What follows is the text of
Jonathan Evens' presentation in responding to the question 'Spirituality - the heartbeat of Art?' at the
Art & Spirituality networking evening held at
St Andrews Leytonstone:
"Sooner or later, if you love art, you will come across a strange fact: there is almost no modern religious art in museums or in books of art history. It is a state of affairs that is at once obvious and odd, known to everyone and yet hardly whispered about ... a certain kind of academic art historical writing treats religion as an interloper, something that just has no place in serious scholarship ... Straightforward talk about religion is rare in art departments and art schools, and wholly absent from art journals unless the work in question is transgressive. Sincere, exploratory religious and spiritual work goes unremarked. Students who make works that are infused with spiritual or religious meanings must normally be content with analysis of their works' formal properties, technique, or mode of presentation. Working artists concerned with themes of spirituality (again, excepting work that is critical or ironic about religion) normally will not attract the attention of people who write for art magazines ... An observer of the art world might well come to the conclusion that religious practice and religious ideas are not relevant to the art world unless they are treated with scepticism."
So writes
James Elkins at the beginning of a book entitled
On the Strange Place of Religion in Contemporary Art. On that basis the answer to tonight’s question would seem to be a resounding “no”. And yet, as Elkins also notes, these attitudes are odd, because there is a tremendous amount of religious art created.
Timothy Potts suggests in
Beyond Belief: Modern art and the Religious Imagination, that “the pervasiveness of broadly religious and spiritual themes in twentieth-century Western art may at first seem to stand in contradiction to the secularization of so many aspects of life and culture during our times.”
“The religious underpinnings of so much Western art before [the twentieth] century – from its subject matter to its sources of patronage and its devotional purposes – are obvious and uncontentious,” he continues, but with the art of the twentieth century the religious dimension becomes “altogether more subtle, often more abstract and inevitably more personal.” Spirituality, while continuing to be pervasive, becomes less obvious and the perception grows that it is “not relevant to the art world.”
My answer to tonight’s question therefore is to point to the pervasiveness of religious and spiritual themes in twentieth century and contemporary Western art and in the remainder of my time that is what I aim to do by giving a whistlestop and inevitably partial tour of these religious themes and some of those artists that have used them.
The catalytic encounter of
Émile Bernard and
Paul Gauguin in Brittany in 1888 resulted in Post Impressionist paintings exploring the Catholic soul of Breton peasants. Bernard and Gauguin shared their new style with
Paul Sérusier who, together with fellow art students including
Maurice Denis, formed the
Nabis.
Denis became one of the most significant artists in the French Catholic Revival, being prominent in the Nabis, as a Symbolist, and, through his Studios of Sacred Art, contributing to a revival of French Sacred Art. Denis’ influence was felt among Symbolists and Sacred Artists in Belgium, Italy, Russia and Switzerland, in particular.
A second circle of influence within the French Catholic Revival gathered around the philosopher
Jacques Maritain. His book
Art and Scholasticism was influential and he organised study circles for artists and others including the Expressionist
Georges Rouault, the Surrealist
Jean Cocteau, the Futurist
Gino Severini, the Dadaist
Otto van Rees and abstract art promoter
Michel Seupher. His writings were also significant for the community of artists which formed around the sculptor
Eric Gill at
Ditchling, which included the artist and poet
David Jones. Jones further developed Maritain’s ideas of images as signs in his paintings, poetry and critical writings.
A third circle of influence gathered around cubist pioneer
Albert Gleizes, including
Mainie Jellett and
Evie Hone (who played significant roles in the development of Modern Art in Ireland) and Australian potter
Anne Danger. Like Eric Gill at Ditchling, Gleizes formed a
Catholic arts colony to further his ideas which embraced both painting and society seeking to identify natural rhythms for both.
