Notre Dame de France: A showcase of Art Sacré

Notre Dame de France is a showcase of Art Sacré as Cultural Attaché René Varin encouraged the creation of a sacred space, which would honour France. He approached eminent artists of the time.

Jean Cocteau (1889-1963) | Our Lady’s chapel 1959

• Cocteau came to London to paint the superb murals in Our Lady’s chapel, between November 3rd and 11th 1959.
• Cocteau was a multi-talented and well-known artist, already famous for his poetry, drawings, novels, films and plays. Such was his fame that a screen was erected to hold back the public and press while he painted the murals. He was an influential artist who, along with other famous contemporaries animated artistic life at that time.
• Cocteau received his honorary doctorate from Oxford University with the support of René Varin. Cocteau asked him if there was anything he could do in return. Varin suggested that he decorate a chapel at Notre Dame de France.
• The murals are dedicated to the Virgin Mary divided into 3 panels: the Annunciation, the Crucifixion and the Assumption. The murals are simplified drawings, lines with muted colours. Cocteau included a self-portrait within the Crucifixion scene on the left side of the altar.
• He arrived each morning at about 10am and always began by lighting a candle. He was heard talking to the Virgin Mary while working on the drawings.

Dom Robert (Guy de Chaunac-Lanzac, 1907-1997) | Notre Dame de France Tapestry 1954

• A beautiful Aubusson tapestry, above the altar, which is a work by this Benedictine monk of the En Calcat abbey.
• The theme of the tapestry is Paradise on earth with a reference to the Creation and to Wisdom. The New Eve, title given to Mary by the Church, is walking towards us as pure as a new bride.
• The quotation at the bottom of the tapestry (book of Proverbs) refers to the personification of Wisdom, present at God’s side when the world was created: “Cum eo eram cuncta componens ludens coram eo omni tempore” “I was by his side, like a master craftsman, ever at play in his presence”
• Dom Robert is a well-known tapestry artist of the 20th century. The key theme of his work is Nature as it emerged from the hands of the Creator of the world. There are frequent representations of vegetation and flowers in his work.
• He entered En Calcat Abbey in 1930. After 10 years spent at Buckfast Abbey in England, he went back to En Calcat. It was then that he started to produce works of art.

Georges-Laurent Saupique (1889-1961) | Bas relief carving: Our Lady of Mercy 1953

• The representation of Our Lady of Mercy above the entrance welcomes visitors as they walk in from the street and enter the church.
• Work of art of the famous French sculptor. He was head of the restoration work of Reims cathedral.

Boris Anrep (1863-1969) | Mosaic of the Nativity 1954

• Russian artist and mosaic specialist who was very active in England.
• He was very well known for his mosaics in Westminster Cathedral, the National Gallery and the Bank of England.
• In 2003 reordering work in the church led to the re-discovery of the mosaic by the artist in Our Lady’s side-chapel.

Jeremy Clarke: Framed Psalm

• Original poem and handwritten manuscript in brown ink on stained wood.
• 40 x 40 x 2 cm. One of 20 original pieces.
• Text is from the book, Psalms in the Vulgar Tongue, by Clarke.
• A collection of 51 poems in the tradition of the Psalms.
• For more information: jeremyclarke.com

Statue of Our Lady of Victories c.1870

• Exact copy of the statue of ‘Notre Dame des Victoires’ in Paris.
• Destroyed during the bombardments of 1940. The head was parachuted back into France in 1942 in order to be restored.
• Sculptor Henri Vallette re-sculpted the statue based on the dimensions of the head.
• In 1945 the full statue was brought back to London.

Timur D’Vatz: Flight into Egypt

• Made of 12 paintings of 1x1meter, united in one. The piece was made and given by Timur D’Vatz to celebrate the 150th birthday of Notre Dame de France, in 2015.

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Olivier Messiaen - Visions de l'Amen: 1. Amen de la Création (Amen of Creation).

Sabbatical art pilgrimage: Westminster Cathedral

Westminster Cathedral is modelled on Byzantine styles and was intended to be filled with mosaic and marble. However when John Bentley, the Cathedral's architect, died in 1902 he left no finished mosaics and very little in the way of drawings or designs. The time since has been a voyage of discovery for the Cathedral staff with false starts, controversies and solid achievements along the way.

Commissioning on any scale involves risk, as the commissioner is negotiating  a combination of individual inspiration, church tradition, personal taste, and current fashions. To commission on the scale of a Cathedral and over considerable time with significant financial constraints is no mean undertaking. As with Antonio Guadi's Sagrada Familia, the scale of ambition here is such that the task is never fully complete.

