Finding beauty in ugliness

Klee fantasy

1515 words, 8 min read

Last Saturday, Cardinal Gianfranco Ravasi addressed a meeting entitled “Beauty will save the world, let us save beauty,” organized by Earth Day Italia, that took place in the Vatican’s church of St Stephen of the Abyssinians. In his talk, Cardinal Ravasi spoke about the etymology of the word for beauty in Hebrew, Greek and Italian, pointing to the fact that in all these languages the word either directly refers both to beauty and goodness, or at least has roots that do. After the Q&A that followed, Cardinal Ravasi then added a few words in defense of a certain kind of ugliness, lest beauty be misunderstood as aestheticizing. What follows is my translated transcript of the talk:


I would like to start from a thing that is the most material possible, the most limiting possible, which, however, is always fundamental for humanity: that is, the vocabulary, words. […] In the Bible, both the Old and New Testaments, using two completely different languages – Hebrew and Greek, and we are still at the point of vocabulary, words, which, on the other hand are the fundamental instruments of communication, we have a single word that contemporaneously expresses two realities that are different for us. In fact, in Hebrew there is the word ‘tov’ (טוֹב) that at the same time means good and beautiful. And in the New Testament, predominantly when a prominent figure or a significant act is to be described, the Greek word kalos (καλός) is used, which in the New Testament means good.

Vatican good shepherd800px ACMA Moschophoros

Let me give you an example that you all have in mind but about which you maybe do not have the idea of its original Greek basis. How does Jesus define himself in John’s Gospel? I am the good shepherd. I am sure you all have the famous statue of the good shepherd from the Vatican museums in mind, which is a Christian transcription of a Greek statue of the moscophoros. So, in Greek we have – listen! – “egō eimi ho poimēn ho kalos” (ἐγώ εἰμι ὁ ποιμὴν ὁ καλός.) “Ho kalos” – I am the beautiful shepherd, because these two realities must interweave among us.

With this background, let’s look at Italian. […] In Italian we have this word “bello”. Now, probably only few among you know […] that it has nothing to do with Latin. What does “bellum” mean in Latin? War. That has nothing to do with it. Think about the fact that the word “bello” is a deformation – or the synthesis, the portmanteau, if you will – of a late mediaeval Latin word which sounded like this: “bonicellus” which means good, pleasant, nice and which gradually became first bonellus and then bellum, but in Italian and not in Latin. So, you can see, that at the basis of the Italian word beautiful (“bello”) there is the word “good.”

Let’s now pass to another word, which is antipodean to the word beauty, which is “brutto” (ugly). In Italian there are two words that bud from it and these two other words have the same basis but are not synonymous with it, even if we may use them in an undifferentiated manner. We have the words “bruttezza” (ugliness) and the word “bruttura” (nastiness). The word “bruttezza” indicates an aesthetic quality while the word “bruttura” an ethical one. Imagine for a moment, without wishing to give offense since this applies to many other cities too, that we are going to a district at the peripheries of Rome. A dilapidated district, a district where there is exploitation and rampant overdevelopment, where blocks of flats are built on top of each other in all their ugliness (bruttezza). Such spaces also tend to become the sites of moral degeneration and of social degeneration. And so we arrive at the dimension of nastiness (bruttura).

This is why I am saying that the aesthetic question is also relevant to the ethical and social question. Imagine a kid, one of our kids, who comes out of one of these quarters, where he always sees a gray and rundown block of flats, a flowerbed – if there is one – that is always scruffy, streets that are littered with garbage … and he comes to the center and sees the splendor of architecture, of monuments, … What does he do? He slashes them. They mean nothing to him. Because, with the ethical dimension he has also lost the aesthetic one.

Piazza miracoli

Instead, let’s imagine a kid in the 14th century, who’d leave his house in Siena, would enter the Square of Miracles and walk around in that quarter. Evidently here aesthetics in some way influenced a lifestyle. Naturally, subject to the limits of the weakness and the wickedness also of the human creature.

I conclude and would just like to remember [… a message from the bishops at the Second Vatican Council to artists that reflected on the despair caused by ugliness and nastiness] but in that same message there was also another consideration […] whose basis was that art and faith – both authentic: authentic art and authentic faith – are sisters. Why? And I’d like to answer that with the words of a great painter, Paul Klee, who wrote a very important definition of art: “Art does not represent the visible, but the invisible that is in the visible.” Transcendence. And what is it that religion does if not the same job? […] And finally I would like to quote a writer who is far from Christianity and who is also immoral in the eyes of Christianity: Henry Miller, who wrote Tropic of Cancer, Tropic of Capricorn. In a short essay, The Wisdom of the Heart, […] he wrote the following phrase: “Art, like faith, is good for nothing, other than to show the meaning of life.” And that is not little.

