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Showing posts with label tapestries. Show all posts
Showing posts with label tapestries. Show all posts

Friday, 9 September 2022

Church Times - Art review: The Vanity of Small Differences by Grayson Perry in Salisbury Cathedral

My latest review for Church Times is of The Vanity of Small Differences by Grayson Perry in Salisbury Cathedral:

'... through his narrative, “Perry asks us to see ourselves as others may see us, and he also asks us to acknowledge the ways in which we judge others.” This, the Dean believes, “is worthy of exploration in a cathedral context” because “self-questioning and self-reflection are vital disciplines in the life of faith, just as welcoming and honouring people from every walk of life is part of our vocation as a place of prayer and worship and as a place which is visited by thousands.”

One of the purposes of liturgy and worship is to look at ourselves in the light of the gospel, making self-reflection a core spiritual discipline. A point that the Dean likes to make to visitors is that, although these tapestries were made ten years ago, they are, after Brexit, the pandemic, the cost-of-living crisis, and the war in Ukraine, “of more relevance than ever before” in their exploration of how united or divided we are as a nation.'

Click here for my Artlyst interview with the Dean of Salisbury Cathedral and Beth Hughes, Curator, Arts Council Collection about the tapestries.

Other of my pieces for Church Times can be found here. My writing for ArtWay can be found here. My pieces for Artlyst are here and those for Art+Christianity are here. See also Modern religious art: airbrushed from art history?

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Delerious? - It's OK.

Thursday, 14 July 2022

Artlyst: Grayson Perry Tapestries On Show At Salisbury Cathedral

My latest interview for Artlyst is with The Very Revd Nicholas Papadopulos, Dean of Salisbury, and Beth Hughes, Curator, Arts Council Collection, in relation to The Vanity of Small Differences, an exhibition of six huge tapestries by Grayson Perry which has recently opened to the public at Salisbury Cathedral:

‘Beth Hughes: The exhibition will make clear the artworks that have been referenced as intermediaries. The tapestries are not about telling a bible story, however, rather they are more about art history. Is this about the grandiose nature of the way we treat past artworks or about Perry aligning his artworks with paintings from the past? In the second panel, a club singer is aligned with Grunewald’s Isenheim altarpiece. There are clear references in relation to size and shape. This layering of references shows that art doesn’t come from nowhere.

Nicholas Papadopulos: The point I like to make to visitors is that Perry is using the religious references to address issues of class division and that post-Brexit, Covid, the cost-of-living crisis, and the Ukraine conflict, the issue of how united or divided we are is of more relevance than ever. Vibrant, witty, and well-observed, they are an invitation to see ourselves. That surely is one of the purposes of liturgy and worship, to look at ourselves in the light of the Gospel. Doing so is a core spiritual discipline.’

For more on The Vanity of Small Differences see my July diary for Artlyst - 'Re-imaging Essex'.

My other pieces for Artlyst are:

Interviews -
Articles -
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The Merchants of Venus - The Arms of Morpheus.

Saturday, 13 February 2021

Sabbatical Art Pilgrimage: Sacré-Coeur Audincourt




 











 






The Sacré-Coeur in Audincourt is another of the churches where the Dominican Pere Couturier was involved in the commissioning process. The church features stained glass and an altar tapestry by Fernand Léger, plus a mosaic and stained glass by Jean Bazaine. See http://www.artway.eu/content.php?id=796&lang=en&action=show.

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Micheal Kiwanuka - Love and Hate.

Friday, 4 September 2015

C20 Society Churches Database

A database of C20th churches in the UK has been compiled by the C20 Society, with the aid of a grant from Historic England, to help in their casework and in planning trips to visit C20 buildings in different areas of the country.

C20th churches are incredibly varied and interesting, ranging from the traditionally Gothic to innovative designs with features like concrete hyperbolic paraboloid roofs. Many also have wonderful fittings, including stained glass, fonts, C20th sculpture, murals, tilework, mosaics and tapestry in every C20th style. Yet these inspirational and significant buildings are under-represented in Historic England’s designation list.

In 2013 the C20 Society participated in the awards organised by the National Churches Trust to recognise the best modern churches of the last 60 years, and this database should help draw attention to our incredibly rich heritage of C20th churches.

