Isabel Piczek: Vocation to Sacred Art

“Art has to gain an awareness of God’s own intentions
for this age and faithfully reflect it to God’s people…
Behind Art, Life and Being there is only one Mover,
the Splendor of Divine Love.”[1] -Isabel Piczek

            For Isabel Piczek, art was not a profession, but rather a calling, a vocation.[2] Born in Hatvan, Hungary in 1927, and a graduate of the Academy of Fine Arts in Budapest, Piczek envisioned a new form of sacred art, “a new liturgical vision.”[3]  After the Communist takeover of Hungary, she realized that this vision would be impossible to fulfill behind the Iron Curtain.  She and her sister, Edith, also an artist, escaped Hungary by way of the Austrian border and soon arrived in Rome, where they would spend the next three years.[4]  In 1954, the sisters entered a blind competition for the commission of artwork for a large wall in the Pontifical Biblical Institute in Rome.  They entered the contest under the name “I. Piczek,” and when their pen-and-ink drawing was chosen, the judges were astounded that the artists were two young adult women.  The 377 square foot mural, which took seven months to complete, depicted “The Second Miraculous Draught of Fish.”  Fifty-five years later, in 2011, the work needed restoration, as it was located off a dining area and kitchen.[5]  In a rare act, Isabel Piczek directed the restoration of her own work. Also in 2011, the mural received the distinction of being named a “Vatican Treasure.”[6]

California Patrons of the Arts newsletter "Massaggero," Winter 2011,
at https://californiapatrons.org/wp-content/uploads/newsletters/CPA%20W'11.pdf

              After emigrating to Canada and then the United States, Isabel and Edith continued their artwork for many years.  In 1981, Isabel was asked by Cardinal Timothy Manning of the Archdiocese of Los Angeles to produce a replica of The Annunciation by Ilario da Viterbo in Byzantine tesserae, in honor of the bicentennial celebration of the city of Los Angeles.[7] This work is located on the façade of the church of La Iglesia de Nuestra Señora la Reina de Los Ángeles, also known as La Placita.  The detail of the work by Viterbo was chosen as the subject because the original work, “Our Lady of the Angels,” is located in the Porciuncula chapel at Assisi.  The Los Angeles River was named for Our Lady Queen of the Angels as “El Rio de Nuestra Señora la Reina de los Ángeles de Porciuncula” by the Franciscan missionaries the day after this Franciscan feast in 1769.[8]

Our Lady Queen of Angels Church (La Placita),
the oldest church in Los Angeles (Angelus News)

Here, a close-up of Piczek's work after the style of Ilario da Viterbo:

Isabel Piczek after Ilario da Viterbo, 1981. 7'4" x 11'
at http://www.publicartinla.com/UnionStation/annunciazione.html
Photo by Ruth Wallach. 

In contrast, a depiction of the Annunciation in Piczek's own style. This window was completed in 2012:

        This style reflects the sacred vision of art that permeated Isabel’s life of dedication to portraying the beauty of God, the “monumental truths and incredible grandeur in the depth of the life of the God-Man and his Virgin Mother.”[9]  In speaking about her work, she said, “Some of the greatest theologians of the Church tell us, the first and most prominent quality of God is that he is beautiful and that God’s beauty is not just a quality, but it is himself.  Out of his beauty flows his truth and this goodness.   Mankind readily experiences God’s goodness and truth and finds it natural to adore him for these.  But does mankind truly see the beauty of the invisible God, the first of his qualities it should worship?”[10] She portrayed this beauty in many media, including frescoes, stained glass, murals, sculpture, mosaic and ceramic tile.  She described the effect of art on Catholic theology and on the individual in this way:

“Through [art], Catholic theology and the mysteries of the faith become not only read, not only known, but loved.  So it happens even the hardest, most profound mysteries become easily understood and sweet through the power of art. Brought together on a simple, single surface, the human eye by its immediacy, understands and registers the image all at once.”[11]  

To conclude, offered below are two other samples of her work, with excerpts from her theological description of each:

“The Splendor of the Cosmic Heart” depicting the Trinity and the Return of Christ
 at the Last Judgment.  The seven groups of figures depict the seven sacraments
with angels accompanying the human beings as they receive these tangible
realities of God's love. 