A final circle of influence developed around the Dominican Friars,
Marie-Alain Couturier and
Pie Régamey, who insisted that the Roman Catholic Church call for the great artists and architects of their day to design and decorate its churches. The involvement of artists such as
Marc Chagall,
Férnand Leger,
Le Corbusier, and
Henri Matisse in churches such as
Assy,
Ronchamp and
Vence was proof of the effectiveness of their approach and ministry. A similar approach was taken in the UK by
George Bell and
Walter Hussey which saw artists such as
Henry Moore,
Graham Sutherland,
John Piper,
Hans Feibusch and
Cecil Collins decorating churches.
Expressionist artists such as
Emil Nolde,
Christian Rohlfs and
Albert Servaes painted biblical scenes with an emotional intensity that was often more than the institutional churches at the time could accept. Georges Rouault added to this expressionist intensity with a compassionate Christian critique of contemporary society. Italian Divisionism and Futurism also included a strong strand of sacred art through artists such as
Gaetano Previati,
Gerardo Dottori, and
Fillia.
Wassily Kandinsky created abstract art by abstracting from apocalyptic biblical images and felt that abstraction was the best means available to artists for depicting an unseen realm.
Kasimir Malevich was not only influenced by the tradition of Russian icon painting but also by the underlying principle of icons – the presence of an Absolute in the world – to develop the Suprematist aim of self-transcendence.
Daniel Siedell writes that “for these and many other avant-garde painters well into the twentieth century, including Russian immigrants
John Graham and
Mark Rothko, modern painting functioned like an icon, creating a deeply spiritual, contemplative relationship between the object and viewer.” The influence also went the other way too, as Abstract Expressionist
William Congdon converted to Roman Catholicism and used this style to create deeply expressive crucifixions.
Iconographer,
Aidan Hart, notes that a revival of traditional iconography occurred in the twentieth century; led in Greece by
Photius Kontoglou, in Russia by
Maria Sakalova and
Archimandrite Zenon, and in Europe by
Leonid Ouspensky and
Fr. Gregory Kroug. More surprisingly, a Lutheran tradition of iconography has also developed in Scandanavia led by
Erland Forsberg.
Evangelicalism found artistic expression through the folk art of the American South with artists such as
Howard Finster and
Sister Gertrude Morgan gaining significant reputations. Such artists have often been both naive and visionary in their style, an approach that also characterised the work of New Zealand artist
Colin MacCahon and British artist,
Albert Herbert.
Other significant visionary artists using Christian themes and imagery have included
Stanley Spencer,
F.N. Souza,
Betty Swanwick,
Norman Adams,
Roger Wagner and
Mark Cazalet.
In response to the growth of Christian Art on the Asian continent, the
Asian Christian Art Association was founded in 1978 to encourage the visual arts in Asian churches. Australia encouraged contemporary religious art through the establishment of the
Blake Prize in1951. From that date until the present, its judges have chosen as prize winners artists and works which reflect the movement in Modern Art from the figurative to the abstract.
Wojciech Wlodarczyk notes that one special aspect of Polish Art in the 1980s was its links with the Roman Catholic Church. Martial law forced the entire artistic community to boycott official exhibition spaces and instead places of worship hosted exhibitions. This period was marked by a profound interest in the whole question of the
sacrum in art and was characterised by the work of
Jerzy Nowosielski with its thoughts on the nature of religious art.
Finally, on this whistle-stop tour, there has been extensive use of Christian imagery by BritArt artists such as
Damien Hirst,
Chris Ofili,
Mark Wallinger, and
Sam Taylor-Wood. In their work, Christian iconography and narrative is often used as a frame for the artist’s critique of contemporary life including politics and culture.
As was argued at the beginning of this talk, issues of religion have been largely overlooked in the social and cultural history of twentieth-century art. As curator and author Daniel Siedell has argued, we need "an alternative history and theory of the development of modern art, revealing that Christianity has always been present with modern art, nourishing as well as haunting it, and that modern art cannot be understood without understanding its religious and spiritual components and aspirations."
