Richard Warren

20thc British art and poetry (mainly), plus bits of my own – "Clearly I tap to you clearly along the plumbing of the world" (W S Graham)

Veritasse vincit omnia

In the latest Hereford Diocese magazine I came across a full page ad for “Veritasse,” a website offering Christian art, so I took a look. I know I’m a cultural snob, but I do find something deeply disturbing about their insistence on the “positive” and the “uplifting”, especially when that translates into 57 varieties of soft edged but luminescent clouds, doves, sheep, flowers, waterfalls etc., no matter how competently executed. On the other hand, they do invite submissions from Christian artists, and that’s me, sort of, and Veritasse does appear to be a big success. Or a bigge successe, even.

So I emailed over half a dozen graphics I’ve been working on recently (click to enlarge), with a pleasantly worded request for feedback:

A week on, and no response.

Yes, I know I’m being unnecessary, but there is a real issue here. How has the content of much of what passes for contemporary Christian art become so – well, infantilised? This isn’t Catholic kitsch, which is better understood as a form of folk art. (Nor is it analogous to say, modern praise music, often derided, but where the use of worthwhile popular forms has enabled much excellent popular Christian song writing, e.g. Stuart Townend.) I suppose the roots of this sort of imagery were in Victorian populist evangelical pietism, but it’s hard to figure just when “Christian art” got so utterly blanded out.

Aside of the icon revival, which seems in danger of short circuiting into its own form of kitsch, some sort of recapturing is demanded. But what form should it take?

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