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Showing posts with label paris. Show all posts
Showing posts with label paris. Show all posts

Saturday, 17 February 2024

International Times: A Parisian Epiphany and Vision

My latest review published by International Times is on Giacometti in Paris by Michael Peppiatt:

'This double portrait of the artist and the city he loved is Peppiatt’s letter of introduction for his readers to an artist whose idiosyncratic life and loves lie hidden behind the intense focus and in-your-face realism of the standing figures and heads he created.'

My earlier reviews for IT were of the first Pissabed Prophet album - 'Zany in parts, moving in others, you’ll be hard pressed to find a more unusual, inspired & profound album this year. ‘Pissabed Prophet’ will thrill, intrigue, amuse & inspire' - and 'Religion and Contemporary Art: A Curious Accord', a book which derives from a 2017 symposium organised by the Association of Scholars of Christianity in the History of Art.

Several of my short stories have been published by IT including three about Nicola Ravenscroft's EarthAngel sculptures (then called mudcubs), which we exhibited at St Andrew's Wickford last Autumn. The first story in the series is 'The Mudcubs and the O Zone holes'. The second is 'The Mudcubs and the Clean-Up King', and the third is 'The mudcubs and the Wall'.

My other short stories to have been published by International Times are 'The Black Rain', a story about the impact of violence in our media, 'The New Dark Ages', a story about principles and understandings that are gradually fading away from our modern societies, and 'The curious glasses', a story based on the butterfly effect.

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Kerry Livgren - To Live For The King.

Monday, 12 June 2023

ArtWay - Rouault and Girard: Crucifixion and Resurrection, Penitence and Life Anew

The Artist as Truth-Teller and the Legacy of French Artist Georges Rouault was an Association of Scholars of Christianity in the History of Art symposium at Institut Catholique de Paris in 2022 in honour of the 150th anniversary of the birth of French modernist Georges Rouault.

I gave a paper at the symposium entitled ‘True humility is not mediocrity’ in which I explored the influence of Rouault on the life and work of André Girard. I discovered the work of Girard through Christianity in Art by Frank and Dorothy Getlein, a book which views Rouault as being ‘the twentieth century artist above all others who fused into one monumental testament all the elements of the social revolution and the new Christianity.’ Girard, as student and friend of Rouault, was seen by the Getlein’s as developing “the first move of Christian art toward the universal audience of today.”

Although he enjoyed considerable recognition in his own day and time, the reputation of Girard has diminished with time, unlike that of Rouault. As a result, his work is ripe for rediscovery. In this paper, in addition to highlighting key strands of Rouault’s influence on Girard such as humility and risk taking, I explored some of the reasons why Rouault’s work transcends his age, while that of Girard seems to remain within his. Additionally, I shared the contrasts in their work noted by their friend André Suares - penitence and affirmation.

This paper has now been published by ArtWay as their latest Blog post:

'when we combine the work of the teacher with that of his student, we encounter the full Gospel in depictions both of the dying world into which Christ comes and the abundance of life that is found in and through him as he brings a new world into being, just as Girard, in the words of Suarés brings a new art into being.'

For more on the ASCHA symposium, click here. My poem based on this paper entitled 'The twin poles of Rouault and Girard' has been published by Stride, while a related poem, 'Maritain, Green, Beckett and Anderson in conversation down through the ages', is in Amethyst Review. For more on Rouault, click here.

My visual meditations for ArtWay include work by María Inés Aguirre, Giampaolo Babetto, Marian Bohusz-Szyszko, Alexander de Cadenet, Christopher Clack, Marlene Dumas, Terry Ffyffe, Jake Flood, Antoni Gaudi, Nicola Green, Maciej Hoffman, Lakwena Maciver, S. Billie Mandle, Giacomo Manzù, Sidney Nolan, Michael Pendry, Maurice Novarina, Regan O'Callaghan, Ana Maria Pacheco, John Piper, Nicola Ravenscroft, Albert Servaes, Henry Shelton, Anna Sikorska, Alan Stewart, Jan Toorop, Andrew VesseyEdmund de Waal and Sane Wadu.

My Church of the Month reports include: All Saints Parish Church, Tudeley, Aylesford Priory, Canterbury Cathedral, Chapel of St. Thérèse of the Child Jesus and the Holy Face, Hem, Chelmsford Cathedral, Churches in Little Walsingham, Coventry Cathedral, Église de Saint-Paul à Grange-Canal, Eton College Chapel, Lumen, Metz Cathedral, Notre Dame du Léman, Notre-Dame de Toute Grâce, Plateau d’Assy,Romont, Sint Martinuskerk Latem, St Aidan of Lindisfarne, St Alban Romford, St. Andrew Bobola Polish RC Church, St. Margaret’s Church, Ditchling, and Ditchling Museum of Art + Craft, St Mary the Virgin, Downe, St Michael and All Angels Berwick and St Paul Goodmayes, as well as earlier reports of visits to sites associated with Marian Bohusz-Szyszko, Marc Chagall, Jean Cocteau, Antoni Gaudi and Henri Matisse.

Blogs for ArtWay include: Congruity and controversy: exploring issues for contemporary commissionsErvin Bossanyi: A vision for unity and harmony;
Photographing Religious Practice; Spirituality and/in Modern Art; and The Spirituality of the Artist-Clown.

Interviews for ArtWay include: Sophie Hacker, Peter Koenig and Belinda Scarlett. I also interviewed ArtWay founder Marleen Hengelaar Rookmaaker for Artlyst.