They hope that it will also be useful for anyone interested in church architecture. You can browse or search the list of churches here. You can search on any individual search term – name, architect, location, denomination, listing grade or date of completion – or on any combination of them. You can also choose whether to display the results in date or alphabetical order. The listing grade search includes both the English Grade I, II & II* and the equivalent grades in Scotland (A, B and C) and Northern Ireland (A, B+ and B). So you can find out about a particular church or, say, all the C20th Roman Catholic churches in Liverpool or Grade I listed churches in London.

They hope to expand the database to include more information about church architects.

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William Walton - Set Me As A Seal.

Saturday, 22 August 2015

Chichester Cathedral: a reconciliation of the Artist and the Church















One of the distinguishing features of Chichester Cathedral, is the use of modern works of art to invigorate and beautify the cathedral. This idea, initiated by Bishop George Bell in the early 1950s, was largely put into effect by Walter Hussey during his deanship between 1955-77.

On 27th June 1929, the day he became Bishop of Chichester, George Bell famously expressed, in his enthronement address, his commitment to a much closer relationship between the Anglican Church and the arts:

‘Whether it be music or painting or drama, sculpture or architecture or any other form of art, there is an instinctive sympathy between all of these and the worship of God. Nor should the church be afraid to thank the artists for their help, or to offer its blessing to the works so pure and lovely in which they seek to express the Eternal Spirit. Therefore I earnestly hope that in this diocese (and in others) we may seek ways and means for a reconciliation of the Artist and the Church—learning from him as well as giving to him and considering with his help our conception alike of the character of Christian worship and of the forms in which the Christian teaching may be proclaimed.’

The concluding sentence of the rationale that Canon Walter Hussey, Dean of Chichester Cathedral, provided for Marc Chagall as a brief for his stained glass window at the Cathedral based on Psalm 150 read as follows:

‘… it has been the great enthusiasm of my life and work to commission for the Church the very best artists I could, in painting, in sculpture, in music and in literature.’

Between these two statements, both in terms of concept and commission, lie many of the works still to be seen in the cathedral. These include:
Paintings:
Tapestries:
Stained glass:
  • a window by Marc Chagall, based on the theme of Psalm 150 '...let everything that hath breath praise the Lord' (1978). 
Embroideries:
  • a panel behind the bishop's throne designed by Joan Freeman (1993), and hassocks in the Presbytery designed by Sylvia Green (1995), were all were worked by members of the cathedral's Seffrid Guild
Cast aluminium:
  • All by Geoffrey Clarke - candlesticks and communion rails in St Mary Magdelane's Chapel (1960-62); Pulpit (1966); Lectern (1972).
Stone:
  • Font - polished polyphant stone and beaten copper by John Skelton (1983) 
  • Altars - in the retro-choir, St Mary Magdalene's chapel and the high altar by Robert Potter. 
Sculptures:
  • 'Virgin and Child' by John Skelton (1988)
  • 'Christ in Judgement' by Philip Jackson (1998). 
  • 'The Refugee' by Diana Brandenburger has been loaned to the Cathedral in memory of George Bell, as he was a "Champion of the oppressed."
  • Outside the cathedral, a magnificent statue of St Richard by Philip Jackson, a gift from the Friends of the cathedral to mark the Jubilee. 
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Leonard Bernstein - Chichester Psalms.

Saturday, 14 March 2015

Sabbatical art pilgrimage: Latest ArtWay report

My latest Church of the Month report for ArtWay focuses on the Chapel of St. Thérèse of the Child Jesus and the Holy Face, Hem. Featuring mosaics and windows by Alfred Manessier, sculptures by Jean Roulland and Eugène Dodeigne, and a tapestry of the Holy Face made by the Plasse Le Caisne studio after a painting by Georges Rouault, the church is a fine example of art sacré after World War II.

This Church of the Month report follows on from others about Aylesford Priory, Canterbury Cathedral, Chelmsford Cathedral, Lumen, Notre Dame du Léman, Romont, Sint Martinuskerk Latem, St Aidan of Lindisfarne and St Mary the Virgin, Downe, as well as earlier reports of visits to sites associated with Marian Bohusz-Szyszko, Marc Chagall, Jean Cocteau, Antoni Gaudi and Henri Matisse.

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Hildegard von Bingen - Voice of the Living Light.

Thursday, 3 May 2012

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.


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.