[… at the end of the Q&A that followed, Cardinal Ravasi added:]

I would like to conclude by speaking about ugliness. Let’s say straightaway that squalor is squalor and there is ugliness that is ugly. And we need the courage to say it. We have to say that we are being assaulted by ugliness and nastiness. But, having said this, I would now like to present an defense of ugliness, but of a particular ugliness. For many, and that is why I don’t like this expression that “beauty will save the world” so much, it has become a generally aestheticizing phrase.

We can see, and these are often the victims, with women that feminine beauty has become thought of exclusively as the fruit of an artificial operation applied to a person. To the point of having created an entire medical discipline whose criteria are aestheticizing ones, at times in the form of an external lucidity that, however, isn’t a profound transparency. I remember a beautiful poem by John Donne, this great 17th century English poet, which should be read in English. What does he do? He dedicates beautiful verses to the face of his wife, which by then is marked by a web of wrinkles. To this he says – and I agree fully, “I haven’t seen a season as beautiful as autumn.”1 Imagine what Roman autumn is like. It is infinitely more beautiful than summer.

This is why I said that I would like to present a sort of defense of ugliness. […] Beauty is not smoothness. It is not a dictation formed by beautiful words searched for in a dictionary, as Sunday poets often do. It is, instead, the capacity to capture the transcendent, to capture that which is not seen, but that which is the soul of reality. So, when you go and see an exhibition […] of Caravaggio, you can’t come out from it indignant because Caravaggio also touches evil.

Caravaggio Judith Beheading Holofernes

Without reflecting on evil, and evil is ugly, we wouldn’t have 60-70% of literature. It would not exist. We’d have to get rid of virtually all of Dostoyevsky. This is why I say that it is important to remember that the beautiful is also the groundwork, the pilgrimage, the entrance to the substratum, the underground (to use Dostoyevsky), the entering into a nest of vipers (to quote Mauriac) that represent humanity. When Rilke, who is one of the great poets that I love alongside Eliot, writes the Duino Elegies, how does he define beauty? He defines it as “the beginning of terror.” This is an impressive theophany that torments. Not being a writer or a poet I’ll give my voice to Virginia Woolf, when she too defines beauty saying: “Beauty has two faces, one of joy, one of anguish, both cutting, wounding the heart.” That is, beauty offends, disturbs, disconcerts, also. Let’s think of the Divine Comedy. The best part, they say paradoxically, is the Inferno. And this is precisely because the song wants to enter … and it is also right that we be able to see in something ugly, that may represent humanity’s breath of pain, that we try to look even there for what is truly beautiful that, in the end, however, redeems even evil. It is transfiguration. It is liberation.


1 I guess Cardinal Ravasi is referring to Elegy IX: The Autumnal.

Freedom, with and without God

Banksy westbank wall balloon girl1

[Warning: very long read :)]

A video that has been burning a hole in my pocket since last November is the recording of the opening evening of the Berlin Courtyard of the Gentiles, that I already wrote about in a previous post.1 While I focused on Cardinal Ravasi’s talk on beauty and art there, today I’d like to cover the opening session’s discussion of morality, which was conducted under the title “Freedom, with and without God” and where Dostoevsky’s controversial dictum: “If God does not exist, everything is permitted” provided the initial impetus.

To open the evening’s dialogue, Cardinal Gianfranco Ravasi starts with a quote from Albert Camus’ The Plague, which says: “Can one be a saint without God? That’s the problem, in fact the only problem, I’m up against today.” and then proceeds to set the scene by being critical of the obstacles to open and fruitful dialogue between those who hold religious beliefs and those who do not:2

“These days a kind of fog engulfs both true religion and rigorous atheism. This is more of a sociological than an ideological phenomenon. It is an indifference, a superficiality, a banality, a sarcastic derision. In this atmosphere of indifference, mythos rules over logos, the pamphlet replaces the analytical essay, a fundamentalist approach is stronger than a critical weighing of alternative positions, jeering conflict is valued over a calm exchange of ideas, faith gives way to a spiritual collage. Syncretism uses a spiritual menu from which to compose an a la carte offering from which everyone can pick and choose what happens to suit him or her. These pathologies both of unbelief and of religion can benefit from a response in the form of the following dialogue.”