I have reviewed: Art and the Church: A Fractious Embrace, Kempe: The Life, Art and Legacy of Charles Eamer Kempe and Jazz, Blues, and Spirituals.

Other of my writings for ArtWay can be found here. My pieces for Church Times can be found here. Those for Artlyst are here and those for Art+Christianity are here

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Ricky Ross - When Sinners Fall.

Saturday, 18 June 2022

Windows on the world (383)


 Paris, 2022

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Piers Faccini - Paradise Fell.

The Artist as Truth-Teller and the Legacy of French Artist Georges Rouault






The Artist as Truth-Teller and the Legacy of French Artist Georges Rouault was an Association of Scholars of Christianity in the History of Art symposium at Institut Catholique de Paris in honour of the recent 150th anniversary of the birth of French modernist Georges Rouault.

Many contemporary artists regard their work as having a moral as well as an aesthetic function. They conceive of the artist as a visual truth-teller who exposes social and spiritual injustice, and through their work these artists envision a more perfect world. This prophetic role for the artist can, in part, be rooted in figures of Jewish and Christian prophets, from Abraham, Moses, and Isaiah to John the Baptist, Stephen, and others. These prophets model a non-cynical intersection of spiritual purpose and material action that continues to inspire artists to work both within and beyond the studio/gallery/museum with a belief that art can call a reimagined reality into being.

The symposium featured presentations exploring the work of post-World War II artists whose work can be understood in relation to a Judeo-Christian model of prophetic social and spiritual action, such as that taken up by French modernist Georges Rouault. The presentations in the symposium focused on artists and theorists who extend and expand this legacy of Rouault.

The keynote presentation on The Artist as Truth Teller: From Georges Rouault to the Present was given by Prof. Jérôme Cottin (Université de Strasbourg). 

The other presentations included:
  • Christine Gouzi (Université Paris-Sorbonne), “Georges Rouault, de la peinture à l’écriture: Soliloques d’un peintre”
  • Denis Hétier (Institut Catholique de Paris), “L’ordre intérieur de l’artiste: Vers une réflexion théologique sur Georges Rouault et Pie-Raymond Regamey
  • William Dyrness (Fuller Theological Seminary), “Maritain and Rouault: Who Influenced Whom? A study of Literary and Visual Relationships”
  • Julie Hamilton (Foundation for Spirituality and the Arts), “Georges Rouault’s Rebellion: Empathy as Social Critique”
  • Pierre-Emmanuel Perrier de la Bâthie (Institut Catholique de Paris), “L’artiste comme prophète en son temps: Les références chrétiennes dans l’œuvre de Joseph Beuys
  • Jonathan Evens (Wickford and Runwell Team Ministry), “True Humility is Not Mediocrity”
  • Monica Keska (University of Granada), “Go Down Moses: Biblical Imagery in the Works of Aaron Douglas
  • James Romaine (Lander University), “Validating Experiences: Romare Bearden’s Creative Purpose”
  • Linda Stratford (Asbury University), “George Rouault’s Legacy of Artistic Mediation and Spiritual Purpose”
In my paper entitled ‘True humility is not mediocrity’ I explored the influence of Rouault on the life and work of André Girard. I discovered the work of Girard through Christianity in Art by Frank and Dorothy Getlein, a book which views Rouault as being ‘the twentieth century artist above all others who fused into one monumental testament all the elements of the social revolution and the new Christianity.’ Girard, as student and friend of Rouault, was seen by the Getlein’s as developing “the first move of Christian art toward the universal audience of today.”

Although he enjoyed considerable recognition in his own day and time, the reputation of Girard has diminished with time, unlike that of Rouault. As a result, his work is ripe for rediscovery. In this paper, in addition to highlighting key strands of Rouault’s influence on Girard such as humility and risk taking, I explored some of the reasons why Rouault’s work transcends his age, while that of Girard seems to remain within his. Additionally, I shared the contrasts in their work noted by their friend André Suares - penitence and affirmation.

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Erik Satie - Messe de Pauvres.

Sunday, 4 July 2021

Artlyst: Marie Raymond And Post-War Avant Garde Painting In Paris

My latest article for Artlyst explores aspects of the spirituality of Marie Raymond and Yves Klein in the context of the exhibition At the heart of abstraction: Marie Raymond and her friends at the Musée des beaux-arts at Le Mans:

'‘It seems obvious,’ writes Robert Fleck in Marie Raymond/Yves Klein, ‘that we will not understand the extent of Yves Klein’s adventure and his extraordinary explosive energy if we are not also interested in the painting of Marie Raymond, his mother.’

This is for two main reasons. The first is Marie Raymond’s position and connections within the art world of her day; the focus of the current exhibition at Musée de Tessé, Le Mans, At the heart of abstraction: Marie Raymond and her friends. The second is their shared interest in Rosicrucianism set within the context of Roman Catholic faith.

A renowned artist and a prominent figure in the Paris art scene, Raymond was a leading female exponent of Abstraction Lyrique, a new vein of abstract painting, along with Vieira da Silva. She showed alongside Pierre Soulages, Hans Hartung, and Serge Poliakoff and was friends with Nicolas de Staël. Her work was exhibited at the Galerie Colette Allendy in 1949 alongside Jean Deyrolle, Émile Gilioli, Soulages and Hartung. At the heart of abstraction: Marie Raymond and her friends examines her work alongside the works of her artist friends, who shared the same innovative vision of abstract painting.’ 

For more on Yves Klein see my sermon entitled 'Together for the Common Good'.

