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The Dominicans and the Journal L'Art sacré

Published online by Cambridge University Press:  01 January 2024

Aidan Nichols OP
Aidan Nichols OP*
Affiliation:
Blackfriars, Buckingham Road, Cambridge, CB3 0DD
*
Email: aidan.nichols@eidosnet.co.uk
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Type
Original Articles
Information
New Blackfriars , Volume 88 , Issue 1013 , January 2007 , pp. 25 - 45
Copyright
Copyright © The author 2007. Journal compilation © The Dominican Council/Blackwell Publishing Ltd. 2007

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References

1 See Lavergne, S. de, Art sacré et modernité. Les grandes années de la Revue ‘L'Art sacré’ (Namur, 1992)Google Scholar.

2 Régamey, P.-R., Art sacré au vingtième siècle? (Paris 1952), p. 8Google Scholar.

3 See F. Caussé, ‘Les rapports des Dominicains avec L'Art sacré. La revue Art sacré des Pères Couturier et Régamey, Mémoire dominicaine 14 (1999), pp. 169–197, is my chief source of information.

4 See also the issue of L'Art sacré devoted to him: 1954, 9–10 (the post-war journal numbered issues by fascicules only, sometimes overlapping the end of the calendar year).

5 P.-R. Régamey, O. P., ‘A la recherche de la Tradition’, L'Art sacré 1948, 5–6, pp. 81–107.

6 Dieu et l'art dans une vie, le P. Couturier (Paris 1965)Google Scholar.

7 It inspired several succeeding issues devoted to ‘Les marchands et le temple’, or ‘Pourquoi le succès de la bondieuserie?’, see L'Art sacré 1951, 9–10.

8 Egenter, R., The Desecration of Christ (London 1967)Google Scholar, based on idem., Kitsch und Christenleben (Ettal 1958, 2nd edition).

9 Idem., The Desecration of Christ, op. cit., p. 15.

10 ‘Denis, Maurice’, in Childers, I., A Dictionary of Twentieth Century Art (Oxford 1988), p. 167Google Scholar.

11 Bullen, J. E., Byzantium Rediscovered (London 2003)Google Scholar.

12 For more on this figure, see Bouillon, J. P., Maurice Denis (Geneva 1983)Google Scholar.

13 Garreau, A., Georges Desvallières (Paris 1942)Google Scholar.

14 Cartier, E., Un Religieux dominican. Le Révérend Père Hyacinthe Besson, sa vie et ses lettres I. (Paris 1865), pp. 73–76Google Scholar. Besson was a member of the brotherhood who went on to enter the Order of Preachers in the Province of France.

15 For the influence of the Ateliers philosophy on (especially) the early L'Art sacré, see P.-R. Régamey, ‘Bilan de l'époque 1920–1940’, L'Art sacré 1948, 3–4, pp. 50–57 and here at p. 53.

16 Ibid.

17 MacCarthy, F., Eric Gill (London 1989), p. 161Google Scholar; Hague, R. (ed.), Dai Greatcoat. A self-portrait of David Jones in his letters (London 1980), p. 31Google Scholar.

18 Maritain, J., Art et Scolastique (Paris 1927, 2nd edition), pp. 113–116Google Scholar. There is an analogy here with Maritain's view of Christian philosophy, which is ‘[simply] philosophy itself [but] in its Christian state, in the conditions of exercise and the lights which are the privilege of the Christian soul’. Thus his speech inaugurating the Louvain memorial to Cardinal Mercier as cited in Chenaux, P., Entre Maurras et Maritain. Une génération intellectuelle, 1920–1930 (Paris 1999), pp. 195–196Google Scholar.

19 J. Maritain, Art et scolastique, op. cit., p. 119.

20 Ibid., p. 41.

21 Ibid., p. 111.

22 For Maritain's relations with contemporary artists, see Cagin, M., ‘Jacques Maritain et les artistes’, Cahiers Jacques Maritain 27 (1993), pp. 5–30Google Scholar.

23 F. Caussé, ‘Les rapports des Dominicains avec L'Art sacré’, art. cit., p. 173.

24 Couturier, A.-M. O. P., ‘Sur Picasso et les conditions actuelles de l'art chrétien’, L'Art sacré 18 (1937), pp. 99 ff.Google Scholar, cited in F. Caussé, ‘Les rapports des Dominicains avec L'Art sacré’, art. cit., pp. 176–177.

25 A.-M. Couturier, O. P., ‘Rouault at le public ecclésiastique’, ibid., 33 (1938), pp. 245 ff., cited in F. Caussé, ‘Les rapports des Dominicains avec L'Art sacré’, art. cit., p. 177.

