St. Joseph’s Art Workshop: Lesson 4 – Applying Color and Modeling the Face

Just wanted to notify the people who are following the art lessons in my St. Joseph Art Workshop tab that I just published Lesson 4: Applying Color and Modeling the Face. You need to go to the Menu tab above and click on Lesson 4 to see it.

My next post in the St. Joseph’s Art Workshop tab will be Lesson 5. It will be the last post in my Art Exercise of Painting Sacred Images using Acrylic Paint. 

Thanks.

 

St. Joseph’s Art Workshop – Lesson 3 – Applying Pigment

To all those that have expressed interest in the FREE on-line sacred art workshop that I am offering here at fraangelicoinstitute.com please note that yesterday I posted Lesson 3 in Exercise 1: Painting an Image of St. Rose of Lima.

Just click on the St. Joseph’s Art Workshop Tab on top of the image of St. Gabriel and the Virgin Mary and you will see the first Workshop page.

If you have already visited the Workshop Tab then just continue to scroll down to find the Lessons that I have posted so far. I am putting all the Lessons in one place because it will be easier for you to scroll up and down to refer back and forth to other Lessons for Exercise 1.

More lessons will be posted in the upcoming weeks. You have enough to read and keep you busy for now!

Feel free to participate and enjoy the process of creating art!

Fra Angelico – “Heaven on Earth” Exhibition – Part 2 – Ascension, Pentecost, the Last Judgement

I hope you had a blessed Feast of Pentecost!

Please read Part 1 of “Fra Angelico – Heaven on Earth” (posted here on May 16, 2018) in order to receive a proper introduction to the Isabella Stewart Gardner Museum’s extraordinary exhibition that, unfortunately, closed this weekend..

As you moved into the gallery that exhibited this once in a lifetime collection of Fra Angelico paintings you first saw the beautiful painting entitled The Ascension of Christ, The Last Judgement, and Pentecost (the Corsini Triptych). It is painted in egg tempera with gold leaf on a wood panel. Fra Angelico painted it during the years 1447-1448, seven years before his death in 1455. It was loaned to the Gardner Museum from the Galleria Nazionali d’Arte Antica di Roma – Galerie Barberini Corsini, Palazzo Corsini.

My photographic images of that painting are found below:

The Ascension, Last Judgement, and PentecostIMG_1686

The following quotation is taken from the Exhibition’s commentary found on the right side of the painting. Mesmerizing in its detail, Fra Angelico’s painting pictures three biblical events. At left, Christ ascends into heaven over the heads of the Virgin Mary and the  Apostles. At right, a masterfully foreshortened dove – the Holy Spirit – descends to earth. The story culminates in the center. Christ passes judgment over the living and the dead, saving the worthy (left) and condemning the wicked (right). While the damned cower from fearsome devils who attack the poor souls with claws, angels embrace the blessed.

“This small devotional triptych – a painting with three parts – served a cultivated individual, probably a cleric (deacon, priest, or bishop) in Rome.” Please compare its three episodes to others in my upcoming posts. In the above painting Fra Angelico adopts a vertical presentation. This energizes the connection and communication between heaven and earth. The Gardner Museum’s curator remarked that this technique “enlarges the central scene, and emphasizes” the Catholic Church’s spiritual power.

Fra Angelico, as a Dominican priest, desired to present that Jesus’ act of Redemption (passion, death, and resurrection), and His Ascension back to the Father, made possible the moment of Pentecost. Christ’s actions enabled the eventual opportunity for our free will to choose to accept His Truth and be fed by the Spirit’s power. It is the Father and the Son’s will to have the Holy Spirit nourish us through His grace. This grace is available to us through the proper administration and worthy reception of the Holy Sacraments. Thus, we come to the central panel –  the Last Judgement. Did we freely accept His Sacramental grace or did we ignore, and thereby, reject it? At that moment will we be on the right or the left of Christ?

Allow me to make some personal points on the three close-up photos below. In the first panel of this painting, notice the gold work around the body of Christ. I was allowed to closely examine it. I have never seen a painting’s gold work done with such precision and delicacy. It is not just gold leaf that is applied in a flat manner to the panel. It appears to be actual raised strands, or threads of gold, all applied with great precision. As you slowly move left or right around that part of the painting you notice the light catching the gold and literally radiating and shimmering around the image of Christ. IMG_1745

The Ascension, with Pentecost below.

Second, the image of Pentecost, with the Blessed Mother in the center of the Apostles as the dove hovers and the fire of the Holy Spirit descends upon them and gives them the gifts and fruits of the Holy Spirit (Isaiah 11:23; 1st Corinthians 12: 4 ff; Galatians 5: 22 ff).

Notice St. Peter, filled with conviction, speaking to the assembly of men below (“Peter’s Discourse” found in the Acts of the Apostles chapter 2, verses 14 ff.). Also, notice the clothing on one of the men who gather outside of the upper room listening to Peter: the detail of the lace work on the bottom of one of his garments, and the shadows on the man’s red leotard/shoe. If you stand away from the painting at approximately eight to ten feet to take it all in (as you see in the panoramic top photo) you don’t notice all the detail; but the blessed Fra with his extraordinary perception, noticed the need for it, and he painted it in. A master of detail, and as a true maestro, he knew how to successfully accomplish it. Wonderful!     The last two close-up pictures are below.

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My photos (through the kindness of the Isabella Stewart Gardner Museum), and            my text © Deacon Paul O. Iacono 2011-2018. Photos taken with an iPhone 6, no flash.

 

Fra Angelico – The “Heaven on Earth” Exhibition – Part 1

The Isabella Stewart Gardner Museum in Boston, Massachusetts is the only venue in America for the extraordinary “Fra Angelico: Heaven on Earth” exhibition. This amazing collection of reliquaries which express the life of the Virgin Mary, and other paintings of the greatest painter of the Early Renaissance, will be on display until this Sunday May 20th, 2018. Earlier incorrect media reports had the last day as May 28th.

I will be posting my photos of the Gardner Museum’s exhibit starting with this post and continuing on through the upcoming weeks and months. The exhibit consists of more than just the exquisite four reliquaries and it will be my pleasure to bring to you my photos of all of it. I am grateful to the Isabella Stewart Gardner Museum for allowing me to take photographs of the exhibit.

I will proceed with the first photo showing the image that you see as you climb the stairs of the Museum to the second floor where the exhibit is located. That image is of the Assumption of the Virgin Mary, surrounded by angels as she ascends in a vortex-like movement, toward God the Father. The reliquary containing the complete image was acquired by Isabella Stewart Gardner in 1899. This is the first time in history that all four reliquaries are reunited since they were split up and acquired by collectors and museums around the world.

My wife and I were privileged to visit the Museum and exhibition last week. Words cannot describe the restored reliquaries and paintings in this display.  I am not embarrassed to say that at one point I was choked up with emotion as to the beauty, technical skill, narrative brilliance in explaining Sacred Scripture, and the theological depth that Fra Angelico expressed in these sacred images.

Beato Fra Angelico (birth name Guido di Pietro) was a Dominican friar and known by his religious name as Brother John of Fiesole. The first historical record of Fra Angelico as a painter is the 1418 record of payment for a painting commissioned by the church of Santo Stefano al Ponte in Florence. Fra Angelico is believed to have been born in the late 1390’s and died in 1455. He is buried in Rome at the church of Santa Maria sopra Minerva. He was beatified (beato) by Pope Saint John Paul 2 on October 3, 1982, and in 1984 the Pope declared that Fra Angelico was the patron of Catholic artists (that is why I named this blog after him). Beato Fra Angelico’s feast day is celebrated every year on February 18th.

