Edward Hicks, Peaceable Kingdom, 1826 National Gallery of Art, Washington, DC" implicit public domain as artist died over 100 years ago photograph uploaded via Wikimedia Commons |
After digging into the
draft revisions of New England Yearly Meeting’s Faith and Practice in the early 1980’s, I felt a sense of unease.
There were no references in the main body of the text —or, for that matter, in
the Advices and Queries— to art and artists in an medium. Since Friends were
encouraged to send questions and concerns to members of the revision committee,
I wrote about that concern and two other questions I had to the only person on
the committee whom I knew. I received an almost immediate reply. The response
to my inquiry about the arts could be summarized as, “Whoops!” If I had
seen the draft the year before, when I was still in England, Friends might have
been able to make substantive changes, but there were limited opportunities to
do so at that point. As far as I can tell, the only reference to the arts in
the 1985 Faith and Practice of New
England Yearly Meeting of Friends is the paragraph “Art is Part of Truth,”
from Elfrieda Vipont Foulds’ “Living in the kingdom” (William Penn Lecture, Philadelphia Yearly Meeting, 1955, p. 14).
It was thus with some
trepidation that I opened Stephen W. Angell and Pink Dandelion’s magisterial Oxford Handbook of Quaker Studies
(Oxford: Oxford University Press, 2013). There were discussions of music
included in numerous chapters. I was delighted, but I began to worry when the
index revealed nothing under “art” or “painting,” let alone “sculpture.” To my
relief, however, the problem was with the indexing and not with the text
itself. With the exception of the omission of the Pulitzer-Prize-winning
cartoonist Signe
Wilkinson, Roger Homan’s article “Quakers and Visual Culture” was exactly
what readers could wish for in both theory and breadth.
Most unprogrammed
Friends of my acquaintance have well-developed musical tastes, and a number of
unprogrammed Meetings incorporate music into some aspect of their Quaker
experience. The visual arts, however, have been a tougher sell, at least in the
decoration of Meeting Houses. The concerns early Friends might have had about
graven images are not a factor in most people’s personal lives today; the issue
is the theological basis of our corporate life. Physical representations of
crucifixes and the life of Jesus are as much an outward representation of
religion as are the physical sacraments. Even if Friends put aside those
concerns, given the wide range of views modern “liberal” unprogrammed Quakers
have about Christianity, it is hard to come to a sense of the Meeting as to
what kind of representation we should have on our walls. Although Friends'
Meeting Houses are not consecrated, the feeling that walls in the Meeting room
should be plain —with a few exceptions, maybe, for posters from Friends’ House
in London or FGC or FUM, if posted in discreet locations such as the entrance
or above the door— is as much a sacred norm as its opposite. (See also the
detailed discussion in Homan, 2013, pp. 494-500.)
Expense and permanence
are two other issues with the visual arts. If Friends pick a hymn which grates
on someone's nerves, it is usually over in five minutes. People who dislike
hymn sings altogether can have Meeting for Coffee before Meeting for Worship.
On the other hand, a work of art that is donated by someone in the group may
end up as a blob on the Meeting House walls for the next twenty years, with
Friends not wishing to offend the donor by removing it or, in a vain hope to
save face, moving it to the most inconspicuous location on the premises.
At least, that is what many Friends fear would happen. Whether it would is
another matter.
There are pragmatic
considerations as well, whether with paintings or with other possible outlets
for artistic expression in the Meeting House. A colorful area rug, even if
safely secured beneath a table, can invite allergies in some people, as can
seat cushions, as much as the latter are needed by other individuals. Curtains
harbor dust mites. As a result, unless a Meeting is fortunate enough to own a
historic property built when one of the few artistic outlets for Friends was
cabinet making and Meeting House design and or has both the resident
architectural know-how and the money to construct an engaging modern structure,
Quakers are all too often left worshipping in rooms with all of the
psychological warmth that one might expect from the people who invented the
penitentiary.
Theologically, we are
supposed to search for the Light within. I know. But as the Good Book reminds
us, “The spirit is willing, but the flesh is weak.” Some Friends wrestle with
leaving ecclesiastical music behind when they join our Religious Society.
Speaking personally, I have no shortage of opportunities to enjoy and even make
music. What I miss is an attentiveness to a sense of God as expressed in
material culture.