“[In the return of Christ,] he comes with all the freedom of Love, not to crush his creation but to bring about its final fulfillment.  The Last Day is the grand sign of God's faithfulness.”[12] 

"Christ the Healer"

“The work of Christ as Supreme Teacher is followed...by his works of mercy.  Christ came to us to rebuild creation.  Christ the Healer is a grand sign of that work... Christ, above all and before anything, first healed the blindness of spirit, its muteness, its deafness and enabled it to follow Christ and no longer be crippled with the worries and delights of the material world. First, he re-created the inner person in each.  [Here,] we especially see that in the already healed eye of the Blind.  He not only sees, but sees the wonder of God's real world.”[13]

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[1] Isabel Piczek, “The Splendor of the Cosmic Heart,” (unpublished manuscript, given to the Society Devoted to the Sacred Heart, 2002), 2-3.
[2] Piczek, personal interview by 5^th grade class of Saint Francis of Assisi Catholic School, 8 January, 2014.
[3] Society Devoted to the Sacred Heart, “A Good Friend, a Rare Treasure: Isabel Piczek,” in The Gift of God: Reflections for Advent, Christmas and the New Year, 43.  Available by request at www.sacredheartsisters.com
[4] SDSH, “Good Friend, Rare Treasure,” 43.
[5] “Piczek Fresco Restored in the Biblicum,” Messaggero (Winter 2011), 3. At California Patrons of the Arts in the Vatican Museums, www.californiapatrons.org /wp-content/uploads/newsletters/CPA%20W'11.pdf.
[6] SDSH, “Good Friend, Rare Treasure,” 43.
[7] Michael Several, “Union Station: Plaza Church,” November 1998 at Public Art in Los Angeles at http://www.publicartinla.com/UnionStation.
[8] Michael Several, “L'Annunciazione (The Annunciation): Background Information,” November 1998 at Public Art in Los Angeles at http://www.publicartinla.com/UnionStation.
[9] Isabel Piczek, “The Theological and Artistic Description of the Stained Glass in the Sisters’ Chapel: Heart of Jesus Retreat Center Convent,” (unpublished manuscript, given to the Society Devoted to the Sacred Heart, 2012), 1.
[10] Isabel Piczek, untitled lecture on the mural, “The Splendor of the Cosmic Heart,” (unpublished lecture text, given to the Society Devoted to the Sacred Heart, 2002), 1.
[11] Isabel Piczek, “The Splendor of the Cosmic Heart,” manuscript, 2-3.
[12] Isabel Piczek, “The Splendor of the Cosmic Heart,” manuscript, 5.
[13] Isabel Piczek, “Theological and Artistic Description of the Artwork of the Heart of Jesus Retreat Center: Christ the Healer.” (unpublished manuscript, given to the Society Devoted to the Sacred Heart, 2002).

Book Review: Mindszenty the Man

 

“I especially wish to evoke the memory of the beloved and highly respected prelate, Cardinal József Mindszenty, who left us the radiant testimony of fidelity to Christ and his Church and of love for one's country. We will always bless his name.”

–Pope John Paul II [1]

 

        Unflagging leadership and unfailing devotion to Christ and his flock.  These describe the character and actions of Servant of God Cardinal József Mindszenty (1892–1975) in the book, Mindszenty the Man.  It is this question of leadership around which the narrative revolves.  From where did Mindszenty’s strength come?  What supported his integrity?  What was the root of his dedication to Christ and the Church that would transcend all obstacles, threats and sufferings? Schlafly writes in her introduction, entitled "Why This Book was Written,"

“Most great leaders are ordinary, uninspired people who have made the decision within themselves (1) to accept the responsibilities of leadership, and (2) to pay the painful price that leadership demands. … The same principles of leadership apply in every endeavor.  So we must study the ideals, the training, the work habits, the rules of conduct, and the private lives of the few authentic heroes of our times.”[2]

            The book is a firsthand account of Father Joseph Vecsey, personal companion and secretary of the Cardinal, told to activist and author, Phyllis Schlafly, who was instrumental in the launch of the Cardinal Mindszenty Foundation in Saint Louis in 1958.[3]  While the arrest, torture and mock trial of Cardinal Mindszenty are certainly described in this work, the focus is on the man himself, his virtue, his steadfastness and integrity, and his unwillingness to compromise in any way that would hurt the freedom of the Catholic faith or of the people of Hungary.  In 1948, as the Communist threats were becoming more dire and arrest or violence seemed imminent, the Cardinal described the need for continued steadfast opposition to Communism, even at the cost of his personal safety: “Our historic mission is to alert and warn the rest of the world of the Communist threat. Our fulfillment of this task is far more important than winning a brief respite from our suffering at the price of a humiliating compromise.”[4]  This willingness to suffer for the sake of others, for the sake of truth, for the sake of fidelity to the mission God had entrusted to Cardinal Mindszenty, as bishop and later Primate of Hungary, was to be tested yet was never lacking. 

