Lunch with LUMA
2013 Spring semester The Hank Center for the Catholic Intellectual Heritage, in collaboration with Loyola University Museum of Art (LUMA), introduced a new luncheon program called Lunch with Luma. These informal conversations with LUMA staff provide an opportunity for the Lake Shore Campus faculty to learn more about museum programs, collections, recent acquisitions, and notable events at LUMA. CCIH provides space and lunch. Please contact us for more information.
Crossings and Dwellings Exhibition
Wednesday, September 10, 2014 ~ 11:30AM - 12:45PM
Mundelein Hall, 4th Floor, Palm Court
Click here for more information on this event.
The Retablos at The Hank Center
Friday, January 25, 2013, 11:30 a.m. - 12:45 p.m.
A conversation with Loyola University Museum of Art curators about the history and significance of the XIX century Mexican devotional paintings. By invitation or faculty request.
Cuneo Hall, room 425, Lake Shore Campus, LUC.
Retablos, 19th century, Artist unknown, Mexican, Oil on tin
Gift of Jennifer and Isaac Goldman, 2012-13
Lunch with LUMA: Edward Gorey: The Cautionary Tale and Unlikely Redemption
Wednesday, 26 February 2014
11:30AM - 12:45PM
4th Floor, Klarchek Information Commons
Lake Shore Campus, LUC
By invitation only! Please contact CCIH (email@example.com) for more information.
Pamela Ambrose, Loyola's Director of Cultural Affairs will discuss the work of author and illustrator Edward Gorey and the current LUMA exhibitions Elegant Enigmas: the Art of Edward Gorey, organized by the Edward Gorey Trust, and G is for Gorey-C for Chicago: the Collection of Thomas Michalak.
Edward Gorey is well known for his work as a teller of the cautionary tale, reminiscent of the emphasis on teaching life lessons in fairy tales, and in parables from the Bible. Edward Gorey's work often focuses on the unfairness of life, the random accident, and the penalties we might suffer for daring. Using examples of his work, Ambrose builds a case for Edward Gorey to be interpreted in the spiritual context of both the Christian parable of the New Testament and Zen literary practices to further a Buddhist spiritual advancement.
Lunch with LUMA: The History of the Reformation in Six Cups
Lunch with LUMA
Tuesday, October 1, 2013
11:30am - 12:45pm
Cuneo Hall, Room 425
Open to faculty (RSVP Required)
A History of the Reformation in Six Cups
A talk with LUMA Curator Jonathan Canning
With the acquisition this summer of a late sixteenth-century silver Anglican communion cup, the university’s Martin D’Arcy, S.J. Collection can now tell the story of the Reformation through six cups.
Firstly, LUMA’s fourteenth-century Sienese chalice embodies the Catholic doctrine of Transubstantiation promulgated by the Fourth Lateran Council in 1215. Its deep tulip-shaped bowl and broad stabilizing base safeguarded the wine that upon consecration became the very Blood of Christ. The D’Arcy abounds with painted, sculpted, and embroidered images of chalices with similar profiles in the hands of angels at the Crucifixion.
In emulation of the domestic setting of Christ’s Last Supper, Anglicans adopted a type of covered cup to be found on their own dinner tables. The deep cylindrical bowl of LUMA’s 1582 Anglican communion cup is similar to that of a German covered cup also in the collection.
A commanding silver gilt chalice by the late seventeenth-century Augsburg silversmith Hans Jacob Ernst attests to the Catholic Church’s reassertion of doctrine. Red and white enamel plaques depict scenes from the Passion, including an image of an angel presenting Christ with a chalice of suffering in Garden of Gethsemane.
Two chalices tell the story of Catholicism in Anglican Britain. Both retain the traditional Catholic form adapted to the style of their times. The English Chalice bears an inscription recording its presentation in 1684 by the recusant Lady Rockwood to the college of Jesuits that secretly ministered to Catholics in eastern England. The chalice bears no hallmarks to protect the identity of the silversmith should it have been discovered by the authorities. In 1724, Peter Browne presented a chalice to the Dominican house on his estate at Burrishoole, County Mayo. The Protestant Anglo-Irish authorities closed the priory and seized it property, including this chalice, later that century.
Look for the announcement of the Anglican communion cup’s installation at LUMA later in the fall.
New Program: Lunch with LUMA
If the power of images to convey complex messages interests you, then you must see the seven nineteenth-century Mexican retablos that now grace the walls of the new conference room. Gifts of Madeleine Gomez, and Jennifer and Isaac Goldman to the university, the small paintings on tin bear witness to the rich spiritual and cultural heritage of the Church in Central America.
Like Byzantine icons, retablos were vehicles by which the holy became present before the devotee. For this reason, retablo artists, most of whom were anonymous and unschooled, adhered closely to traditional European models brought to the New World by missionaries. Mexican painters ignored Benedict XIV’s ban on representations of the Trinity in human form. It is not through physiognomy but by the color of their robes and the objects in their hands that one identified the three persons of the Trinity in La Santisima Trinidad. Two retablos promote the doctrine of the True Presence in the Eucharistic wine by depicting blood from Christ’s wounds filling a chalice around which lambs gather. A trace of older, indigenous imagery survives in the rendering of San Raphael. His feathered headdress recalls those worn by pre-Conquest deities, priests, and rulers.