26 On the architects, Fritz Metzer and Hermann Baur, see Debuyst, F., Le renouveau de L'Art sacré de 1920 à 1962 (Paris 1991), pp. 33–35Google Scholar.

27 P. –R. Régamey, ‘Bilan de l'époque 1920–1940’, art. cit., p. 50.

28 P.-R. Régamey, O. P., Art sacré au vingtième siècle?, op. cit., pp. 24–25.

29 F. Caussé, ‘Les rapports des Dominicans avec L'Art sacré’, art. cit., p. 182. For his view of contemplation, see Art sacré au vingtième siècle?, op. cit., pp. 51–52; of the Liturgy, ibid., pp. 103–118.

30 Ibid., pp. 114–116.

31 P.-R. Régamey, O. P., Tendances actuelles de l'art chrétien, = Cahiers de L'Art sacré 7; idem., L'éducation artistique du clergé, = ibid., 9; idem., ‘Leçons actuelles des arts anciens’, L'Art sacré 1948, 1–2, pp. 3–32; ‘Bilan de l'époque 1920–1940’, art cit.

32 Idem., Art sacré au vingtième siècle?, op. cit., p. 130.

33 A.-M. Couturier, O. P., ‘Pour les yeux’, L'Art sacré 1950, 5–6, pp. 3–4, and here at p. 4. In Art sacré au vingtième siècle?, Régamey would go to some lengths to specify positive criteria for suitably Christian versions of these: doing justice to divine transcendence and divine immanence alike, to both the Cross and the Resurrection aspects of the mystery of Christ, expressive of the Gifts of the Holy Spirit and the Beatitudes (closely linked in the theology of St Thomas Aquinas), instructed by the Liturgy, and ‘Marian’ in having their centre of gravity outside themselves.

34 Words cited in F. Caussé, ‘Les rapports des Dominicains avec L'Art sacré’, art. cit., p. 185.

35 Weston, N., Kaleidoscope of Modern Art (London 1968), p. 178Google Scholar.

36 For the crisis, see Lavergne, S. de, Art sacré et modernité, op. cit., pp. 150–160Google Scholar.

37 Writing in L'Art sacré 1950, 11–12, p. 25, cited in F. Caussé, ‘Les rapports des Dominicains avec L'Art sacré’, art. cit., p. 186.

38 For the text, see Acta Apostolicae Sedis XXXIV (1952), pp. 542–546.

39 P.-R. Régamey, Art sacré au vingtième siècle?, op. cit., p. 13.

40 See L'Art sacré 1952, 9–10, pp. 24–25.

41 Leprieur, F., Quand Rome condamne. Dominicains et prêtres-ouvriers (Paris 1989), p. 103Google Scholar. The official letter from the Master only mentions the younger man, Couturier having just been buried.

42 Editorial of this title in L'Art sacré 1965, 7–8, pp. 3–5.

43 Ibid., p. 5.

44 P.-R. Régamey, ‘Les racines du mal et les remèdes’, ibid., 1965, 9–10, pp. 21–25.

45 Dillenberger, J., ‘Artists and Church Commissions: Rubin's The Church at Assy Revisited’, Art Criticism 1. 1 (Spring 1979), pp. 72–82Google Scholar, reprinted in Apostolos-Cappadona, D. (ed.), Art, Creativity and the Sacred. An Anthology in Religion and Art (New York, 1992, 2nd edition), pp. 193–204Google Scholar, and here at p. 198.

46 Pantin, W., The English Church in the Fourteenth Century (Cambridge 1955), pp. 239–241Google Scholar.

47 For an illuminating description of the developed iconographical scheme recreated in Neo-Byzantine churches, see Taft, R. S. J., ‘Byzantine Liturgy’, in Parry, K. et al., The Blackwell Dictionary of Eastern Christianity (Oxford 1999), pp. 103–105Google Scholar.

48 Krins, H., Die Kunst der Beuroner Schule (Beuron 1998)Google Scholar. Perhaps the best example of a comprehensively worked out iconography is the Gnadenkapelle at Beuron itself: ibid., pp. 83–89.

49 Symondson, A., The Life and Work of Sir Ninian Comper (1864–1960). The Last Gothic Revivalist (London 1988)Google Scholar; idem., ‘Unity by Inclusion: Sir Ninian Comper and the Planning of a Modern Church’, Twentieth Century Architecture 3 (1998), pp. 19–42Google Scholar. I am grateful to Philip McCosker of the University of Cambridge Divinity Faculty for procuring these materials, as well as locating some of the last issues of L'Art sacré.

50 Idem., ‘Mediaevalism in the Twentieth Century. St Cyprian's, Clarence Gate, London’, The Victorian 14 (2003), pp. 12–15Google Scholar.