The Marian Library Newsletter, #37 ), Have Devoted Entire Issues to Mary
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Journal of Arts & Humanities Volume 10, Issue 02, 2021: 28-50 Article Received: 02-02-2021 Accepted: 22-02-2021 Available Online: 28-02-2021 ISSN: 2167-9045 (Print), 2167-9053 (Online) DOI: https://doi.org/10.18533/jah.v10i2.2053 The Enthroned Virgin and Child with Six Saints from Santo Stefano Castle, Apulia, Italy Dr. Patrice Foutakis1 ABSTRACT A seven-panel work entitled The Monopoli Altarpiece is displayed at the Museum of Fine Arts in Boston, Massachusetts. It is considered to be a Cretan-Venetian creation from the early fifteenth century. This article discusses the accounts of what has been written on this topic, and endeavors to bring field-changing evidence about its stylistic and iconographic aspects, the date, the artists who created it, the place it originally came from, and the person who had the idea of mounting an altarpiece. To do so, a comparative study on Byzantine and early-Renaissance painting is carried out, along with more attention paid to the history of Santo Stefano castle. As a result, it appears that the artist of the central panel comes from the Mystras painting school between 1360 and 1380, the author of the other six panels is Lorenzo Veneziano around 1360, and the altarpiece was not a single commission, but the mounting of panels coming from separate artworks. The officer Frà Domenico d’Alemagna, commander of Santo Stefano castle, had the idea of mounting different paintings into a seven-panel altarpiece between 1390 and 1410. The aim is to shed more light on a piece of art which stands as a witness from the twilight of the Middle Ages and the dawn of Renaissance; as a messenger from the Catholic and Orthodox pictorial traditions and collaboration; finally as a fosterer of the triple Byzantine, Gothic, Renaissance expression. -
I MARY for TODAY: RENEWING CATHOLIC MARIAN DEVOTION
MARY FOR TODAY: RENEWING CATHOLIC MARIAN DEVOTION AFTER THE SECOND VATICAN COUNCIL THROUGH ST. LOUIS-MARIE DE MONTFORT’S TRUE DEVOTION TO MARY Thesis Submitted to The College of Arts and Sciences of the UNIVERSITY OF DAYTON In Partial Fulfillment of the Requirements for The Degree of Master of Arts in Theological Studies By Mary Olivia Seeger, B.A. UNIVERSITY OF DAYTON Dayton, Ohio August 2019 i MARY FOR TODAY: RENEWING CATHOLIC MARIAN DEVOTION AFTER THE SECOND VATICAN COUNCIL THROUGH ST. LOUIS-MARIE DE MONTFORT’S TRUE DEVOTION TO MARY Name: Seeger, Mary Olivia APPROVED BY: Elizabeth Groppe, Ph.D. Faculty Advisor Dennis Doyle, Ph.D. Reader Naomi D. DeAnda, Ph.D. Reader Daniel S. Thompson, Ph.D. Department Chair ii © Copyright by Mary Olivia Seeger All rights reserved 2019 iii ABSTRACT MARY FOR TODAY: RENEWING CATHOLIC MARIAN DEVOTION AFTER THE SECOND VATICAN COUNCIL THROUGH ST. LOUIS-MARIE DE MONTFORT’S TRUE DEVOTION TO MARY Name: Seeger, Mary Olivia University of Dayton Advisor: Dr. Elizabeth Groppe The purpose and content of my thesis is to investigate and assess how St. Louis- Marie de Montfort’s True Devotion to Mary contributes to a renewal of Marian devotion in the Catholic Church after the Second Vatican Council. My thesis focuses on a close reading of the primary texts of St. Louis-Marie de Montfort (True Devotion to Mary), the Second Vatican Council (Lumen Gentium, the Constitution on the Church), and St. John Paul II (Redemptoris Mater). As part of my theological method, I renewed my Marian consecration and interviewed four other people who currently practice Marian devotion. -
The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth
The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Adam R. Gustafson June 2011 © 2011 Adam R. Gustafson All Rights Reserved 2 This dissertation titled The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria by ADAM R. GUSTAFSON has been approved for the School of Interdisciplinary Arts and the College of Fine Arts _______________________________________________ Dora Wilson Professor of Music _______________________________________________ Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT GUSTAFSON, ADAM R., Ph.D., June 2011, Interdisciplinary Arts The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria Director of Dissertation: Dora Wilson Drawing from a number of artistic media, this dissertation is an interdisciplinary approach for understanding how artworks created under the patronage of Albrecht V were used to shape Catholic identity in Bavaria during the establishment of confessional boundaries in late sixteenth-century Europe. This study presents a methodological framework for understanding early modern patronage in which the arts are necessarily viewed as interconnected, and patronage is understood as a complex and often contradictory process that involved all elements of society. First, this study examines the legacy of arts patronage that Albrecht V inherited from his Wittelsbach predecessors and developed during his reign, from 1550-1579. Albrecht V‟s patronage is then divided into three areas: northern princely humanism, traditional religion and sociological propaganda. -
