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Maureen Mullarkey: Studio Matters

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Michelangelo’s Finger

ORDAINED ART APPRECIATORS are, in the main, a predictable tribe. Often enough, the freshest and most intellectually satisfying comments on art from outside the expected punditariat. Michelangelo’s Finger: An Exploration of Everyday Transcendence, by Raymond Tallis, is an engaging, erudite excursion into what it means to be human. Tallis, a professor emeritus of geriatric medicine at the University of Manchester and one of Britain’s finest public intellectuals, offers as a guide the human forefinger. He does so with all the wit and eloquence of the poet, novelist and philosopher that he is also. Continue Reading

Weddings Past

SOMEONE JUST GOT MARRIED across the pond. Who exactly? Prince Harry and Kate Moss? No, that’s not right. Andrew, maybe? No, that’s not it either. A quick Google and I’ve got: Prince William and Kate Middleton. There. That’s better. [My apologies for not paying closer attention before coming to the keyboard.] Royal weddings are a bit off my radar screen but I do love weddings. Especially the iconography of weddings that come to us across time and seas. This 4th century mosaic comes from Tunisia.buy Continue Reading

A Glad Easter

THE RESURRECTION, from Matthias Grünwald’s Isenheim altarpiece, is the single most striking image of the event on which Christianity is founded. It dramatizes the center of the Christian mystery—and, correspondingly, the mystery of man. Neil MacGregor—art historian, director of the British Museum, and man of faith—responds to drama of the painting in his Seeing Salvation. (Published by Yale University Press, the book accompanied his 2000 television series by the same name.)  Standing in front of the altar, he says this:
Grünwald shows us what, according to the Gospels, nobody saw.
Continue Reading

Charlotta Westergren: Rediscovering the Past

By Christopher S. Johnson AS IT HAS DONE WITH SO MUCH ELSE, contemporary art has largely jettisoned the Christian themes and imagery that defined the Western tradition for centuries.  (Those much publicized maestros of toilet media excepted, to be sure.) It came as a mild shock then, on the cusp of Holy Week, to stumble upon Victory, a painting by Charlotta Westergren, an artist previously unknown to me, to my regret. //Immediate and obvious pictorial antecedents are the still lifes with game birds, the twisted broken bodies dripping blood, of Chardin and Meléndez. Continue Reading

Palm Sunday, Then & Now

PALM SUNDAY COMMEMORATES JESUS’ ENTRY INTO JERUSALEM and marks the beginning of Passion Week. It observes the triumphal prelude—so misleading—to bloody days ahead, a time of betrayal, torture, and death. While portrayals of crucifixions continued well into the 20th century, Palm Sunday has largely been ignored by all but a few contemporary artists. Jacob Lawrence is one of the few. He framed the gospel story in terms of a black pastor greeting his flock, with particular tenderness toward the children: // // Romare Beardon, too, phrased the event in terms of the black community. Continue Reading
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