“My conscience will not allow me to make boring art for God”: Artist Daniel Mitsui

Daniel Mitsui likes drawing on calfskin vellum the best.

It’s popular with artists who, like Mitsui, create works in a medieval northern European style. But it’s not mere tradition or attachment to history that makes calfskin so appealing to Mitsui.

“It’s really, really, really nice,” he said. “It’s a very precise medium because, on a microscopic level, it’s an organized layer of skin cells. You get a more precise line, and you can make corrections easily by scraping away a layer with a knife.”

Try that on paper made from vegetative matter, and you’ll tear your picture up. But calfskin vellum is forgiving.

“People sometimes say, ‘How can you be so precise?’ That’s part of the secret. You draw on a better surface,” Mitsui said.

Mitsui, 41, has spent decades doing the work of carefully sorting, modifying and balancing tradition with innovation — or, more precisely, “combinations of influences, rather than wholly new ideas,” he said.

His work is distinctly medieval but brings in elements of Persian, Celtic and Japanese art.

“I think of it as a living style, rather than a historical one,” he said.

“In religious art, there’s a requirement that you try to uphold tradition in some manner, but I think that tradition is mostly in the content and the arrangement of the picture. It’s not really stylistic, so much as what you are showing, and with what associations,” Mistui said.

Thus he brings his audience “Great Battle in Heaven” in the style of a Japanese woodblock print.

On his site, he explains how he synthesized the appearance of the angelic warriors, who look like the heroes in prints by Utagawa Kuniyoshi, with a composition from one of Albrecht Dürer’s apocalyptic works. The result is at once arrestingly unusual and weirdly familiar, like a vivid but coherent dream where the mind feels free to draw on any meaningful image.

He is aware that not every viewer will be well versed in the Patristic writings and artistic conventions that enrich his work, so he tries to write descriptions to help the viewer understand more fully what they are seeing.

“It’s something I’m not as on top of as I’d like. I’m a relatively fast artist and a relatively slow writer,” he said. “I’m always behind.”

He said that medieval art is full of well-established symbolism, which is not necessarily obvious when you first look at it, but a little bit of analysis will provide the background to show how well it corroborates with what the Church Fathers have always taught.

“I very strongly value tradition as a theological concept, as the basis of Catholic epistemology. It’s how we know what we know as Catholics. That underlies my artwork; that’s part of what I’m trying to communicate,” he said.

But his work enjoys enormous appeal across a wide range of audiences because the images themselves are so compelling. And remaining faithful to tradition doesn’t mean limiting his scope.

“There’s really very different views on artwork even in traditional Catholicism,” he said. “If you even go back to the 12th century, the Victorines and the Cistercians had very different notions of aesthetics. I can’t just say, ‘My work depicts traditional Catholicism.’ Well, which part of it?”… Read the rest of my latest artist profile at Our Sunday Visitor

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Image: “Jesus Christ in Majesty with Cherubim and Seraphim” by Daniel Mistui

 

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This is the ninth in a monthly feature on Catholic and Catholic-friendly artists I’ve been writing for Our Sunday Visitor. 
Previous artists featured in this series:
Mattie Karr
Jaclyn Warren
Daniel Finaldi
Gwyneth Thompson-Briggs
Chris Lewis
Kreg Yingst
Sarah Breisch
Charles Rohrbacher

If you know of (or are) a Catholic or Catholic-friendly artist you think should be featured, please drop me a line! simchafisher at gmail dot com. I’m not always excellent about responding, but I always check out every suggestion. Thanks!

Meaningful Christmas traditions and how to wrangle them

I’ve tried various esoteric practices involving veiled candles, bits of straw, paper chains, acts of service, gift lotteries, medieval anagrams, and every other kind of overachieving cultural what-have-you that caught my eye while I was desperate to make everything Meaningful For The Children.

I remember one year worrying so hard about materialism that I told the kids that one of their presents would be the opportunity to choose a gift for a poor child, and donate it. It wasn’t a bad idea . . . for the older kids. The younger kids, predictably, misunderstood horribly, and it was bloody awful. I only hope they’re so young, they don’t remember the year Mama apparently told them they could pick a toy for themselves and then forced them to dump it into a box and walk away for no reason at all. AT CHRISTMAS.

So. We don’t do that anymore. Through the decades, here is what I have learned about Christmas family traditions . . . 

Read the rest of my latest at The Catholic Weekly

Next Year in Jerusalem

Have you taught your children that, while Christmas is very important, it’s really Easter that’s the greatest feast of the year? Do they buy it?

