Roundup: Raban Maur, comic books, and more

SEMINAR: “The Language of Grace? The Action of God’s Love in Poetry and Art”: On February 6 at 6 p.m., as part of the Catholicism and the Arts York initiative, St. Wilfrid’s Church in Duncombe Place, York, will be hosting back-to-back talks: “Grace and the Poetics of David Jones” by Dr. Elizabeth Powell and “Full of Grace? The Desire of Art for God” by Katherine Hinzman.

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ALBUM FUNDRAISER: Love Secrets by John Mark Pantana: I really enjoyed Pantana’s 2017 debut album, Mighty Grace, so I jumped at the opportunity to support his next project on Indiegogo: Love Secrets. His voice is so soothing! So are his original lyrics, all about God’s love and grace. Visit him at https://www.johnmarkpantana.com/, and listen to one of the songs from his upcoming album, “Abba,” below. Fundraising campaign ends February 9.

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EXHIBITIONS

I love the curatorial approach of these two current exhibitions, which bring art from the Middle Ages or Renaissance into conversation with contemporary art. Rather than doing this to prove a disjunction sparked by modernity, the curators stress continuity between the artists of yesterday and today.

“Make It New: Conversations with Medieval Art,” Bibliothèque nationale de France (National Library of France), Paris, November 5, 2018–February 10, 2019: Curated by Dutch artist Jan Dibbets, “Make It New” explores the relationship between works of contemporary art and the medieval art of Raban Maur (Hrabanus Maurus), a ninth-century monk from Fulda, Germany, and a major figure of the Carolingian renaissance. The centerpiece of the exhibition is Raban Maur’s De laudibus sanctae crucis (In Praise of the Holy Cross), a Latin manuscript comprising twenty-eight highly sophisticated poems whose letters are arranged in simple grids over colorful, geometric cross patterns. At the BnF, these compositions are placed in dialogue with thirty-plus works by some of today’s minimalist, conceptual, and land artists, including Sol LeWitt, Carl Andre, François Morellet, Niele Toroni, and Franz E. Walther, stressing similarities in form, color, proportion, and perspective. [press release (English)] [compilation of Maur images]

The original figure poem cycle was produced around 810 at the scriptorium in Fulda, and Raban Maur had a hand in making at least five other copies during his lifetime (of which France’s National Library owns two: Lat. 2423 and Lat. 2422); seventy-four additional copies from the Middle Ages are extant. The Burgerbibliothek Bern in Switzerland has digitized its early eleventh-century copy (Cod. 9), and it’s really fascinating! Full-resolution downloads are enabled. According to the Benedictine abbot Odilo of Cluny, “no work more precious to see, more pleasing to read, sweeter to remember, or more laborious to write can or could ever be found.” I don’t know Latin, but visually, I can really appreciate these fine pages. I was hoping to find more information about the work but could really only find a single French lecture given back in 2007 by Denis Hüe, a professor of medieval and Renaissance language and literature at the Université Rennes 2 Haute-Bretagne.

In Praise of the Holy Cross by Raban Maur
Figure poem by Raban Maur, Fulda, Germany, ca. 822–847. BnF Lat. 2422, fol. 10v.
In Praise of the Holy Cross by Raban Maur
Figure poem by Raban Maur, Fulda, Germany.
Untitled by Sol LeWitt
Sol LeWitt (American, 1928–2007), Untitled, 1970. Ink on paper. © Adagp, Paris.
Work Drawing by Franz Erhard Walther
Franz Erhard Walther (German, 1939–), Werkzeichnungen (Work Drawing), 1967. Watercolor, ink, and pencil on paper. © Adagp, Paris.

“Bill Viola / Michelangelo: Life, Death, Rebirth,” Royal Academy of Arts, London, January 26–March 31, 2019: When pioneering video artist Bill Viola saw a collection of Michelangelo’s exquisite drawings at Windsor Castle in 2006, he was astonished by the Renaissance master’s expressive use of the body to convey emotional and spiritual states. Here the two artists are exhibited side by side, showing their common grappling with life’s fundamental questions, albeit in vastly different mediums. “Both artists harness the symbolic power of sacred art, and both show us physical extremes and moments of transcendence.” Among the twelve major installations from Viola, spanning his career, is Tristan’s Ascension (The Sound of a Mountain Under a Waterfall), a sixteen-foot-high projection depicting the ascent of the soul after death.

