell us the amount of some thing (quantity) but they also tell us about the thing itself. (qualitative.)
A carton of a dozen eggs, for example, holds a quantity of 12 eggs. But the number 12 also has a symbolic meaning. it may represent the 12 tribes of Israel, the 12 apostles, 12 signs of the zodiac, or 12 months of the year. Which of these symbols the number represents will depend on the context in which it is used.
In the context of a work of sacred art, depending on the other elements of the work, 12 eggs could represent the New Covenant, a new Church emerging from the “sealed tomb” of the old Law, resting on the foundation of the twelve apostles.
But this qualitative and quantitative language of numbers can also be used to construct abstract, i.e. non-representational, patterns that can lead us to contemplate heavenly things. Medieval manuscript paintings often have a geometric pattern serving as the background as a symbol of the order of heaven.
The work above is a design for a church floor, completed as part of the Masters of Sacred arts program at Pontifex University. It incorporates a specific type of scrolling pattern known as a guilloche. This is a meditation on Christ in the form of a geometric pattern.
Down the middle axis of the design are three shapes. The first shape at the top contains the symbol for “alpha,” the first letter of the Greek Alphabet, The bottom shape holds the symbol for “omega,” the last letter. Alpha and omega, the first and the last, the beginning and the end, come together in the middle in a “Christogram” a symbol (Read More)
Will you engage this moment
with kindness or with cruelty,
with love or with fear,
with generosity or scarcity,
with a joyous heart or an embittered one?
This is your choice
and no one can make it for you.
If you choose kindness, love, generosity, and joy,
then you will discover in that choice
the Kingdom of God,
It is your choice
just where you will reside.
Rabbi Rami Shapiro, The Sacred Art of Lovingkindness: Preparing to Practice
“We cannot let rejection settle into our hearts, for then we will allow ourselves to be content with less than we are capable of. Rejection is simply a way to let us know we still have work to do.”
Rejection and failure are facts of our existence. When an artist’s work is rejected or negatively critiqued, he or she is often told “don’t take it personally, they are not rejecting you, just your work.” This is a reflection of post-enlightenment thinking that considers art an end unto itself. It considers art in a vacuum, unrelated to the context in which it was created or the purpose it serves because to our modern way of thinking, those considerations are irrelevant.
I don’t think any artist of any genre has ever been consoled by the thought that “they are not rejecting you, just your work.”
Why is that?
If our work is less than what we are capable of, then it should be critiqued. Negative criticism should spur us on to better the quality of our work. But first we have to understand the proper use of our gifts.
As Christians we have been sent out into the world to preach the message of the Gospel, the message of Christ. We have each been given different gifts to accomplish this. These gifts are unique to each one of us, they are part of who we are, part of our identity. Whether we are painters designers, actors, writers, engineers, or accountants, our gifts are part of what makes us unique individuals. To criticize an expression of our gifts is to criticize a part of our identity.
In order to spread the Word with our gifts, we are taught that we are to become the Word to such a degree that it is no longer we who live but Christ who lives in us. A properly formed Christian will preach Christ in all his words and actions using the gifts God has given him.
This means that the properly formed Christian artist will always produce work that reflects that message whether it is a portrait that shows us the light of God shining on and emanating from an individual, or a cartoon that brings us joy which is also from God. To a Christian artist who has discovered his true vocation there is no separation between himself, his work, and his mission.
So when we do encounter rejection we have to (Read More)
This, past Sunday, January 21st,
Early and Eastern images portray Agnes without attributes (example), and even as late as this 9th-century Roman mosaic she is pictured as simply a generic virgin martyr. But as early as the sixth century she begins to be portrayed with a lamb, as in the second picture at right. The lamb becomes the attribute most commonly used to identify her. This is because her name is so close to the Latin agnus, “lamb,” which is additionally a reference to Christ, the Agnus Dei or “Lamb of God” of the Christian liturgy and John 1:29-31.
To emphasize this symbolism some portraits even give the lamb a halo (example). Besides the lamb and the palm branch, Agnes may be portrayed with the sword of her martyrdom (example) or standing on the flames that parted in her story (example). In the first picture on the right, the whole martyrdom episode is added in a small area in the lower left of the canvas. Additionally, her portraits sometimes add an open book, as in the third picture at right. Usually, in western images, her hair is long and blond, as in the first and third pictures at right and this example. Ercole Ferrata The Death of St. Agnes 1660-64 Marble, over the life-size High altar of Sant’Agnese in Agone, Rome This is not exactly St. Agnes’s death because in the legend the fire is miraculously quenched and the saint dies later. More of St. Agnes
6th century Mosaic, above and below, detail from the procession of female saints on the left wall of the nave in Sant’Apollinare Nuovo, Ravenna from the same period
Pontifex University is an online university offering a Master’s Degree in Sacred Arts. For more information visit the website at www.pontifex.university
Without realizing it, we fill
important places in each others’ lives.