            The story is steeped in the presence of his mother.  A deeply religious woman, Mother Mindszenty (as Father Vecsey often refers to her) was strong and hardworking, and a constant source of support and strength to her son, both in his younger years as a parish priest and as he was entrusted with ever greater responsibilities.  Father Vecsey describes her as the “pivot about whom the family revolved and from whom all the family drew strength and spirit. … A woman 0f kindly character and great patience, Mother Mindszenty was gifted most of all with an indomitable will to surmount all difficulties.”[5] This indomitable will became deeply apparent in the years that the Cardinal was imprisoned, as she petitioned constantly to see him and did much to allow his voice to still be heard.  Once, when the Communists tried to trick the Cardinal with misinformation about a priest that he understood to be faithful to the Church but who was assisting the Communist government, the Cardinal asked his mother to pass a message about this particular priest.  Under the watchful eye of the guards, Mother Mindszenty looked “earnestly at her son so he could understand the hidden meaning of her guarded words [and] answered in a serious tone: ‘You know, Joseph, I very much dislike mixing in Church politics.  I really do not want to do what you ask, because one never knows what kind of mistake one might make.’” The Cardinal understood her meaning and because of that, the maneuver of the Communists was defeated that day through her perception and quick thinking.  Besides her affection, she also offered strength and true assistance.

            Cardinal Mindszenty lived fully the Gospel wisdom, “the person who is trustworthy in very small matters is also trustworthy in great ones.” (Luke 16:10, NAB)  His early years as a parish priest and pastor showed his fidelity to serving the people of God with utmost generosity and attentiveness.  His parish life was characterized in this way: “Father Mindszenty was particularly anxious to be called to every sickbed.  He was so conscientious and alert that no one in his parish died with the Last Sacraments.  The annual parish report showed his perfect record.”[6]  He was also very dedicated not only to his committed parishioners, but also “worked diligently to overcome the religious indifference” of every person in the town to which he was assigned; one of the local judges gratefully remarked that it was asked by some of the religiously indifferent leaders of the town ‘Why does this young pastor let us have no rest? Why does he pressure us with every means to get to Heaven?’”[7]  Later, this unflagging dedication to small fidelities would bolster Mindszenty during his long years in prison.  Being allowed no news or reading material, and being kept in solitary confinement with only his breviary and Bible, he spent his time in prayer and intercession, praying six rosaries daily.  This fundamental steadfastness was a source of strength for the people of Hungary.  Bishop Rogács welcomed Cardinal Mindszenty to his diocese with the following words in 1947:

“We are grateful for the guidance your Eminence has given us, both personally and in the name of the Bishops’ Conference. Your charismatic wisdom leads hesitant minds along the right way, gives strength to weary souls and fortitude to those who have abandoned hope. Possessing the steadfastness of a St. Ambrose, you are the Rock to which the Hungarian people, both Catholic and non-Catholic, cling in order not to be swept away by the waves.”[8]

            He displayed a remarkable consistency of purpose throughout his life.  First arrested by Communists in 1919, for speaking against the October Revolution of 1918, he was targeted because his pastoral work was preventing the Communists from influencing the youth.  Later, he would confront the Nazis, both in words and in actions: “Even though the Nazis threatened death as punishment for those concealing Jews, Bishop Mindszenty ordered every Catholic monastery, convent, seminary, rectory, cloister and church to open its doors to the Jews and hide them from the Gestapo.”[9] He was substantially prepared to meet the threat of Communism because he had made a detailed study of the history and tactics of the communists and their persecution of the Church in Russia, knowing that their threat to his homeland and to the world was substantial. It was because of this understanding that he could be so unflinching in his refusal to compromise and therefore to safeguard the integrity of the Church and make a firm and public stand against Communism.  

            Finally, the underlying strength of Mindszenty, in all that he endured and all the ways he chose to act was predicated on his love and dedication to God and the Church.  In a pastoral letter of December 1948, after Cardinal Mindszenty had chosen to stay in Budapest even after he had been encouraged to escape to Rome, and just ten days before his arrest and subsequent torture, he wrote:

“Everywhere and always, only that happens which God permits… The world can deprive us of many things, but it cannot take away our faith in Jesus Christ… We cannot behave like men without faith or hope. Let us pray for those among us whose nerves are frayed by present events, and who alarm and panic others around them.  Let us pray that the bell of peace will toll in their tormented hearts, and that their way will be lighted by our Lord’s question to the disciples on the stormy sea, ‘Why are you fearful, O ye of little faith?’…

“Despite the hurricane around us, the Lord’s ship cannot sink.  After all, what is there to fear? 

Death? My life is Christ’s and death would be my gain.

Exile? The Lord has given us the whole world and its beauty.  

Confiscation?  We did not bring anything into this world, and we can take nothing out of it. 