Girolamo Muziano, Scipione Pulzone, and the First Generation of Jesuit Art
journal of jesuit studies 6 (2019) 196-212 brill.com/jjs Girolamo Muziano, Scipione Pulzone, and the First Generation of Jesuit Art John Marciari The Morgan Library & Museum, New York [email protected] Abstract While Bernini and other artists of his generation would be responsible for much of the decoration at the Chiesa del Gesù and other Jesuit churches, there was more than half a century of art commissioned by the Jesuits before Bernini came to the attention of the order. Many of the early works painted in the 1580s and 90s are no longer in the church, and some do not even survive; even a major monument like Girolamo Muzia- no’s Circumcision, the original high altarpiece, is neglected in scholarship on Jesuit art. This paper turns to the early altarpieces painted for the Gesù by Muziano and Scipione Pulzone, to discuss the pictorial and intellectual concerns that seem to have guided the painters, and also to some extent to speculate on why their works are no longer at the Gesù, and why these artists are so unfamiliar today. Keywords Jesuit art – Il Gesù – Girolamo Muziano – Scipione Pulzone – Federico Zuccaro – Counter-Reformation – Gianlorenzo Bernini Visitors to the Chiesa del Gesù in Rome, or to the recent exhibition of Jesuit art at Fairfield University,1 might naturally be led to conclude that Gianlorenzo 1 Linda Wolk-Simon, ed., The Holy Name: Art of the Gesù; Bernini and His Age, Exh. cat., Fair- field University Art Museum, Early Modern Catholicism and the Visual Arts 17 (Philadelphia: Saint Joseph’s University Press, 2018). -
Observations on Van Dyck As a Religious Painter Thomas L
Document generated on 09/28/2021 9:09 p.m. RACAR : Revue d'art canadienne Canadian Art Review Observations on van Dyck as a Religious Painter Thomas L. Glen Volume 10, Number 1, 1983 URI: https://id.erudit.org/iderudit/1074637ar DOI: https://doi.org/10.7202/1074637ar See table of contents Publisher(s) UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada) ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Glen, T. L. (1983). Observations on van Dyck as a Religious Painter. RACAR : Revue d'art canadienne / Canadian Art Review, 10(1), 45–52. https://doi.org/10.7202/1074637ar Tous droits réservés © UAAC-AAUC (University Art Association of Canada | This document is protected by copyright law. Use of the services of Érudit Association d'art des universités du Canada), 1983 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Observations on van Dyck as a Religions Painter* THOMAS L. GLEN McGill University When dealing with Europcan religious art of the for the main altar of the Church of St. Walburgis seventeenth century, one must inevitably contend (Fig. 2). In Rubens’ altarpiece we witness Christ with the awesome personality of Sir Peter Paul triumphant. -
An Aspect of the Mariology of St. THOMAS AQUINAS
Rev. CORNELIO FABRO, CSS: An Aspect of the Mariology of St. THOMAS AQUINAS ‘As the mariners are guided into port by the shining of a star, so Christians are guided to heaven by Mary.’ St. Thomas Aquinas Rev. Joseph Henchey, CSS Laetare Sunday, 2017 [For the Private use of the Stigmatines] BVM – FABRO TABLE OF CONTENTS 2 TABLE of CONTENTS Presentation 3 1. Significance of the Problem 4 2. The Fullness of the Fontal Originating Source of Grace in Christ as the Man-God and Savior 6 3. The Fontal Fullness derived from the Grace of Christ in the Mother of God 8 4. The Transcendental Super-abundance of Grace in Mary 14 5. The Participation of the Grace in Christ and Mary 19 a. Grace of Union 20 b. Habitual Grace 21 SUMMARY 24 APPENDIX OF MARIAN TEXTS SUPPORTING Fr. FABRO 26 Ineffabilis Deus [Pius IX, Dec. 8, 1854] 26 St. Thomas Aquinas: 26 A. Summa III 27 q. 27 [6 articles] Sanctification 27 q. 28 [4 Articles] Virginity 40 q. 30 [4 articles] Annunciation 50 q. 31 [8 articles] Bodily Matter 58 B. Compendium Theologiae 77 c. 215 – Nature of Christ’s Grace 77 c. 220 – Article of Creed explained 78 c. 221 - Born of a Virgin 79 c. 222 – Mother of Christ 79 c. 223 – Holy Spirit as Father? 80 c. 224 - Sanctification of Mother 81 c. 225 –Perpetual Virginity 82 C. Contra Gentiles IV 84 c. 45 – Befitting birth from Virginity 84 D. In 1 John 86 C. 1, lectio X, ## 201 86 ## 543-544 86 † ††† † BVM – FABRO ST. -
The Mariology of St. Bonaventure As a Source of Inspiration in Italian Late Medieval Iconography