As you come up the stairs  leading to the second floor of the Museum and turn the corner you first see an enlarged version of Fra Angelico’s Dormition and Assumption of the Virgin located below. This image is showcased because it is found within the reliquary acquired by Isabella Stewart Gardner in 1899.

Adj ASSUMPTION FRA A.

This enlarged version of the Virgin Mary is found within the reliquary, and is its centerpiece, seen below.Dormition and Assumption

The above outer frame and base, which contains Fra Angelico’s painting, is known as a   reliquary. A reliquary is a container which holds the relics (bones, hair, etc) of deceased holy people or declared saints of the Roman Catholic Church. The reliquary allows the faithful to venerate, not worship, the life, deeds, and mortal remains of the person whose relics it contains. Fra Angelico painted the four reliquaries’ images specifically for the church of Santa Maria Novella in Florence between the years 1424 through 1434 The painting is rendered in egg tempera, oil glazes, and gold. It is simply stunning.

There is another separate painting in the exhibit which concentrates just on the dormition of the Virgin Mary. I will show that to you in the next post.

The “Heaven on Earth” exhibition is made possible with the support, in part, by the Robert Lehman Foundation and the Massachusetts Cultural Council (the Council receives its funding from the State of Massachusetts and the National Endowment for the Arts). The media sponsor is WBUR in Boston. The Museum’s Executive Director, chief conservator, curators, conservators, and support staff brilliantly provided the technical expertise and planning for this exhibit. The companion book, edited by Dr. Nathaniel Silver (with contributions by more than ten experts) is also very well done and a worthy addition to your library.

Photos and text © Deacon Paul O. Iacono 2011-2018. Thanks again to the Isabella Stewart Gardner Museum for this beautiful exhibit and enabling the public to enjoy, be edified, and to take photos of it.

The Way of Beauty On-Line Course and Reimbursement Scholarship Opportunities

The mission of the Fra Angelico Institute for the Sacred Arts is to teach the truth, goodness, and beauty of God through the prayerful creation of sacred art.

We are happy to announce that we have recently entered into a partnership with Thomas More College of Liberal Arts to present a wonderful on-line course to anyone interested in Catholic Culture and the sacred art of the Church. We also have a special opportunity for teachers of history, art, religion, and the humanities in Catholic high schools of the Diocese of Providence who complete this course.

Thomas More College of Liberal Arts is offering an on-line course entitled The Way of Beauty. This course has been designed by David Clayton and is being successfully implemented at Thomas More College of Liberal Arts. David is an Oxford University graduate, sacred artist, published author and broadcaster, and holds the position of Artist-in-Residence and lecturer in Liberal Arts at the College. David is passionate about Catholic art and music, the forms it has taken through the centuries, and the reinvigoration of Catholic culture. David’s blog can be found at www.thewayofbeauty.org.

As stated on the College website the Way of Beauty course “focuses on what shapes a Catholic culture and what makes it beautiful. It discusses the general connection between worship, culture and beauty particularly through the prism of visual art. The course program consists of a 13 episode video series and an e-book written by David Clayton. This book is only available to those who take this course. Participants who complete the on-line program are eligible to receive 25 hours of Continuing Education Units endorsed by Thomas More College of Liberal Arts. The College is regionally accredited by the New England Association of Schools and Colleges. Time spent in this program may also be able to be used towards later college credit offerings.” The cost of the on-line course is $99.00.

For the 2014-2015 academic year, The Fra Angelico Institute will provide reimbursement scholarships, through a competitive selection process, to Diocese of Providence high school teachers who enroll and complete the Way of Beauty on-line course.

In an attempt to provide a competitive atmosphere among the teachers, The Fra Angelico Institute for the Sacred Arts will provide a total of five reimbursement scholarships, one per high school, to Catholic high school teachers with the best implementation process.

In order to enter the competition to receive the reimbursement scholarship an interested Diocesan teacher will:

1) Notify the Fra Angelico Institute of their interest through our email at frainstitute@cox.net.

2) Formally register by clicking on the tab and following the prompts for the On-Line Course through www.thewayofbeauty.org.

3) Through the teacher’s personal Google account, participate in the program which consists of 13 on-line videos (approximately 30 minutes apiece) produced in association with Catholic TV.

4) Read the e-book – The Way of Beauty: Liturgy, Education, Art, and Inspiration. This e-book has been written exclusively for this course.

5) Submit on school stationary a statement from the teacher that the course has been completed, a one-page summary of how the course will be actually implemented in their curriculum, and one or two suggestions on how the course may be improved.

6) Submit a letter from the principal of their high school stating that they support the teacher in their desire to implement the goals of this course.

Using the US Postal System, these documents should be mailed to: Deacon Paul Iacono, Fra Angelico Institute for the Sacred Arts, St. Francis of Assisi Church, 114 High Street, Wakefield, RI 02879.

We hope you enjoy the course and best wishes to the teachers who compete for the reimbursement scholarships!

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved

Eugene Burnand and The Greatest Easter Painting Ever Made | Crisis Magazine

Clicking on the attached link found below produces an excellent article by Elise Ehrhard in Crisis Magazine describing the Swiss painter Eugène Burnand’s late 19th century masterpiece The Disciples Peter and John Running to the Sepulchre on the Morning of the Resurrection. 

One writer has described this painting as a visual Lectio Divina since the observer cannot help but feel the joy, hope, and love of these disciples for the Lord. 

May you and your families experience an Easter season filled with the healing love of Christ.

The Greatest Easter Painting Ever Made | Crisis Magazine.

 

Christ in the Wilderness, a Russian Artist, and a Challenge

In the late 19th century a Russian painter, the noted portraitist, draughtsman, and teacher Ivan Kramskoi painted a haunting image of Jesus alone in the desert. It is a painting which expresses the internal struggle of the flesh versus the spirit. It portrays Jesus, in the early morning hours and the cold air of the dawn, with the sun rising over His back.

He is surrounded by small boulders and sits on a rock, hands in front of him, eyes filled with anguish and pain. This portrait of Christ in the desert is not one of victory; looking closely at His face you recognize the seriousness of the struggle and the irrefutable fact of Jesus’ humanity.

christ_in_the_wilderness_detail_400

Observe Christ’s clenched hands, gaze deeply into His eyes, and you will see the artist’s portrayal of a Savior that is already at the beginning of His ministry aware of the viciousness of the tempter and the burden of our sins that will weigh upon Him.

Kramskoi’s painting is so powerful because it shows not the physical tearing that was to come in the scourging and crucifixion, but the sensual, psychological, and spiritual battles that would challenge the mission and authority of Jesus Christ.

**679px-Kramskoi_Christ_dans_le_désert

Jesus had to confront, in that very first desert assault, whether or not He was going to be faithful to His mission; was He going to be faithful to the anointing that He received from the Father and the Spirit at His baptism?

The Gospel challenges us with the same questions: are we faithful to our Baptismal promises? Are we faithful to the Commandments? Are we faithful to the call that we received at our Confirmation to live and practice the truths that He taught us, not just when we feel like it, but everyday – even in the most difficult of circumstances?

