The Passion of Catholic Art: A Message from Quito
Matthew Bellisario O.P 2015,2020
"When Jesus wants me to understand that He loves me, He allows me to savor the wounds, the thorns, the agonies of His passion..." Padre Pio
Spanish Tradition: The Passion in Catholic Art
Ever since I was a kid I have had a great love for art. For me, it started with music when I was young and I later grew fond of other artistic mediums. Whether it be music, writing, or the visual arts, I enjoy experiencing well-crafted artistic endeavors. Being a Catholic I have come to enjoy the many forms of religious art that the Church has produced throughout history. There has never been a more splendid art form in the history of humanity than that which has come as a result of the Catholic faith. In 2015 I made a pilgrimage to Quito, Ecuador in an effort to experience firsthand the devotion to Our Lady of Good Success. During my pilgrimage, I had my first real contact with Spanish colonial art. It was eyeopening for me to say the least. There are many false ideas now being taught in the Church which detract or derail Our Lord's true message of mercy and I think sharing these pieces of art and the theology behind them helps to properly orient one towards the true meaning of mercy.
In Quito, there are many Churches and museums that have splendid pieces of Spanish colonial art. The statues quickly caught my eye and I propose that they are the most expressive I have ever seen. There are several pieces in the Franciscan convent that caught my attention and have remained in my mind since my visit. I even took a photo I had of one of them and had it blown up on canvas and it sits in my library. The three I cover here are all related to Our Lord's passion in one way or another. The Spanish artistic tradition has always had a unique emphasis on Our Lord's passion. This devotion to the passion of Our Lord is something that is sorely needed in today's Catholic climate.
The Franciscans were the first to establish a convent in Quito. The Franciscan Church and museum found within the cloister both contain fantastic pieces of art including statuary and paintings. The three pieces I will focus on are in the museum of the Franciscan convent. The artistic heritage found in many places throughout Quito derives from Spain, especially from Seville and Granada, which were known for their artistic achievements. After the Reformation, the Catholic Church had to counter the evil of the Protestant revolt, and certain changes took place in the wake of the rebellion. One of them was establishing reforms to deepen the traditional values and teachings of the Church, including emphasizing the cult of the Saints, the Blessed Mother, and devotion to Christ, especially in His Passion. Thus we see an astounding flourishing of spiritual art following the Reformation, which would come to be known as the Baroque period.
The style which developed sought not only to communicate a theological truth of the faith, but also sought to engage the senses, emotions, and to draw the viewer into the artistic setting on a personal level. Art scholar Gabrielle Palmer says the new art form, "...yielded to organic profusions and to the expression of physical vigor and emotional exuberance." During liturgical feasts, many of the pieces were used in processions on large floats for example, which would draw the viewers into the passion scene. These pieces of art were produced from a guild system in which sculptors and painters would undergo years of apprenticeship. The apprentices often began the work while the master completed the final stages of the piece. The process of making the statues which are the focus of this article included carving the pieces out of cedar, black oak, balsa or pine. The pieces of the statue were then put together with strips of cloth and glue and then covered with many layers of gesso. Often the head was carved in two pieces so the eyes could be glued in place before assembly. The piece was then sized with Armenian bol or clay compound. Finally, the statue was then painted, dressed and polished. Final polishing with leather gives the glazed appearance that you see in many of the pieces which I am so fond of. The three pieces I will cover are from southern Spain and are known to be of the Granadan tradition.
Jesus del Gran Poder
The first piece is what is known as, 'Jesus del Gran Poder.' Christ is depicted carrying His cross to Golgotha. The image dates to 1620. The statue is carved and originally was supposed to be clothed, but the clothing is actually carved. The style is similar to that which is seen from southern Andalusian Spain. I find the Spanish halo style always striking and the expression on Our Lord's face is very engaging, yet not overly so. I stood before this image for quite some time. The price Our Lord paid for my sins became very real. Surely this was the intent of the artist, to draw the viewer into the passion. I was so moved by the statue that when I returned home from the pilgrimage I immediately had a large copy of a photo I took of it put on canvas to hang on my wall. It is a tremendous image to contemplate what Our Lord has done for us, and the suffering He endured to bring us the gift of mercy.
Ecce Homo
The second piece is another life-size statue called, 'Ecce Homo.' The statue is thought to be made by Pedro de Mena's workshop in Spain in the mid 1600s. Again the image demands an emotional response from the viewer. One cannot stand before it without having to reflect on the reality of Christ's suffering. Our Lord is judged as a criminal and sentenced to death before one's eyes. When contemplating the idea of mercy, it should be noted that our sins are what cause such pain and suffering to Our Lord. Looking upon this image you can see your own sins materialize on the body of Our Lord. This should call us to repentance.