Ravasi then acknowledges the differences of the two positions and proposes that they nonetheless share a common element:

“In fact, the two logoi, the two argumentative positions that will be presented next, have an intrinsic difference, an objective difference. The secular non-believer takes the individual as their point of reference – the subject who seeks their own, personal and social, ethical orientation. The religious person, on the other hand, is convinced that truth, nature and moral order precede and exceed us. To use a famous image from Plato’s Phaedros, these realities are like a plane that stretches out in front of the chariot of the human soul, which proceeds through it towards discovering its objective foundations. A first point of agreement between these obviously differing perspectives – one which is predominantly subjective and the other objective – could be the thoughts of St. Augustine, who claimed that in each one of us there is an innate, original knowledge of good and evil, which enables the capacity for moral judgment. […] A reference to conscience is not a optional call to situational subjectivism, but a return to this radical anthropological structure, which is our conscience. At the same time we have to constantly bear in mind the limitedness of the human subject inherent in its being a creature.”

The opening remarks are then followed by two talks, one by a non-believer and the other by a believer. The first speaker was Prof. Herbert Schnädelbach, an agnostic philosopher whose work has included social philosophy and theories of rationality, epistemology, free will and values. Here Schnädelbach kicks off with an anecdote:

“A friend of mine, who is also a philosopher, said: “This sentence should be place on a list of the most stupid sentences ever – and fairly high up. Even in the absence of the existence of God, I am not allowed to break a red light, to withhold the payment of my taxes or to hit my wife, if that were even physically possible for me. And it is irrational to think that all of this were permitted without God.””

And proceeds to argue that the Dostoevsky quote is meant to teach us a fear of atheism and of atheists, and a fear of what supposedly follows: senselessness and anarchy. Dostoevsky’s quote implies that all rules and norms cease to have power in the absence of God. However:

“we live in a whole network of rules that we adhere to because we consider following them to be rational (e.g., the highway code), or because we want to avoid penalties imposed if they are broken (e.g., paying taxes). I can’t imagine though that Dostoevsky would not have know this. […] Dostoevsky claims that reason is an insufficient basis for our normative culture, that its normative power is too weak, that a more resilient basis is needed to hold up their edifice and that this foundation can only be God.”

This leads Schnädelbach to asking whether “God is even a suitable foundation for norms and who this God is?” and to drawing a parallel with Plato’s dialogue about the nature of piety in his Euthyphro: ““Is the pious loved by the gods because it is pious? Or is it pious because it is loved by the gods?” (10a). By analogy, Schnädelbach asks “is what is good and right for humans, good and right because God commanded it, or did God command it because it is good and right for humans?” and argues that there are two possible answers, using the Ten Commandments of the Old Testament as context:

  1. In the first case, God is sovereign and can freely choose what is good and right and no one can hold him to account. This is a voluntaristic image of God, which is closely related both to fundamentalism and to normative nihilism. They are two faces of the same coin. They rely on the same model of thinking of the all or nothing: either there is an ultimate justification or there is no justification, which is why systematic philosophers, at least since Descartes and until Hegel, have always looked for an absolute first justification for knowledge and claimed that the alternative is skepticism.
  2. In the second case, if God commands what is good and right, he is not an unaccountable tyrant, who could, at will, one day, make law what is evil and unjust. He commands what every person can see to be good and right with their own, healthy reason. This makes commandments 4-10 merely God teaching the People of Israel what they themselves could have discovered with their own reason, and the same would hold true for all of humanity too. This God, who commands what is rational because it is rational, and for no other reason, is the God of the Johannine Logos.”

Schnädelbach then proceeds to argue that only one of the above scenarios is problematic:

“If one assumes a sovereign God who commands without it being possible to ask them for reasons, i.e., where norms are divorced from reason, and if one then denies their existence, then truly everything is permitted. Then our normative culture would have its foundations removed. This danger does not exist, however, if the God who commands what is right and just, because it is right and just for humans, does not exist, since there is still the chance that people will discover it with their own reason and will make it hold even without God’s teaching.”

And, finally, the argument is brought to its logical conclusion, which, along the above lines or reasoning leads to a redundancy of God:

“Why should the practical reason of people and their free consent to what they discover to be normative in the process of rational discourse not be sufficient? Admittedly, this does presuppose the mutual recognition of discourse participants as free and equal partners, and their uninhibited participation in processes where public will is built and set. My final questions is: what could an transcendent God add at this point?”