My other pieces for Artlyst are:

Interviews -
Articles -

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Friday, 24 May 2019

Charles Filiger: Painter of the Absolute

Charles Filiger, who was associated with the Symbolist movement, spent time with Gauguin in Le Pouldu in 1989-90. They both chose to synthesize and stylize forms after experimenting with Pointillism for a short time. Filiger developed a very personal style in small paintings of Brittany landscapes and of religious subjects, informed by his love of early Italian painting. After looking at some of Gauguin’s paintings, he said to him, “You are Gauguin. You play with light. I am Filiger. I paint the Absolute.”

Filiger’s work was shown in Symbolist exhibitions beginning right after the birth of this new aesthetic, around 1890. They included the Exhibition of Impressionist and Symbolist Painters at the gallery Le Barc de Boutteville in Paris, the Salon de la Rose+Croix at the gallery Durand-Ruel, and the Salon des XX in Brussels. His work was quickly noticed by both the critics and his fellow artists, many of whom were influenced by him. He also became friends with writers associated with this new trend. In 1894, Alfred Jarry published the longest article ever devoted to an artist in Mercure de France, and Rémy de Gourmont asked him to illustrate several of his works. The art patron Antoine de la Rochefoucauld gave him financial support for several years.

After he left Le Pouldu in 1905, Filiger became something of a recluse, wandering around Brittany and living in hotels and hospices. He was finally taken in by a kind family in Plougastel-Daoulas. Although many thought he had died, he actually continued to work even in his isolation.

The gallery Malingue in Paris is currently holding an exhibition of works by Filiger, meaning that, for the first time in nearly 30 years, art lovers and all those who are curious about the artist are able to see a wide selection of his work. Nearly 80 works by Filiger are on show, along with publications illustrated by him, all of them from either private collections or museums (in France: in Albi, Quimper, Brest and Saint-Germain-en-Laye), including the magnificent The Last Judgment from the Josefowitz Collection, on loan from the Indianapolis Museum of Art.

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The Innocence Mission - You Chase The Light.

Wednesday, 25 November 2015

Start:Stop: The call to tell the Good News


Bible reading

As he came out of the temple, one of his disciples said to him, “Look, Teacher, what large stones and what large buildings!” Then Jesus asked him, “Do you see these great buildings? Not one stone will be left here upon another; all will be thrown down.” When he was sitting on the Mount of Olives opposite the temple, Peter, James, John, and Andrew asked him privately, “Tell us, when will this be, and what will be the sign that all these things are about to be accomplished?” Then Jesus began to say to them, “Beware that no one leads you astray. Many will come in my name and say, ‘I am he!’ and they will lead many astray. When you hear of wars and rumours of wars, do not be alarmed; this must take place, but the end is still to come. For nation will rise against nation, and kingdom against kingdom; there will be earthquakes in various places; there will be famines. This is but the beginning of the birth pangs. “As for yourselves, beware; for they will hand you over to councils; and you will be beaten in synagogues; and you will stand before governors and kings because of me, as a testimony to them. And the good news must first be proclaimed to all nations. When they bring you to trial and hand you over, do not worry beforehand about what you are to say; but say whatever is given you at that time, for it is not you who speak, but the Holy Spirit. (Mark 13. 1 – 11)

Meditation

How to live in wartime? That is essentially the guidance that Jesus gives his disciples in the teachings recorded for us in Mark 13. In the light of recent terrorist attacks, it is particularly pertinent to us today.

Jesus was talking about a very specific conflict that would affect his disciples in the near future and which occurred in AD70 when the Roman army attacked Jerusalem and destroyed the temple there. When this happened, as Jesus prophesied, “Not one stone will be left here upon another; all will be thrown down.” The essence of Jesus’ teaching comes in verse 13 when he says “the good news must … be proclaimed to all nations.” The conflict he describes and prophesies will, he says, be an opportunity for his disciples to tell the Good News, if they stand firm: “nation will rise against nation, and kingdom against kingdom; there will be earthquakes in various places; there will be famines … As for yourselves, beware; for they will hand you over to councils; and you will be beaten in synagogues; and you will stand before governors and kings because of me, as a testimony to them.” (Mark 13. 8 & 9)

That is what Jesus looks for from his followers in wartime and he promises his support and enabling in doing so: “When they bring you to trial and hand you over, do not worry beforehand about what you are to say; but say whatever is given you at that time, for it is not you who speak, but the Holy Spirit.” The situations in which we are called to do this change throughout history but what is unchanging is the call to tell the Good News, as here, in situations of military defeat, but also in times of victory, while the outcome is uncertain, and in times of peace.

The Early Church saw the spirit of the world transformed by God as they stood firm in their faith and told the Good News. That is how we are called live in wartime - in the battle of ideas or clash of civilizations which we now face - to stand firm in our faith and tell the good news. The challenge of this passage is whether we can do and see that within our changed and changing world.

Prayer

Dear Jesus, we know you understand evil, because you stared it in the face as you were terrorized on the cross. Give us your courage to choose love. Show us a 'third way' that is neither submission nor assault, neither passivity nor war. Help us to oppose evil without mirroring it. Help us resist our oppressors without emulating them.

May we continue to develop courage and wisdom to work together to build a peaceful earth community for all.

A prayer from the Muslim community: God, you are pure and perfect. Help us find purity in our hearts and minds, and make sense of the senseless as we try to assemble a puzzle that should never have been taken apart. You are our source of healing and comfort. The magnitude of our collective pain has brought your people together, kneeled in prayer; help us rise again.