It’s that way with the guy at the corner grocery, the mechanic at the local garage,
the family doctor, teachers, neighbors, coworkers. Good people who are always “there,”
who can be relied upon in small,
important ways. People who teach us,
bless us, encourage us, support us,
uplift us in the dailiness of life.
We never tell them.
I don’t know why, but we don’t.
And, of course, we fill that role ourselves. There are those who depend on us,
watch us, learn from us, take from us. And we never know.
You may never have proof of your importance,
but you are more important than you think.
There are always those who couldn’t do without you.
The rub is that you don’t always know who.
“He who does Christ’s work, must stay with Christ always.”
One of the greatest Christian artists is Giovanni Fiesole, better known to the world as Blessed Fra Angelico, the “Angelic Brother.” Fra Angelico is a patron saint for artists. His style of painting beautifully bridges the iconographic and gothic traditions. Giorgio Vasari, author of “Lives of the Artists,” referred to Angelico as a “rare and perfect talent.”
Very little of his writings have survived the centuries but one phrase still resonates, more than 400 years after his death. “He who does Christ’s work, must stay with Christ always.”
Saint Paul, in his letter to the Galatians said something similar. “I live; yet now, it is not I, but truly Christ, who lives in me. And though I live now in the flesh, I live in the faith of the Son of God, who loved me and who delivered himself for me.” Galatians 2:20
What does it mean when Paul tells us it is no longer he who lives but Christ who lives in him? What does it mean to stay with Christ always?
In Paul’s time it was believed that the only way to have a right relationship with God was to follow the law, the Ten Commandments and all the thousands of rules that derive from them.
But Paul rejected this idea and preached that the only road to justification, to having that right relationship with God, is through faith in Jesus Christ.
It is not enough to simply “follow the rules” and stay out of trouble. If that is all we do then we are trying to achieve heaven by our own merits. God wants more from us than that.
God invites us into a relationship of friends and family, a relationship of love. This type of relationship is a living, dynamic one. To love Christ and to want to be near Him is to be crucified with Him.
It means standing up for the Truth even when it is unpopular. It means finding time to pray. It means that we stay faithful to the teachings of Jesus. And it means that when we fail, we humbly confess our sins as we would apologize to a friend we have hurt, so that that relationship can be restored.
It means that we must reflect Christ to the whole world, so that when people look at us they do not see us, they see Christ.
For the Artist this means we (Read More)
Try it for 30 days, and if you don’t like it, we’ll return you misery with interest!
Here’s a quick and simple exercise I have been doing daily for nearly 30 years and it has brought such spectacularly positive results in my life that have accumulated steadily and incrementally ever since I started.
Every day, I jot down on a scrap of paper a ‘gratitude list’.
The gratitude list is a list of good and beautiful things that have been given to me today for which I offer thanks to God. I put down the ‘essentials’ of life that are true for today, for example, I am alive, I have a bed to sleep in today, I have somewhere to live, food for today, clothes to wear and so on. I then put down all the little events specific to that day that go beyond what is necessary for life, you might call these ‘luxuries’, for example, sunshine on this January day (sorry New Hampshire), a kind word here, the relationships with others that I have and so on.
Actually writing the list is important – it forces me to crystallize the thought in my mind that much more concretely and makes the exercise more powerful. So nice thoughts in the shower, or on my morning walk don’t count. It’s not that there’s anything wrong with that but it doesn’t work as well for this exercise. I reach for pen and paper.
Also, I don’t wait to feel grateful before I put them down – I write down what I ought to feel grateful for! The idea is that this exercise changes how we feel, and we grow in gratitude over time even if we don’t start out that way. So right now I am grateful for a huge cup of steaming coffee! Fantastic!
Then I go further, I write down the bad things happening in my day and thank God for those too.
It may sound perverse, but this is powerful for turning around my attitude to what is happening to me. I believe that all that is good comes from God and that once we hand ourselves over to his protection and care he will look after us. While it is undeniable that there is evil and suffering in the world, these things to do not come from God, for a God that is all good cannot be the creator of something bad. Rather, (Read More)
The function of education is to teach one to think intensively and to think critically. Intelligence plus character – that is the goal of true education.
