Albert Lapierre – Sacred Artist and Iconographer

This past July I had the pleasure of restoring an icon that was written by the fine artist, Albert Lapierre, from Attleboro, Massachusetts. It is a beautifully done and was commissioned by Joan O’Gara on the occasion of the birthday of her sister, Rosalind, in October, 1998.

Rosalind told me that her sister knew of her appreciation and devotion to the Gospel account of the Visitation of Mary to her cousin Elizabeth; however, Joan was not able to locate a print of this particular icon. In 1997 Joan decided to contact Albert Lapierre who was resposible for the creation of many religious objects, statues, and sacred images. Prior to his passing he had a store and studio in Attleboro, Massachusetts. There are many examples of his work at the LaSalette Shrine in Attleboro.

At the time of Joan’s request, Albert was busily engaged at the Shrine with many projects, and was reluctant to take on another commission. Joan persuaded him, however, to take on this project – telling him that “Our Lady really wanted him to paint this image.” I am told that he didn’t have a comeback for that request!

Mr. Lapierre was able to fit its creation into his busy schedule and it was varnished and ready to be delivered by October, 1998. Needless to say, Rosalind was thrilled by Joan’s gift and it remains to this day an important focal point in Rosalind’s prayer life.

Time does take its toll and the icon sustained some accidental damage over the years. Rosalind located me through a Google search and phoned for a consult. She was especially concerned about areas that had chipped and lost pigment. We met and discussed the damage and she requested that I try to repair it as best as possible.

The repair turned out to be an interesting challenge. First, I believe that it is absolutely essential that a restorer not impact or change the design, colors, or compositional elements of the piece being restored. Respect for the original artist, and what they created, is paramount. Ultimately, the viewer must be able look at the restored piece and be unaware of the fact that it has been restored. There should be no distractions from the original intent of the artist.

My biggest challenge in this restoration was matching the original colors. For this particular icon Mr. Lapierre used acrylics. Since the painting was only seventeen years old, and had not been kept in direct sunlight, the paint had not deteriorated or dulled to any great degree. Thus, my task was to repair the chips that could be restored and then blend in the pigment restoration. The restoration was a success and it was blessed, and delivered to a grateful Rosalind, at a Mass here in South Kingstown at St. Francis of Assisi Church in August 2014.

Albert Lapierre died a number of years ago. Sadly, I never met the man that created such a sensitive and dynamic icon. It was a distinct honor to work on it. I thank Joan and Rosalind O’Gara for the privilege of doing so.

Below are a few images of the piece with a close-up of Mary’s face, and the beautiful catechetical scene of Elizabeth’s husband, Zechariah, praying in the Temple.

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

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The Magnificat of Mary – A Beautiful Analysis By The Venerable Bede

In this morning’s selection from the Office of Readings in the Roman Breviary, the Venerable Bede, an English monk  presents a beautiful analysis of Mary’s joy-filled song – The Magnificat.

Bede was born in the year 673 and died in 735. He lived in Northumbria, primarily in the two monasteries of Saint Peter and Saint Paul. These monasteries had accumulated a wonderful collection of Greek, Latin, and early Church manuscripts. Bede spent his life studying, writing, and dictating the results of his research and prayer. He is known primarily for his most famous tome which is The Ecclesiastsical History of the English People. This work resulted in later generations giving him the title “The Father of English History.”

In 1899, Pope Leo 13th made Bede a Doctor of the Church. Bede was a skilled translator, linguist, and writer. His ability to compose insightful spiritual essays, and skill in making the writings of the Early Church Fathers accessible to his fellow Anglo-Saxons, significantly contributed to the growth of Roman Catholicism in England.

Let us take a moment today to dwell upon one of his perceptive and rich essays on the Blessed Mother. In the selection below, Bede provides us with a beautiful essay on Mary’s response to the knowledge that she will be the mother of the Savior. Her poetic song is known as The Magnificat, and it is said in the presence of her cousin Elizabeth (and possibly Elizabeth’s husband Zechariah) when they rejoice in the knowledge that they are both pregnant (The Visitation).

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Mary’s song of joy, faith, and trust is here separated by Bede and some of its key phrases are analyzed by him for our prayerful consideration. Mary’s words appear in bold italics, Scriptural references are in plain italics, Bede’s are in regular print. The entire Magnificat can be found in the first chapter of the Gospel of St. Luke, verses 46 – 55.

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Mary said: My soul proclaims the greatness of the Lord, my spirit rejoices in God my Savior.

Bede’s comments, he has Mary thinking these thoughts: “The Lord has exalted me by a gift so great, so unheard of, that language is useless to describe it, and the depths of love in my heart can scarcely grasp it. I offer then all the powers of my soul in praise and thanksgiving. As I contemplate his greatness, which knows no limits, I joyfully surrender my whole life, my senses, my judgment, for my spirit rejoices in the eternal Godhead of that Jesus, that Savior, whom I have conceived in this world of time.”

The Almighty has done great things for me, and holy is his name.

“Mary looks back to the beginning of her song, where she said: My soul proclaims the greatness of the Lord. Only that soul for whom the Lord in His love does great things can proclaim his greatness with fitting praise and encourage those who share her desire and purpose, saying: Join with me in proclaiming the greatness of the Lord; let us extol His name together.”

“Those who know the Lord, yet refuse to proclaim His greatness and sanctify His name to the limit of their power, will be called least in the kingdom of Heaven. His name is called holy because in the sublimity of his unique power He surpasses every creature and is far removed from all that He has made.”

He has come to the help of His servant Israel, for He has remembered His promise of mercy.

“In a beautiful phrase Mary calls Israel the servant of the Lord. The Lord came to his aid to save him. Israel is an obedient and humble servant, in the words of Hosea: Israel was a servant, and I loved him.”

“Those who refuse to be humble cannot be saved. They cannot say with the prophet: See, God comes to my aid; the Lord is the helper of my soul. But anyone who makes himself humble like a little child is greater in the kingdom of Heaven.”

The promise He made to our fathers, to Abraham and his children for ever.

“This does not refer to the physical descendants of Abraham, but to his spiritual children. These are his descendants, sprung not from the flesh only, but who, whether circumcised or not, have followed him in faith. Circumcised as he was, Abraham believed, and this was credited to him as an act of righteousness.

The coming of the Savior was promised to Abraham and to his descendants forever. These are the children of promise, to whom it is said: If you belong to Christ, then you are descendants of Abraham, heirs in accordance with the promise.”

The Responsory Prayer (Luke 1: 48 – 50) follows this reading:

“From this day all generations will call me blessed. The Almighty has done great things for me, holy is His name. He has mercy on those who fear Him in every generation.”

Beautiful words and images to bring us into the eve of Christmas. May you all have a holy and joy filled Christmas day and good fortune in the New Year! You are in my prayers.

Copyright © 2012 Deacon Paul O. Iacono All Rights Reserved. Notes on the paintings: The first sacred image is a contemporary sacred image written/painted in the iconographic style; I do not know its author. The second sacred image of Mary lost in ecstasy as she sang The Magnificat, was completed by James J. Tissot, a French painter (1836 – 1902). This painting currently hangs in the Brooklyn Museum. The medium is opaque watercolor over graphite on gray woven paper. It is approximately five by ten inches in size. Bede’s commentary is taken from The Liturgy of the Hours, Volume 1. Catholic Book Publishing Co., New York, 1975, page 362.