I have to say that I find Schnädelbach’s reasoning very clear and compelling. There is a basis for morality derived from reason and consensus that is well-founded without the need for God. As a Christian I see this is as being extremely positive, and consistent with my belief in a loving God, who does not make a pursuit of what is good contingent on a person believing in His existence. There’d be more to say regarding the idea of a God who “can freely choose what is good and right,” but I’ll leave that for another time :).

Returning to the Berlin event, the second speaker of the evening was Prof. Hans Joas, a Catholic sociologist, who has worked in areas like social philosophy and the history of values. Joas first appeals for specificity, arguing that there isn’t a single religious or even Christian position, like there isn’t a homogeneous secular or atheist position and that “the level of discussion on this topic rises as the level of abstraction is lowered.” He then proceeds to present his view of the role played by morality in atheism:

“In the 20th century the vast majority of thinkers and writers who have self-identified as atheists did so for strong moral reasons. Often their arguments against faith were moral arguments: a focus on the afterlife would limit one in working for the good here on earth, one would do good only in the hope of a reward in the afterlife, or, a focus on the afterlife inhibits living this life to the full. Religions lead to unnecessary feelings of guilt, risk leading to hypocrisy in interpersonal relationships, or to a denial of one’s corporeality. For those who thought or think in this way, the absence of God is even a heightening of morality. This has to be taken seriously and I have high esteem for philosophers or writers who thought in this way, such as Ludwig Feuerbach or George Eliot. These are people who understood an exceptionally great deal about faith and who were exceptionally serious about going beyond what religion and Christianity had to offer.

For us Christians, it is necessary to look at the history of these views as a history of our failures. These weren’t lunatics, but people who understood certain things very precisely, and it was a failure of Christians to present their faith to them. An example is also the strong secularization of the workers’ movement in 19th century Germany, instead of its alignment with the Church. When asked, some of its members said that they didn’t go to church because they didn’t have the right clothes … This is an actual quote from a survey of Protestant pastors about dwindling numbers at the time. What shocked me here is that the pastor in question didn’t think, “What can I change about the Sunday service, so that people don’t stay away for a stupid thing like clothes.”

The atheism that had such strong moral motives in the beginning, has in some instances also degenerated, as in the case of the German Democratic Republic (GDR), where its leading philosopher claimed that the supreme moral point of reference was the wellbeing of the GDR. And today, there is often a tiredness on the side of non-militant atheism and a rigidity on the militant side. The first challenge, in my opinion, is to reopen a dialogue between believers and non-believers and a mutual awareness.”

Joas then moves on to distancing himself from the Dostoevskian quote and from belief in God being a prerequisite for morality, and instead argues for a developmental and experiential basis, from which God can then be sought:

“I don’t agree with the statement “Values need God.” Many findings in the context of developmental psychology and cultural anthropology point to another source, which has nothing whatsoever to do with religion, and which consists in experiences of reciprocity. Already games played by children point to fundamental rules that underlie human coexistence. Reflecting on them points to the value of justice, to the value of fairness in interpersonal relationships. At the same time, such relationships are under threat of falling apart if one of the participants chooses not to adhere to the rules, e.g., when these are to their disadvantage.

It is therefore useful to think about what it could be that would make humans adhere to moral rules, other than rational appeal, and what could make them adhere to them even when these are to their short-term detriment. What motivates the start of moral reasoning, what makes one start thinking about moral questions, what makes one adhere to shared moral rules? This still doesn’t bring us to God though. I believe we arrive at strong values, at intense convictions of there being such a thing as the good. This can be rooted in positive experiences, such as an encounter with someone who lives in an exemplary way, or in negative experiences, such as wanting to make sure that something doesn’t ever happen again the way that it happened before. For example, on German soil, National Socialism was an obvious, direct experience of evil itself, without the need for rational underpinnings. Then, a long journey can begin that can lead to an understanding how God relates to these values and rules.”

The position of Joas is very clear here: morality played a strong role in early atheism and is in no way in need of divine justification. Even the simple experiences of children lead to a recognition of the good of justice and fairness. My takeaway here is the importance of the emphasis of our common ground, which is what Joas chose to do here – an emphasis of the role of experience and the innate ability to identify good and evil, with only a hint of how God relates to morality for a Christian.

