Announcing a New Catholic Artists Directory

NLM is grateful to receive this guest article from Elizabeth Lemme, herself a talented calligrapher and artist. In addition to David Clayton's weekly posts on new iconographers, which always bolster one's confidence in the possibility of a reawakening of sacred art, I consider this new collective venture to be one of the most hopeful signs of a Catholic artistic renaissance that I have yet seen. ~ PAK

It was in the 1950s when the Bavarian town of Fürstenfeldbruck, Germany, brought forth an unexpected treasure. A community choir supported by the local fire department commissioned a WWII veteran to compose a setting of the Ave Maria and Angelus texts. This composition eventually made its way from obscurity into the spotlight, particularly by the beloved American vocal ensemble, Chanticleer. Indeed, Franz Biebl’s “Ave Maria,” now commonly sung in the repertoire of professional and collegiate choirs, is one of the loveliest choral gems of the 20th century. Would it ever have been written if a small fireman’s chorus hadn’t commissioned it? Considering this gem traveling from Furstenfeldbruck’s local stage to the international stages and choir lofts causes one to wonder what other great works of art are waiting to be commissioned from artists today?

El Camino del Peregrino, 33” x 39.” Oil on canvas. Artist: John Folley. Commissioned by a family in Florida, occasioned by the desire for a centerpiece to their living space that would serve as a touchstone for conversations with friends about the sacramental nature of their faith.

A speaker at a Catholic lecture series recently lamented the lack of sacred artists and “the need for new artistic geniuses to come forth.” More and more articles written for Catholic blogs and other publications rightly extol beauty, eloquently present aesthetics of beauty, convincingly demonstrate the spiritual need for beauty, and then lament the lack of devout Catholic artists. Beauty, beauty, beauty, we all emphatically say, bring beauty back! In actuality, however, there are Catholic artists of the highest skill tucked away in corners throughout the world, devout practicing Catholics who are steeped and disciplined in their respective crafts, be it sculpture, music composition, calligraphy, fresco, oil painting. But a work of art is usually not born on a day when the artist happens to have nothing else to do and feels like picking up the compositional pen or paintbrush for fun. A work of art comes to life firstly through the artist’s own discipline. That discipline, as demonstrated through western history of classical music and art, is then supported and allowed to be perfected by the support of a patron.

Jubilee Portal. Natural stone tesserae and gold foiled glass mosaic. Artist: Andrew Wilson Smith. Commissioned by St. Mary's Catholic Church of Lancaster, Ohio, to mark the bicentennial of the parish's founding in 1819.

The Catholic Artists Directory, founded in 2019 by artist Gwyneth Thompson-Briggs, makes easily available to patrons of the arts a list of talented artists, devoted both to their Catholic faith and to their respective craft. From a scenic coastal Scottish town to a convent in the northern peninsula in Spain, to cities dotting the “middle west” of the United States to Brussels, Belgium, a collection of artists has been carefully adjudicated and compiled together with their respective online portfolios.

St. John Henry Newman’s Prayer to the Sacred Heart, India ink and 22k gold leaf on paper. Artist: Ste Duckett. Commissioned by and residing at the Parish Church of Didcot, Oxfordshire, UK, occasioned by the canonization of St. John Henry Newman.

Many of these artists have recently finished artwork, and are awaiting their next commission. The occasions to commission a work of art or music are, and always have been within the Catholic church and its culture, plentiful. What are some of the occasions which beg for a commission?

(Ave Maria from Mass of the Americas. Composer: Frank La Rocca. Soprano: Crossley Hawn. Commissioned by Archbishop Cordileone through the Benedict XVI Institute.)

While the secular museums showcase massive installments of secular art, or even while ancient masterpieces of Catholic art are housed in dusty, non-liturgical spaces owned by the State, many of the major liturgical events of the Catholic Church around the world are bereft of serious art and instead feature a hodgepodge of kitsch posters and towering speakers blaring music of popular culture. However, one recent exception to this dismaying pattern for major liturgical events across the world is Archbishop Cordileone’s commissioning of The Mass of the Americas by composer Frank La Rocca. This commission was occasioned by the 25th anniversary of San Francisco’s annual Cruzada Guadalupana festival honoring Our Lady of Guadalupe. Rather than the patronizing music that parodies rather than honors a particular culture, The Mass of the Americas turns to serious art music while reaching deep within the traditional folk tunes and beloved hymns of the historic Americas to combine mixed chorus, organ, a soprano, string quartet, and the marimba. The embedding of beloved Mexican hymns into the complexity of a contemporary, classical music language brings forth a compelling, contemplative, reverent new Mass setting pulsing with the truth that under her mantle, Our Lady unites every human person across every culture and across all time.

AUDIO: Viens, Soleil levant; Cantate pour la Veille de la Nativité. Composer: Dimitri Arnauts. Live recording forthcoming this spring.