As disciples of Christ we are on a daily basis constantly revolving around the axis of temptation and sin – faith and grace. We understand that temptation, in and of itself, is a test – it is not sin. It is only sin when we willfully place ourselves in its power, when we give into its power to overwhelm our body and soul, – a deadly power that obtains its animus and energy from the original tempter – Satan himself.

Christ lived blamelessly in the face of evil, but you say, I am not Christ, I am a weak man or woman, boy or girl. I say true, we all are, but by virtue of our faithful reception of the Sacraments we have the power of Christ’s grace within us.

Unlike Christ we don’t enter the wilderness of our own temptations alone. When we do face the anguish of our own sin, our own desolation in the face of Satan’s onslaughts, when we peer over the edge of the pit of sin – Christ’s witness tells us “Do not despair. Do not dwell in the pit. Do not accept the pit of sin as being permanent.” Jesus Christ tells us that He has instituted a Church that, with all its human sins and imperfections, still exists – in purity – to convey through its clergy the grace of God.

One of the first things that you notice about Christ in this portrait is that here, at the beginning of Jesus’ ministry, the artist has Jesus’ hands clasped together. Yet, when you walk into a Catholic or Orthodox Church, and look at the crucifix or an icon of one, you see Jesus as He ends His ministry on the Cross, with His hands unclasped, and stretched out, stretched out for each one of us.

This Lenten season we need to reach out our hands to the One, who 2000 years ago, stretched out His hands for our Redemption – and who still reaches out for us today. Reach out to Him in prayer and the Sacrament of Reconciliation, and through Jesus, reach out to those around you who are suffering in the same way, and lead them back to the love of Christ.

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved

Sin and the Sacred Artist

Our society is quite adept at pointing out the sins and foolishness of others. Cable TV, radio talk shows, and various web sites love to dwell on the ignorant and immoral actions of politicians, celebrities, and the man in the street. But, as sacred artists within the Christian Tradition, what does Jesus require of us?

Jesus demands that we become countercultural. He requires us to be more concerned with our own sinfulness rather than the sins or inadequacies of others.

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When we first heard it years ago, last Sunday’s Gospel of Matthew 5: 17-37 must have caught us off guard – with talk of plucking out of eyes and cutting off of hands. Today, as adults and sacred artists, we certainly would have a difficult time practicing our craft if we took Jesus at His word. As you know the graphic figures of speech that Jesus uses are meant to shake us up – to provoke a reaction in us by vividly describing what we should figuratively do rather than falling into certain types of sin.

The vivid images that He uses emphasizes the truth of how dangerous these sins are to our souls. He uses this phrase twice: “it would be better to lose one of your members than to have your whole body thrown into Gehenna.”

What is He saying?

Human nature, combined with the age that we live in, contribute to our forgetting the essence of this Gospel and reflecting on its purpose. It is apparent that Jesus is emphasizing the following three truths: 1) Sin is real; 2) We will be judged on our sins; and 3) Gehenna, that is, Hell, is a real place: the place of eternal sorrow and separation from God.

Now, in the last fifty years, there exists some Catholic and non-Catholic theologians that would disagree with all or some of these three Scriptural truths; in fact, some of them would even cast doubt on the authenticity of the Holy Scriptures. But make no mistake; it is the doctrine of the Holy Catholic Church that we will be personally judged, not by these theologians, but by Jesus Himself.

So, it is wise and prudent for us to understand that Jesus is not mincing any words in this section of Matthew’s Gospel. For Jesus is challenging us to take seriously God’s perception of reality, and the truth that we can, through our personal and social sinful acts, be separated from God not only in this life but for all eternity, too.

Jesus’ words are timeless because He cites pride, anger, vengeance, unlawful divorce, lust, and lying as problems that affect not only the Jewish community – but our community as well. Jesus knows our hearts; and He knew the hearts of the men and women that stood before Him. His goal was to teach and heal us, and most importantly, willfully sacrifice Himself so that we would be redeemed of the stain of Original Sin and the subsequent sins of our life.

Jesus-Picture-Carrying-Cross-The-Passion-Of-Christ-Movie

So Jesus is presenting us with an opportunity to be a student in His school of discipleship. Jesus’ school, however, demands that we be honest with ourselves, as artists and as Christians, and recognize and strive to eliminate all sins –  all  barriers – to being His disciple. For how can we produce sacred art in the Tradition of the Church if we are carrying the burden of unrepented sin?

We pray that the Holy Spirit uses us as His instruments to promote the truth, goodness, and beauty of God, His angels and His saints. It follows then that if we are His instruments we must make every effort to model ourselves after Him.  Rather than just copying the image of the sacred model, as a fellow artist Jesus desires us to become the model – alter Christus – another Christ.

I don’t need to tell you that, over the last fifty years within the Latin Rite of the Catholic Church in certain parts of the world, the Sacrament of Reconciliation is widely ignored as a throw back to the Middle Ages. This attitude by American and European Catholics is based on poor catechesis and, possibly, an unwillingness to accept and repent of their own faults and sins. We may have forgotten the reality of sin, but  Jesus, our Judge, has not; and why hasn’t He?

It is because sin is the reality of our separation from Him – and He is always aware of it. It is the reason why He suffered and died for us; however, along with this is His desire to share His mercy with us – if – we want it. Christ’s mercy is always available to us; and as Catholics we are blessed to have the Sacrament of Reconciliation to spiritually cleanse us from our sins. Why would we cast aside such a valuable gift?

Today, Jesus is calling us to repent – let us not turn a deaf ear, and a hard heart, to Him.

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved. This essay is a modified form of a homily I delivered last week at St. Francis of Assisi Parish in Wakefield, Rhode Island, USA. Photo Credits: “Jesus,” and “Jesus Carrying the Cross” from Mel Gibson’s classic film: The Passion of the Christ.

Baptism, Discipleship, and the Art of Lorenzo Lotto

In our Gospel last week we stood at the banks of the Jordan River and witnessed Jesus’ baptism by John the Baptist. Today we hear John announce to all that the Spirit of God rests upon Jesus who is described as the Lamb of God and the Light of the World. John goes on to say that Jesus is not an angel, a prophet, nor a magician; rather, He is the incarnate Son of the Most High God. John reminds us that as the “Lamb of God” Jesus has a specific mission. His role is to teach and preach, and most importantly, it is to heal, and that healing can only occur through sacrificial service – specifically through the sacrifice of His own blood.

We are just one month past the celebration of the birth of Jesus and today our Gospel reminds us of the purpose of His mission.

Five hundred years ago a beautiful painting was completed by the Italian artist Lorenzo Lotto entitled the Nativity of Christ. Lotto presents the typical stable scene, yet, his spiritual insight focuses on one specific artistic touch: he places on the wall behind a kneeling St. Joseph the image of a crucifix with the body of Christ emanating a beautiful glowing light that spills out onto the wood of the cross and the stable itself.

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To my knowledge, Lotto’s innovation was the first time such an insight had been seen in Western art, but its originality is emphasized by the fact that your eye naturally moves from the crucifix, through the eyes of Joseph and Mary, and then down to the open arms of Jesus. Here as an infant, on the wood of the manger, He freely opened His arms to Mary and Joseph; and as an adult carpenter, He freely laid Himself down upon the wood of the Cross, to be sacrificed in an open embrace of love for all.

