Throughout this series, we often speak of craftsmen and their role in keeping a myriad of art forms alive. Amidst this conversation, it’s crucial we mention the professional artists in this field and the work they do to keep beauty alive.

The process of creating commissioned fine art is, more than anything, a conversation. Historically, we know these conversations could become quite fraught – from Pope Julius III’s struggle with Michelangelo over the particulars of the Sistine Chapel, to artist Jacques Louis David’s disillusionment with Napoleon Bonaparte as he turned from savior of the revolution to emperor. Thankfully, the typical process for commissioning art does not turn into a conflict of historic magnitude.

It begins with study. An artist would either look at the space meant for the art, speak with the client, or conceive of some work and begin sketching isolated elements of the composition. This could be a study of poses, facial expressions, or surrounding flora. The studies of a historic artist provide a trail of their thought processes and design development before a famous work was ever completed.  

Today, similar studies take place in the form of sketches, watercolors, and modellos (small models of the proposed work). These not only help the artist refine their vision, they enable the commissioner to give feedback on what they would like to see.

Once these sketches, watercolors, or modellos are complete and fit what the client and artist wish to see, the final mural painting begins. This, too, is not without minor edits. Not only considering the position of the painting on the wall or furniture, but the exact shade of green in drapery or a lifted eyebrow – all of these details contribute to the composition and make it a balanced and complete work. Finally, the work is completed, typically varnished, and installed where it will hopefully last for decades. 

Similarly, the fine art of sculpture is alive and well across the world. Sculptures from Italy, the United Kingdom, and Germany are highly sought after for new churches and reproductions of historic statuary. Johannes Albl of Albl Oberammergau comes from Oberammergau in Bayern (Bavaria), Germany which can proudly claim 14 generations of woodcarvers specializing in religious sculpture. Johannes Albl explains his company’s process of completing wood carvings in a similar method: “We get photos of the existing church or drawings from an architect so we can see what kind of style we are talking about and then we usually just start with sketches. Usually, they know what kind of styles they are looking for. We always try to make our artwork and furnishings as consistent and cohesive w the existing architecture as possible. When the sketch is approved, we create the final product…We as sacred artists try to make a sacred place more beautiful… but it’s not only about our work, we are a small part of a big picture.”

Henry Pospieszalski is a freelance artist and mural painter for John Canning Studios. His work encompasses murals for the West Virginia state capitol, the Michigan state capitol, various portraits, and commissioned works. Growing up in Poland surrounded by his grandfather’s book collection on art, as well as his father’s training in architecture and his mother’s artistry in playing the piano and painting, inspired his interest in beauty and the pursuit of art. Given the Soviet occupation and the Western world’s enthrallment with modernism – he quickly became disillusioned with his art school and ended up in Rome. There, he studied the Old Masters and painted street art. Eventually, he made his way to the United States where he met John Canning and began a mix of freelance work and commissions with Canning, most notably on the Michigan and West Virginia state capitols.

He describes his beginning as an artist as early as childhood and how being surrounded by art can, naturally, make you a better artist: “From the beginning I was drawn to classical art. Specifically the old Masters. Growing up in Poland you are surrounded by Baroque art and … I spent a lot of time in museums in front of the Old Master paintings, especially during my time in Italy.”

After beginning his career in the United States, Henry’s work became more and more refined and his methods tried-and-true. One vital aspect of the job is observing the space it occupies. Art does not exist in a void. It often ends up in a museum surrounded by other pieces, but it always has an intended space – be it a home or an altar.

“Sometimes I like to sit in a church for some time and get the feeling of it. What happens then is it gets me to understand how important it is where the art will be displayed – the destination of the art – because you have to work with the interior. You have to work with what’s around it.  Otherwise, your artwork can clash with the environment and architecture and other art around and so on. That taught me a certain sensitivity to surroundings. So, when I design murals in a place, I like to spend some time in the place to get the feeling of it.”   

On the sculptural side of art, many of the same considerations and influences are present.   Johannes was also raised around art in the form of his family’s business and the work of Tilman Riemenschneider, a 15th century German woodcarver.

Johannes always had the freedom to choose his own career outside of woodcarving. After studying business administration, a short internship in Chicago transformed the way he thought of the family business. For the first time, he encountered what a 7-foot-tall crucifix from his family’s company meant to a young, growing parish in Wheaton, IL. From then on, he knew he wanted to be a part of the business.

“That fundamentally changed my view about how faith is still alive and that a church can be full on a regular Sunday. It was very moving because two to three hundred people after church wanted to talk with me and shake hands and the level of appreciation for the craftsmanship and beauty that this kind of craftsmanship can bring to a church to enhance and enrich the liturgy…that was the moment where I understood our wood-carving family history can be brought to the future.”

After a successful few years working in Frankfurt, Johannes entered the family business with concrete ideas on how to do so. His brother Marcus has stayed in the workshop while Johannes developed the sales and business side. “The feedback that we receive is just overwhelming every day…We produce something that is appreciated and that contributes to the liturgy that is for people that go to Mass daily, or Sundays, or when they get baptized or married or buried – we are part of that community because we made something beautiful.”

This is the power of a unique, commissioned artwork even centuries after the Old Masters. Beautiful art in many forms has a generational effect we see today in a way mass-produced items never could. A commissioned piece becomes a part of the living tradition and brings history into the present in a tangible way. 

How do we keep this tradition of beautiful art alive? Henry and Johannes imparted advice to young artists that, above all, diligent training, hard work, and the ability to learn and be flexible are great assets. As Johannes says, “at the end of the day it will be hard work. There is no magic behind it, just old-fashioned hard work and getting your hands dirty!”

But the result of this hard work is art that has Venustas, Fortitas, and Utilitas: beauty, strength, and utility. Beauty, so that we may enjoy looking at it no matter the trends; strength, that it may stand the test of time and handling; and utility, in that it serves a purpose to us every day and will not so easily be forgotten. Art that is in direct conversation with the space it inhabits makes a far more meaningful impression; and an artist that can adapt to criticism and mistakes, possess a careful eye to study those that came before them, and learn from other mediums will surely see their work succeed. The practice of art that is beautiful, strong, and useful furthers the tradition of beauty and contributes to a centuries-old provenance inspiring the faithful.

Thank you to everyone who attended the 6th Annual Catholic Art Conference. We look forward to next year and hope you can join us there! 

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