Word: altar
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Dates: during 1960-1969
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...Believer. An intense nationalist who had a Pan-Slavic fascination with Russia-one reason why his work is exceptionally popular in the Soviet Union -Janáček was a bitter atheist. "A church is concentrated death," he once said. "Tombs under the floor, bones on the altar, pictures that are nothing but torture and dying. Death and nothing but death. I don't want to have anything to do with it." Atheist or not, Janáček had a profoundly spiritual appreciation of the value of life. One of his most powerful compositions is the Slavonic Mass...
...ambassador's 28 grandchildren were there. Six of the remarkably handsome brood served as honorary pallbearers. John Kennedy Jr., sometimes straining to remember the words, recited the 23rd Psalm, and eight Kennedy girls made up the offertory procession that bore the hosts, wine, ciborium and chalice to the altar. After the Mass, the clan drove to Brookline and buried the founder in a family plot marked by a large granite slab reading simply KENNEDY...
What is the purpose of this combustion? Just as night most vividly defines day, Grotowski believes that blasphemy against a taboo re-creates a sense of the holy. If a man were to defecate on a church altar, for example, even a confirmed atheist would feel some sense of shock. In that shock, in the very act of profanation, some sense of the sacred would be reborn and reconfirmed. Opposites imply each other. Grotowski shows an audience the passion of man, his agony, his desolation, his death, and above all the violation of his body and his spirit. By portraying...
...late 19th century, and not until this year did scholars and the public have an opportunity to see all his works in one place. The place was Hamburg's Kunsthalle, and the occasion the celebration of its 100th anniversary. The result was the realization that Meister Francke, an altar painter who worked in Hamburg around the year 1420, has far better claim than his later compatriots, Dürer, Cranach or Grünewald, to the title of Germany's first great artist...
Christ as the Man of Sorrows displays the same blend of mannered elegance and gory realism. But the triumph of Meister Francke's mature style is seen in the St. Thomas of Canterbury altar piece, painted after 1424 for a group of Hamburg merchants trading with England. The nine panels of this darkly glowing work depict episodes in the life of Thomas à Becket, together with scenes from the Passion of Christ and the life of the Virgin, achieving a peak of dramatic intensity hitherto unrealized in North German painting. In The Martyrdom of St. Thomas, the kneeling archbishop...