May we continue to develop courage and wisdom to work together to build a peaceful earth community for all.

God of justice and compassion, you walk with your people and show us your face. In you we find consolation. Be close to the people of Paris, in the shock and trauma of recent days. Speak your peace and bring your healing to all who are grieving and wounded and turn the hearts and minds of those who would kill and maim and destroy. Show us how to seek your kingdom; a life beyond violence, a future beyond hatred, and hope beyond tears and pain through the love of your Son, our peacemaker, neighbour and friend. Jesus Christ our Lord.

May we continue to develop courage and wisdom to work together to build a peaceful earth community for all.

A prayer from the Buddhist community: We pray for those who have lost their lives in Paris, in Beirut, in Mali, in Nigeria, in Baghdad and in the world, caused by terrorist attacks. May we honour and remember their lives to bring peace and unity, not fear and division. We pray for those who have lost their loved ones, houses and communities to find inner strength to overcome the challenges. May we open our hearts and hands to help their recovery, as we are all in this together. In these days of shock and sorrow, may we continue to develop courage and wisdom to believe in humanity and work together to build a peaceful earth community for all of us.

May we continue to develop courage and wisdom to work together to build a peaceful earth community for all.

Blessing

A life beyond violence, a future beyond hatred, hope beyond tears and pain, opposing evil without mirroring it, resisting oppressors without emulating them. May those blessings of almighty God, Father, Son and Holy Spirit, rest upon us and remain with us always. Amen.

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Sabrina Johnston - Peace.

Wednesday, 18 November 2015

London stands in solidarity with Paris

The Bishop of London had an article in yesterday's Evening Standard in response to the attacks in Paris. In the piece he reflected on his recent visit to Moscow where he gave a speech at a bi-lateral symposium with the Russian Orthodox Church and also met with Russia’s Islamic leader, the Supreme Mufti.

Bishop Richard’s article is also published in full on the diocesan website: London stands in solidarity with Paris.

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Francis Poulenc - O Magnum Mysterium.

Sunday, 15 November 2015

How to live in wartime?

Here is the sermon that I preached at St Vedast-alias-Foster this morning:

How to live in wartime? That is essentially the guidance that Jesus gives his disciples in the teachings recorded for us in Mark 13. In the light of the horrific events in Paris on Friday, it is particularly pertinent to us today.

Jesus was talking about a very specific conflict that would affect his disciples in the near future and which occurred in AD70 when the Roman army attacked Jerusalem and destroyed the temple there. When this happened, as Jesus prophesied, “Not one stone will be left here upon another; all will be thrown down.”

The result of this conflict was twofold; the Jewish faith refocused its community life, teaching and worship around the synagogue (a pattern of faithful living which continues to this day); and Christianity, forced to abandon its early focus on the authority of the church in Jerusalem, stepped up its missionary encounter with the wider world to become a world religion. Both results are relevant to Jesus’ teaching here because the essence of his teaching comes in verse 13 when he says “the good news must … be proclaimed to all nations.”

The conflict he describes and prophesies will, he says, be an opportunity for his disciples to tell the Good News, if they stand firm: “nation will rise against nation, and kingdom against kingdom; there will be earthquakes in various places; there will be famines … As for yourselves, beware; for they will hand you over to councils; and you will be beaten in synagogues; and you will stand before governors and kings because of me, as a testimony to them.” (Mark 13. 8 & 9)

That is what Jesus looks for from his followers in wartime and he promises his support and enabling in doing so: “When they bring you to trial and hand you over, do not worry beforehand about what you are to say; but say whatever is given you at that time, for it is not you who speak, but the Holy Spirit.” The situations in which we are called to do this change throughout history but what is unchanging is the call to tell the Good News, as here, in situations of military defeat, but also in times of victory, while the outcome is uncertain, and in times of peace.

In the past week of Remembrance we will have recalled particular examples of telling the Good News in and through the wartime experiences which are within our cultural memory, most notably soldiers who fought and died in order to win peace within Europe such as Harry Patch, who was the last surviving British soldier to have fought in the trenches of the First World War. Patch, in the moment when he came face to face with a German soldier, recalled the story of Moses descending from Mount Sinai with the Ten Commandments, including "Thou shalt not kill", and could not bring himself to kill the German shooting him in the shoulder, above the knee, and in the ankle. Patch said, "I had about five seconds to make the decision. I brought him down, but I didn't kill him." We can also think of: civilians living through the Blitz and caring for neighbours while accepting the simple lifestyle imposed by rationing; Archbishop William Temple setting out an Anglican social theology and a vision for what would come to constitute a just post-war society in ‘Christianity and the Social Order’; and Bishop George Bell assisting refugees, arguing against the blanket-bombing of German cities and encouraging the role of the Church in the reconstruction of Europe after the war.

The German pastor, Dietrich Bonhoeffer, who took part in the plot to assassinate Hitler, was one of those who saw most clearly what was actually at stake in World War II, when he wrote at the beginning of the war: “Christians in Germany will face the terrible alternative of either willing the defeat of their nation in order that Christian civilisation may survive, or willing the victory of their nation and thereby destroying our civilisation.”

Our situation is different again, meaning that the ways in which we are called to stand firm and tell the Good News are also different. In our time, the battle is one of ideas, a battle which is explained well by the French philosopher Jean Luc Nancy: “1968 led to a process of transformation that amounted to adapting society to something that was leaving it behind: a new techno-political-economic world. This adaptation has had many negative effects. It unleashed the spirit of consumerism and ... completed the destruction of the frameworks, or references, of religious and emancipatory politics ... The resulting society has fewer foundations that it did before 1968. But society today is beginning to understand that a world and a civilization are disappearing and it has entered a change of the same magnitude as the shift from antiquity to the middle ages.”