The challenge of this Gospel is that Christ offers us, as His disciples, the model of sacrificial service. No matter who you are, or what your age or station in life, you can perform sacrificial service to those around you. But it must be offered in the same redemptive spirit that Christ offered His service: with spiritual love and compassion for the souls of those in need. By virtue of our own Baptism we are all called to serve others as Christ has served us. You may be a mother or father caring for children or elderly parents – this care, if offered in the spirit of Christ – is sacrificial service. You may be a sacred artist, laboring quietly and prayerfully to create beautiful images that will assist yourself and others in prayer. This creative labor is sacrificial service.

You may be a child or teenager that courageously doesn’t participate in the bullying of another and comforts the one injured – if offered in the spirit of Christ – this is sacrificial service. You may be an adult – sick or aching from the pain of years of courageous work for your family or on behalf of the Church’s needs, such as supporting the pro-life movement or other social and moral justice issues. You see, if in prayer – you offer up your pain and efforts for souls in need – this is Christ-like, redemptive, sacrificial service. So as we offer sacrificial service on behalf of others, we turn our mind to God and place ourselves in His presence. This presence is a moment of prayer for us.

Allow me to make a recommendation: when we offer sacrificial service we should say the first verse of Psalm 70, which says, “God come to my assistance, Lord make haste to help me.” By saying this prayer, awareness of our Baptismal discipleship takes root. For it is in that short verse that we successfully unite ourselves to Jesus in the Jordan River, and like Him, receive grace from the Father to continue our mission, even if it ends up on Calvary.

As we travel through the dark days of winter, let us not forget that the Light of Christ is always present to us, and that Jesus’ arms will always remain open to patiently help us as we serve others.

God come to our assistance. Lord, make haste to help us.

***The above homily will be delivered by me at St. Romuald Chapel at 10 AM, and Noon at St. Francis of Assisi Church, South Kingstown, Rhode Island, USA on Sunday January 19, 2014. Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved. Notes on the Painting: Lorenzo Lotto’s Nativity of Christ was completed in 1523. It is painted in oil on wood, and is presently in The National Gallery of Art in Washington, D.C.

The Penitent Magdalene and the Way to True Conversion of Heart – A RePost Of Fr. Jason Smith’s Essay

As we begin the season of Lent I thought you would enjoy this article by Father Jason Smith. It contains a magnificent sacred image painted by George de La Tour (1593 – 1652). La Tour is one of my favorite artists; I especially enjoy his beautiful sacred image of St. Joseph teaching the child Jesus. During his lifetime La Tour was considered to be the painter for the French nobility. His son Etienne became his pupil and followed his father’s style so closely that it is very difficult for today’s art historians to determine the author of certain paintings within their collection.
La Tour was a master of the chiarascuro (light/dark/shadow) technique. He developed this technique in new ways, adopting a softer, gentler, and simple approach to presenting the interplay of light, shadow, and color.  After his involvement with a Franciscan led spiritual revival he eventually devoted himself to religious subjects. His two paintings on Mary Magdalene are masterpieces of this style of art and they truly speak to the soul who is interested in listening.
The de La Tour family unfortunately died in 1652 as a result of an epidemic that devastated his city.
The essay below was written a few years ago by Fr. Jason Smith. Fr. Smith’s essay on the truth, beauty, and meaning of de La Tour’s painting reflects the Lord’s ability to use sacred artists to express His continual grace and mercy to us. It is my wish that you spiritually profit by the painting and its analysis. Thank you Fr. Smith for posting this fine essay.

The Penitent Magdalene and the Way to True Conversion of Heart   By Fr Jason Smith, published at the Biltrix blog 

“I have found no better representation of conversion and penance in art than The Penitent Magdalene, by George de La Tour. Though simple, it expresses the essential elements behind every conversion, and we can find in it powerful lessons to apply to our own life. Let’s take a closer look.

The Penitent Magdalen, George de la Tour

The painting presents Mary at the very beginning of her conversion, on the night that she met Jesus Christ for the first time. Her life is just as it was the day the Lord crossed her path. Yet the subtle but evocative tension in the painting makes it evident that her world has been shaken and she knows she must change.

She has returned home, alone, and cannot sleep. She sits down at her vanity which until this afternoon was the center of her life. La Tour paints nothing superfluous here; only those things most dear to her, things to which she has clung for happiness and fulfillment, but that have only served to leave her feeling empty inside: Her richly embroidered clothing, her silver mirror with its carved and gilded frame, her fine jewels and her string of pearls which, while tossed aside, are still within her grasp.

Interestingly enough Mary’s head is turned away from the viewer—leaving us to imagine her expression, and even better, identify ourselves with it—and, while facing the mirror, she is not looking into it. She is gazing far beyond; she has realized there is something more to life then what is external, then in those things which she has placed her security and happiness. The Lord had cast seven demons from her life, seven lies that she had believed about God and about herself; this night, however, she is finally free of them, but she knows that the changes she has to make and which still lie ahead will be hard.

The flickering flame of the candle is the primary source of light. It is soft, calm, inviting, strong, and supersedes the light of an ordinary candle. It keeps the menacing darkness away. It illuminates her face and her heart—primarily her heart—to show that she has focused on the core of who she is, and subtly shows the love that she has felt that day. Yet it also shines on the mirror and on her robes and on her jewels—the light of Christ has begun to enlighten everything in her life. It is the power of the Holy Spirit through which all true conversion and penance is inspired.

She holds a skull, which at first seems macabre, and certainly was not a fitting decoration for her vanity, but is symbolic of the gravity and seriousness of the assessment she is making of her life. Her hands are folded calmly upon it and it rests gently in her lap; this is not an anxious and tense conversion, but a realistic one. She knows her life will end; she recognizes her mortality; she is asking herself what is truly important in her life—not her mirror or her jewels—and she is preparing her heart to die to those things.

But what will she exchange them with after she gives them up? What will tomorrow morning bring? She stares into the darkness looking for an answer but there is no reply. Conversion always requires faith. The answers and the way are presented gradually. There is a natural trepidation when it comes to change, conversion, stepping out to follow the Lord, and, yes, penance—but this is only a smaller aspect of a larger and more liberating truth, which Pope Benedict expressed so well in his inaugural homily:

Are we not perhaps all afraid in some way? If we let Christ enter fully into our lives, if we open ourselves totally to him, are we not afraid that He might take something away from us? Are we not perhaps afraid to give up something significant, something unique, something that makes life so beautiful? Do we not then risk ending up diminished and deprived of our freedom? And once again the Pope said: No! If we let Christ into our lives, we lose nothing, nothing, absolutely nothing of what makes life free, beautiful and great. No! Only in this friendship are the doors of life opened wide. Only in this friendship is the great potential of human existence truly revealed. Only in this friendship do we experience beauty and liberation. And so, today, with great strength and great conviction, on the basis of long personal experience of life, I say to you, dear young people: Do not be afraid of Christ! He takes nothing away, and he gives you everything. When we give ourselves to him, we receive a hundredfold in return. Yes, open, open wide the doors to Christ – and you will find true life.

