+
To reveal the depth and beauty of Christian truth
through Catholic sacred art
+
To assist pastors and families in forming the faithful
in the appreciation of the role of beauty
+
To organize spiritual retreats for artists, pastors
and /or associates
+
To work under the spiritual direction of a chaplain
+
To encourage members to abide by the norms and
decisions of ecclesial authority regarding sacred arts
EDUCATIONAL AIMS
+
To educate artists regarding the traditions and norms
of Catholic sacred art
+
To educate artists on current and traditional methods,
materials and techniques
+
To foster apprenticeship programs and mentoring
+
To cooperate with schools, colleges and seminaries
regarding education on the value and nature of Catholic
sacred art
+
To organize occasional workshops, classes and talks
for members, parishes and schools
PRACTICAL AIMS
+
To establish a directory of artists, architects,
conservators and artisans involved in the sacred arts
+
To catalogue the works of member artists
+
To establish shared studio space available to members
+
To provide support for members in their professional
development through such means as a mentor list
+
To foster communication among members
+
To encourage collaboration among artist members
+
To provide referrals and information resource exchange
among members
PROMOTIONAL AIMS
+
To pursue those activities, which promote the
professional and fraternal benefit of the members of the
society and its members
+
To cooperate with the Archdiocesan Sacred Arts
Commission
+
To cooperate with other organizations that promote
Catholic sacred art
+
To provide referrals, information and resource
exchange among members
+
To organize exhibits and sales for works that
exemplify Catholic sacred arts
+
To establish a gallery/museum for the exhibition and
preservation of works of sacred art from the Catholic
tradition
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Ecclesial Standards
In his address to the Guild in June 2003,
Monsignor D. W. Neumann, heavily cited the book
Church Building and Furnishing: The Church’s Way
by J. B. O’Connell. In dealing with the “laws of
Sacred Art”, O’Connell makes clear that these laws do
not constitute a set of regulations but rather norms to
which artists who work for the Church, and who create
sacred art, must conform. These “laws”, which the
jurors will use in evaluation, are summarized below.
Sacred art must be:
·
Orthodox,
in
complete conformity with dogmatic truth, the teaching of
the church, for sacred art is pictorial, apologetic,
teaches, interprets, and should aid the Catholic
formation of worshippers.
·
In conformity with the moral law, for
sacred art must edify and raise the spirit rather than
numb the mind and shock the soul.
·
Marked by a tone of holiness and
reverence, for sacred art is art used for a sacred
purpose and so must avoid those elements foreign to that
purpose.
·
Consistent with liturgical laws. As
sacred art is part of external worship, and liturgical
art is part of the Sacred Liturgy, what the artist makes
for the church-from the building itself down to the
smallest requisite of worship-must be fully adapted to
its purpose and in entire accordance with liturgical
law.
·
Sacred art is subsidiary and subject to
ecclesiastical control.
When art enters the church, it must
accept control other than that of mere aesthetics,
because it is no longer a question of beauty alone or of
personal experience, but of a religious message which
must be authentic. “On condition that these modern arts,
architecture, sculpture, painting, steer a middle course
between an excessive naturalism on the one hand and an
exaggerated symbolism on the other, and take into
account more the needs of the Christian community than
the personal taste and judgment of the artist, they
should be allowed full scope if with due reverence and
honour, they put themselves at the service of our
churches and sacred rites” writes Pope Pius XII in
Mediator Dei.
Social in character, for sacred art is art at the
service of prayer and liturgical art is at the
service of the community at prayer. Sacred art must
work to make revelation intelligible to the
faithful. Private revelation, and art that speaks
in secret codes has no place in the church and is of
limited value to anyone but the artist who has
produced it.
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Technical Standards
In
dealing with the technical aspects of the works to
be considered the jurors will use the following
guidelines.
Works will be judged on:
Maturity in concept, composition and design
Excellence of craftsmanship
Quality of materials
Balance between fidelity to tradition and
originality
Presentation
Acceptable Media: oil, tempera, acrylic, wax,
drawing, pastel, watercolour, fine art prints,
architectural renderings and models, photography,
sculpture, textile arts, glass, pottery, eggs,
calligraphy, woodwork, and metal work. All prints
must be marked.
Unacceptable media: objects made from kits, molds,
prefabricated materials, perishables, food products
or fragrances.
discussing the
establishment of a Sacred Arts Guild in the Vancouver area. Inspired by the
Holy Father’s “Letter to Artists” and encouraged by Monsignor D. W. Neumann and
Fr. Charles Ryan, we assembled a band of Catholic artists, and supporters for a
meeting held at Westminster Abbey, Mission, BC, in November 2002. There the
constitution and aims of the Guild were discussed and settled. Over the next
few months we held a few more meetings. In September 2003 the Guild began
holding monthly meetings at various churches around the Archdiocese of
Vancouver, where we hosted talks on topics of restoration, church architecture
and iconography. 