In this changed and changing world, where, in the West, we are no longer part of a civilization which seeks to be built primarily on Christian principles, many people want to mount rear guard actions to retain as much of what they perceive to be the past as possible. So, for example, some seek to fight for a mythic mono-cultural white Britain which never actually existed while others seek to maintain the privileges that Christians have enjoyed in this country in the past instead of accepting the justice of the equality of faiths which is now enshrined in the law of the land.

The situation in which we find ourselves now equates to that of the Jews and Jewish Christians after the destruction of the Temple in AD70. Then there was no going back and Jesus sought to prepare his disciples for that reality. Instead of calling for rear guard actions to preserve as much of what had been as possible, Jesus sought to prepare and enable his disciples to go out into their changed and changing world and tell the Good News by standing firm in their faith. This remains the call of God on our lives and it is a task which requires the same bravery and courage as was shown by the Early Church in its missionary activity and as continues to be shown by serving men and women in conflict situations around the world today.

Jesus gives us the same marching orders that he gave to his first disciples: “When they bring you to trial and hand you over, do not worry beforehand about what you are to say; but say whatever is given you at that time, for it is not you who speak, but the Holy Spirit.” We are to trust that Jesus, through his Spirit, will inspire and enable what we are to do and say in this changed and changing world (as happened for Harry Patch).

We can also trust that he will give us surprising allies to stand alongside us as we speak. For example, at the very same time that Christianity has come under severe attack from the New Atheists, such as Richard Dawkins and Christopher Hitchens, we find Radical Atheists such as Simon Critchley arguing that “to jettison [religious] traditions in the name of some kind of scientific rationality is simply philistine and counter-productive” and Slavoj Žižek stating that as a radical leftist he thinks “Christianity is too precious a thing to leave to conservative fundamentalists.”

The crucifixion, the resurrection and the Holy Spirit, Žižek argues, should be read as God trusting us by leaving his mission in the hands of a community which can be free of both liberal egotism and Christian fundamentalism; an argument which has clear synergies with what we have seen Jesus saying to his disciples in this passage.

Nancy argues that we should respond to our new techno-political-economic world: “not with politics or economics but with thinking, with imagination, with what I call worship: a relationship to the infinite. We must stop believing that economic measures or political models can respond to what is happening. What is happening ... is the spirit of the world being transformed.”

The Early Church saw the spirit of the world transformed by God as they stood firm in their faith and told the Good News. That is how we are called live in wartime - in the battle of ideas or clash of civilizations which we now face - to stand firm in our faith and tell the good news. The challenge of this passage is whether we can do and see that within our changed and changing world.

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Talking Heads - Life During Wartime.

Saturday, 31 October 2015

Windows on the world (364)


Paris, 2014

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Albert Ayler - Music is the Healing Force of the Universe.

Saturday, 11 July 2015

Artists must make people think

The creative spirit of the Democratic Republic of the Congo is currently being celebrated in the exhibition Beauté Congo – 1926-2015 – Congo Kitoko presented at the Fondation Cartier pour l’art contemporain in Paris.

Taking as its point of departure the birth of modern painting in the Congo in the 1920s, this ambitious exhibition traces almost a century of the country’s artistic production. While specifically focusing on painting, it includes music, sculpture, photography, and comics, providing the public with the unique opportunity to discover the diverse and vibrant art scene of the region.

Among those whose work features in the exhibition are Bodo Pambu and Chéri Samba:

'Bodo Pambu was one of the founders and key proponents along with Moke and Chéri Samba of what has come to be known as the Zaïre school of popular painting. Their works state vigorously and candidly their belief in their capacity to create art that could change the course of history.

Camille-Pierre Bodo chose to paint anything and describe everything that he had seen and experienced. His works then successively became chronicles, pamphlets, manifestos, demands or advice. His objectives were not selfish: he was a popular painter. One of Bodo's main themes was the “Ndoki Zoba” (sorcery) and the aim of these paintings was to advise on abandoning the practice of sorcery.

He dealt with symbolic or fantasy subject matter, with a strange imagination that was fed by his dreams. “I express everything that happens to me, so that I am no longer focused on specifically African topics and can address myself to the entire world.” The titles of his works: River of Delights, Ignorance, or Love, the Source of Life, perfectly echo his beliefs and his aesthetic aims.'

'Chéri Samba was a founding member of the “Popular painting” school along with Pierre Bodo, his paintings exposing everyday life in the Democratic Republic of Congo’s capital city, Kinshasa. His representative, often fantastical paintings incorporate graphic narrative and figures with text and word bubbles that address forefront social and political issues, including AIDS, social inequity, and corruption. Starting in the 1980s, Samba began to portray himself frequently and literally in his works, taking on a direct role as the reporter of his ideas and personal story. “I appeal to people’s consciences,” he says. “Artists must make people think.”' 

He concluded, 'I believe everyone in earth has a mission and I believe that God gave me the tools to paint and speak my messages through my paintings.'

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Adorons L'Eternel - Yahveh Okumama.

