The Rediscovery of Catholic Art

A small but precious early Renaissance painting the New York Historical Society has had in its collection since the 19th century has been recently restored and is being exhibited with two other panels which originally were probably attached to it.

Thomas Jefferson Bryan was an avid collector of art in the mid-19th century; the Gaddi altarpiece formed part of his collection. He exhibited these painting in New York as part of his Gallery of Christian Art, where the arrival of the so-called “Italian Primitives” must have been quite a shock. Mr. Bryan’s own portrait (above) reflects the neoclassical/romantic styles that at that time governed artistic taste on this side of the Atlantic. In 1867 Bryan’s collection of Christian art found a home at the New York Historical Society, the first museum in New York. Regrettably, much has been dispersed over the years.

This depiction of the enthroned Madonna and Child (Maestà) from 1330-34 is from the hand of Taddeo Gaddi of Florence, who had worked in Giotto’s workshop. His painting unites the hieratic style derived ultimately from Byzantium with the early Renaissance style originating with Giotto. Gaddi achieves monumentality in a work of modest dimensions.

(Above) The exhibit unites the central Maestà with two shutters that art historians think were likely attached to it.

Bryan’s Gallery of Christian Art was one of the first attempts by a wealthy collector to bring Catholic art of the medieval and Renaissance eras to the United States. In New York City alone a remarkable series of successors followed: J.P. Morgan’s Library, Huntington’s Hispanic Society of America and Rockefeller’s Cloisters. Do we not sense a longing for something their contemporary culture could not provide?

And now is not this art with its gold background, symbolism and solemn hierarchical figures a thousand times more foreign to the contemporary culture of New York than it was in Bryan’s day? For at that time a kind of Christianity, still shared by almost all in mid-19th century American culture, provided a means of access to this art. That is no longer the case. And even the Catholic Church, for which these masterpieces were created, has largely forgotten – indeed, has actively repudiated – this art. But for those pondering – or actively working on – a new rebirth (“renaissance”) of both culture and Church this painting and the story of how it came to this City will be a hope and inspiration.

(Above)The exhibit also includes several other Renaissance works that had been a part of Bryan’s collection – such as this Sienese crucifixion.

On view until March 20 at the New York Historical Society. (The permanent collection is closed until 2017 and the admission charge is on the high side – so you may prefer visiting during “pay-as-you-wish” on Fridays 6:00 – 8:00 PM.)