For February 16, the Royal Academy has organized a full day of events keyed to the exhibition, including poetry readings, a documentary screening, and a panel discussion with cultural historian Marina Warner, theologian Ben Quash, and artist Mariko Mori, titled “Art as fulfilment: the use of religion and spirituality in contemporary art.” Questions for the day include: Does art connect us? Can art be transformative or transcendental? Can art influence society—that is, change opinions or human behavior? Other offerings in addition to this program are a curator’s introduction on February 1, a short course on figure drawing, and a talk on the limitations and opportunities of digital art. Plus, the London Art Salon is hosting a talk on the exhibition by art historian Marie-Anne Mancio.

Tristan's Ascension by Bill Viola
Bill Viola (American, 1951–), Tristan’s Ascension (The Sound of a Mountain Under a Waterfall), 2005. Video/sound installation. Performer: John Hay. Photo: Kira Perov. Courtesy Bill Viola Studio.
The Risen Christ by Michelangelo
Michelangelo Buonarroti (Italian, 1475–1564), The Risen Christ,” ca. 1532–33. Black chalk on paper, 37.2 × 22.1 cm. Royal Collection Trust, UK.

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NEW COMIC BOOK PUBLISHER: Cave Pictures Publishing, founded in fall 2018 by Mark Rodgers, is committed to the telling of “modern myths” that “speak to the soul” through comic books in the genres of action-adventure, sci-fi, historical fiction, and fantasy. Pitched for the spiritually inclined, the stories they publish “seek to make sense of our world . . . draw us toward the source of goodness . . . uncover what we worship.” Says Rodgers in a Hollywood Reporter interview: “Just as cave paintings were humanity’s initial attempt to process through the tough ultimate questions of human existence, we look at our stories as ‘sherpas of the soul,’ to contribute to the individual and collective human journey towards meaning and a greater reality,” the One True Myth. Read more about the company’s influences and aspirations in this Convivium essay. See also the interview in Sojourners.

The Light Princess (Cave Pictures Publishing)

One of their five inaugural series is The Light Princess, an adaptation of one of George MacDonald’s best-loved fairy tales, about a princess who is cursed with weightlessness and is only brought down to earth by a true, sacrificial love. MacDonald was a Scottish author, poet (e.g., here, here, and here), and Christian minister who deeply influenced C. S. Lewis and J R. R. Tolkien. Speaking of Tolkien, I’m really digging this quote of his on Cave Pictures’ website, which affirms the value of story: “Legends and myths are largely made of ‘truth,’ and indeed present aspects of it that can only be received in this mode. . . . Long ago certain truths and modes of this kind were discovered and must always reappear.”

Roundup: Easter flash mob; Good Thief; Resurrection photo; Sistine Chapel frescoes in 3-D; etc.

FLASH MOB: On Easter 2011 at City Mall in Beirut, Lebanon, a flash mob broke out singing the Paschal troparion in Arabic: Christ is risen from the dead, trampling down death by death, and on those in the tombs bestowing life! [HT: Global Christian Worship]

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NEW PAINTING INSTALLED: James B. Janknegt is a Christian artist from Texas who is known for transposing biblical stories into contemporary American settings. He recently completed a large triptych for the new Unity Hall at Community First! Village in Austin, a planned community, developed by Mobile Loaves & Fishes, that provides affordable, permanent housing for the chronically homeless. (See the development and learn more about it in this short video, presented by MLF founder Alan Graham.) The painting shows Jesus in conversation with the “good thief” who, as he dies, acknowledges his crime and asks Jesus to “remember me when you come into your kingdom” (Luke 23:42). Behind him paradise flowers forth, indicating not only his new home but his inward regeneration. The other thief, by contrast, turns his head away in stubbornness. This episode demonstrates that repentance is always met by Christ with love, affirmation, and seeds of new life.

Good Thief by James B. Janknegt
James B. Janknegt (American, 1953–), Good Thief, 2018. Oil on three panels, 8 × 12 ft. Unity Hall, Community First! Village, Austin, Texas.