Tuesday, 27 January 2015

Responses to modernity and religion

ImageUpdate has information about festival events featuring the cream of Western artists engaged in the interface between art and faith:

Artistic Responses to Modernity: 'On Monday the exhibition opens with paintings inspired by T.S. Eliot's Four Quartets by the artists Bruce Herman & Makoto Fujimura with Rowan Williams as a speaker, Juliet Stevenson as a reader, and cello music by Guy Johnston. Tuesday will feature several piano pieces including Messiaen, Visions de l'Amen for two pianos, and work by Cordelia Williams and Jeremy Begbie. On Wednesday, award-winning poet Micheal O'Siadhail will read from his work in progress, Five Quintets, interwoven with piano music by Jeremy Begbie, played by Cordelia Williams. On Friday, arising out of a collaboration with scholars from Cambridge and Duke University, a newly composed St Luke Passion by James MacMillan will be performed with Choristers of Kings College, conducted by the composer.'

The e-newsletter also has information about an interfaith exhibition featuring art from artists drawn from both the East and the West:

'In the wake of the terrorist tragedy in Paris, France, Caravan, an inter-religious peacemaking arts non-profit will launch its interfaith traveling art exhibition titled The Bridge in Paris at the historic Church of St. Germain des Pres, in the Latin Quarter, the oldest church in Paris. Opening on February 2-28, 2015 to commemorate the United Nations World Interfaith Harmony Week, The Bridge is an unparalleled gathering of 47 Arab, Persian and Jewish premier contemporary visual artists of Christian, Muslim and Jewish religious backgrounds focusing on what they hold in common. Organized and curated by Caravan, the multi-religious group of participating artists in The Bridge are making the case for using that which we have in common as the foundation for the future of our world. After The Bridge runs for a month in Paris, it will travel for exhibition within Europe, to Egypt, and then throughout the USA.'

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Olivier Messiaen - Visions de l'Amen.

Friday, 14 November 2014

Exhibition: Alan Stewart

Exhibition of drawings and paintings by Alan Stewart at St Mary’s Hertingfordbury. Friday 14 Nov, 7-9pm, and Saturday 15 Nov, 10am-4pm.

The beauty and colour and moods of Paris, experienced during a sabbatical, inspired many of the collages and drawings he has made on returning home. Alan's reflections on his sabbatical can be read here.

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Cocteau Twins - Heaven or Las Vegas.

Saturday, 11 August 2012

Exiles, Migrations and Orientalism

The exhibition Exiles, reminiscences and new worlds currently being held at the Chagall, Léger and Picasso museums in the south of France is based on the following premise: "The twentieth century has seen increasing numbers of people living in exile, in a world in which the movement of people has accelerated at a fast pace, not only in line with trends, but also because of tragic episodes of poverty, wars and totalitarianism. Whether or not it was their choice to leave their country, these artists, although uprooted, did not give up their creative work. Indeed, in many cases their work bears the hallmark of a former world charged with meaning and feelings, unforgettable. For these artists, the return to the past - embarked upon from a sense of loss and in a mood of reminiscence - was in fact a necessary transition in the way forward to new experiences in form."

Similarly, Migrations: Journeys into British Art explored British art through the theme of migration from 1500 to the present day, reflecting the remit of Tate Britain Collection displays. Over 500 years, developments in transport, new artistic institutions, politics and economics have all contributed to artists choosing to settle temporarily or permanently in Britain. From the sixteenth- and seventeenth-century Flemish and Dutch landscape and still-life painters who came to Britain in search of new patrons, through moments of political and religious unrest, to Britain’s current position within the global landscape, the exhibition revealed how British art has been fundamentally shaped by successive waves of migration, raising questions about the formation of a national collection of British art against a continually shifting demographic.

Within this, in the early 20th century different definitions of Jewish art were explored through two influential exhibitions. The first emphasised Jewish artists’ contributions to mainstream British art and the second showed a distinctive identity for Jewish art by aligning it with modernism and the avant-garde. Then in the 1930s and 1940s European artists fled to Britain to escape political unrest and persecution on the continent, strengthening existing links with avant-garde British groups and bringing with them modernist principles of art and design. Here they discovered new materials and responded to different visual traditions as well as to the conditions of exile. Important figures who marked the course of British Art included Piet Mondrian, Naum Gabo and Laszlo Maholy-Nagy, who sought refuge in Britain whilst escaping political unrest and war in Europe in the 1930s and 1940s.
Exile was a founding experience for Chagall and Picasso, who set off for the fascinating city of Paris in the early 20th century and it spurred Léger to new heights in the United States after the Second World War. The Exiles exhibition centres on these three figures, aiming to show how exile inspired many artists, particularly in the first part of the 20th century. Their migration, voluntary or forced but never indifferent, transformed their vision and profoundly altered their art. The exhibition shows how their works were affected by the abandonment of their homeland and their investment in a new country.

The musée Chagall presents some of Chagall’s reminiscent works, which hark back to his origins, alongside artists whose experience of exile was not unlike his own: Brancusi, Brauner, Kandinsky, Masson, Miró, Hantaï or Picasso. The musée Léger centres on Léger as a builder of new worlds, overcoming the past to look into the future, accompanied by artists with a similar frame of mind: Arp, Magnelli, Mondrian, Freundlich, Laslo Moholy-Nagy, Albers and Schwitters. Exile was initially a founding experience for Chagall as he set off for Paris in the early 20th century before returning to Russia to marry. Following the Russian Revolution exile became a more permanent experience as he felt forced to leave once again returning initially to Paris but then being exiled to the US as a result of World War II before making his home finally in the South of France.