José María SALVADOR GONZÁLEZ, La mariología de San Buenaventura como fuente de inspiración en la iconografía bajomedieval italiana The mariology of St. Bonaventure as a source of inspiration in Italian late medieval iconography La mariología de San Buenaventura como fuente de inspiración en la iconografía bajomedieval italiana1 José María SALVADOR-GONZÁLEZ Universidad Complutense de Madrid [email protected] Recibido: 05/09/2014 Aceptado: 05/10/2014 Abstract: The central hypothesis of this paper raises the possibility that the mariology of St. Bonaventure maybe could have exercised substantial, direct influence on several of the most significant Marian iconographic themes in Italian art of the Late Middle Ages. After a brief biographical sketch to highlight the prominent position of this saint as a master of Scholasticism, as a prestigious writer, the highest authority of the Franciscan Order and accredited Doctor of the Church, the author of this paper presents the thesis developed by St. Bonaventure in each one of his many “Mariological Discourses” before analyzing a set of pictorial images representing various Marian iconographic themes in which we could detect the probable influence of bonaventurian mariology. Key words: Marian iconography; medieval art; mariology; Italian Trecento painting; St. Bonaventure; theology. Resumen: La hipótesis de trabajo del presente artículo plantea la posibilidad de que la doctrina mariológica de San Buenaventura haya ejercido notable influencia directa en varios de los más significativos temas iconográficos -
Feminist Mariologies: Heteronomy/ Subordination and the Scandal of Christology
Theological Studies 66 (2005) FEMINIST MARIOLOGIES: HETERONOMY/ SUBORDINATION AND THE SCANDAL OF CHRISTOLOGY KILIAN MCDONNELL, O.S.B. [Feminist Mariologies are partly the reaction of a justified anger to centuries of discrimination against women enshrined in the very Scriptures, in the central theological tradition, and in the life of the Church. Mariology allows feminists to reflect on exegesis, patriar chy, equality, autonomy, obedience, sexual life, social roles, and professionalism. The rejection of all subordination, even to other women, and the maleness of Christ drive feminist Mariologies so that some move the theological location of Mariology from the gendered Christology to the ungendered Pneumatology and the reign of God.] LREADY IN 1981 the German feminist Elisabeth Gossmann said she A feared "a new Marian maximalism" which had its origins among feminist theologians.1 Nine years later the Scottish feminist Daphne Hamp- son wrote of a feminist "fixation" on Mary.2 One might surmise that the interest in Mary was dictated by the number of theological lines converging in Mariology: Scripture, Christology, anthropology, discipleship, sexuality, subordination, and eschatology.3 It is possible that some feminists thought that by addressing Mariology they could address the whole of theology. Possible, but not likely. More likely anger motivated them. Elizabeth Johnson, a moderate standing in the central tradition, who has produced the most ambitious and impressive feminist Mariology to date, contends that the charge against Mariology is not irrelevancy, but "complicity in the KILIAN MCDONNELL, O.S.B., received his S.T.D. from the Theological Faculty at Trier, Germany. He is founder and president of the Institute for Ecumenical and Cultural Research, and professor emeritus of theology at St. -
Insight: Contemplating the Cross of Christ in a Time of Healing
Insight: Contemplating the Cross of Christ in a time of healing September 12, 2018 WASHINGTON, D.C. – As a new school year begins we say ‘thank you’ to catechetical leaders and catechists who begin their ministry of faith formation, education, and witness to faith. As catechists renew their commitment to leading others to Jesus Christ, the one who stands at the heart of all catechetical efforts, they will hear the anguished voices of the faithful in these challenging times. One image of Jesus’ crucifixion offers a profound visual catechesis for catechists and those they serve who seek hope, wisdom, and perseverance in faith in a season of healing. An image for times of pain and scandal The Small Crucifixion was painted by Matthias Grünewald, the master German painter, in the early years of the 16th century, a time marked by widespread scandal and deep divisions in the Church, sadly not unlike our own today. Only two dozen works of the artist survive, among them The Small Crucifixion, from the permanent collection at the National Gallery of Art in Washington, D.C. The painter’s best known masterpiece is the Isenheim Altarpiece, commissioned for the high altar of the church of the Monastery of Saint Anthony in Alsace, where patients suffering from the plague and various skin diseases were treated. In that large altarpiece, Grünewald depicts a crucified Christ whose body is racked with plague type scars. Patients bearing the pain of their physical afflictions found spiritual comfort as they gazed on the crucified Jesus and identified with the mystery of his unjust suffering. -