Above all, trust in the slow work of God.
We are quite naturally impatient in everything
to reach the end without delay.
We should like to skip the intermediate stages.
We are impatient of being on the way to something
unknown, something new.
And yet it is the law of all progress
that it is made by passing through
some stages of instability—
and that it may take a very long time.
And so I think it is with you;
your ideas mature gradually—let them grow,
let them shape themselves, without undue haste.
Don’t try to force them on,
as though you could be today what time
(that is to say, grace and circumstances
acting on your own good will)
will make of you tomorrow.
Only God could say what this new spirit
gradually forming within you will be.
Give Our Lord the benefit of believing
that his hand is leading you,
and accept the anxiety of feeling yourself
in suspense and incomplete.
Pierre Teilhard de Chardin, SJ (1881-1955)
“Style and content are both critical if we are to portray the human form with dignity. It’s not just what we paint, but how we paint it.”
“The Master of Sacred Arts program of www.Pontifex.University discusses in great depth how this consideration of the way in which we paint the human figure has influenced profoundly all the great Christian styles of art.”
Here is the latest video presentation, by Bill Donaghy of the Theology of the Body Institute in Philadelphia, recorded just after the Easter Triduum last year. He discusses Christ in the Realm of the Dead, painted between 1891-94 painted by the Danish artist Joakim Skovgaard (1856-1933).
I did not know anything about this artist until I saw Bill’s talk. Although not so obviously drawing on the Greek ideal, his style does remind me, in many ways, of William Blake. The dramatic touch in composition, the coloration look similar. And just like Blake he does not conform to the academic styles that dominated in the period that he painted.
While Christian artists are not bound to follow traditional styles (although I would argue they would need good reasons to depart from them) they must consider a style that has the right balance of naturalism and idealization. This is especially important when portraying the human form nude. Style and content are both critical if we are to portray the human form with dignity! It’s not just what we paint, but how we paint it.This artist has created a work of great power without being prurient. He chooses poses that avoid revealing private parts – this is especially appropriate if portraying fallen man, for they are meant to be private in him more than in any other anthropological state. That is why we wear clothes – or we ought to – in most situations!
The drama of this moment which indicates, as Bill tells us in his commentary, ‘where Adam fails Christ succeeds’.
The Master of Sacred Arts program of www.Pontifex.University discusses in great depth how this consideration of the way in which we paint the human figure has influenced profoundly all the great Christian styles of art.
Pontifex University is an online university offering a Master’s Degree in Sacred Arts. For more information visit the website at www.pontifex.university
Mother Theresa of Calcutta used to say that “the money in your pocket is not yours, it belongs to God.” The same is true of all the gifts you have received.
By Deacon Lawrence Klimecki; this article originally appeared at www.DeaconLawrence.org
What is the purpose of artistic talent?
I am sure most, if not all of us, are familiar with the opening of a movie produced by MGM Studios. It depicts a roaring lion surrounded by the words “Ars Gratia Artis.” This is the Latin translation of the phrase “art for art’s sake.”
“Art for Art’s Sake” is a phrase coined about 200 years ago to express a philosophy that the true value of art lies in the art itself; that art should be divorced from any instructive, moral, or useful function. In other words, “true art” serves only itself.
But for the thousands of years prior to the early 19th century, art served a purpose, it served the community. For the Christian artist, art was, and still is, a way to teach, promote Christian morals and values, and serve the common good. And because we share in God’s creative force as sub-creators, we find an endless number of ways to accomplish that.
Mother Theresa of Calcutta used to say that “the money in your pocket is not yours, it belongs to God.” The same is true of all the gifts you have received. They have been given to you by the Holy Spirit to bring the world back to God.
Saint Luke’s account of the multiplication of the loaves and fish gives us an interesting example. It is not difficult to understand the apostle’s point of view. They brought barely enough food for themselves, let alone the thousands who came to hear the Lord. But rather than send them away Jesus told the apostles to feed the multitude from their own small stores. We can easily imagine some reluctance to give up what little they have. But because it is the Lord who asks they do so. And Jesus takes what they have, multiplies it, and not only is there enough to feed the thousands but there is enough left over to fill twelve baskets, one for each of the twelve apostles.
God asks us to return to Him what He has given us, in order that He may give us even more.
What are your talents and how are you using them?