Indeed, every feast in the liturgical calendar is an occasion for a commission of sacred art and music. Imagine, during Lent, being able to go to a devotional concert series, a choral Stations of the Cross, a Tenebrae service with newly-composed polyphonic motets embedded amidst the traditional chants. Pergolesi’s Stabat Mater wasn’t composed when he was inspired on a whim, rather, it was commissioned by the Confraternita Dei Cavalieri di San Luigi Palazzo which every year presented a Good Friday meditation of the Blessed Virgin Mary. Likewise, Johann Sebastian Bach didn’t write his Cantatas because it was his nice hobby or because he was bored, rather it was his daily work as Thomaskantor in Leipzig to provide a Cantata for each Sunday and feast day. It is the hope of contemporary composer Dimitri Arnauts to restore the composition of the sacred Cantata within the context of the life of the Catholic church, including its liturgy. The caliber and discipline of musicianship required to execute a Cantata, including orchestra and choir, would draw serious musicians back towards the Church that once sheltered them, and invite amateur musicians to hone their instrumental technique under a director within a liturgical context.

Alb, white linen and handmade lace. Artist: A&M Ornamentos. Commissioned for the ordination of a priest.

Throughout history, commissions of great art have been as large as a Mass setting, or as intimate as one priest’s ordination vestment, or ex voto painting, plaque, or medal. The latter ex voto commissions, common particularly in Mexico and Italy, included artworks telling the story of graces received from petitions such as a healing from an illness. These paintings, while personal in origin, extend beyond the personal realm into evangelization across time and space, landing spaces in museums visited by art historians and tourists unforeseen by the original patron. Today, the practice of commissioning an ex voto work of art has been newly-proposed by artist Gwyneth Thompson-Briggs. Patrons commissioning an ex voto work of art contribute something permanent to the world via the works of an artist’s hands, engaging the contemplation of generations of Catholics while incarnating a truth of the Catholic faith which can evangelize in a direct, poignant manner, for decades. As effective and important as catechetical evangelization programs are for teaching the faith, one must not forget the communicative power of a work of art. A great work of art is like the sound of a bell ringing at the Consecration at Mass, inexplicably cutting to the heart and mysteriously, efficaciously drawing the human soul closer to God. Orthodox, formal catechesis must be supported by the Church, but so also must be works of art which speak directly to the heart, leading it along the many paths created by Our Lord which lead to Himself.

(Suscipe: Prayer of St. Ignatius. Composer: Nicholas Lemme. Commissioned for a Nuptial Mass.)

Besides the large scale liturgical events, a Feast Day, liturgical season, or an ex voto painting, the range of commission possibilities for the Catholic patron is abundant. A commission may arise for a work within the context of the liturgy, or in the context of parish life, or in congruence with Catholic culture. And the artists in the Catholic Artists Directory, selected from among many applicants, demonstrate the highest skill in a wide range of mediums. Stone, glass, ink, egg tempera, oil and pigment, gold leaf, and sound, the mediums from which a work of art can be born are as unique as the persons from whom they will be born. Each patron is encouraged to not underestimate the importance of their role in the artistic process, to peruse the list of Catholic artists in great detail, and to select the artist whose work rings most deeply with their desires.

The portfolios and websites of each artist are available on the Catholic Artists Directory website. A commission can be as small as a piece of paper held in one’s hands and adorned with gold leaf and inks, or as large as a marble baldacchino or new Mass setting. May the Church once again become the cradle of great art, the protector of classical artistic discipline, the source of tangible beauty, the incarnation of the highest artistic ideals. The beauty so eloquently written of by our Catholic philosophers and theologians needs to materialize under the patronage of Catholic institutions of every stripe, seminaries, dioceses, parishes, schools, altar societies, homeschool co-ops, bishops, priests, and laity, and by the hands of these willing and qualified artists.

All photos, videos, and recordings are courtesy of the respective artists.

Hand-drawn Altar Cards by Daniel Mitsui

Daniel Mitsui is an artist quite well known to readers of NLM for his exquisite work in calligraphy and iconography. He was recently commissioned to produce a set of altar cards and went at it with his customary thoroughness, ingenuity, love of detail, and delight in the Gothic aesthetic. I received a set of these cards to examine, and I must say that they are simply stunning. The overall design is harmonious and pleasing to the eye; the font comes across as strong, slightly ornate, and yet highly legible; the illuminated initials add considerable interest; and the iconographic program followed in the ample margins is a microcosm of the entire liturgical year and indeed the history of salvation. As a teacher, I found myself thinking, “I could teach a catechism course just using these altar cards.” More to the point, they embody the entire Catholic theology of the sacred liturgy.

Here are some photos; afterwards I shall quote the artist’s explanation of the iconographic program.

The central altar card (16" x 20"), with my hand for the sake of scale:

(A straight-up JPG of this card may be accessed here.)

The Gospel card and Lavabo card (each 9" × 12").

(Again, JPGs of the above two cards may be found here and here.)

The Lavabo card with my hand, for scale:

Some details of the central card:

Two details from the Gospel card:

The artist’s website offers a full explanation of the choice and arrangement of scenes, which evince a deep grasp of liturgical symbolism and patristic commentary.