The style and feel of Westminster Cathedral is the reverse of of the open, light expanses found in many Cathedrals - the contrast in my mind on this visit was with St Paul's which I had revisited earlier in the day. Despite its size and scale there is a sense at Westminster Cathedral of being in a subterranean, cavernous expanse; a dark catacomb like space which in some areas seems to absorb the glitter of the gold mosaics into itself while, in others, darkness provides focus to what is central to the life of this place - the sanctuaries and the Eucharist.

The decision to use mosaic as the principal form raised a debate between the arts and the crafts; what is the appropriate balance between technique and inspiration? The history of the mosaics here includes work which is traditional but high quality as well as work which was artistically interesting but was judged inadequate technically and was eventually removed. Use has been made of artists, most recently  Leonard McComb RA and Tom Phillips RA, as well as mosaicists like Boris Anrep who have created work with an artistic sensibility.

Other media do also feature, including painting and sculpture, and it is here that some of those who played a prominent role in the revival of religious art during the twentieth century can be found - Roy de Maistre, Eric Gill and Giacomo Manzù. De Maistre painted Stations of the Cross and a Crucifixion displayed in areas of the Cathedral to which the public do not have access. The altarpiece in St George's Chapel is by Eric Gill, as are the Stations of the Cross in the main body of the Cathedral. A bronze by Manzù can be found in the North Transpet and is of St Theresa.

A continuing source of controversy has come not so much with the mosaics but with the Stations of the Cross and their creator, Eric Gill. Gill was a controversial choice for Cathedral authorities as he was then a radical young sculptor who, together with Jacob Epstein and Henri Gaudier-Brzeska, was among the first to create modern art in Britain. In additional to his emerging and radical reputation, Gill was a very new convert to Catholicism. Although the initiator of the original approach to Gill, the architect at the time, John Marshall thought that the initial Stations produced by Gill showed that his style was 'neither suitable for the peculiar light of the Cathedral nor the Catholic public.' These Stations were variously described as 'grotesque and undevotional', as 'cold as the mind that produced them' and as hideous, primitive and pagan. To these letter writers Gill was, like Epstein and Gaudier-Brzeska, a 'wild thing' (as was suggested by a relatively recent exhibition at the Royal Academy on the three sculptors).

Yet despite these factors which seem to have made him a surprising choice, Gill's designs for these Stations, which were directly carved in low relief in Hopton Wood limestone, are seen today as respectful and restrained. Other letter writers at the time argued that they should be seen as 'dignified in conception, superb in outline and restrained in feeling' and as showing 'admirable breadth and simplicity of design.' Fortunately, as Gill wrote, 'there were sufficient people to tell (Cardinal Bourne) the things were good to outweigh those who said they were bad.'


In more recent years a different controversy has developed around these Stations,one which has nothing to do with the Stations themselves but everything to do with the man who made them. His biographer, Fiona McCarthy notes that Gill accused Epstein of being "quite mad on sex" and comments that, if so, Gill himself was even madder, "taking to stone carving as the medium for expressing his most secret thoughts and longings." His sexual proclivities included incest and paedophilia and, within our own day and time, would surely have seen him behind bars. As a result, there have been public protests at the Cathedral from those who argue that Gill is an inappropriate role model for Catholics and that the continued showing of his Stations in the Cathedral is a source of distress to victims of sexual abuse.

This controversy over these Stations, unanticipated by those who commissioned them, raises the issue of the extent to which art, once created, exists independently of the artist. The argument that the artwork should be understood in its own right and as its own entity has been a significant strand within modern art criticism. It has been used to defend the continued use of the Stations at the Cathedral - i.e. that the Stations themselves contain no hint of Gill's sexual preferences or appetites and, as artworks, are now something separate from him - while also being used to generally disparage art commissioned by the Church, as art which conforms to a message in contrast to art which is its own entity.  


For me, this is an argument built on the individualism of modernism which ignores the relational insights of post-modernity. Identity is found and formed in relationship - no one and no artwork is an island entire unto itself - and so the uniqueness of an individual artwork is formed in part by the ideas and practices of the artist, the context in which it was created and the developing viewer reaction and response to it. None of these by themselves, however, form the whole that is the artwork and, for that reason, Gill's sexual appetites should not become the primary lens through which these Stations are viewed while, inevitably, being part of the picture.

All artworks, as post-modern thought has demonstrated, are part of, or become part of, multiple layers of meaning. The controversies over Gill's Stations are now a part of what they are. Yet looking at these Stations now, without this background, one would be hard pressed to identify them as a source of controversy. Those letter writers who saw these Stations as 'dignified in conception, superb in outline and restrained in feeling' and as showing 'admirable breadth and simplicity of design' would seem to have been discerning viewers.

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Gene Clark - Life's Greatest Fool.