When I was little, this point of doctrine was obvious: All during Holy Week, my father could be heard practicing the Exsultet to chant at the Easter vigil, as my mother fried and ground up liver and onions in preparation for the Passover seder. The fragrant schmaltzy steam of the chicken soup, the palm leaves, bags of jelly beans for Easter Sunday and the boxes of jellied fruit slices for the seder—these were all equally essential for Holy Week. We drooled over the growing heaps of luscious Passover food as we suffered the final pangs of Lenten sacrifices. My mother covered her head to bless the candles at the start of the seder, and then a few hours later, hovered over us in the pew to save us from singeing our hair on the Easter candles. I can’t imagine eating leftover gefilte fish without a chocolate bunny on the side; and I can’t imagine hearing “Christ our light!” without echoes of “Dayenu!” – “It would have been enough!” still lingering, both exultant prayers of thanksgiving to the God who always gives more than we deserve.

You might be pardoned for imagining some kind of schizophrenic clash of cultures in my house, but that’s not how it was. My parents did struggle to synthesize the incongruities between Catholicism and Judaism (and for a hilarious read, check out my mother’s account of interfaith communications). My parents were raised secular Jews, and went through a long and strange exodus through the desert together, and eventually converted to Christianity—and then, when I was about 4, to Catholicism.

But for us kids, there was no incongruity: Growing up Hebrew Catholics just meant having much more FUN on Easter than anyone else. My Christian friends wore straw hats, ate jelly beans, and maybe dyed eggs if their mothers could abide the mess. We, on the other hand, whooped it up for an entire weekend as we prepared for and celebrated the Passover seder, the ceremonial feast which Jesus ate with his disciples at the Last Supper. At our seder, which we held on Holy Saturday, there was chanting and clapping, giggling over the mysterious and grisly ceremonial roasted egg and horseradish root, glass after glass of terrible, irresistible sweet wine,

special silver and china that only saw the light of day once a year, pillows for the chairs so we could “recline,” and the almost unbearable sweetness as the youngest child asked, “Why is this night different from all other nights?”

It was different because, every single year on that night, there were laughter and tears. The laughter was always more: I waited with bated breath for my father, after drinking his third or fourth ceremonial glass of wine, to trip over the Psalm and say, “What ails thee, o mountains, that you skip like rams? And o ye hills, like lung yams?” And then there are the tears, when we remember the slaying of the first born, and a drop of wine slips from our fingertips onto the plate.

Most Catholics are familiar with the idea that Moses prefigured Christ: Baby Moses was spared from Pharaoh’s infanticide, as baby Jesus was spared from Herod’s; Moses rescued his people from slavery, as Christ rescues us all from sin and death; the angel of death passed over the houses whose doors were marked with the blood of the sacrificial lamb, just as death passes over the souls of those marked with the sign of baptism. Moses brought the Jews on a generation-long journey through the desert, during which God showed constant mercy and forgiveness, and the people demonstrated constant faithlessness and ingratitude—a journey which is mirrored in the lives of everyone. And Moses eventually brought the people within sight of the promised land of Canaan, as Christ has promised He will lead us to the gates of Heaven.

I will always remember my father pausing in the middle of the ceremony, and holding up the broken afikomen matzoh to the light of the candles. When he had the attention of all the children he would ask, “Do you see the light, shining through the holes? Do you see it?

It is pierced, just like Jesus’ hands, feet and sides were pierced. And do you see the stripes? Just like Jesus was striped by the whip of the Romans.” And then we would replace the matzoh in the middle compartment of a silken pouch. This special pouch held three sheets of matzoh (a Trinity?)—and the middle one would be hidden away (as if in a tomb?). Until it was taken out and consumed, we couldn’t have dessert. All the sweets that were waiting in the other room—the chocolate and honey sponge cake, the fruit slices, the nuts and blonde raisins, the halvah and the macaroons—all of these had to wait until that middle piece was found and found (resurrected?) again.

But what always stopped me in my tracks is something my father discovered one year. Imagine, he told us, the Hebrews in their homes, painting their doorpost and lintel with the blood of the lamb as the Lord commanded. They would raise their arm to brush the blood on the top of the door, and then down again to dip again into the blood; and then up to the left, to mark the post on one side, and then to the right … does this sound familiar?

Act it out: up, down, left, right.  It’s very possible that, thousands of years before Calvary, the children of God were already making the sign of the cross.

Make of it what you will. At our house, what we made of it was that God loves us, has always loved us, and always will love us. “I have been young, and I have grown old, and I have never seen the righteous man forsaken or his children wanting for bread” (Ps 37:25). We are all the chosen people, and God speaks to us each in our own language, through our own traditions.

And I believe that he laughs and weeps along with us when we say with a mixture of bitterness and hope at the end of the seder, “Next year in Jerusalem.”

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[This post originally ran in Register in 2011 – re-posted at the request of several readers]