Conversion and penance should never be thought of as a loss but as a transformation, an exchange, for something greater: From what is bad to good, from good to better, and from better to best. In reality the Lord does not ask us to give anything up; rather, he asks that we chose the better part, to go from vice to virtue, from complaining to gratitude, from bitterness to forgiveness, from vanity to humility, from lust to love, from anger to patience, from discouragement to hope, from where we are to where we know we are called by the Lord to be.

Conversion and all it entails is a calling of love and is not reached with an empty white knuckle attitude. Notice how gently her hands are folded upon the skull. It is not angst but Christ’s transforming love that impels and inspires her to change. The strength to do this does not come from within one’s own will, though the will is certainly needed, but from the light and the guidance and the power and the fire of the Holy Spirit active in an open heart. Notice how Mary’s garments show how open her heart is.

I’m not certain if George de la Tour ever underwent a conversion himself, but through candlelight and shadow, a mirror and jewels, a skull and robes, and a facial expression we can’t see, he captures the essential elements of one: The love of Christ and the guidance of the Holy Spirit.”

Fr Jason Smith

Penitent Magdalene essay: Copyright © 2012-2013 Fr. Jason Smith. All Rights Reserved

Copyright © 2011-2013 Deacon Paul O. Iacono All Rights Reserved

A Papal Statement: The Beauty Of Faith Is Not An Obstacle To Artistic Creation

Wishing all Americans a Happy Thanksgiving holiday weekend, and all friends and followers of this blog a blessed and creative day. The statement below was released by Pope Benedict 16th this morning. It contains some very poignant and relevant points for meditation and implementation. As artists we have a wonderful responsibility to be “Guardians of Beauty in the World”  – especially the beauty of faith. Enjoy!
          “Vatican City, 22 November 2012 (VIS) – Yesterday afternoon in the Aula Magna of the Palazzo San Pio X, the Pontifical Academies held their seventeenth public session on the theme “Pulchritudinis fidei testis: the artist, like the Church, is a witness to the beauty of faith”. The session was opened by Cardinal Gianfranco Ravasi, president of the Pontifical Council for Culture, and Cardinal Secretary of State Tarcisio Bertone S.D.B read out a message from Benedict XVI to the participants.

In the text the Pope confirms “the desire of the Church to rediscover the joy of common reflection and concerted action, with the aim of restoring the theme of beauty as the focus of attention within ecclesial communities, civil society and the world of culture”.

Beauty, continues the Pope, “should be confirmed and expressed in all forms of art, without however detracting from the experience of faith; rather it should freely and openly confront faith in order to draw inspiration and to find subject matter. The beauty of faith, indeed, is never an obstacle to the creation of artistic beauty, as it constitutes in a sense its vital lymph and its ultimate horizon.

Indeed, true artists, defined in the Vatican Council II Message to Artists as ‘guardians of beauty in the world’, by virtue of their special aesthetic sensibility and intuition, are capable of grasping and assimilating the true beauty of faith more deeply than others, and thus expressing and communicating it in their own language.

“In this respect, we can therefore consider the artist as an important witness to the beauty of faith. He/She is able to participate, through his/her own specific and original contribution, to the vocation and mission of the Church, especially when, through various forms of artistic expression, they wish to or are requested to create works of art directly linked to faith and worship, or to the liturgical activity of the Church”.

In the Year of Faith, the Pope invites all Christian artists and all those who engage in dialogue with faith to ensure that their artistic development becomes a “complete journey involving all dimensions of human existence, in order to witness more effectively the beauty of faith in Jesus Christ, the image of the glory of God Who illuminates the history of humanity”.

The session concluded with the awarding of the pontifical academies annual prize, dedicated this year to the arts and with special emphasis on the fields of painting and sculpture. The prizewinners were the Polish sculptor Anna Gulak and the Spanish painter David Ribes Lopez, while the pontifical medal was presented to the Italian sculptor Jacopo Cardillo.”

The images below: the first is part of the monumental sculpture of Beato John Paul II by the Polish sculptor Anna Gulak. The second is by the Spanish painter David Ribes Lopez and I believe is part of a series that he painted entiled Art is Revelation completed in 2007. The third image is a series of marble sculptures that were created by the Italian sculptor Jacopo Cardillo. A sincere thanks to their various websites for providing these images.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved

Making Room In Your Heart for God, Prayer, and Creativity

The Gospel of St Mark, chapter 9: 14-29, challenges us to ask ourselves the question “How does the effective disciple of Jesus live his or her life?” Clearly the ineffectiveness of Jesus’ disciples in doing His work is evidenced when the father of the possessed boy complains to Jesus that His disciples were unable to help his son, and even questions the power of Jesus to intervene on his son’s behalf.

Jesus responds with disappointment tinged with anger over the actions of some of His disciples; people who took it upon themselves to act in Jesus’ name but were not prepared to do so – for they did not ready themselves through prayer, fasting, and good works.

Jesus was upset with them for their lack of preparation. He implies that they were not effective co-workers. They were not ready to share His mission because they believed  they could remain who they were and still carry out the work of Jesus.

At that point in Christ’s ministry they didn’t realize that they had to be willing to cooperate with Him and transform themselves into His Life; a transformation, which accompanied by the grace of God, demanded great effort on their part.

In private, Jesus’ disciples asked Him why they didn’t have any success. He said, referring to the evil spirits,  “This kind can only come out through prayer.”

An Internet friend of mine from West Virginia, Fr. Paul Wharton recently said, “the transcendent knowing of God in prayer is making room in myself for an experience of His loving presence deep within me and all around me.”

This is such an important point, for we must make room for God deep within ourselves. As spiritual people we must guard against the weakness evidenced by the disciples in this Gospel. They thought they were acting like Christ, they thought they had His power in their lives, but they had not made room for Jesus in their hearts, and when faced with the enemy they were unprepared – they were helpless and impotent.

So, as creative people – as artists in our various fields – how do we become effective disciples of Jesus Christ? I believe our effectiveness is based on four concepts: 1) the grace of God coming to our hearts and souls through Christ’s Holy Sacraments; 2) our willingness to open our hearts and allow God to go deep within our souls so that He may evangelize us; 3)  our personal effort to be transformed into His Gospel Life through prayer, Scripture study, and our  unique approach to the creation of sacred art; and, 4) our faith and trust in His ability to lift us up, like the possessed boy, out of our suffering – or to give us the strength to bear what we are asked to endure.

These four concepts have an important part to play in our creativity and productivity as sacred artists. We must see ourselves, and the various arts that we produce, as part of His divine mission to first, evangelize ourselves, and then, through our art, those around us.

As we approach Ash Wednesday and the first week of Lent, I would like to raise your attention to a series of posts that I will publish during Lent dealing with the idea of prayer as it applies to our creativity. I will explain and explore with you a few valuable methods that I have learned over the years and one that I have recently been made aware of by a fellow member of the Fra Angelico Institute for the Sacred Arts.

I pray that you will profit from these upcoming posts and that they may help you in your process of becoming an effective disciple of Christ and an even more creative and Spirit filled person! May the Lord bless you with a happy and creative Lent.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved     Thanks to starrymantle.blogspot for the sacred art rendition of today’s Gospel; and if you have a chance check out Fr. Paul Wharton’s blog at http://heartsonfire33.wordpress.com/2012/02/17/adrian-van-kaam-1920-2007-on-prayer/

Five Days Before Christmas: A Unique Story About The Graciousness of God

A very clear narrative greeted us in yesterday morning’s Gospel by St. Luke. He tells us that both Zechariah and his wife Elizabeth were both righteous before God: walking in all the commandments and ordinances of the Lord – they were blameless; but they have no child. Elizabeth was barren and both were elderly. We read of Zechariah silently bringing his heavy heart before the Lord – even after all those years – it was still burdened with disappointment. The couple probably remembered Psalm 112 which says:

“Happy the man who fears the Lord, who takes delight in his commands. His sons will be powerful on earth; the children of the upright are blessed.”

