For much of its existence, the shape of Catholic liturgical art has been characterized by creating a balance between continuity and innovation. What do I mean by this? What I mean is that unlike the Eastern churches, art within the Western church has tended to develop in a balance between continuity with tradition on the one hand and development and innovation on the other. The key word here though is balance. While containing elements of things contemporary (at that time), this approach did not disavow the tradition upon whose shoulders it stood;.
Of course, this is a little simplistic in the sense that many "new" developments were really just old developments re-vistied and resurrected in some way, shape or form. For example, in the Renaissance we saw artists and others taking inspiration from classical culture, building upon it. The baroque age then developed upon this still further, as did Rococo and so on and so forth. In our own 'modern times' the gothic revival was perhaps the one instance of what amounted to a simple "copy and paste" exercise (to put it in modern terms) and in that regard, it may well be the outlier. However two modern stylisticl movements that did build upon what came before while incorporating newer design elements was Art Nouveau and Art Deco. These styles came about, beginning with Art Nouveau, in the late nineteenth century, and last until the first few decades of the twentieth. While they made their impact, regrettably they did not make as much of an impact in ecclesiastical liturgical art as they might have -- perhaps in part because, all things considered, these movements did not last particularly long and by the time they might have garnered more attention within the liturgical-ecclesiastical sphere, other developments were taking place (not least of which the First and Second World War).
We've shown some examples of Art Nouveau vestments before, but Art Deco vestments are far more rare. Admittedly, I would tend to suggest that Art Nouveau is a far better fit as far as liturgical art goes, in part because I think it shows greater continuity with what came before with its graceful curvilinear forms. Art Deco, by contrast, is characterized by angular, geometric forms. Still, it is a style that is not without merit in its own right, and at very least it is a matter of historical interest.
This particular set of vestments, which was designed by Johannes Jestel, Breslau (Wroctaw) circa 1920-1930 adopts a typically angular, medieval Italianate cross with highly stylized figurative representations of Christ, God the Father, Our Lady and two angels.
On the front, the Art Deco emphasis on angularity comes out once again in the column orphrey, which picks up on the cross shape found on the back, and a distinctly Art Deco period font with the words "Ecce Agnus Dei qui tollit peccata mundi" (Behold the Lamb of God who takes away the sins of the world.)
Not easily visible in these two images through is the fact this is not actually a flat black textile. This Art Deco fixation on angular shapes continues by way of the selection of what is a typically Byzantine/Greek textile pattern, the polystavrion.
All said then, what you can see within this design is a combination of traditional design elements such as the polystavrion, the Cimabue like Italian cross, as well as the chasuble's overall cut and shape, combined with design elements that, at the time, were distinctly contemporary in nature. This, of course, is the essence of what constitutes "the other modern" and this is yet another example of it.
It may not, of course, be to everyone's own personal tastes or preferences, but what cannot be said of it is that it is unworthy of the liturgy.
-------
Do you like Liturgical Arts Journal's original content? You can help support LAJ in its mission and vision to promote beauty in Catholic worship either by:
You choose the amount. Your support makes all the difference.