Oracion de Jesus en el Huerto
The last piece I will cover is called, 'Oracion de Jesus en el Huerto.' This moving statue is carved out of balsa wood. It was the first statue that caught my attention as I walked through the museum. The title conveys that this is Christ in His agony in the garden of Gethsemane, praying just before being apprehended. We can imagine His suffering as the apostles fell asleep abandoning Him. The face of Our Lord is certainly expressive and one can almost feel Our Lord's love for us as He contemplates the passion that lies before Him. Notice how He is sweating blood as He prays looking up to God the Father.
Catholic Art and Contemplation
Gazing upon and contemplating Our Lord in His Passion should move us to repentance so we can unite ourselves to Christ. A theology of mercy that is disconnected from Our Lord's Passion is not an authentic image of mercy. These Spanish pieces of art and the message they convey can help us contemplate the way mercy has come to us, which was through tremendous suffering. The words below written by the great Spanish Saint of the 16th-century sum up the theology behind these great works of art.
In the passion of our blessed Saviour, six things chiefly are to be meditated upon. First, the bitterness of his sorrow, that we may be compassionate with him. Secondly, the greatness of our sins, which were the cause of his torments, that we may abhor them. Thirdly, the greatness of the benefit, that we may be grateful for it. Fourthly, the excellency of the divine charity and bounty therein manifested, that we may love Him more fervently. Fifthly, the conveniency of the mystery, that we may be drawn to admiration of it. Lastly, the multiplicity of virtues of our blessed Saviour which did shine in this stupendous mystery, that we may partly imitate and partly admire them; wherefore, in the midst of these meditations, let us sometimes be compassionate with our blessed Saviour in the extremity of his sorrows; extreme indeed, both by reason of the tenderness of his body, as also, for the great affection he bore unto our souls. He did suffer them without any manner of consolation... Sometimes let us stir up in ourselves compunction for our sins, which were the cause of his great sufferings. Sometimes let us kindle in our souls an ardent affection, considering his great affection towards us, which upon the cross he declared and manifested to the whole world. And the benefit which he bestowed upon us in His passion, because He bought us with the inestimable price of his precious blood, of which only, we reap the benefit and commodity. (St Peter of Alcantara)
Sources:
Sculpture in the Kingdom of Quito- Gabrielle G. Palmer
A Golden Treatise of Mental Prayer (Chapter IV)- St. Peter of Alcantara
Matthew Bellisario O.P 2015,2020
"When Jesus wants me to understand that He loves me, He allows me to savor the wounds, the thorns, the agonies of His passion..." Padre Pio
Spanish Tradition: The Passion in Catholic Art
Ever since I was a kid I have had a great love for art. For me, it started with music when I was young and I later grew fond of other artistic mediums. Whether it be music, writing, or the visual arts, I enjoy experiencing well-crafted artistic endeavors. Being a Catholic I have come to enjoy the many forms of religious art that the Church has produced throughout history. There has never been a more splendid art form in the history of humanity than that which has come as a result of the Catholic faith. In 2015 I made a pilgrimage to Quito, Ecuador in an effort to experience firsthand the devotion to Our Lady of Good Success. During my pilgrimage, I had my first real contact with Spanish colonial art. It was eyeopening for me to say the least. There are many false ideas now being taught in the Church which detract or derail Our Lord's true message of mercy and I think sharing these pieces of art and the theology behind them helps to properly orient one towards the true meaning of mercy.
In Quito, there are many Churches and museums that have splendid pieces of Spanish colonial art. The statues quickly caught my eye and I propose that they are the most expressive I have ever seen. There are several pieces in the Franciscan convent that caught my attention and have remained in my mind since my visit. I even took a photo I had of one of them and had it blown up on canvas and it sits in my library. The three I cover here are all related to Our Lord's passion in one way or another. The Spanish artistic tradition has always had a unique emphasis on Our Lord's passion. This devotion to the passion of Our Lord is something that is sorely needed in today's Catholic climate.
The Franciscans were the first to establish a convent in Quito. The Franciscan Church and museum found within the cloister both contain fantastic pieces of art including statuary and paintings. The three pieces I will focus on are in the museum of the Franciscan convent. The artistic heritage found in many places throughout Quito derives from Spain, especially from Seville and Granada, which were known for their artistic achievements. After the Reformation, the Catholic Church had to counter the evil of the Protestant revolt, and certain changes took place in the wake of the rebellion. One of them was establishing reforms to deepen the traditional values and teachings of the Church, including emphasizing the cult of the Saints, the Blessed Mother, and devotion to Christ, especially in His Passion. Thus we see an astounding flourishing of spiritual art following the Reformation, which would come to be known as the Baroque period.