Zechariah was a priest, and on that day – by lot – it was his turn to enter the chamber within the Temple called the Holy Place and burn incense on the special altar. The Holy Place was a small chamber that led to the Holy of Holies, which housed the Ark of the Covenant.

For whatever reason, Zechariah that morning carried his disappointment with him into the Holy Place; and while he was there the archangel, Gabriel, appeared on the right side of the Altar of Incense. Gabriel tells Zechariah not to be afraid and that his prayer was heard before the throne of God. Gabriel continues with the joyous news that Elizabeth will bear a son, and that he will be called John – which in Hebrew means – “the Lord is gracious.” This child will grow and be great before the Lord, and even from his mother’s womb – he will be filled with the Holy Spirit.

But, in a typically human way, Zechariah questions the archangel’s announcement. His query must have been different in tone. It must have had the typical masculine attitude of “Are you kidding me!” Zechariah’s tenor makes Gabriel, and possibly God, indignant – and Zechariah is struck speechless for his insolence.

In Scripture, few lines later, we see Gabriel’s announcement to Mary. She questions him, too, as “How can this be since I do not know man? But Gabriel does not strike her speechless. We have to be struck by this difference. What does it teach us?

It is clear that God knows our hearts. God knew what was on Zechariah’s heart when he was in the Holy Place. Zechariah does not trust the message or the messenger, and by inference – he does not trust God. God knows his heart; and disciplines this good man. Like Zechariah, we, too, may disbelieve God. In our sophistication or position in life we may say “Well that’s fine, but, the Scriptures don’t apply to our situation, or this specific teaching was acceptable years ago, but, too much time has passed and it doesn’t apply to my problems. Remember, the Gospel says that Zechariah and his wife were good and righteous people. It was mentioned that he kept all the Commandments and ordinances. Yet, when his big moment comes – where is all that goodness and righteousness? It might still be there in his heart, but, there was also a pocket of doubta crevice of skepticism – that was significant enough for him, as a priest of the Almighty God, to be struck speechless in punishment for not trusting Gabriel’s message.

As sacred artists, as Christians, this Gospel asks us to stop, and check our souls in this last week of Advent. It asks us how patient, confident, and trusting have we been of the Lord’s message to our hearts, and have we allowed this to carry over into our actions?

Zechariah learned the hard way that when the Lord prepares us for His coming He desires us to be alive, awake, and alert to His call and to trust His message. So, our prayer this week should echo that of Zechariah, who in the months of speechless waiting, most likely in his mental prayer said,  “Lord, I believe; cleanse me of my disbelief. Lord, I trust, heal me of my distrust;” and it should also echo that of Mary – who in humility and expectation waited patiently for the graciousness of the Lord to take fruit in her womb.

Copyright © 2011 Deacon Paul O. Iacono All Rights Reserved

Thanks to angels-angelology.com for stained glass window image.

A Beautiful Pregnant Young Woman And Her Message To A Weary World

Today’s feast of Our Lady of Guadalupe, the patroness of all the Americas, recalls the apparition of our Blessed Mother on the hill of Tepeyac in present day Mexico City from December 9th through the 12th in the year 1531. Guadalupe is the Spanish translation of the Aztec phrase that Juan Diego heard Mary associate herself with – the name, interestingly, in Aztec means “she will crush the serpent of stone.”

In the same year – 1531 – thousands of miles away in what today we call Germany – Martin Luther was pro- claiming his doctrine of protest and rebellion from the Catholic faith. As Martin Luther was convincing millions of Catholics to leave the faith, our Blessed Mother, through the miraculous image that appeared on Juan Diego’s tilma, convinces millions of Native Americans to convert to the faith.

As the Protestant rebellion was tearing down millennia of Church theology and sacred tradition, Our Lady was building up the understanding of both the Spanish clergy in Mexico and the Native American population, of the love of God and the assurance of her protection.

Our Lady spoke to Juan Diego in his native dialect. She identified herself and said:  “Juanito, the humblest of my children, know and understand that I am the ever virgin Mary, Mother of the true God through whom all things live. It is my ardent desire that a church be erected here so that in it I can show and bestow my love, compassion, help, and protection to all who inhabit this land and to those others who love me, that they might call upon and confide in me. Go to the Bishop of Mexico to make known to him what I greatly desire. Go and put all your efforts into this.”(1)

 

Of course you probably know the rest of the story. The Bishop is told, disbelieves Juan Diego, the bishop asks for a sign, Juan Diego reports back to Mary and is told by her to cut the Castilian roses that are growing and put them in his poncho which is called a tilma. The tilma is opened in front of the Bishop and other witnesses, the roses fall out, and the miraculous image of Our Lady appears on the tilma. But is this story true? What are the facts that surround it?

Our Lady of Guadalupe is honored as a feast throughout the Americas on this day because of the miraculous events associated with this particular three-day apparition, a very few being:

1) The extraordinary conversion of multi-millions of Native Americans, and the Aztecs in particular, who, as a blood thirsty civilization, were known to kill as many as 20,000 human beings in one day to appease the blood lust of their primary god.

2) The roses that Juan Diego cut were native of Damascus, Syria, and did grow in Spain, but were unknown in Mexico at that time.

3) The tilma, or poncho, that Juan Diego wore was made of the agave fibers traditionally used by the Native Americans. These fibers were a natural substance that should have deteriorated within 35 years, and yet, today, the 480th anniversary of the event – this tilma is still in excellent condition.

4) Through scientific analysis done over the last forty years, it has been determined that the pigments used on the tilma are not of natural or man-made material, and there is no glue or sizing on the tilma to fix the pigment in place. Plus the colorization or iridescence of the image on this “icon not made with human hands” would not have been able to be produced by a human artist in the 16th century. This iridescent effect would have been seen only in nature.

5) Our Lady is represented in the colors and dress of a pregnant Aztec princess. Modern astronomical research has shown that the stars on Our Lady’s image are in the configuration of the stars in the heavens on the nights of the apparition in 1531. Most remarkably, a microscopic analysis of Our Lady’s eyes was completed by Peruvian engineer and optical scientist Dr. Jose Aste Tonsmann (who trained at Cornell University and worked at IBM). He magnified the iris of the Virgin’s eyes 2,500 times and, through mathematical and optical calculations, was able to identify the witnesses of the Guadalupan miracle at the moment Juan Diego unfurled his tilma before the bishop and other witnesses [the bishop was Juan de Zumarraga, the Franciscan bishop of Mexico City.] (2)

But most importantly, these few miraculous facts about the icon of Our Lady of Guadalupe, do not stress the key issues of this apparition.

You see, Our Lady came to the Mexican people – as she comes to us this Advent season – as a pregnant young woman who is promoting life and her protection – not only for her unborn child – but for all of us.