I despise that with which the world tries to frighten me.  I laugh at the way the world tries to seduce me.  I urge you to remain indomitably courageous and unfalteringly firm.”[10]

            This book has many more treasure than the ones quoted here.  It includes the personal diary excerpts of Sister Adelaide, who accompanied Mother Mindszenty on her travels to the prison and who gives an account the of the suffering of religious men and women when disbanded from their communities.  There are commentaries from bishops, priests, and Christian leaders of other denominations, speaking to the integrity and holiness of the Cardinal.  There are touching stories of the support and honor given to Mindszenty and the affection and care he gave in return.  This book provides a moving account of the life of this Servant of God who is a hero and a model for our time.

 

The book, Mindszenty the Man, can be found here and here for purchase or in a library here.  ISBN 13: 9783549073100

 Bibliography:

McManus, John F. “Phyllis Schlafly Conservative Icon 1924-2016.” New American 32, no. 19 (2016): 10–15.

Vecsey, Joseph, as told to Phyllis Schlafly. Mindszenty the Man. St. Louis: Cardinal Mindszenty Foundation, 1972.

“Servant of God.” At Mindszenty Foundation, Magyarországi Mindszenty Alapítvány at www.mindszentyalapitvany.hu.

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[1] Pope John Paul II, quoted at “Servant of God” at Mindszenty Foundation, Magyarországi Mindszenty Alapítvány at www.mindszentyalapitvany.hu.
[2] Phyllis Schlafly, Introduction, Mindszenty the Man. (St. Louis: Cardinal Mindszenty Foundation, 1972), 5-6.
[3] John F. McManus, “Phyllis Schlafly Conservative Icon 1924-2016,” New American 32, no. 19 (2016), 11.
[4] Cardinal Mindszenty quoted by Joseph Vecsey, Mindszenty the Man, as told to Phyllis Schlafly, (St. Louis: Cardinal Mindszenty Foundation, 1972), 83.
[5] Vecsey, Mindszenty the Man, 15.
[6] Vecsey, Mindszenty the Man, 18.
[7] Vecsey, Mindszenty the Man, 18-19.
[8] Vecsey, Mindszenty the Man, 66.
[9] Vecsey, Mindszenty the Man, 46.
[10] Quoted by Vecsey, Mindszenty the Man, 102.

Fatima: Based On The True Story

 

                    "Pray the Rosary everyday to obtain world peace." Our Lady of Fatima

The movie, Fatima: Based on a True Story was directed by Marco Pontecorvo and released to the public on April 24th, 2020. Although artistic license was taken, this movie is well-done: the cast, the acting, the costumes, etc. 

As far as recording the historical events accurately, this movie does a remarkable job while trying to fit all the events that happened in two hours. The main highlights with minor sub-plots are included-including the mayor's doubt in the faith and his wife's belief in the children, the brother of Lucia returning home from battle and the mother struggles with her own faith and what her daughter, Lucia, is revealing to her.  

The movie begins with the oldest child, Lucia (Stephanie Gil), hiding in a cave while she is visited by the Angel of Peace (Ivone Fernandes-Jesus), warning her of the war and showing her the pains and horrors that men inflict on each other, urgently asking Lucia to pray for peace.

This movie flashes forward to the to the future, where Lucia is now in a Carmelite convent and is being interviewed by a skeptic author (Harvey Keitel).  The skeptic asks her multiple questions, such as, "Why did God choose you, of all people?" To which the sister replied, "Because it was necessary." As the movie chronicles the lives of the young seers, and the disbelief of some of the people in the village, including Lucia's mother,(Lucia Moniz), the children demonstrate their faith with conviction that what they had seen and heard. The movie ends with the Miracle of the Sun, a quote from Albert Einstein(which seemed to be a little out of place), and pictures along with captions on what happened to Francesco and Jacinta, who died of the influenza epidemic and was later canonized by Pope Francis. Sister Lucia died when she was 97. 

I would recommend people watch the movie after they had done some research on Fatima first, just so they can notice some differences between the media and the history of Fatima. The book The True Story of Fatima by John De Marchi, I.M.C. would be an excellent source to start researching the miracle of Fatima and how the movie corresponds to the historical reality. 

Book Review: With God in Russia by Walter J. Ciszek S.J.