The exhibition argues that these are artists whose experience of exile, like that of Chagall, remained linked to a tireless search for the past. Yet the works shown do not always seem to bear out that contention as, in composition - primarily the then contemporary styles of abstraction (Kandinsky, Léger, Hantaï etc.) and surrealism (Brauner, Ernst, Lam etc.) - and content, they seem primarily focused on their present. So, Andre Masson’s La Resistance was a contemporary encouragement from exile to those participating in the Resistance while Wols and Jean Hélion focused on close-up’s of contemporary everyday objects and Brauner wrote of letting yourself ‘go forward towards a contemplation of the unknown experience’ because there ‘you find the keys to your eternal doubting.’


Generally, those artists featured here seem to have found that their style of creating fitted their experience of exile and often, as in the Artists in Exile show organised by Pierre Matisse in New York in 1942 (of which Chagall was a part) being feted for doing so. Only in more straitened circumstances, such as Kurt Schwitters painting landscapes of the Lake District for economic reasons during exile in the UK, do we see, in this exhibition, artists changing styles as a result of exile.

An exhibition on a related theme - The Jews in Orientalism - recently ended at the Musée d'art et d'histoire du Judaïsme in Paris. Where Migrations explored the impact of exiles on national art and Exiles the impact of migration on artist's themselves, The Jews in Orientalism explored the world of Orientalist painting, focussing on the representation of the Jew as “Oriental” in art from 1832 to 1929, in other words perceptions of a migrant group from those who view themselves as other than the group themselves.

Orientalism, the study of the East and its various cultures, is a conflicted discipline where arguments rage about the cultural agendas underpinning the various approaches used in its study. Accusations of Eurocentrism and colonialism, differences between the familiar and the strange, and the extent to which Islam and Judaism are under discussion are just some of the areas of debate. For some, Orientalism is based on the Christian West's attempts to understand and manage its relations with both of its monotheistic Others - Muslims and Jews.
The Jews in Orientalism was not therefore simply an exhibition exploring the world of Orientalist painting from 1832 to 1929 but also a contribution by its curators to these debates through their focus on the representation of the Jew as “Oriental.” Historically, the exhibition demonstrates the extent to which Jews have almost always been present whenever occidentals talked about or imagined the East.
Artists like Eugène Delacroix in Morocco and Théodore Chassériau in Algeria filled their notebooks with sketches of Jewish figures, using them later in large pictures such as Delacroix’s pioneering Jewish Wedding in Morocco (1841). As a Romantic artist fascinated with the exotic, Delacroix was restless for adventure and was excited by the opportunity which opened to him when he was asked by Ambassador Charles de Mornay to join a goodwill mission to Morocco's Sultan Moulay Abd al-Rahman. Delacroix filled seven notebooks with drawings, watercolours and notes on the people, architecture and accoutrements of Moroccan life in order to ensure that details of costume and demeanour were as accurate as could be.
This sense of ‘truth to nature’ motivated many of the artists who travelled to the Orient, in part because their involvement in such journeys was often, as with Delacroix, in the role of official artist documenting such missions. For William Holman Hunt though ‘truth to nature’ was already a key element of the symbolic hyper-realism that was Pre-Raphaelitism.
In order to ensure that he represented “all objects exactly as they would appear in nature” (Ruskin), Hunt travelled to the Holy Land where he developed what he acknowledged to be an “Oriental mania” that resulted in paintings such as The Finding of the Saviour in the Temple (from his first trip in 1854-5). The Manchester Guardian marvelled at Hunt’s scholarship and skill: ‘No picture of such extraordinary elaboration has been seen in our day… Draperies, architecture, heads and hands, are wrought to a point of complete imitative finish… this picture is replete with meaning, from the foreground to the remotest distance.” For a later engraving of the picture Hunt produced an explanation of 29 symbolic details in the image.
However, in doing so, Hunt, like others at the time, believed that the contemporary Orient would reveal what the Orient had always been and, as a result, it can be argued that in much Oriental Christian art, most Israelites are actually depicted as though they were Muslims. The reverse occurred in the work of Maurycy Gottlieb whose Christ before His Judges (1877–1879) is included here and who created two significant canvases where Jesus' shroud is a Jewish prayer shawl, the talith. In Gottlieb’s work we see then, for the first time, a genuinely Jewish Jesus.  
At the Bezalel Academy of Arts and Design in Jerusalem artists strove “to create a synthesis between European artistic traditions and the Jewish design traditions of the East and West, and to integrate it with the local culture of the Land of Israel.” Artists such as Abel Pann, Ephraim Moses Lilien and Zeev Raban created a style of Oriental arabesques, Jugendstil flowing lines and decorative flatness that, as Haim Finkelstein and Haim Maor have noted, combined biblical motifs, often in a Zionist perspective, and landscapes done in an idealist-utopian and Orientalist spirit.