Exhibitions etc round-up

Repre art collective is a group of artists who have come together to exhibit, celebrate and promote contemporary representational art. They share a common vision to capture and depict reality and express it through diverse and eloquent forms of painting. This is their first collaborative exhibition together and the installation promises to be a vibrant display of contemporary portrait and landscape painting. The choice to hold their first exhibition together in St Martin-in-the-Fields and at the heart of the establishment in Trafalgar Square conveys their desire to raise the profile of contemporary figurative art and what it can truly articulate. Their debut exhibition, Repre 1, was held at The Gallery, St Martin-in-the-Fields, London, WC2N 4JJ, from the 1st - 13th May 2012.

The modern Catholic church of Notre-Dame de France, heralded by an entrance flanked by two pillars decorated with biblical reliefs. Its unusual circular plan is derived from the Panorama, a rotunda 90ft in diameter originally built here and decorated with a scenic cylindrical painting by the Irish artist Robert Barker in 1796. The main point of interest, however, is the church's Chapelle du St-Sacrement, which contains a series of simple frescoes by Jean Cocteau from 1960 and a mosaic by Boris Anrep.

Hauser & Wirth are presenting Thomas Houseago’s ‘Large Owl (For B)’ as part of the gallery’s outdoor sculpture programme at Southwood Garden, St. James’s Church, London. This presentation acts as a preview to Houseago’s debut exhibition with the gallery, opening at Hauser & Wirth’s Savile Row space in September 2012. Rarely seen in the daylight, the owl has long been associated with the supernatural activities of the night and, for many cultures, is a symbol of mystery, wisdom and vigilance. Houseago’s ‘Large Owl (For B)’ will watch over the unique setting of Southwood Garden, a tranquil enclosure nestled in between London’s busiest streets, until mid-July.

John Bellany's paintings at Beaux Arts explode with emotion and imagination and are amongst the most confrontational, humanistic works produced in Britain in recent history. Immediately recognisable for its figurative content and stylistic coherence, his painting confronts in a wholly original manner themes such as love, addiction, passion, death and more recently, even serenity. Not surprising as Bellany has lived through numerous surgeries and near death experiences. This exhibition of oils, watercolours and drawings spans five decades of Bellany’s life. It demonstrates the innumerable ways in which his life’s work unveils insight and wisdom into the human condition.

Four the Love of Art is an exhibition featuring the diverse work of four internationally renowned artists; Carly Casey (Sydney), Anna Coroneo (New York), Natalie Tkachuk (London) and Kareena Zerefos (London). The artists have collaborated in creating this unique show, celebrating their individual and distinctive styles. Exhibited artworks range across a broad spectrum of media including: painting, drawing and photography.

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Ed Sheeran - Small Bump.

Notre Dame de France and the murals of Jean Cocteau

Notre Dame de France, the Roman Catholic Francophone Chaplaincy in London run by the Marist Fathers, is squeezed between buildings in Leicester Place, which in turn is squeezed between the colour and commerce of Leicester Square’s crowded cinemas and the sushi, Szechuan, satay and stir fry served in Chinatown’s 78 restaurants. It feels like an historic anomaly, with origins going back to 1861 when the area had a large French population and the Marist Fathers established the mission on the site, yet maintains a valid and vibrant ministry with ever-growing calls on its pastoral services as the number of French-speakers in London has grown.

Time and space seem suspended in the light, airy and open expanse of this circular church hidden behind the bluff brick façade on Leicester Place; the building looking like a town house with a narrow arched and carved porch added to it. The unusual circular interior derives from the buildings original manifestation as ‘Burford’s Panorama’, built as a tourist attraction with a rotunda 90ft in diameter decorated with a scenic cylindrical painting by the Irish artist Robert Barker in 1796. The original building, which had been transformed into a church by the French architect Louis Auguste Boileau, was bombed out in the 1940s and almost entirely rebuilt from 1953-55.

From the time of its rebuilding onwards, Cultural Attaché René Varin encouraged the creation of a sacred space, which would honour France by approaching eminent artists of the time such as Georges-Laurent Saupique (base relief carving of Our Lady of Mercy, 1953) and Boris Anrep (Mosaic of the Nativity, 1954). The most significant and, perhaps, controversial of which was Jean Cocteau.

On entry to the church, however, it is both the rotunda and, beneath it, the Aubusson tapestry by Dom Robert depicting paradise on earth to which eyes are immediately drawn. In a rather sweet and slightly sentimental image, this tapestry depicts the new Eve walking towards us, surrounded by the vegetation, flowers and creatures of the natural world, as a pure new bride. A quotation from Proverbs refers to Wisdom at the side of God in creation ‘like a master craftsman, ever at play in his presence.’

