The transformation of Catholic religious art in the twentieth century : Father Marie-Alain Courturier and the church at Assy, France
著者
書誌事項
The transformation of Catholic religious art in the twentieth century : Father Marie-Alain Courturier and the church at Assy, France
Edwin Mellen, c2008
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. 165-174) and index
内容説明・目次
内容説明
A study of the paradoxically influential, but obscure, Father Marie-Alain Couturier, and his modernist revolution in liturgical art. This work is a study of one of the most influential but least well-known figures in twentieth-century art, Father Marie-Alain Couturier, an artist/priest who fomented nothing less than a Copernican revolution in liturgical art by introducing modern art to the Church and forever changing the face of Catholicism.It is the central thesis of this study that the changes in remarkable transformations in Couturier's aesthetic philosophy and his subsequent use of the abstract forms resulted from his exile years in America (1939-1945), years that proved to be influential in the final formation of his aesthetic theories. Courturier's interactions with artists and intellectuals in New York are traced and shown to have played a major role in the evolution of the priest's thinking.Particular attention is given to the crucifix by Germaine Richier. The Church hierarchy denounced her work as a '...scandalous and anti-Christian thing'.
Yet Richier's crucifix was exactly what the worshippers wanted, an image that was relevant to the times because it captured so vividly the pain and fears of the community. Had the Church accepted Richier's work, it could have demonstrated that it understood the human suffering of WWII. Instead, it clung to its traditions and the cold conservatism it had maintained during the war.In conclusion, the controversy at Assy is shown to be a turning point in twentieth-century sacred art. Whereas traditional church art had always reinforced doctrine, modern art encouraged worshipers to find their own interpretations and led them in new and uncertain directions. Richier's image of Christ, while highly spiritual, did not reinforce Church doctrine. Indeed, it was read by many worshipers as a body victimized by the Nazis. Given the Church's acquiescence during the war, Richier's Crucifixion was a double embarrassment to the Church.
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