The Gospel side card contains the beginning of the Gospel of St. John (In principio erat Verbum), and the pictures on it reflect the themes of Creation and Incarnation. Running down the left border and across the bottom, a series of eight small scenes illustrate the six days of Creation, with the Creation of Adam and the Creation of Eve depicted individually. Following the older iconographic tradition, and the words of the Gospel itself (Omnia per ipsum facta sunt: et sine ipse factum est nihil, quod factum est), the Creator depicted in these miniatures is God the Son. The preaching of John the Baptist appears in the historiated initial.
          In the bottom corners I drew the Annunciation and the Nativity of Jesus Christ, which begin a sequence of events in the life of Christ that runs across the bottoms of all three cards.
          It continues on the Epistle side card, with the Adoration of the Magi and the Baptism of Christ. The historiated initial and the eight small scenes depict nine of the prophecies read at the ancient ceremonies of the Easter Vigil: the Deluge and Noah’s Ark, Pharaoh’s army drowned in the Red Sea, a prophecy of Isaiah, a prophecy of Baruch, Ezekiel’s vision of the valley of dry bones, another prophecy of Isaiah, the repentance of Nineveh, the Canticle of Moses and Shadrach, Mesach and Abednego in the furnace. These prophecies are associated with Baptism, and thus fitting to the psalm on the card (Lavabo inter innocentes).
          On the central card, in each of the four corners is the scene of an Old Testament prefigurement of the Eucharistic sacrifice: the Sacrifice of Abel, Abraham’s sacrifice of Isaac, the Sacrifice of the Paschal Lamb and the Sacrifice of Melchizedek. Three of these are mentioned in the Canon of the Mass; two of them, together with the Creation depicted on the Gospel cards and the nine prophecies depicted on the Epistle card, complete the twelve prophecies of the Easter Vigil.
          Running along the bas-de-page are six scenes from the life of Christ: the Temptation in the desert, the Transfiguration, the Last Supper, His washing St. Peter’s feet, the Resurrection and the Ascension. The historiated initials that begin the Gloria and Credo contain, respectively, pictures of the Annunciation to the Shepherds and the Descent of the Holy Ghost at Pentecost. I drew a large picture of the Crucifixion at the top of the central column of text.
          The arrangement of scenes summarizes the liturgical year: the Gospel card represents Advent, as the Preaching of John the Baptist is the subject of the Gospel reading for the 3rd and 4th Sundays, and the Annunciation Gospel is read on the Ember Wednesday. Advent of course concludes with the Nativity, which begins the Christmas season.
          Continuing in chronological order to the Epistle side card, the Adoration of the Magi and the Baptism of Christ represent Epiphany; both are manifestations of Jesus Christ’s divinity. The two scenes below the left column on the central card have a longstanding iconographic association, being recounted in the Gospel readings for the first two Sundays of Lent. In the central column of the central card, the Last Supper, the washing of feet, an the large Crucifixion together represent the Holy Triduum, the center of the liturgical year. The images in the next column (Resurrection, Ascension and Pentecost) represent the Easter and Pentecost seasons.
          On the left and right borders of the central card I drew standing figures of six saints. On the left are the first three mentioned in the Confiteor: the Blessed Virgin Mary, Michael the Archangel and John the Baptist. On the right are three more mentioned in the Libera nos: the Apostles Peter, Paul and Andrew. 

You have to see these cards to believe them. I am looking forward to framing this set for local liturgical use. I would certainly recommend these altar cards to priests, deacons, and any laity who are looking for a special Christmas gift for your TLM-celebrating clergy.

The commissioned set was drawn in ink on calfskin vellum with gold and palladium leaf details, and hand lettering. What I have photographed here is an open-edition giclée print on Lexjet archival matte paper, with a custom typeface, Benedict, utilized instead of handwritten letters, to improve readability.

The cards may be ordered directly from the artist.

Recent Typeface Design and Calligraphy from Daniel Mitsui

We have much work to do in the rebuilding of Catholic culture, and in this “slow evangelization” (as Stratford Caldecott called it), liturgy can be compared to the right hand, the fine arts to the left hand. I found myself thinking about this when looking at some magnificent calligraphic work by well-known Catholic artist Daniel Mitsui, and reading his superb lecture at the Franciscan University of Steubenville, “Invention and Exaltation.” (The text may be read here; a video of the lecture is available here. Highly recommended.) Daniel visited the university to open an exhibit of his artwork in the Gentile Gallery on September 14th.

Following up on my earlier post about the layouts and typography of Dom Benedict Andersen, I wanted to share with NLM readers some of Daniel Mitsui’s recent experiments with designing his own typefaces, a painstaking art form he is pursuing in order to work towards the publication of new illustrated fine press editions of late medieval books. Two of the pieces now on display in Steubenville are typographic broadsides, one of them prepared in anticipation of the Synod on the Family:

(To see these at the artist's website, go here and here.)

In toto, Daniel has designed four typefaces: Benedict, Victor, Adam, and Michaëla. The marriage and family texts above are written in Benedict; the Lord's Prayer in Victor. Here are samples of Adam and Michaëla:

 

Some time ago Daniel did this "Ecce quam bonum," which is a masterly example of the art of illuminating a text (we see again the Benedict font):

These are truly exquisite pieces of work, and we are all looking forward to many more from this extraordinary artist. Check out his website for a complete portfolio and items for sale.