In the discussion that followed, Joas returned to the role of reason in morality, and emphasized the psychological perspective:

“Many things appear as obviously good or evil to us; reasons for why that is are needed when we encounter others who don’t share these evidential experiences with us and challenge us to explain why we value certain things. If we are honest with ourselves, we can see that whether something is good or evil is a matter that does not require rational justification to ourselves – it is obvious to us, and even in the face of counterarguments from others, instead of changing our minds about what appeared good to us from the start, we will look for reasons to support our original intuition. Note that this is a psychological, not a philosophical argument.”

The final contribution to the discussion was Schnädelbach’s sharing his personal experience of what it is like to be a – as he self-labeled himself – “pious atheist”:

“I have great respect for personal piety and for religious experiences, but personally I have to say that I can’t connect these to the God of the Bible – neither the Old nor the New Testament. At times, when something very good happens, I feel the desire to thank someone. But whom? And when something bad happens, I feel – like Job – the urge to argue with someone. But there is no one. I think though that this is the point that makes me who I am – a pious atheist.”

And to conclude the evening, Cardinal Ravasi was invited to share his thoughts, which he prefixed with saying that he is resisting the temptation to join the conversation between Schnädelbach and Joas or even to summarize it. Instead, he decided to present his understanding of the verb “to know”:

“In Hebrew the verb is yada, which has the same meaning as the New Testament Greek word genoskein, which reflects very well the polymorphism of anthropological knowledge, of human knowledge. Knowledge, according to this view, which is a symbolical view that is important also in the current dialectic or counter-positioning of faith and science, arrives along four ways. There is first the intellective, rational way. Added to it is the volitive way; decision, the willed intensity of knowing. The third line then is that of affectivity, of feeling. And the last, the fourth way, is that of action – knowing, which, e.g., in the Bible also means a completion of the sexual act. In other words, an encounter between two people in the fullness also of corporeality.

At this point, knowledge arrives in diverse ways, and each of these ways may lead to different stages. However, all of the stages are necessary. Hence the knowledge of the horizon of God, of transcendence, is a knowledge that has to pass through all of this, this whole itinerary. Therefore, the scientific way is certainly also relevant, as is a well-elaborated theology. But what is also indispensable is a knowledge of the esthetic kind, also of the spiritual kind, of a mystical kind. And this is why individual concepts and individual disciplines reveal themselves to be insufficient if they don’t travel along all the four ways.

This is also true of human experience itself, in general; To know a reality fully, it is not enough to only have knowledge of the phenomenon, knowledge of the context, knowledge of the “documentation.” A knowledge of love is also necessary, a knowledge that is substantially narrative. This knowledge that is also historical is the one that predisposes us to the ultimate foundations, to extreme questions.”

Since this post is massively long as is, I’ll refrain from attempting to present my own understanding of this topic, and will defer to do so at a later time. In any case, my intention with this post was just to share with you the above conversation among Cardinal Ravasi and Profs. Joas and Schnädelbach, which was such a joy to follow and whose availability only in German has been bugging me over this last half year.


1 It may come as a surprise to long-time readers of this blog, but I am actually following up on a strand from a previous post that I said I’d follow up on :).
2 All quotes from the event here are my crude translations from the evening’s recording in German.

Beauty wounds

Give or take

The latest in a series of “Courtyard of the Gentiles” events took place in Berlin this week and I have to say that I have been very impressed with the little of it that I have managed to follow via its livestreaming. The discussion between Profs. Joas and Schnädelbach (masterfully moderated by Prof. Markschies) was a particular gem, to which I definitely hope to return at a later date (with a highlight being Joas’s call for a confederacy of the “ethically universalist”1 – very much along a previous post here). If you understand German, I very much recommend the recordings of the event, as they represent a, to my mind, exemplary instance of dialogue between Christians and non-believers.

In this post, however, I’d like to share some of my favorite parts of Cardinal Gianfranco Ravasi’s opening address of the “Religion on stage” session that took place at the Deutsches Theater Berlin and where he spoke about beauty, a topic that is very close to my own heart. The text of his talk is available both in German and Italian on-line and the following excerpts will be my own, crude translations from both versions combined.