Good Thief by James B. Janknegt

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SHORT FILM: “Dance Dance” by French film director Thomas Blanchard evokes each of the four seasons through different elements acting on flowers, captured in either time lapse or slow motion. For fall, a rose is set on fire; for winter, foliage afloat in water becomes frozen in ice; for spring, lilies bloom; and for summer, colored inks hit the flowers and billow up in dusty clouds. Stunning images!

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CHAIYA ART AWARD FINALIST: The inaugural Chaiya Art Award competition ended last month, with the winner taking home £10,000 and being exhibited, along with forty-one other juried selections, at London’s gallery@oxo March 29–April 9. The theme was “Where Is God in Our Twenty-First-Century World?”

One entry I really love is finalist Sheona Beaumont’s Natal, a photographic work that shows a nude pregnant woman standing against a dark wall in profile, her hair blown wildly by a gust of wind, opposite a corpse. These are two different spaces set in juxtaposition—two photos stitched together. The black-and-white photo of the dead body, on the left, is Fred Holland Day’s The Entombment from 1898, in which he himself posed as Christ, laid out on a bier before a doorway, his crown of thorns and titulus crucis on the ground beside him. Beaumont rotated this horizontal image 90 degrees clockwise so that the Christ figure is propped upright. She then posed her female model to form a sort of mirror image, but one full of vitality; the woman’s belly, the site of new life about to be born, is brightly lit. This combination photograph makes a powerful Holy Saturday image, one that hints toward resurrection as the stillness gives way to stirrings. The photo is also an allusion to the new life believers have in Christ, and in fact it forms the first in a new series titled Born Again. Visit Beaumont’s website to view the artwork and to read a bit about her process and the meaning the work holds for her.

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EXHIBITION: “Zurbarán’s Jacob and His Twelve Sons: Paintings from Auckland Castle”: Last fall, Spanish Golden Age artist Francisco de Zurbarán’s Jacob and His Twelve Sons made its North American debut at the Meadows Museum in Dallas, traveling for the first time in centuries, and now the exhibition is at the Frick Collection in New York City—but only through the end of this week! Twelve of the thirteen paintings in the set are from Auckland Castle in County Durham, England, the residence of the eighteenth-century Anglican bishop Richard Trevor, who acquired them in 1756 and had them displayed in his dining room, where they have remained ever since. Trevor was outbid on the painting of Benjamin, however, which is on loan from Grimsthorpe Castle in Lincolnshire, reuniting the set for the first time since the paintings’ 1756 sale.

Judah and Dan by Francisco de Zurbarán
Francisco de Zurbarán (Spanish, 1598–1664), Judah; Dan, 1640–44. Oil on canvas, 79 1/4 × 40 3/4 in. each. Photos: Robert LaPrelle.

The iconography of the paintings is derived from the prophecies Jacob utters over each of his sons on his deathbed, as described in Genesis 49. For example, Judah, from whom “the scepter shall not depart,” holds said scepter and is regally draped in a gold brocade robe and fur that hint at his descendants kings David and Solomon (Zurbarán was the son of a haberdasher, and gave great care to the depiction of textiles); Dan, on the other hand, holds up a serpent on a stick, alluding to his craftiness. To view all the paintings, click here.

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3-D SHOW: As of last month and through the end of July, Artainment Worldwide Shows, in cooperation with the Vatican Museums, presents “Giudizio universale: Michelangelo and the Secrets of the Sistine Chapel” by Marco Balich, an immersive 3-D show that brings to life Michelangelo’s Sistine Chapel frescoes inside the Rome Conciliation Auditorium. Half the room is covered, from the walls to the ceiling, with a 270-degree screen that projects extremely high-res photos of the paintings, dramatized through movement, music, lighting, sound effects, narration, live actors, and dance. Lasting sixty minutes, the show concludes with the thirteenth-century Latin hymn Dies irae (“Day of Wrath”), set to new music by Sting and arranged for chamber orchestra and choir by Rob Mathieson. Watch the trailer below, or click here to see some of the 3-D animation of the Last Judgment.