Our Lady calls to us through this icon to stress that she loves us, has compassion for us, sees our tears, and desires to offer us her love and comfort. As the Mother of the incarnate Son of God she also points to her Son, and desires a church to be built so He can be properly worshipped and so she can be there to assist us in our prayers to God.

Mary has always reminded us that He is the One, True, All Powerful God who desires our love and respect. She also stresses that she is always here to provide her protection.

I commend to you to do some research this week on this magnificent Church approved apparition which indicates the Lord’s and Our Lady’s love for us. How blessed we are to have the spiritual motherhood of Mary, and the Fatherhood of the One True God.

Copyright © 2011 Deacon Paul O. Iacono All Rights Reserved

Footnotes and  sites to investigate for more information:

(1) From a report by Don Antonio Valeriano, a Native American author of the 16th century; as published in the Supplement of the New Feasts and Memorials for the General Roman Calendar – The Liturgy of the Hours.

(2)Science Sees What Mary Saw From Juan Diego’s Tilma”   Zenit News Service, 2001.

Zenit News Agency. Science Stunned by Virgin of Guadalupe’s Eyes. 1/14/2001

http://www.miraclehunter.com/marian_apparitions/index.html

The Immaculate Conception – A Time To Reflect On The Meaning of Mary

1) Mary’s Personal History

Tradition tells us that Mary was the daughter of Saints Joachim and Anne. They were devoted Jews who raised their child to be loyal and pure within the Jewish holy tradition. Mary was born within the royal line of King David and was betrothed and later married Joseph, a respected Jewish carpenter from Nazareth. Little is known of Mary’s day-to-day life other than the references to her in the Gospels. Those early references indicate that she was a loving, concerned, and devoted person. During her Son’s ministry she attended the wedding feast at Cana, was present at Jesus’ crucifixion, and was most likely with the Apostles at the coming of the Holy Spirit on Pentecost.

 2) Mary Prefigured in the Hebrew Scriptures

“The most famous Old Testament prophecies concerning the coming of the Messiah are Genesis 3:15, Isaiah 7:14 and Micah 5:1-4. In all three prophecies the Mother of the Messiah plays a prominent role. “Therefore the Lord Himself shall give you a sign; Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel.” [Isaiah 7:10-14].  The name Immanuel in Hebrew means “God is with us.”

 3) Mary as Mother and Saint

As the mother of Jesus, and the wife of Saint Joseph, Mary is the greatest saint. She is the model of faith, purity, and maternal devotion for all Christians. Mary is called the Blessed Virgin because she conceived Jesus by the power of the Holy Spirit (this is part of the Mystery of the Incarnation).  Saint Joseph is the foster father, not the biological father, of Jesus.

To become the mother of the Savior, Mary was “enriched by God with gifts appropriate to such a role.” (Lumen Gentium). Mary freely gave herself to God (confer Chapter 1 in the Gospels of Luke and Matthew), with complete trust even in the face of possible confusion about what was happening to her, and she freely responded and consented to God’s Will for her life.  Mary’s “Yes” to God’s request that she become the Mother of the Incarnate Son of God, Jesus, enabled our Redemption to occur.

What is the Dogma of the Immaculate Conception? The Church teaches that Mary was conceived without sin.  This is the Dogma of the Immaculate Conception which we celebrate today.

As The Catechism of the Catholic Church states in paragraph 491, the Dogma of the Immaculate Conception means that “Mary was redeemed from the moment of her conception.”  Pope Pius 9th announced this Dogma when he said: “Mary was preserved immune from all stain of original sin.” This was accomplished through the power of God. He willed and acted so that Mary should be free from the stain of sin. Mary, as the angel Gabriel described is “full of grace”… “Hail Full of Grace / Rejoice Highly Favored One.” The Fathers of the Eastern Catholic Church also agree with this truth and verify it when they address the Mother of God as “the All-Holy” (Panagia) and celebrate her as free from any stain of sin.

An interesting article entitled Mary in Scripture explains “The angel Gabriel’s greeting to Mary is of great consequence for our understanding of Mary and Marian doctrine. The greeting has been variously translated as “Rejoice highly favored” and “Hail full of grace.” The object of the varied translations is the Greek word kecharitomene which refers to one who has been transformed by God’s grace. The word is used only one other time in the New Testament and that is in the Epistle to the Ephesians where Paul is addressing those who, by becoming Christians, are transformed by grace and receive the remission of sins. It is clearly significant that Mary is considered to already have been transformed by grace before the birth of Christ.” ( Confer the article “Mary in Scripture” at this site: http://www.ewtn.com/library/MARY/MARYINSC.htm

So, we see that God intervened and did not allow the stain of Original Sin to be passed to Mary. She – as the pure vessel – would receive the redemptive grace of God before the actual Redemption took place. This is logical and filled with common sense. Why would God the Father have His Incarnate Son be conceived in a woman who was tainted by the stain of Original Sin? As the Scriptures state – we do not put new wine into old wineskins. To make a commonplace analogy: would any self respecting surgeon, cook, artist, or musician use soiled instruments as they were healing, creating, or performing a masterpiece in their art?

The scholar Origen (AD 185 -254) made a very interesting observation, he said,  “Because the angel greeted Mary with new expressions, which I have never encountered elsewhere in the Scriptures, it is necessary to comment on this. I do not, in fact, recall having read in any other place in the Sacred Scriptures these words: “Rejoice highly favored one, O Full of Grace. ” Neither of these expressions is ever addressed to a man: such a special greeting was reserved only for Mary.” (This quote is also taken from the article referenced above – “Mary in Scripture.”)

 4) Some of the Titles of Mary

In the year AD 431, at the Council of Ephesus (attended by over 200 bishops from throughout Christendom), Mary was named Theotokos (the God Bearer) and a model of Christian living. “Mary is truly “Mother of God” since she is the mother of the eternal Son of God made man, who is God Himself.” (Catechism of the Catholic Church, 2nd edition, #509).

She is called the New Eve because just as the original Eve brought sin and death into the world, Mary, as the bearer of spiritual life, brought Jesus (the New Adam) into the world. This provided the opportunity for grace, redemption, and salvation to impact and transform mankind for all eternity.

Since 1964, Mary has been honored as the Mother of the Church.  She is called The Mother of the Church because through her free choice she cooperated with God’s plan to build a new “arc of salvation” (the Church) for His people.

By the eighth century (700’s) the Catholic Church celebrated the Annunciation (Gabriel’s announcement to Mary that she would be the Mother of the Savior), the Presentation of Mary in the Temple, the Assumption of Mary, and the Birthday of Mary. The Immaculate Conception became popular by the tenth century (900’s). Saint Bernard of Clairvaux, Saint Louis de Montfort, Pope John Paul II and many other saints of the Church have written extensively on Mary and her role in the Church and in the lives of individuals. The Church teaches that Mary was assumed into heaven with body and soul united.  This is the Dogma of the Assumption of Mary.

5) Mary as Intercessor

Roman Catholics, Greek Orthodox, Russian Orthodox, and any of the Eastern Rite Catholic Churches DO NOT worship Mary. WORSHIP IS RESERVED FOR GOD ALONE. These Churches pay respect and reverence to Mary but never worship her.