Ravasi opens by pointing to Judeo-Christian religions representing God Himself by analogy to the aesthetic and to drama,2 which can be seen in the Old Testament in the book of Wisdom: “For from the greatness and the beauty of created things their original author, by analogy, is seen.” (13:5) and already in Genesis, where “God saw that it was good.” (1:10) when looking at what he has created. Here Ravasi makes an important observation about the Genesis text, where the Hebrew adjective tôb, which is rendered as “good,” has not only ethical and utilitarian, but also aesthetic meaning. This would allow for the phrase to be put also as “God saw that it was beautiful.” His final Old Testament reference with regard to this idea is my favorite and points to the book of Proverbs, where God’s creative Wisdom is represented as a girl who “was his delight day by day, playing before him all the while, Playing over the whole of his earth, having my delight with human beings.” (8:30-31). I like this image very much since it ties together creativity, wisdom, play and joy and since already as an image – beyond its metaphorical content – it is beautiful.

The above leads Ravasi to the realization that faith and art are sisters by nature, since – in the words of Paul Klee about art – “they don’t represent the visible, but the invisible that is in the visible.”3 Another dichotomy that is at play both in life and in art (specifically the theater) is that of suffering and joy – of drama and comedy, which Fyodor Dostoyevsky explains by saying: “tragedy and satire [comedy] are sisters, who walk hand in hand and who together are called truth.” To this, Ravasi adds that “authentic art seeks to express also the dark side of this truth,” which he then expands on by first quoting Rainer Maria Rilke: “The beautiful is nothing but the beginning of the terrifying” and then Virginia Woolf: “The beauty of the world has two edges, one of laughter, one of anguish, cutting the heart asunder.” Finally, this line of reasoning is pushed even further through the words of the then-Cardinal Ratzinger from 1992: “beauty wounds, but precisely by doing so, it awakens man to his highest calling.”

This emphasis on the integrity and comprehensiveness of art with respect to the full spectrum of human emotion is an important move away from the backward-looking, formulaic, stylized or solely artisanal nature of sacral “art” that Ravasi bemoans (and he is equally critical of contemporary attempts that result in “sacral garages where God is parked and the faithful are lined up”). Such failures lead to the divorce between art and faith that has been the case since the last century and that Ravasi has clearly spoken about already during the announcement of the Vatican pavilion a this year’s Venice Biennale. In contrast to its pathologies, Ravasi points to the importance of the cuts that authentic art can inflict and emphasizes that they can be “slits that open onto the infinite and eternal, the absolute, the mystery and the divine,” regardless of the faith of the artist, e.g., as with Lucio Fontana’s – a contemporary of Marcel Duchamp – “Tagli” or “Concetto spaziale” pieces, and – in my opinion – in a less literal way in the work of Louise Bourgeois (e.g., see her “Give or Take”).

Ravasi notes that the separation between art and faith has also, naturally, lead to a shelving of the themes, symbols and narratives of the Bible, which, e.g., Chagall held in very high regard: “For centuries painters dipped their brushes into this colorful alphabet, that of the Holy Scriptures.” Next, Ravasi makes the – to me – most interesting move by a virtuoso application of the principle of charity: “Even certain desecrating and blasphemous expressions4 that have recently elicited strong responses ultimately show not only the strong impact that religious symbols and themes maintain even in a secularized society, but perhaps they also manifest a nostalgia for the signs and images that have been such an extraordinary source of art and culture for two millennia.”

To sum up, I’d like to take advantage of Prof. Dr. Hans Joas’ words from his remarks of the opening session of the Berlin Courtyard of the Gentiles, where he called for “curiosity with regard to the other and humility with regard to oneself,” as a basis for authentic dialogue. I believe Cardinal Ravasi has taken great steps towards a new relationship between the Catholic Church and contemporary art, both in the practical move of participating in the Venice Biennale earlier this year, and in his clear attempts to recognize value and goodness even in art that at first sight is opposed to faith and in being explicit about the breadth of expression that authentic art requires.


1 As opposed to an “ethical particularism” that distinguishes between religious and secular ethics.
2 E.g., for a recent example, see also Hans Urs von Balthasar’s five-volume work “Theo-Drama: Theological Dramatic Theory.”
3 This seems to be related to the following, more extensive quote: “Art does not reproduce the visible; rather, it makes visible…. My aim is always to get hold of the magic of reality and to transfer this reality into painting – to make the invisible visible through reality. It may sound paradoxical, but it is, in fact, reality which forms the mystery of our existence.”
4 Characterized as “desecrating and blasphemous,” the most obvious example that springs to mind is Andres Serrano’s photograph [view at your own discretion].