There is a saying (Read More)
Your Sacred Space
What’s your plan for the New Year? Add a sacred space at home?
Have you been missing a sacred space in your home where you, your family and friends find nourishment for the soul, alone and in community; where you make time to strengthen your relationship with God, others and yourself; where you find your balance and center again; a place for spiritual practice, transformation and healing.
A home chapel can be simple or elaborate — you decide. We invite you to imagine what is possible and let us help you make that vision a reality with design and items that inspire and resonate with you.
Some of you will be aware of this program already, but not everyone!. The Master 0f Sacred Arts program at www.Pontifex.University was introduced last year (and we even have the first people about to graduate!). But I wanted to let you know that we now pretty much have all the courses up there created by a great faculty. So this is a range of classes that are rooted in the Catholic intellectual tradition as well as practical classes in painting, sculpture and sacred geometry (as part of the Mathematics of Beauty course).
The MSA offers a formation in beauty for artists, patrons of the arts and anyone who wants to contribute creatively to the transformation of the culture. It is a chance to travel on the Way of Beauty in a way never before available.
Thank you to all at Pontifex for the creation of this unique program, it is such a pleasure for me to see this available. It is the result of over 20 years’ work and study on my part and many hundreds of years of work if you include the unique contributions of our wonderful faculty.
Every course is unique to the Master of Sacred Arts. You can take the whole program or individual courses; audit or for credit to compliment what you already know or feel you can teach yourself.
Please Join us for a Book Signing with Sister Mary McGlone, CSJ
for her new book
“Anything of Which a Woman is Capable”
Sunday, January 7, 2018 — 3:00 PM
at Creator Mundi Gallery
901 Englewood Pkwy, Unit 112; Englewood, CO 80110; https://www.creatormundi.com/
RSVP to firstname.lastname@example.org by Friday, January 5
Mary M. McGlone is a Sister of St. Joseph of Carondelet. She has ministered in the United States and Peru and done short-term mission work in El Salvador., Ecuador and Romania. She holds a Ph.D. in Historical Theology. She writes for the National Catholic Reporter among other periodicals and has published several other books.
Carol K. Coburn of Avila University reviewed the book with the following words: “Like a diamond, this book has many facets. It is a story of spirit-filled women who respond directly to the needs of others. It is a story of women’s leadership, power, advocacy, struggle, adaptation and change. It is the story of the Sisters of St. Joseph who created a powerful religious and social movement that spanned over three centuries and thousands of miles. And ultimately, this book and these stories answer the question of what women are capable of — Everything.”
Abel, the son of Adam is mentioned in the Canon of the Mass as Abel the Just. It hasn’t been easy to confirm, but my best information is that his feast day is January 2nd for the Extraordinary Form Calendar and I was just informed (H/T Sequoia S) that it is December 24 for the Ordinary Form calendar. His story is in the book of Genesis. You may remember his offering, a sacrificial lamb, was appropriate, which that of his brother Cain was deficient. When Cain’s offering was rejected, Cain murdered Able out of jealousy.
He is a hugely important figure liturgically in that his story is one that helps to establish the pattern of religious life for us, with worship and sacrifice at its heart. This is true, broadly speaking for the patriarchs, and specifically, he is often associated in this regard with Melchizedek and Abraham. I have covered both of these figures in previous postings and any who have read those will remember the mosaic from Ravenna which has the three together.
This importance is made real, by the continued references to him in the Old Testament, as well as in the Mass, of course. Here is an excerpt from the Catholic Encyclopedia:
In the New Testament Abel is often mentioned. His pastoral life, his sacrifice, his holiness, his tragic death made him a striking type of Our Divine Saviour. His just works are referred to in 1 John 3:12; he is canonized by Christ himself (Matthew 23:34-35) as the first of the long line of prophets martyred for justice’ sake. He prophesied not by word, but by his sacrifice, of which he knew by revelation the typical meaning (Vigouroux); and also by his death (City of God XV.18). In Hebrews 12:24, his death is mentioned, and the contrast between his blood and that of Christ is shown. The latter calls not for vengeance, but for mercy and pardon. Abel, though dead, speaketh (Hebrews 11:4), Deo per merita, hominibus per exemplum (Piconio), i.e. to God by his merits, to men by his example.
The Ghent Altarpiece portrays this so beautifully, by connecting the two images of Abel and Cain with the fallen Adam and Eve (who have deep shadows associated with their images and who are naked, but ashamed of their nudity).