There may not be much
a Meeting can do about a Meeting House that is an unprepossessing box on the
outside except to plant window boxes, but a lot can be done with paint,
lighting, plants, and the color and texture of any carpet and upholstery in the
Meeting room. There might also be some way to modify benches that are
excruciatingly painful to sit in for an hour. I attended a Meeting for two
years that had benches like that. The Meeting room was well-proportioned and
painted in a color to show off the midday sun, but, oh, those benches. After
about a month of sitting there and watching Friends walk in wearing nothing but
muted colors and muttering sotto voce about the seating, I saw red and I started
to wear red.
Most Meetings that own
their own premises have rooms available other than the Meeting room. There may
be more flexibility here in terms of visual representation, although Friends
frequently do not take it. Quakers have produced visual artists and art
projects of some repute. It is high time that more people, especially children
and visitors, knew more about their work and their connection to Friends. (Note:
the links to commercial websites in this section are not an endorsement of
their businesses but are meant to give an idea of the resources available.) Few
Meetings have the resources to pick up a reproduction of a sculpture of Sylvia Shaw Judson, whose work graces a number of public and private spaces (e.g., the Chicago Botanic Garden); a number of Meetings, however,
have a competent photographer in their midst who could take and have framed a
high-resolution picture of Judson's statue of Mary Dyer, who was executed for
her faith in 1660, in front of the Massachusetts State House on Boston Common.
The Philadelphia Museum of Art sells prints in its on-line store of two
paintings of the nineteenth-century Quaker folk artist Edward
Hicks of Newtown Friends Meeting in Pennsylvania, who is known for his many versions of the Peaceable Kingdom. Amazing to
say, there are still signed prints of Fritz Eichenberg’s
woodcuts available. In the UK the Quaker
Tapestry Project sells photographs of many, if not all, of its panels; the
prints may be ordered in various sizes and shipped worldwide. With a bit of
luck it might be possible to locate reproductions of landscapes by the English
painter
Samuel Lucas or botanical watercolors by Mary Vaux Walcott,
the Philadelphia Quaker known for drawing and cataloguing the
flora of the Canadian Rockies. (The many copies from the work of the latter
shown on the Internet may or may not be in the public domain.)
Meetings are
understandably reluctant to accept original offerings from individual members
and attenders, given their desire not to offend the artists we have in our
midst. Under what circumstances could this reluctance be reconsidered,
especially given the number of Quaker quilters who would be happy to produce a
wall hanging on a theme chosen by their Meetings? Are there opportunities to take
and display high-quality photographs of historic Meeting Houses? Is there
someone who knows the traditional Quaker art of silhouette drawings and can do
them in First Day School for both wall decoration in those rooms and for
parental keepsakes?
Friends Meeting House, Sparta, Ontario, Canada an excellent example of traditional Quaker architecture photograph ©Kristin Lord 2013 |
Interior of Sparta Meeting House traditional Quaker craftsmanship at its finest photograph ©Kristin Lord 2013 |
Some Meetings may be
able to consider the work of practicing Quaker artists and/or architects when
building or renovating their premises. Not every Quaker community is in the
position of Live Oak Friends Meeting in
Houston or Chestnut Hill in
Philadelphia, with both the need for new facilities and the resources to
commission an artist of the caliber of James
Turrell, but more Meetings might wish to consider smaller-scale
installations of the size of the stained glass designed a few years ago by Tony
Serviente for the new Meeting House in Ithaca,
New York. (This is different from inheriting stained glass, as did Valley
Friends Meeting in Harrisonburg, Virginia, which acquired stained glass by
purchasing property owned by another denomination; Kitchener Area Monthly
Meeting in Canada has for its part some Art Nouveau green stained glass panes
that came with the property.)
Rear addition of Friends Meeting House, Hanover, New Hampshire, USA The addition, containing a Meeting room, was designed by Treat Arnold, a member of the Meeting. photograph ©Kristin Lord 2011 |
Finally, Friends
should encourage the artistic education of their young people and find ways to
give moral support the careers of Quaker professionals in the field, regardless
of whether their works are to the taste of individuals in a given Meeting and
whether they have the means to make a commission or purchase. To that end I
would encourage Meetings to consider whether they have the resources to support
an institutional membership in the Fellowship
of Quakers in the Arts. It would be a small way to start righting an old wrong.