Dom Robert was a friend of Jean Cocteau who, over the course of eight days in November 1959 (when he was in London promoting his film Le Testament d’Orphee), painted murals of the annunciation, crucifixion, and assumption in the Our Lady’s Chapel at Notre Dame de France. Cocteau had received an honorary doctorate from Oxford University with the support of René Varin and then asked if there was anything he could do in return. Varin suggested that he decorate the chapel at Notre Dame de France.

Such was Cocteau’s fame at the time that a screen was erected to hold back the public and press while he painted the murals. It is said that he arrived each morning at about 10am and always began by lighting a candle. While working on the drawings, he was heard talking to the Virgin Mary: ‘O you, most beautiful of women, loveliest of God’s creatures, you were the best loved. So I want you to be my best piece of work too … I am drawing you with light strokes ... You are the yet unfinished work of Grace’ (Les murs de Jean Cocteau, written by Carole Weissweiller, photographed by Suzanne Held, Hergé, 1998).

Once he had finished his task, Cocteau was sad to leave: ‘I am sorry to go, as if the wall of the chapel had drawn me into another world.’ He went on to comment: ‘I shall never forget that wide open heart of Notre Dame de France, and the place you allowed me to take within it.’

Thea Lenarduzzi, in describing the murals, highlights the ambivalence many feel at Cocteau’s religious work:

‘Spanning three walls, the mural depicts a crucifixion scene, with shapely Roman soldiers, their nipples erect, who would not be out of place in an advert for Jean Paul Gaultier; swooning women, their eyes cast down, weeping blood, or with their heads thrown back, irises straining towards the heavens.

Of Christ, only his frail legs and feet are shown, dripping blood onto a red rose positioned at the base of the Cross. Slightly off-centre and below the line of vision is Cocteau himself, a self-portrait in which the artist’s ambivalence to Catholicism seems palpable: with his back to the Cross, his brow is furrowed and his left eyebrow raised. To his right, a game of dice plays on the odds. If his expression is one of scepticism, his lips are pursed and tightly sealed. These are light strokes on cool concrete from which no answers can issue, but there are echoes, nonetheless, of Cocteau’s epitaph in the Chapelle Saint-Blaise-des-Simples in Milly-la-Forêt where he is buried: “Je reste avec vous”.’

This sense of ambivalence also expresses itself in the belief that Cocteau inserted hidden esoteric or Masonic messages into his chapel murals. While being one of those who explores these hidden message theories, Corjan de Raaf helpfully notes that

‘Like many artists, Cocteau struggled with conflicting desires and duties during his life. He combined a fight against a severe opium addiction with his homosexuality and strongly catholic belief. All these themes found their way back into his work.’

Gino Severini wrote that Cocteau was chief among the “somewhat atheist poets” that Jacques Maritain transformed into Christian artists but noted too that this period “was all too brief.” Similarly, Rowan Williams considered in Grace and Necessity that:

‘Maritain’s relations with Cocteau … constituted an important if inconclusive episode in the lives of both.

Although Cocteau’s subsequent life seemed, from the perspective of Maritain, to be “going deeper “into the caves of death” and to be dealing with the “powers of darkness”, the influence that Maritain and Catholicism had had on Cocteau was not altogether lost. Something of this can be sensed in the church decorations that Cocteau undertook.’

Jacques and Raïssa Maritain moved to Meudon in 1924, where Jacques started his famous Thomistic Study Circles. Peter A. Redpath writes, in a review of The Very Rich Hours of Jacques Maritain, that:

‘Their fifteen years there were tumultuous. Maritain attempted to rival the negative literary influence of André Gide in French culture and came into public conflict with Jean Cocteau. Among the things that [Ralph] McInerny tells us caused conflict among Gide, Cocteau, and Maritain was Gide’s celebration of homosexuality in the book Corydon, and Cocteau’s flamboyant lifestyle as a homosexual drug addict and his overall character as “an enfant terrible of artistic innovation”.’

One result of this period was Art and Faith, the book which Maritain published in 1926 as a treasury of insights on the broad and interrelated topics of art and faith revealed in the correspondence of letters between he and Cocteau. Maritain wrote, ‘We merely claim that these two can love each other and remain free.’ Cocteau went on much later in his life to decorate several churches and chapels, including the chapel of Saint-Blaise des Simples near his home in Milly-la-Fôret where he was buried amidst the murals he had prepared for this purpose himself. His self chosen epitaph was 'Je reste avec vous' or 'I remain with you'.

His chapel murals, including those at Notre Dame de France, are, perhaps, a late flowering of the French Catholic Revival within which Maritain had played such a key role. His murals, newly restored and protected behind a glass screen, are unique examples of the art of the French Catholic Revival within the UK. 

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Erik Satie - Cinq Grimaces.