The meaning of Our Blessed Mother Mary for us today is that, especially at this time in history, we must remember that she spiritually intercedes (pleads for mercy on behalf of us – the Church) before the throne of God. She does this in the same way that a mother would intercede with the father on behalf of her children. She loves us with the love of a true mother – for she sees not only our faults but our inherent goodness, too. Please God that we respond to the graces she has to offer us. Hail Mary, full of grace. The Lord is with you. Blessed are you among women, and blessed is the fruit of your womb, Jesus.

This painting is by Sano di Pietro an early Renaissance painter. It is entitled Our Lady of Mercy and was painted in the 1440’s. Sano di Pietro was from Siena.

Copyright © 2011 Deacon Paul O. Iacono All Rights Reserved

 

Stones and Sea Glass Can Tell A Story – The Art of Valerie Szlatenyi

One of the first St. Francis of Assisi parishioners to contact me to become a member of the Fra Angelico Institute for the Sacred Arts is a wonderful lady and artist by the name of Valerie Szlatenyi. In our discussion she shared with me the work she had recently done for the Wakefield Baptist Church Memorial Garden here in Wakefield, Rhode Island. The work is a large garden mosaic casting in glass and stone. It appears in a quiet corner on the Baptist Church yard grounds.

Valerie described the process she went through as she decided upon her composition for the church yard. She mentioned “Like a voice talking,” an impression “came to me that a mosaic dove would be part of the garden.” At first she wasn’t sure how to do it but she resigned herself to forge ahead and listen to her Muse.

It wasn’t a simple task, details of the dove began to fill her mind, and she realized that careful planning was essential for it to be a success. Combining prayer, with the assistance of a friend, she made numerous visits to the Atlantic coastline a few miles away and began to reflect on the shapes of the various stones that she was collecting.

An assortment of shapes, sizes, and shades of color, all began to fill her mind with impression that some of the stones had characteristics of various human personalities in that some were worn, some scarred, and some smoothed with the passage of time. The rough and tumble of countless waves, sand particles, and fellow stones sliding, and sometimes crashing into them, forever changing their appearance.

Valerie’s meditative trips to the shore helped her formulate her design which required stones of various quality, texture, and definition. In some cases she could see that the stones were made better for all the tumultuous behavior they had undergone. New lines of grain were exposed: mica, colored granite, sedimentary rock, or various minerals long hidden after eons of time now exposed to the elements of sea, wind, and sand. It was as if the best of the stone had to be burnished by nature – and nature’s God – in order to show its true complexity; the life of the seashore mirroring the life of the land walkers.

Like Valerie, my wife and I enjoy walking the beautiful Rhode Island beaches that face the Atlantic Ocean. We are amazed at the lovely collection of small stones and rocks that at times appear after an especially violent storm. Our imaginations kick in when we come across broken, yet harmless, sea glass.

Colored glass has a unique role to play in the enjoyment level of many beachcombers. Especially along the Atlantic Coast we are probably all impressed by their similarity to jewels from the treasure chests of long dead pirates. They sit at the shoreline, under a clear blanket of water, shimmering in the afternoon sun – beckoning you to pick them up and rejoice at your good fortune.

Valerie decided to center her creative efforts on composing a mosaic dove for the local church’s healing and prayer garden. She explains that the dove has always been a symbol of peace, love, and purity. Expanding the symbolism out onto a theological level, we can say that the dove, as one of the symbols for the Holy Spirit, is a representation of God’s love and grace coming to those who participate in the Sacramental life of the Church. Her composition also asks us to find the three feathers on the neck of the dove. She explains that they represent the Father, Son, and Holy Spirit united in love. The heart of the dove expresses the never ending love of the Father for the Son and the Son for the Father – and united as the Holy Trinity – their love for us.

Well done Valerie, it is a beautiful and inspiring composition.

Copyright © 2011 Deacon Paul O. Iacono All Rights Reserved

Photo and image Copyright © 2011 Valerie Szlatenyi All Rights Reserved

 

 

A Custodian of Beauty – The Talent of Artist Jamie Medeiros

After an article explaining the mission of the Fra Angelico Institute for the Sacred Arts appeared last June in our Diocesan newspaper, the Rhode Island Catholic, I received a call from a lovely young woman by the name of Jamie Medeiros. She explained that she was from Massachusetts and that she, too, had been touched by the Holy Spirit to offer people the opportunity to blend the creation of beauty with personal prayer. She described the process through which she currently leads people to express themselves in art while they are praying – actually to make prayer part of their artisitc process. She told me that she calls their parish meetings Pray and Create, and that they successfully had a number of parishioners involved who were doing exactly that – joining prayer with artistic expression.

As she was explaining what she was doing in her Pray and Create sessions I couldn’t help but stand in awe of the power of the Holy Spirit to be touching people with the same impulse throughout the United States. This same impulse – the same desire – to combine prayer with art; from the Fra Angelico Institute for the Sacred Arts in Rhode Island to the Catholic Artists Society in New York City, to Pray and Create in Massachusetts, and the Way of Beauty at Thomas More College in New Hampshire, to the Foundation for the Sacred Arts in Washington, D.C. – all attempting to examine and put into practice the words of Beato John Paul 2 and Pope Benedict 16th to become “custodians of sacred beauty.”

By becoming involved in the sacred movement to be a custodian of beauty we refashion culture and ourselves. We accomplish that end by evangelizing the truth, goodness and beauty of God through the study and creation of sacred art.

We continued to talk and I invited Jamie to become a member of the Fra Angelico Institute for the Sacred Arts, and she graciously accepted. Jamie has a wealth of experience in the arts, having received a Master of Fine Arts in painting from the American University in Italy, and an undergraduate degree from the Catholic University of America. She currently is a self employed artist and lives in Massachusetts. A self portrait appears here:

Jamie’s talent can be appreciated in the above portrait as well as in a sampling of her sketches (seen below) – which she showed at our Autumn Meeting. To see more of Jamie’s paintings and sketches please go to her web site iliveinhope.com. She has a potpourri of different photographs, sketches, paintings, and whimsical studies. I especially like the work she has done of her dog “Daisy” and – a Rhode Island icon: Mr. Potato Head! Actually, I am sure that as soon as  Hasbro Industries (headquartered in Rhode Island and the creator of Mr. Potato Head), or Hasbro Children’s Hospital in Providence sees them they will snatch up those beauties!

The sketches below were done during her Pray and Create sessions at her parish church. Photos taken and used with the permission of Jamie Medeiros. Her painting and sketches are Copyright © 2011 Jamie Medeiros All Rights Reserved.

Very powerful, indeed! Thank you Jamie for the time, talent, and treasure that you are willing to share with others who accompany you on our beautiful spiritual journey back to the Lord.

Photos taken and used with the permission of Jamie Medeiros. Her painting and sketches are Copyright © 2011 Jamie Medeiros All Rights Reserved.

 Copyright © 2011 Deacon Paul O. All Rights Reserved.

Beauty Built on Gospel Values

David Clayton, artist in residence at Thomas More College of Liberal Arts in New Hampshire, has written a wonderful essay that capsulizes the essential nature of what Pope Benedict 16th is saying about creating a culture of beauty. It should be required reading by all seminarians, clerics, and laypeople who are interested in evangelization and the recreation of a culture of beauty based on sound Gospel principles and the appeal to our innate sense of the beautiful. Please copy and paste the link below into your search engine bar and it should pop up for you.

http://thewayofbeauty.org/2011/10/the-psalms-and-the-evangelisation-of-the-culture/             

 

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