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Polemic Controversial Moderns Tensions between tradition and innovation, continuity and change are themes that were recently explored in a seminar at the Courtauld Institute (and in conjunction with King’s College London) through papers on two high- profile commissions in the Diocese of . Hana Leaper and Naomi Billingsley here summarise their case studies on controversial moderns.

Vanessa Bell Sketch for the Annunciation , 1941

The Berwick Church murals at a valid servant of the church, if church and the promotion of humanist restrained by certain conditions: values. 3 He became the patron of a St Michael & All Angels, 1941 –4 number of schemes, commissioning Amid the dislocation of the Second Modern art should be given free contemporary artists such as the Ger - World War, the question of the role of scope in the due and reverent serv - man emigré Hans Feibusch to decorate contemporary art in the Christian ice of the church and the sacred churches, and in 1940 commissioned church in modern society became rites, provided that they preserve a the Charleston artists to design a mural increasingly contested. In 1932, at the correct balance between styles tend - project for the ancient church of St opening of the Vatican Pinacoteca, Pope ing neither to extreme realism nor to Michael & All Angels, Berwick. Pius XI had railed against ‘certain other excessive ‘symbolism,’ and that the One of the most extraordinary – and so-called sacred works of art, which do needs of the Christian community inherently controversial – things about not seem to evoke and present the are taken into consideration [178] 2 this complex and astonishing project, sacred other than to disfigure it to the executed between 1941 and 1944 by extent of caricature, and often going as A more enthusiastic supporter of Vanessa Bell, Duncan Grant, and far as true and actual profanation’ 1. Yet modern art was , Bishop of Quentin Bell, is their positioning of a artists throughout Italy and France con - Chichester between 1929 –58, who put cast of local people and sights within tinued to express religious themes in into practice his belief that engaging the works. Although the depiction of contemporary vernaculars, and by with the makers of contemporary cul - contemporary individuals in church 1947, Pope Pius XII declared modern art ture was key to the revitalisation of the mural painting was common in