    The memoir, With God in Russia, offers readers a vivid window into the social dynamic in Russia during the conclusion of the Second World War and the first decades of the Cold War. Relating firsthand experiences from this place and era, With God in Russia is not simply an autobiography containing dramatic historical themes. On the contrary, this book serves as a treasury of theological depth, revealing the Finger of God in seemingly broken situations. Written in 1964 A.D., With God in Russia was the first of two memoirs penned by the American-born Jesuit priest, Fr. Walter J. Ciszek S.J. (the second being his 1973 book, He Leadeth Me).  His remarkable story stands as an example of perseverance for the sake of the Gospel. After being declared Servant of God in the late twentieth century, "on March 21 [2006] the Congregation for the Causes of the Saints opened an official investigation into the life and virtues of Father Walter J. Ciszek, S.J."[1] With God in Russia recounts the years spent by Fr. Ciszek in the prisons of Soviet Russia and the Siberian labor camps, portraying them as “an ‘adventure’” and “heroic narrative of his resistance to a godless regime.”[2] Although it never strays from its initial focus on Fr. Ciszek’s experiences, With God in Russia incorporates the lives of several distinctive individuals, each of whom either parallel or contrast the attributes exhibited by the author. The reader is thus gifted with a glimpse of the inner structure of the human person, and each of the components forming man’s spiritual and psychological composition.

    In an effort to illustrate for his readers the intricacies of his story, in his book, With God in Russia, Fr. Ciszek paints a striking historical image. The events of his account occurred during the Second World War (1939-1945) and the Cold War (1947-1991), a time of extreme worldwide social unrest, particularly in the Soviet Union. At this time, the powers of Communism battled the Church with continuous brutality, and “Catholics throughout the Soviet Union saw their churches desecrated, seminaries and Catholic schools closed, and the practice of the faith generally driven underground.”[3] As a result of their religious beliefs, countless priests, nuns, and faithful laity disappeared into the prisons and work camps of Communist Russia. Nevertheless, the ever-present danger of arrest did not deter numerous courageous individuals from the mission of evangelization. Fr. Ciszek, the author of With God in Russia, offers one such example of heroism. Seeking to respond to the spiritual needs of the impoverished men and women adjusting to the War’s destruction of their homeland and to the Socialistic move toward collectivization of workers, Fr. Ciszek obtained permission from his superiors to enter the Russian workforce. Although he was well-aware of the possible consequences were the government to discover his religious motives, he did not hesitate to answer the call of Christ. In doing so, Fr. Ciszek highlighted the complete faith which alone sustained him, as evidenced by his words, “only in God would I put my trust.”[4]

    Fr. Walter Ciszek opens his book, With God in Russia, discussing the time spanning from his childhood to the early years of his priesthood. Although brief, this section builds for the reader a thorough appreciation of the author’s character. Rather than focusing solely on his positive attributes, Fr. Ciszek becomes vulnerable to his readers, deliberately and humbly sharing his flaws in temperament. As the book progresses, this previously acquired insight into Fr. Ciszek’s person leads to both understanding and admiration of the author. An excellent example of the connection between his personal attributes and the structure of his story can be found in his “Polish stubborn streak.”[5] Throughout the chapters of With God in Russia, it becomes evident that Fr. Ciszek harnesses this negative quality, transforming it for use in the service of Christ. It was this firm determination which led him to Russia. After his arrest under the false accusation of being a “Vatican spy,”[6] it was similar Christ-centered willpower which carried him through nearly a decade in the Russian Lubyanka prison and fifteen years in the Siberian GULAG. Moreover, it was his stubborn nature that led Fr. Ciszek to courageously persist in his priestly role regardless of the dangers and difficulties, ministering to countless troubled souls.

    Throughout With God and Russia, Fr. Ciszek never loses sight of the theological dimension of his story. Each element of his memoir pertains to two fundamental themes, namely, trust and Presence. As he daily experienced the evils of the Communist regime, the Soviet Prison camps became for him a school in spirituality. Over time, Fr. Ciszek came to comprehend that only in God would he obtain solace. One finds this expressed in his words, “for myself, I had no fear. I put all my trust and confidence in His divine will...I repeated over and over again: ‘Thy will be done.’"[7] This insight was paired with a profound recognition of God’s indwelling within his being. With his characteristic obstinacy, Fr. Ciszek refused to allow the surrounding darkness blind him to this Presence. This is not to imply that he was free of all internal darkness during his decades in Russia. Rather, it was by constantly redirecting his attention to the reality of the Divine’s innermost Presence, through unfailing dedication to his Jesuit prayer life, that Fr. Ciszek’s soul remained receptive to Christ.

