Theodore founded a renowned monastic school of calligraphy. A tradition from the sixth century holds that he painted portraits of the Blessed Mother, Peter, and Paul. Presumably the author of both the Gospel of Luke and the Acts of the Apostles, Luke used words as well as colors to paint. She is a patron saint of painters and those who suffer from doubt.Įvangelist, Painter, & Iconographer († 1st century) Elected bishop by the people of Nola, he said this: “To my mind, the only art is the faith, and Christ is my poetry.”Ĭatherine dabbled in writing, poetry, dancing, and Latin studies, but her forte was painting. Felix as their special patron, and Paulinus maintained written correspondence with Augustine, Jerome, and Martin of Tours. Paulinus was a married man and a father, who sought out a life of austerity with his wife, Therasia. She was recently canonized and named a Doctor of the Church by Pope Benedict XVI. In the Paradiso, Dante place Peter Damian in the seventh heaven, home to those who contemplate the Word of God.Ī Jewish convert, Romanus is the writer of roughly one-thousand Kontakia, which are Byzantine liturgical hymns.Ī German Benedictine mystic, Hildegard wrote scholarly works, numerous musical compositions, and even a morality play. Following is a summary of each saint presented.Īs one of the Forty Martyrs of England & Wales, he is a favorite of Watershed’s. #Iconographer abbess olympia seriesThe March 2014 edition of Magnificat includes a terrific series of short biographies, entitled, “Saints Who Were Artists.” Among those included are poets, painters, and musicians, ranging from well known to rather obscure. Among its many strengths, the publishers do a phenomenal job in the opening pages of introducing their readership to a new traditional chant every month-not an enterprise to be ignored in the larger project of sacred music renewal. In my estimation, Magnificat is a quality publication that serves an eager market. While its printed form may not be as noble as the bound volumes produced by the Benziger Brothers of old or the Midwest Theological Forum and Corpus Christi Watershed of today, my purpose in this post is not to comment on the disposability of some missal companions. Kinetic in nature, tracking can help dynamically show and express a desperate escape, like in Ursula Meier’s HOME.ANY FAITHFUL CATHOLICS, including both laity and clergy, subscribe to the monthly publication, Magnificat. In Antonia Bird’s FACE, a seamless tracking shot gives us an illusion of the camera being an extension of our eyes. They can ask questions and speak when hardly anyone else in the film is talking-like in Chantal Akerman’s FROM THE EAST or Marion Hänsel’s LE LIT. Tracking shots are to many an essence of filmmaking magic. They shape the cinematic world-through impressionist glances in Kathryn Bigelow’s BLUE STEEL, suffocating close-ups in Lucrecia Martel’s THE HOLY GIRL, and camera angles as extreme as the titular character’s emotions in Mahalia Belo’s ELLEN. They can make sport look balletic, like in controversial Nazi iconographer’s Leni Riefenstahl’s OLYMPIA. A basic human interaction-how to make it cinematic? Angela Schanelec directs us to focus on body language in PLACES IN CITIES, Cecile Tang uses the zoom as guide through the emotional shifts in THE ARCH, and Sofia Coppola in THE VIRGIN SUICIDES shows us an unspoken conversation, with songs and split screens telling a story of impossible longing.įrames describe and paint the scenes.
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