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medieval art, there are fewer examples at Charleston, suggest that the cattle, The Piper Tapestry of this in recent art, with the notable lamb and donkey are likely to have exception of Stanley Spencer’s Sand - been drawn from the farm animals on , 1966 ham Memorial Chapel. Taking on a surrounding land. The holy family – If at Berwick it was the artists that mural commission under church the Virgin Mary modelled on Bell’s caused upset, the murals themselves patronage may seem an incongruous daughter Angelica Garnett, and the being recognisably traditional in style undertaking for atheist artists, but Bell Christ child – are surrounded by local and subject-matter, the Piper Tapestry and Grant had requested such oppor - shepherds carrying Pyecombe crooks, at Chichester raised objections prima - tunities by using an advertisement a variety made in the village of Pye - rily on aesthetic grounds (although business card in 1922 inviting commis - combe, 15 miles from Charleston. theological and financial protestations sions for ‘decorations, domestic, eccle - These murals commemorate the sacred were also made). The commissioning siastical, theatrical’. 4 in the ‘local and particular’, both of John Piper to design a reredos for Some parishioners of Berwick ancient and modern. 8 Chichester Cathedral was one of sever - objected strongly to the project and Supported by Sir Kenneth Clark, TA al important projects initiated by Wal - entered an Act of Petition so that the Fennemore, and Bertram Nicholls the ter Hussey as Dean (1955 –77). The case had to be tried before a Consistory case in favour of the murals was won, brief: to focus attention on the High Court. The protestors’ objections were and the Berwick murals, in concert with Altar and Sanctuary by introducing not merely aesthetic: they objected to ecclesiastical works like Hans colour that would bring warmth to the both the decorations, and the decora - Feibusch’s murals rendered the stories, space, and call to the visitor from the tors. Mrs Sandilands of the jam-mak - emotions and essential humanity of West end. The result – a vibrant seven- ing club didn’t approve of the work these subjects comprehensible to a panel tapestry on the theme of the Trin - being carried out during wartime, and modern, if critical, audience. ity – certainly met that aim. Hussey wrote to Bishop Bell: ‘Mr Grant must was delighted; not all agreed. be a strong and very clever man to be Hana Leaper is Paul Mellon Centre Hussey’s view was that the church able to do this strenuous job of mural Fellow and Deputy Editor of British had always commissioned contempo - painting; let him turn his talents in oth - Art Studies rary work to sit alongside the ancient, er directions for the time being to help and so it should be for the new reredos. his country as so many others are 1 Pope Pius XI, ‘We Have Little’, 27 October He approached Piper in 1963 with a doing.’ 5 In fact, although the artists 1932, http://w2.vatican.va/content/pius- view to a painting; Piper and Robert were pacifists and had been conscien - xi/it/speeches/documents/hf_pxi_spe_193 Potter, the Cathedral architect, tious objectors during the First World 21027_abbiamo-poco.html explored a number of ideas before War, Grant was too old for service, and quoted in translation from Ludovica Sebre - deciding upon tapestry. 1 Piper’s initial Quentin Bell was excused from mili - gondi, ‘Reconciliation with the Sacred: Dia - idea was for a figure scheme: one in tary service on health grounds as a logues between Ancient and Modern Art’, in each of the sanctuary screen’s seven result of tuberculosis and did farm Divine Beauty: From Van Gogh to Chagall and niches, as in his windows for Oundle work instead. Grant had briefly been Fontana , exhibition catalogue ed. Lucia Man - School (1955 –56). This plan was employed as an official war artist in nini, Anna Mazzanti, Ludovia Sebregondi replaced with a scheme of the Trinity 1940 and recorded naval subjects at and Carlo Sisi, exhibiton Florence, Palazzo (the dedication of the Cathedral), Plymouth. At Berwick his mural for the Strozzi, 24 Sep 2015 –24 Jan 2016 (Marsilio: Evangelists and four elements; a wall over the chancel arch presented Italy, 2016) design was in place by late 1964. The Christ in Glory with, on one side, three 2 Pope Pius XII, ‘Mediator Dei’, verse 195, Archdeacon of Chichester, Lancelot kneeling servicemen in uniform, all 20th November 1947, Mason then raised an objection: at this based on local men: Mr Weller ( sailor), http://w2.vatican.va/content/pius- stage, the central section depicted the Mr Huphrey (airman), and Douglas xii/en/encyclicals/documents/hf_p- flame, the Tau cross and the triangle. Hemming, a soldier and ‘son of the xii_enc_20111947_mediator-dei.html Thus, there was a symbol for the Holy local station master’, who was to die in 3 The clergyman was no relation to Vanessa Spirit, for Christ, and for the Trinity, service at Caen in 1944, aged 26. 6 Bell or her wider family. but not one for the Father – it seems The decorations show a great affec - 4 Reproduced in Frances Spalding, Virginia Piper had intended the triangle to rep - tion and respect for the community Woolf: Art, Life and Vision (London: National resent the Father. Piper was unnerved and environment. Vanessa Bell’s Nativ - Portrait Gallery, 2014), p.116. at Mason’s objection, ‘at this 11th ity and Annunciation scenes on either 5 Richard Shone, Berwick Church Paintings , hour’, wishing that it had been raised side of the nave further illustrate Revised Edition p. 6. earlier. Piper now found it difficult to TSEliot’s idea of the local parish’s 6 Reverend Peter Blee, incorporate another symbol, leaving attachment ‘to the soil’ by using a cast http://www.berwickchurch.org.uk/christ% him feeling that he needed to rethink of local people. 7 Bell details regional 20in%20glory.html. See also Blee’s book The the whole central section, thus delay - produce, such as carrots, cabbages and Bloomsbury Group in Berwick Church , 2016. ing proceedings. 2 He struggled to find turnips, presented in a Sussex trug – 7 T S Eliot, Idea , p. 31. a solution, but eventually decided to baskets crafted with coppiced sweet 8 Roger Fry used this phrase in his sustained ‘have a white light up on the left’, com - chestnut from nearby woodlands formal analysis of church mural painting in pleting the group of symbols in the The children in Nativity worship - ‘Giotto’, p.97. final design. 3 ping at the crib include John Higgins Piper was facing the centuries-old the son of the Charleston gardener and problem of representing the complex housekeeper, in the uniform of the idea of the Trinity. His solution drew local village school. Sketches found in on traditional symbolism for each of the Angelica Garnett Gift, now housed the Persons, but employing these in a