    When pondering With God in Russia, readers find much practical advice for building a healthy relationship with God. Regardless of whether their circumstances are as extreme as Fr. Ciszek’s, the themes which he discussed remain relevant to each person. Just as the author of With God in Russia was fortified by his embrace of the Divine Will when faced with uncertainty, so too does trust in God’s all-encompassing Presence offer each man and woman constant consolation. I highly recommend reading With God in Russia as, through its detailed account of Fr. Ciszek’s encounter with God in painful surroundings, the book creates a roadmap to personal growth. In telling his own story of perseverance, Fr. Ciszek provides his readers with practical advice concerning their own life challenges. Although the author’s use of vocabulary is particular to the book’s Russian setting, With God in Russia is written in an uncomplicated style. Fr. Walter Ciszek’s book, With God in Russia, accomplishes the purpose for which it was penned, recounting “honestly and plainly”[8] the story of his time in Soviet prison, while ultimately illumining the indispensable Presence of the Divine Who, in the words of the author, "called me to, prepared me for, [and] then protected me during those years in Siberia.”[9]

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[1] "Benedict XVI's Renouncement of the Papal Title 'Patriarch of the West,'" Catholic Historical Review 92, no. 3 (2006), 370.

[2] Gregory Freeze, Alexey Beglov, Nadezhda Beliakova, and Evgenia Tokareva, "Catholics in the Soviet Union: New Research and New Sources on Everyday Religious Life (1917-1958),” Catholic Historical Review 106, no. 3 (2020), 482.

[3] John Vidmar, The Catholic Church Through the Ages, A History, 2nd ed. (Mahwah, NJ: Paulist Press, 2014), 349.

[4] Walter J. Ciszek, With God in Russia (San Francisco, CA: Ignatius Press, 1964), 124.

[5] Ciszek, With God in Russia, 24.

[6] Ciszek, With God in Russia, 184.

[7] Ciszek, With God in Russia, 354.

[8] Ciszek, With God in Russia, 17.

[9] Ciszek, With God in Russia, 17.

Image Credit: "With God in Russia," at www.amazon.com.

Book Details:
Publisher: HarperOne (June 13, 2017)
ISBN: 9780062641625
Pages: 400
List Price: 16:19 USD

Sacred Italian Masterpieces of the High Renaissance – Virtual Museum Exhibition

Introduction: Throughout the history of Christianity, the Church has shared an intimate relationship with sacred art. As early as the second century, the Faithful crafted sacred imagery, enriching their spiritual lives with art representing Christ and the Virgin Mary.[1] Just as over the centuries the Catholic Church has moved through various stages, so too has the tradition of sacred art conformed to the developments of each era. By embracing the innovations of the time and implementing their own artistic vision, the masters who decorated the churches and Christian homes that arose during their individual periods continue to gift culture with their genius. This virtual museum exhibition will analyze the religious imagery that appeared during the Italian High Renaissance, looking specifically to the work of three renowned artists:  Leonardo da Vinci (1452 A.D. - 1519 A.D.), Michelangelo Buonarroti (1475 A.D. - 1564 A.D.), and Raffaello Sanzio (1483 A.D. - 1520 A.D.). Whereas it is not possible to consider every one of these masters’ works, this exhibit will examine one specific sacred piece completed by da Vinci, Michelangelo, and Raphael, in which each artists’ impact is well illustrated. In doing so, it will offer both a theological and historical perspective, discussing the relationship between the work of these artists and the Church of the Italian Renaissance.

An Overview of the Church in the Renaissance: In order to fully appreciate the inception of sacred art in the High Renaissance style, it is necessary to first understand the social and ecclesiastic dynamic of this period. Its title meaning “rebirth,” the Renaissance period (fourteenth to seventeenth century) saw a tremendous shift in the cultural focus of Europe.[2] Humanism directed the social mindset, and intellectuals and artists alike sought to revive the traditions of ancient Greece and Rome. While during this period the Catholic Church was the primary spiritual influence as well as a leading social force, throughout much of the Renaissance She battled the destructive elements of the Protestant Reformation. In a quest to define Catholic belief, the Council of Trent was convened from 1545 A.D. to 1563 A.D. It was here that the council fathers reemphasized the need for religious art. Sacred imagery “was to have a pedagogical purpose by representing sacred doctrine and the Church’s aesthetic imprimatur was a necessary guarantee of doctrinal correctness.”[3] Although their work proceeded the council, the High Renaissance masters, Leonardo da Vinci, Michelangelo Buonarroti, and Raffaello Sanzio answered to this need. Beginning in c. 1490 A.D., the High Renaissance remained dominant in Europe for over three decades, not coming to an end until 1527 A.D. These years were of key importance within the entirety of the Renaissance and represent the heights of achievement acquired during the period.  As this exhibit will display, a style emerged which would positively enhance the teachings of Catholicism for centuries to follow.
 