It is arguable, however, that this synthesis was more independently and powerfully achieved by Lesser Ury. Martin Buber considered that Ury lived “the old sacred flame of the Orient, the hot breath, which washes over the rough earth, the gigantic figures of elemental creatures before the grand background of an immeasurable expanse.” In a letter Buber sent to Ury, he described his vision of a Jewish artist. "… who independently of outside formulas and commandments found his way through the wilderness, who has nothing in common with schools and cliques and who is led only by the laws of his own being, who was hard as metal to all external solutions, and whose art was soft and flexible as wax under the hand of the angel. Only from such an artist…can we learn that the Jewish spirit, the old turmoil over pictures is reborn to a second youth and incorporated in paintings."
Ury’s images of Jeremiah, Moses and Jewish exiles included in this exhibition amply bear out the contention that, in this letter, Buber was actually describing his appreciation of Ury and his work. By ending with the Bezalel Academy and Ury, more than simply demonstrating the extent to which Jews have almost always been present whenever occidentals imagined the East, the exhibition also reveals the ability of Jewish artists to re-embrace an oriental Jewish identity by establishing a continuity between Biblical Antiquity and the contemporary Middle East.
Fresh light is also cast on the biblical paintings of artists such as Moreau, Vernet, Tissot and Holman Hunt through this exhibition. While this focus supports the argument made by Ivan Davidson Kalmar and Derek J. Penslar that one benefit of studying the Jews as a topic in orientalism involves discovery of the extent to which orientalism has been not only a modern Western or imperialist discourse but also a Christian one, it is also possible that, in doing so, the exhibition does not adequately address the extent to which orientalism has been, in the view of Edward Said, a political vision of reality whose structure promoted the difference between the familiar (Europe, the West, ‘us’) and the strange (the Orient, the East, ‘them’).

Chagall’s work can also be understood as exploring Jewish identity by establishing a continuity between Biblical Antiquity and his contemporary experience of exile as, through his Message Biblique and other similar paintings, he engages with his Jewish heritage from the Exodus through the Pogroms to the Holocaust. Thereby, linking past and present together in experience and understanding. In Chagall’s work exodus and exile are the normal state of the Jewish people and the source of their joys, sorrows, inspirations and insights.

Surprisingly, his key symbol of faith in exile is that of the crucified Christ who featuring centrally or tangentially in numerous of the works shown here. Always visually and accurately a Jewish Christ, nevertheless Chagall uses this image in ways that have real synergy with Christian theology. In ‘The Sacrifice of Isaac’, for example, the crucified Christ appears above Isaac as the future sacrificial son. Christ becomes the embodiment in Chagall’s work of Israel as the suffering servant; an understanding which culminates in the ‘Exodus’ of 1952 - 1966 where the crucified Christ embraces both the Jews of the Exodus and of the Holocaust.

In these paintings past and present cohere allowing an experience of exile, where personal sorrow is set within a narrative of ongoing faith, to be experienced and felt, revealing exile as pilgrimage.


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Young Disciples - Get Yourself Together.

Sunday, 10 June 2012

Guides to art, culture and faith

I was interested to discover that Paris has an excellent guide to the art in its churches produced by Art Culture et Foi Paris. In the guide Isabelle Renaud-Chamska says that the association seeks to positively value the artistic legacy of the past while also engaging with the contemporary art world:

"... the association aims to encourage and support all the cultural and artistic activities of the diocese of Paris.
Trusting in the capacity of the Church to carry on with the dialogue stated from the very beginning and never interrupted with living artists, it respectfully and admiringly welcomes the heritage of previous generations as testimonies of life and faith of their predecessors. With their own language, their works, which many are exceptional, say something particular at each era. This language has its roots in the Bible and the liturgy ...

Paying attention to the signs of the times and echoing the message of Pope John Paul II, the association wishes to be listening to the artists of today so as to discover the presence of the Spirit working in the world and be able to offer its contemporaries the faith in the living Christ."

Among the churches highlighted are Saint Esprit and Saint Léon. Saint Esprit has sometimes been "called the 'Sistine Chapel' of the thirties ... Roughly 40 artists participated in its decoration (frescoes, paintings, mosaics, sculptures, stained glass, wrought iron ...). Among them Maurice Denis, Georges Desvallières (Stations of the Cross), Untersteller, Sarrabezoles - famous artists of the inter-war period." At Saint Léon "the finest artists of the period were invited to create stained glass (Barillet), sculpture  (Bouchard), wrought ironwork (Raymond Subes) and mosaics, especially those inside (Labouret). The general effect is of a museum to inter-war Christian art."

The story of how some of this art came to be created is told at the Musée Départemental Maurice Denis which is dedicated to the life and work of Maurice Denis, the French symbolist painter and theoretician of the Nabi School. Denis rented the Le Prieure (the Priory), an old hospital in Saint-Germain-en-Laye, which he converted into his home and studio beginning to work there in 1910. He lived there until his death in 1943. The works from the Nabis school present in the Musée Départemental Maurice Denis include those of Paul Sérusier, Paul Ranson, Pierre Bonnard, Édouard Vuillard and Félix Vallotton, as well as sculptures by Paul Gauguin.

Together with Desvallieres, Denis founded Ateliers d’Art Sacre in 1919 to teach young artists to create works “that serve God, the teachings of the truth and the decoration of places of worship.” Denis, himself, made canvas paintings and wall murals for over 15 churches across France. He restored and decorated the adjacent chapel from 1915 to 1928 including the painting of a cycle of Stations of the Cross.

In the UK
commission4mission has produced a similar guide for the Barking Episcopal Area and this in turn has inspired the Revd. David New to create a leaflet as a guide to stained glass windows created by Thomas Denny for churches in the Three-Choirs area (Gloucester, Hereford and Worcester Dioceses).  

David writes that: "Thomas Denny, born in London, trained in drawing and painting at Edinburgh College of Art. One day a friend asked him to consider creating a stained glass window for a church in Scotland (Killearn 1983). Thus began a remarkable career that has produced over 30 stained glass windows in Cathedrals and Churches of this country. Tom’s love for painting and drawing, especially the things of nature, is evident in his windows ... All of Tom’s windows express biblical themes and are conducive to silent meditation. Find a seat; feel the colours; give time for the details to emerge; reflect."

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Scott Walker - Montague Terrace In Blue.