O Clemens, O Pia, O Dulcis Maria: a Comparison of Mariology
O CLEMENS, O PIA, O DULCIS MARIA: A COMPARISON OF MARIOLOGY IN MEDIEVAL AND VICTORIAN PERIODS THESIS Presented to the Graduate Council of Texas State University‐San Marcos in Partial Fulfillment of the Requirements for the Degree Master of ARTS by Amanda King, B.A. San Marcos, Texas May, 2009 O CLEMENS, O PIA, O DULCIS MARIA: A COMPARISON OF MARIOLOGY IN MEDIEVAL AND VICTORIAN PERIODS Committee Members Approved: __________________________________ Kathryn Ledbetter, Chair __________________________________ Edgar Laird __________________________________ Susan Morrison Approved: __________________________________ J. Michael Willoughby Dean of the Graduate College DEDICATION To our Blessed Mother. Sancta Maria, ora pro nobis. ACKNOWLEGMENTS Many thanks to my thesis advisors who guided me through the process: Dr. Laird, who sparked my serious interest in medieval literature, Dr. Ledbetter, who introduced me to Victorian novels, and Dr. Morrison, whose enthusiasm cannot be matched. Thank you to my family, who supported me throughout my years of education—it has never been an easy journey. Most of all, thank you to the Order of the Society of Mary, who first exposed me to Mariology. Without their influence, I could not have undertaken this study. This thesis was submitted on March 29, 2010. iv TABLE OF CONTENTS Page ACKNOWLEDGMENTS ............................................................................................... iv CHAPTER 1. INTRODUCING MARIOLOGY .....................................................................1 2. MARY AS -
The Crucifixion C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Thirteenth and Fourteenth Century Paintings Paolo Veneziano Venetian, active 1333 - 1358 The Crucifixion c. 1340/1345 tempera on panel painted surface: 31 x 38 cm (12 3/16 x 14 15/16 in.) overall: 33.85 x 41.1 cm (13 5/16 x 16 3/16 in.) framed: 37.2 x 45.4 x 5.7 cm (14 5/8 x 17 7/8 x 2 1/4 in.) Inscription: upper center: I.N.R.I. (Jesus of Nazareth, King of the Jews) Samuel H. Kress Collection 1939.1.143 ENTRY The Crucifixion is enacted in front of the crenellated wall of the city of Jerusalem. The cross is flanked above by four fluttering angels, three of whom collect the blood that flows from the wounds in Christ’s hands and side. To the left of the Cross, the Holy Women, a compact group, support the swooning Mary, mother of Jesus. Mary Magdalene kneels at the foot of the Cross, caressing Christ’s feet with her hands. To the right of the Cross stand Saint John the Evangelist, in profile, and a group of soldiers with the centurion in the middle, distinguished by a halo, who recognizes the Son of God in Jesus.[1] The painting’s small size, arched shape, and composition suggest that it originally belonged to a portable altarpiece, of which it formed the central panel’s upper tier [fig. 1].[2] The hypothesis was first advanced by Evelyn Sandberg-Vavalà (originally drafted 1939, published 1969), who based it on stylistic, compositional, and iconographic affinities between a small triptych now in the Galleria Nazionale of Parma [fig. -
Tinabeattie Cta Paper Final
Paper given at the Annual Conference of the Catholic Theological Association of Great Britain 2006 Insight beyond sight: Sacramentality, Gender and the Eucharist with reference to the Isenheim Altarpiece 1 Tina Beattie Since Vatican II, the Eucharist has become riven by different interpretations, and gender has become an elusive but persistent theme that haunts the margins of our liturgical coherence. My concerns in this paper are with the relationship of the desiring and suffering body to the sacramental encounter between word and flesh in the unfolding drama of the Mass, and with the extent to which gender functions as a lens through which to view the mystery of Christ in the incarnation and the Eucharist. My argument is that both feminist and neo-orthodox theology 2 exaggerate the significance of gender and sexuality, and in so doing they make the sacramental life of the Church hostage to ideological struggles. I suggest that a more poetic and fluid understanding of gender might enable us to go beyond what many see as the rationalisation of worship after Vatican II, through the rekindling of a sense of mystery which resists the nostalgic mystique that infects much contemporary theology, not least through the cultic sex and death fantasies of Hans Urs von Balthasar. I have divided the paper into three parts, so that it is intended to form a reflective tryptich on the eucharist. In the first part, I consider some of the criticisms that have been made regarding the modern liturgy. In the second part, I contemplate the sacramental vision that informs Grünewald’s Isenheim altar.