1. Leonardo da Vinci

    It is appropriate that this museum exhibit open with Leonardo da Vinci, as he has long been considered the ultimate Renaissance man and “master of a hundred arts.”[4] Born on April 15, 1452 A.D., in Vinci, Italy, during his early years the young Leonardo was influenced by Humanism and its bond with Classical Antiquity. At the age of fifteen he was apprenticed in the workshop of Andrea del Verrocchio in Florence, under whom he showed remarkable talent.[5] Throughout the decades of his career, da Vinci worked under patrons in Florence, Milan, Rome, and France.[6] Rather than concentrating solely on the artistic dimension of his talent, he embraced the persona of the Renaissance man and took great strides in the realms of botany, geology, geography, military engineering, anatomy, and aspects of physical science, for instance, hydraulics and mechanics.[7] While each of these areas of study aided da Vinci in his artistic endeavors, his love of anatomy and engineering were of particular significance. Much of his work was highly influenced by Catholicism, such as seen in his church designs and religious art. However, due to the diversity of his interests, da Vinci finished few pieces, leaving his legacy in sketches and cartoons rather than completed works. Nevertheless, his significance is not mitigated. On the contrary, his work acted as a steppingstone to that of his contemporaries, the High Renaissance artists, Michelangelo and Raphael.

The Virgin and Child with Saint Anne and Saint John the Baptist

Leonardo da Vinci possessed a remarkable understanding of the sacred power of art, a concept beautifully conveyed in his words: "A good painter has two chief objects to paint – man and the intention of his soul.”[8] His cartoon for the Madonna and Child with Saint Anne and the Infant Saint John (c. 1505 A.D. – 1507 A.D.)  is particularly indicative of this philosophy. The graceful gestures in the drawing’s figures, together with their serene facial expressions, create a reflection of their deeper spirituality. In addition, this sketch demonstrates the bond existing between classical themed realism and religion so prominent within art of the High Renaissance. Incorporated into each figure is detailed naturalism, calling to mind da Vinci's extensive knowledge of human anatomy. This work thus demonstrates the incorporation of Humanistic thought which structured sacred art of the era, creating a balance among Renaissance aestheticism and the Church's mission of evangelization.

 

2. Michelangelo Buonarrota

    The second High Renaissance artist to be examined in this museum exhibit is indispensable to the artistic tradition of the Vatican. Michelangelo Buonarrota was born in Caprese, Italy, on March 6, 1475 A.D. At a young age he was placed in the care of a family of stone cutters, an event which “[laid] the foundation for his later love affair with marble."[9] Rather than thriving in academic studies, Michelangelo spent his time mesmerized by the work of nearby church painters, drawing what he experienced. At a young age Michelangelo began studying and working in the palace of Lorenzo the Magnificent, demonstrating unparalleled talent in the art of classical sculpture. Michelangelo’s love of this medium is particularly visible in his frescos, where he merged the intricacies of these two distinctive art forms, thus embodying his words: "I now believe that painting and sculpture are one and the same."[10] Michelangelo completed extensive work within the Vatican, illumining Church Doctrine with plaster, paint, and marble. Until his death in 1564 A.D., Michelangelo created masterpieces reflecting the Council of Trent's future stipulations concerning sacred art, building upon the foundation laid by Leonardo da Vinci while simultaneously influencing numerus other High Renaissance and post-Renaissance artists.

     The Last Judgement

When the artistic legacy of Michelangelo is considered, the frescos with which he adorned the Vatican's Sistine Chapel ceiling instantly come to mind. However, this museum exhibit will not focus on the ceiling set of frescos but rather, The Last Judgment (1534 A.D. - 1541 A.D), a painting he placed on the wall of the same chapel years later. Through its intense emotion and movement, this painting draws together both the humanistic and spiritual ideologies of the High Renaissance. For example, although the naturalistic Christ figure dramatically lifts is arm in anger, he also gracefully gestures toward his pierced side, representing both God’s mercy and justice. The incorporation of both realistic and imaginative figures serve to fully illustrate the theological theme of the Last Judgment scene. In this fresco, the prevailing Church mindset later conveyed in the Council of Trent is visible, wherein “most Catholics turned away from a ‘religion of the suffering God’ to a ‘religion of glory.’”[11] The human forms, taking the appearance of sculpted paintings, emulate the Humanistic Philosophy of the era with their emphasis on the perfection of man. Classical Antiquity, High Renaissance thought, and Catholic Doctrine ultimately merge, breathing new life into sacred art through Michelangelo’s talent.
 

