Art History

Lilippo Lippi painting of the death of St. Stephen

“The past is a foreign country. They do things differently there.” Nothing salutes the historian’s task more cogently than that lapidary first sentence of L.P. Hartley’s 1953 novel The Go Between. In fairness to Filippo Lippi, there is more to say. And the honor of history demands it—not to clear a path through the thicket of present concerns or to shake a finger at either past or present. But simply to understand our world without—as best we can—an ulterior motive. Despite Vasari’s known bent for embellishment, his spirited account of Fra Filippo’s elopement with Lucrezia Buti has been accepted in its essentials. Continue Reading
The Love Song of M. Ivan Rupnik

The sexual saga of Fr. Marko Ivan Rupnik, S.J., a priapic theologian, artist, and abuser of women, has gotten enough press. Now Catholics ask: “What should we do with his art?” It is the wrong question. The only reason it arises is the infuriating fact that what should be done cannot be done. Punishment ought to be carried out on the man himself. Rupnik should be castrated. Unhappily, we do not do that anymore. So we fantasize about wreaking vengeance on his mosaics. Continue Reading
St. Boniface chops down Thor's oak

What we call culture war is a holy war. Sadly, clerical bureaucracy would rather lose it than make a fuss. Or so it appears from too many instances of clerical capture by the zeitgeist. Recent commotion over anti-Christian sentiment posing as feminist art on show in Mendoza, Argentina, illustrates the state of things. Justice Potter Stewart knew pornography when he saw it. Ordained shepherds of the archdiocese of Mendoza prefer not to notice. Art is all. Back to that later. But first, some useful history. Continue Reading
Art Appreciation: Pope Francis, Chagall, & Bolsheviks

Is papal art appreciation all that it seems? Pope Francis once cited Chagall’s “White Crucifixion” as one of his two favorite paintings. Perhaps he really meant it. Or maybe his stated preference was a cost-free instance of diplospeak. A polite ceremonial gesture to cover an entrenched imbalance in his Middle East sympathies? Either way, as an expression of sympathy for the Jewish people, papal art appreciation is easy but insubstantial.     It is no substitute for unambiguous support for Israel, a tiny Jewish state targeted for extinction from the date of its founding. Continue Reading
Crucifixion, Metaphor, & Marc Chagall

Born Moiche Zakharovitch Chagalov, Chagall never resolved his conflict between affinity for Yiddish culture and ambition to mark his place in the timeline of modern Western art. The tension took a toll on his instinct for painting. But let us not begin there. Better to start with Brad Miner’s essay “Marc Chagall’s Jesus,” for The Catholic Thing. It distills the reasons why Chagall’s work continues to resonate. And it provides context for “White Crucifixion” (1938), the best known of Chagall’s many interpretations of the crucifixion theme:
Chagall was living [for a second time] in Paris at this point, and news of the Kristallnacht pogrom and other attacks on Jews were the impetus for the creation of “White Crucifixion.”
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