The style which developed sought not only to communicate a theological truth of the faith, but also sought to engage the senses, emotions, and to draw the viewer into the artistic setting on a personal level. Art scholar Gabrielle Palmer says the new art form, "...yielded to organic profusions and to the expression of physical vigor and emotional exuberance." During liturgical feasts, many of the pieces were used in processions on large floats for example, which would draw the viewers into the passion scene. These pieces of art were produced from a guild system in which sculptors and painters would undergo years of apprenticeship. The apprentices often began the work while the master completed the final stages of the piece. The process of making the statues which are the focus of this article included carving the pieces out of cedar, black oak, balsa or pine. The pieces of the statue were then put together with strips of cloth and glue and then covered with many layers of gesso. Often the head was carved in two pieces so the eyes could be glued in place before assembly. The piece was then sized with Armenian bol or clay compound. Finally, the statue was then painted, dressed and polished. Final polishing with leather gives the glazed appearance that you see in many of the pieces which I am so fond of. The three pieces I will cover are from southern Spain and are known to be of the Granadan tradition.
Jesus del Gran Poder
The first piece is what is known as, 'Jesus del Gran Poder.' Christ is depicted carrying His cross to Golgotha. The image dates to 1620. The statue is carved and originally was supposed to be clothed, but the clothing is actually carved. The style is similar to that which is seen from southern Andalusian Spain. I find the Spanish halo style always striking and the expression on Our Lord's face is very engaging, yet not overly so. I stood before this image for quite some time. The price Our Lord paid for my sins became very real. Surely this was the intent of the artist, to draw the viewer into the passion. I was so moved by the statue that when I returned home from the pilgrimage I immediately had a large copy of a photo I took of it put on canvas to hang on my wall. It is a tremendous image to contemplate what Our Lord has done for us, and the suffering He endured to bring us the gift of mercy.
Ecce Homo
The second piece is another life-size statue called, 'Ecce Homo.' The statue is thought to be made by Pedro de Mena's workshop in Spain in the mid 1600s. Again the image demands an emotional response from the viewer. One cannot stand before it without having to reflect on the reality of Christ's suffering. Our Lord is judged as a criminal and sentenced to death before one's eyes. When contemplating the idea of mercy, it should be noted that our sins are what cause such pain and suffering to Our Lord. Looking upon this image you can see your own sins materialize on the body of Our Lord. This should call us to repentance.
Oracion de Jesus en el Huerto
The last piece I will cover is called, 'Oracion de Jesus en el Huerto.' This moving statue is carved out of balsa wood. It was the first statue that caught my attention as I walked through the museum. The title conveys that this is Christ in His agony in the garden of Gethsemane, praying just before being apprehended. We can imagine His suffering as the apostles fell asleep abandoning Him. The face of Our Lord is certainly expressive and one can almost feel Our Lord's love for us as He contemplates the passion that lies before Him. Notice how He is sweating blood as He prays looking up to God the Father.
Catholic Art and Contemplation
Gazing upon and contemplating Our Lord in His Passion should move us to repentance so we can unite ourselves to Christ. A theology of mercy that is disconnected from Our Lord's Passion is not an authentic image of mercy. These Spanish pieces of art and the message they convey can help us contemplate the way mercy has come to us, which was through tremendous suffering. The words below written by the great Spanish Saint of the 16th-century sum up the theology behind these great works of art.
In the passion of our blessed Saviour, six things chiefly are to be meditated upon. First, the bitterness of his sorrow, that we may be compassionate with him. Secondly, the greatness of our sins, which were the cause of his torments, that we may abhor them. Thirdly, the greatness of the benefit, that we may be grateful for it. Fourthly, the excellency of the divine charity and bounty therein manifested, that we may love Him more fervently. Fifthly, the conveniency of the mystery, that we may be drawn to admiration of it. Lastly, the multiplicity of virtues of our blessed Saviour which did shine in this stupendous mystery, that we may partly imitate and partly admire them; wherefore, in the midst of these meditations, let us sometimes be compassionate with our blessed Saviour in the extremity of his sorrows; extreme indeed, both by reason of the tenderness of his body, as also, for the great affection he bore unto our souls. He did suffer them without any manner of consolation... Sometimes let us stir up in ourselves compunction for our sins, which were the cause of his great sufferings. Sometimes let us kindle in our souls an ardent affection, considering his great affection towards us, which upon the cross he declared and manifested to the whole world. And the benefit which he bestowed upon us in His passion, because He bought us with the inestimable price of his precious blood, of which only, we reap the benefit and commodity. (St Peter of Alcantara)
Sources:
Sculpture in the Kingdom of Quito- Gabrielle G. Palmer
A Golden Treatise of Mental Prayer (Chapter IV)- St. Peter of Alcantara
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