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composition to represent the Trinity was unusual, and arguably, does not do justice to the togetherness of the three identities – the triangle is a nod to the unity, but is in itself a debatably inadequate symbol for interrelation - ship. Nevertheless, the design was approved and Piper prepared full- sized cartoons for the seven panels. The panels were produced by Pin - ton Frères of Felletin, near Aubusson, France, who quoted 39,000 Francs – about £3,500. 4 There were objections about the cost because the Cathedral was also fundraising for major renova - tions. Hussey defended the project on the grounds that the cost was ‘small compared with the sum that is needed for repairs’ and that the public were more likely to support a Cathedral that was alive and cared for. 5 John Piper Tapestry , 1966 Having caused controversy as parish priest in with his worship and contemplation, both in its cussion groups that I held about the art brave commissions from Graham outstanding presence and also by its in the Cathedral reporting a deepened Sutherland and Henry Moore, and in dispensation with picture images to appreciation for the tapestry. I met previous work at Chichester (includ - represent living abstraction.’ He hoped more admirers than objectors (granted, ing another Sutherland, which so riled that dissenting opinion would not my work made it more likely for me to one viewer that she attacked it with a result in defacement or removal. 9 Ethel encounter sympathetic viewers) but of biro), Hussey was prepared for a Bunyer had visited somewhat appre - course, views about the piece remain mixed reaction. His dedication address hensively, but was impressed to see: mixed. It continues to challenge those urged viewers to be open-minded: who worship in and visit the Cathedral ... something that was glowing and – here’s to another 50 years of service! If we are wise we shall look at them alive & symbolic of what the and study them a number of times, Church must and should be in the Naomi Billingsley is a in different lights, before we present age. It took away the feel - Leverhulme Early Career Fellow express an opinion … Then I ing that Christianity is old and at the John Rylands Research Institute, believe we shall recognise them as a crumbling like the Cathedral. Here University of Manchester magnificent & contemporary, and was something to bring hope & a therefore traditional, adornment of challenge to all of us ... 10 1 ‘Weaving a Modern Work of Art’, Weekend this wonderful House of God. 6 Telegraph , Number 104, September 23 1966, Lloyd Morrell, Bishop of Lewes, sim - 34-37: 35/37. Hussey Ms. 367, Perhaps the most famous reaction is ilarly felt that the piece had made the Record Office. The Hussey papers are quoted Cheslyn Jones, Canon Chancellor, don - Cathedral ‘come alive’ and that the here by courtesy of the Very Revd. the Dean ning dark glasses to the dedication ‘wonderful focus of colour and design of Chichester and with acknowledgements to service to express his opinion about the seems to take its place so naturally in a the West Sussex Record Office and the Coun - tapestry’s vibrancy. Others wrote to building which has absorbed some - ty Archivist. Hussey to express their feelings. thing from every age’. He added that 2 Piper to Hussey, 2 January 1965. Ms. 365. GHEggers described his party’s ‘the whole Diocese’ should be ‘grateful 3 Piper to Hussey, 19 February 1965. Ms. 365. ‘amazement’ to see, upon entering the ... for [Hussey’s] vision and enter - 4 Pinton Frères to John Piper, 23 September Cathedral, ‘in place of the dignified prise’. 11 1964. Ms. 365. Altar and Screen ... a garish backcloth’. Fifty years on, in spite of prophesies 5 Typescript of Walter Hussey’s address at They felt unable to take Communion that it would be removed, the tapestry the dedication of the Piper Tapestry at Chich - and that any message intended in the is a familiar feature in the Cathedral, ester Cathedral, 20 September 1966. Ms. 367. design was lost. Finally, he hoped that and the slice of its red and yellow 6 Ibid. the Cathedral would soon ‘revert once glimpsed as the visitor enters at the 7 G.H. Eggers to Walter Hussey, 4 January again to it’s [sic] quiet dignity and West end continues to surprise and 1967. Ms. 366. peace’ which he believed would excite. In 2016, 8 John Parker to Walter Hussey, 14 Novem - ‘attract more people to God than the held an exhibition on Piper’s textile ber 1966. Ms. 366. present innovation.’ 7 John Parker also work to mark the half-centenary 9 Godfrey Thomas to Walter Hussey, 28 Sep - felt that the colour was ‘glaring & non- (reviewed in A&C 86) – a marker of the tember 1966. Ms. 366. neighbourly’ with its surroundings, regard in which the piece is held. 10 Ethel A Bunyer to Walter Hussey, 23.9.66. and prophesied that the next genera - Hussey’s recommendation that the Mss. 366. tion would remove the piece. 8 tapestry merits time was borne out in 11 Bishop of Lewes to Walter Hussey, 20 By contrast, Godfrey Thomas wrote some of my work as Bishop Otter October 1966. Ms. 366. that he found the tapestry ‘an aid to Scholar, with some participants in dis -

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