3. Raffaello Sanzio

    The third and final High Renaissance artist to be discussed in this museum exhibit is Raffaello Sanzio. Known in popular culture as Raphael, this master was born in Urbino, Italy, in the year 1483. Raised in material, intellectual, and artistic wealth, Raphael quickly built a successful career. Beginning his artistic endeavors in Perugia, moving to Florence, and later working under papal patronage in Rome, he incorporated into his paintings stylistic themes prominent both in the work of Leonardo da Vinci and Michelangelo.  His efforts within the sphere of sacred art built upon that of these two High Renaissance artists and, like them, he continued to wed extreme emphasis on the humanity of his figures with their spiritual identity. In doing so, he also responded to the Church's desire to offer Her Faithful art with which they would personally connect. Although Raphael died prematurely at the age of thirty-seven (1520 A.D.), he completed numerous sacred works of undeniable significance, many within the heart of the Vatican.

      The Sistine Madonna

Completed in 1512 A.D. for use as an altarpiece in the convent chapel at San Sixtus in Piacenza, a sacred structure housing the relics of Saint Sixtus and Saint Barbara, this oil painting reflects the presence of these two saints as, at the sides of the Blessed Mother, both appear.[12] While Raphael painted the movement of the figure’s bodies in a remarkably realistic manner, the celestial background surrounding them offers a spiritual dynamic. The figures of the Virgin and Child wear pained expressions, as the intended location for the image was directly facing a crucifix. The majesty of the work is interwoven with tragedy, where each figure in the painting is aware of the future suffering awaiting the Infant. The Sistine Madonna thus embodies Raphael’s approach to sacred art, emphasizing the "symbolic power of [his] canvas,"[13] through which he embraced both Catholic spirituality and humanistic naturalism.

Conclusion: In analyzing the life and work of Leonardo da Vinci, Michelangelo, and Raphael, it becomes evident that they played a priceless role within the history of Catholicism. At a time when the Church was in need of sacred imagery to illustrate Doctrine, these three Italian High Renaissance artists created timeless religious masterpieces. The strides they took within the tradition of sacred art remain as relevant, if not more so, in the present day as they did during the High Renaissance. Just as da Vinci, Michelangelo, and Raphael grew from each other, so too have subsequent artistic styles emerged from these masters. This virtual museum exhibition ultimately offers a glimpse into a pivotal moment in the story of Church History, illumining its undeniable influence within the life of Catholicism.    

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[1] Leonid Ouspensky, Theology of the Icon, Volume One, (Crestwood, NY: St. Vladimir's Seminary Press, 1992), 74.

[2] Marvin Perry, Western Civilization: Ideas, Politics, and Society, vol. 1 (Boston, MA: Wadsworth Publishing, 2013), 293.

[3] Kevin V. Mulcahy, "The Cultural Policy of the Counter-Reformation: the case of St. Peter’s," International Journal of Cultural Policy 17, no. 2 (2011), 131.

[4] Thomas E. Woods, Jr. How the Catholic Church Built Western Civilization (Washington, DC: Regnery Publishing, 2005), 108.  

[5] "Da Vinci - The Renaissance Man. The Inventor. The Scientist. The Artist,"  in Museum of Science, at www.mos.org. 

[6] Carmen Bambach, "Leonardo da Vinci (1452–1519)" (October 2002), in The Met, at www.metmuseum.org. 

[7] Fred S. Kleiner, Gardner's Art Through the Ages, Book D, Fourteenth Edition (Boston, MA: Wadsworth, Cengage Learning, 2013), 601.

[8] Kleiner, Gardner's Art Through the Ages, 601.

[9] "Michelangelo - Biography and Legacy," in The Art Story, at www.theartstory.org.

[10] Kleiner, Gardner's Art Through the Ages, 609.

[11] Damien Tricoire, "What Was the Catholic Reformation? Marian Piety and the Universalization of Divine Love," Catholic Historical Review 103, no. 1 (2017), 29.

[12] “The Sistine Madonna,” in Italian Renaissance Art, at www.italian-renaissance-art.com.

[13] Ivica Žižić, "'Stepping into the World' Martin Heidegger's remarks on the 'Sistine Madonna,'" Heythrop Journal 57, no. 5 (2016), 807.

Image References:

Image 1: Michelangelo Buonarrota, "The Creation of Adam," 1508 A.D. - 1512 A.D. Fresco, Sistine Chapel, Rome. www.hampshireculture.org.uk.

Image 2: Leonardo da Vinci, "The Virgin and Child with Saint Anne and Saint John the Baptist," c. 1505 A.D. – 1507 A.D. Charcoal heightened with black and white chalk on brown paper, National Gallery, London. www.leonardodavinci.net.

Image 3: Michelangelo Buonarrota, “The Last Judgment,” 1534 A.D. - 1541 A.D. Fresco, Sistine Chapel, Rome.

Image 4: Raffael Sanzio, “The Sistine Madonna,” 1513 A.D. – 1514 A.D. Oil on canvas. Gemäldegalerie Alte Meister, Dresden. www.italian-renaissance-art.com.