Who Is The Patron Saint Of Artists – St. is called Luke is a colleague of St. Paul, an evangelist (the author of the gospel that bears his name and the Acts of the Apostles), and a Physicist. For iconographers, Saint Luke is revered as the first (according to tradition) to write an icon of the Blessed Mother. In iconography, the verb “write” is used instead of “paint” as an icon is considered a visual theology. Now, as far as I know, there is no known or verified icon that can be directly traced back to the hand of Saint Luke, but I have no problem considering this tradition as a possibility.
Luke was clearly an educated and talented man with many skills and abilities. In the first few verses of his Gospel, Luke establishes that his sources were some of the people who were “eyewitnesses and ministers of the word.” Luke is the only one of the evangelists to give a full and detailed account of the Annunciation and the Incarnation to Mary, as well as her visit to her cousin Elizabeth. Is it inconceivable that he met Mary himself?
Who Is The Patron Saint Of Artists
Luke achieves through his report of the Good News what the iconographer tries to do visually through the discipline and skill of writing an icon. Luke brings the reader of his writings to a direct encounter with the living Christ.
Who Is Your Patron Saint?
Icons should not be considered “paintings” in our modern, Western understanding of the term. Icons are not a representation that is separate and distinct from the original image. Conversely, icons are part of the person(s) represented. When I look at an icon, I’m not just looking at a painting of a saint, Mary or Christ himself; when I look at an icon, I look at the saint or Mary or our Lord. In fact, when I stand in front of an icon, the saint or Mary or our Lord stares at me. For this reason, the perspective of the horizon in iconography is actually reversed. (This is why icons may appear superficially simplistic to our eyes trained in the classical western notion of perspective and horizon in paintings. But icons are anything but simplistic and naive.) In iconography, the perspective of the horizon does not begin with the viewer who peers into the icon (as in classical western art); rather, it begins with the icon moving towards the viewer. The icon is looking at us.
This is an intensive lesson for pupils on how to approach the Gospels. Iconography can help to train our spiritual sight to realize that it is of great and important benefit to have the Gospels look at us and place us in the perspective of the horizon rather than the other way around. Time and time again throughout history we have seen the temptation to read the Gospels from our point of view and our small vantage point instead of letting the Gospels envelop us in their depth and horizons. This is a shame, and it always ends badly because we are always “poor” compared to God’s own perspective! In the Gospels we meet the face of Christ looking at us: Christ the rabbi and teacher, Christ the prophet, Christ the son of Mary, Christ the healer and miracle worker, Christ the merciful and good shepherd, Christ the judge, the Christ who transfigured, Christ giving Communion, Christ the beloved son of the Father, Christ suffering and betraying, Christ dying on the cross and being buried, Christ rose in glory!
The perspective of the horizon in the Gospels is the same as that expressed in iconography. In our reading of the Scriptures, perspective begins with the Word and moves towards us. The scripture stares at us and encloses us within its horizon and its possibilities, if we allow it and do not try to limit it to our narrow perspective.
Virgin Martyr To Musician: Cecilia As Patron Saint » Early Music America
Saint Luke is called the patron saint of artists because of the tradition of writing an icon of the Holy Mother. In his Gospel and in the Acts we are presented with a verbal icon of Christ and also of Christ and his Church. The wisdom of perspective and horizon in iconography can help us dig deep into a continuous encounter with the living Christ given to us by the evangelist and iconographer St Luke. We humbly ask you: do not scroll away. Hello readers, you seem to use a lot online; that’s amazing! It’s a bit strange to ask, but we need your help. If you have already given, we thank you very much. We are not vendors, but we rely on donations averaging $14.76 and less than 1% of readers give. If you donate just $5.00, the price of your coffee, Online School can continue to thrive. Thank you
Saint Catherine of Bologna was an Italian nun and artist born Catherine de’Vigri on September 8, 1413 in Bologna, Italy.
She was a member of an aristocratic family and the daughter of the diplomat Marquis of Ferrara. Catherine received an excellent education in reading, writing, singing and drawing while growing up at the court of the Duke of Ferrara. Catherine excelled in painting, Latin and viola.
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When the girl finally married, he wanted Catherine to remain in his service, but Catherine left the court, feeling that she was being called to the religious life.
In 1426, aged 13, he entered the Corpus Domini Convent in Ferrara and became a Franciscan Tertiary.
During this time, her convent disagreed whether it should continue to follow the Augustinian Rule or follow the Franciscan Rule instead. A Rule is a specific expression of Christian life that calls men or women of a particular religious order to a daily pattern of prayer, work, and charity.
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Determined to live a perfect life, Catherine was admired by her companions for her sanctity.
In 1432, Catherine and other young women from Ferrara founded a convent of the Order of the Poor Clares, an order founded by St. Francis and St. Clare of Assisi.
Catherine was already open to filling the humbler roles in the convent. She was a laundress, baker and carer of the animals.
St. Catherine Of Bologna
Through her efforts with Pope Nicholas V, the Poor Clares convent in Ferrara built an enclosure and Catherine was appointed superior. That position made her responsible for providing pastoral care and spiritual supervision to each sister. The reputation of the Community for its sanctity and austerity became widespread.
In 1456 Catherine returned to Bologna with her superior and asked the governors there to find a second convent of the same Order and become abbess of the convent.
Catherine continued to paint and write beautiful spirit guides and poetry. She wrote the essay on the 7 spiritual weapons necessary for spiritual warfare. And her painting of St. Ursula is still on display in a gallery in Venice.
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Throughout her life, Catherine had visions of Jesus Christ and Satan, which she documented in her essay. In one case, the baby Jesus was placed in her arms by the Blessed Virgin Mary.
She was buried without a coffin and her body was exhumed eighteen days later because of the many healings attributed to her at her grave and the sweet smell that emanated from her grave. Her body was found intact and still is. That means he’s not dead. Catherine is dressed in her religious habit, sitting upright on a golden throne behind glass in the chapel of the Poor Clares in Bologna.
Saint Catherine was beatified in 1524 by Pope Clement VII and canonized on 22 May 1712 by Pope Clement XI. She is the patron saint of artists, the liberal arts, against temptations and Bologna.
Our Lenten Journey, March 28: St. Catherine Of Bologna
Saint Catherine’s piety, kindness and benevolence attracted many to follow her on the path to Christian perfection. The beauty of her life and death encourages us to live in perfect charity as the goal of Lent.
Pope Benedict described this humble saint as: “At a distance of so many centuries, she is still very modern and speaks to our lives.” She felt that she had been abandoned by God, she was in the darkness of faith. Yet in all these situations she always held the Lord’s hand, she did not leave him, she did not abandon him. And walking hand in hand with the Lord, she walked on the right path, and found the way of light.”
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Faith And Inspiration: Encyclopedia Of Saints For Today
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