Here is an early gothic illumination, which again puts to the two important parts of the ‘Kayn’ and Abel biblical narrative (Read More)
I am wondering if the experiences of choir directors out there confirm an observation of mine about the power of a drone – that is a continuously sung note alongside the melody – to help engage people with sacred music in the right way? I have seen the drone used in Gregorian chant and Byzantine chant to powerful effect. I suggest that this is something that could be used more, especially in modern churches which are not designed with an acoustic that produces a harmonic resonance naturally. In my opinion, chant requires that faint suggestion of harmony that such a resonance lends to it, as one might hear in a gothic abbey for example, in order to have full effect as sacred music (I will explain my reasons for saying this later).
Here are my thoughts as to why this might be. One of the attributes of beauty, famously listed by St Thomas, is due proportion. When something has due proportion, each part of an object must be in right relation to each other in a way that is appropriate to the purpose of the whole. What constitutes due proportion in any particular situation is to a degree a matter of judgment, but there are geometric and arithmetical guidelines that can inform that judgment.
Beauty it seems is ordered by the number three. Going all the way back to pre-Christian classical culture, it was noticed that in the human response to things in combination – that is, in relation to each other – a minimum of three things were needed to constitute some sense of completeness in the arrangement. If there are just two in combination there can still be beautiful combinations, but there is inherent within it a sense that it is incomplete.
This is most easily explained in the natural response of most people to the combinations of notes in music. When two notes are placed in a relationship to each other, it is called an interval, and when it is pleasing it is described as ‘consonant’ meaning literally, ‘sounding together’. However, it was also noticed that when people hear a harmonious interval, it still seems to lack something. If you ask the music theorist why this is, they will tell you its because an interval could be the basis of either a major or a minor chord, and you don’t know which until the third note is supplied. When (Read More)
A video commentary by Bill Donaghy of the Theology of the Body Institute.
Here is the third in the series of 12 short videos on art by Bill Donaghy of the Theology of the Body Institute in Philadelphia. I encourage all to investigate the courses they offer, by the way, which are available through their website.
Once again there are great insights here. Here is one little nugget to tempt you with, if you will forgive the pun, is the play on the word ‘adoration’. Bill explains how this word is derived from the Latin, ad-oratio, that is ‘to the mouth’. To adore is to love intimately – mouth-to-mouth contact – as the imagery of the root portrays. As we see in this painting, the destruction of the harmony between God and man is brought about by a perversion of this, in which Blake show a mouth-to-mouth temptation by the serpent. I suggest that the restoration of this harmony, brought about by Christ, is a spiritual mouth-to-mouth resuscitation!
Again this is exquisitely rendered in a neo-classical form by Blake.
Temptation And Fall
I offer the following as a complement to your celebrations of the Nativity of Our Lord, not as a replacement! Like someone whose birthday is on Christmas Day, St Anastasia is not often commemorated. A separate Mass for her can be said on December 25th, but given the unlikelihood of this happening, I suggest that perhaps in order to revive her momory, as one of the saints of the Roman Canon, we could find a way of adding a veneration to her without distracting from the Nativity – perhaps though the insertion of her name at the prayers of the day in the Mass or the Divine Office, or through a veneration of her icon in the processions in such a way that it supports, rather than distracts from the main focus of the day, the Nativity of the Lord.
Perhaps we could take a lead from the Eastern Church which always commemorates the saints of the day even in Sunday liturgy by the singing of the multiple troparia (one-verse hymns) of the day at the appropriate juncture.
Not much is know about the saint, except that she was a Roman by birth who was martyred at Sirmium in modern-day Serbia during the persecution of the Emporer Diocletian. You can read about her in New Advent here.
This Western depiction of her shows her with the idealized features of a Greek goddess as would have been the norm in the neo-classical art of, for example, the High Renaissance or of the early 19th century.
Eastern icons of her show her with a bottle as ‘deliver from potion’ symbolising the power of her prayers to cure the sick.
This is one of a series of articles written to highlight the great feasts and the saints of the Roman Canon. All are connected to a single opening essay, in which I set out principles by which we might create a canon of art for Roman Rite churches, and a schema that would guide the placement of such images in a church. (Read it here.) In these, I plan to cover the key elements of images of the Saints of the Roman Canon – Eucharistic Prayer I – and the major feasts of the year. I have created the tag Canon of Art for Roman Rite to group these together, should any be interested in seeing these articles as they accumulate. For the fullest presentation (Read More)