DOI issue:
Nr. 3-4
DOI article:Artykuł i Komunikaty
DOI article:Linder Gaillard, Inge: Memory, tradition, 'patrimoine' and 'création': sacred art and architecture in late-20th-century France. An introduction
DOI Page / Citation link:https://doi.org/10.11588/diglit.49350#0643
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Ingę Linder Gaillard
75. The Cathedral at Evry, outside Paris, consecrated in 1997, arch. C. Mollard
15. Katedra w Evry pod Paryżem, konsekrowana w 1997, arch. C. Mollard
would appear in the French context that the answer is yes. Artists have been shown to
desire ecclesiastical space as a venue because it can be considered as a catalyst for con-
templation, reflection, and production. It has often involved challenging commissions with
relatively strict demands, rare elsewhere in the art world, and has therefore provided
uniąue opportunities. One wonders, too, if less attention from abroad can partially explain
what has sent French artists inward to her churches. Can they be considered as sites of
protection and resistance in this respect as well?
As demonstrated throughout this article, many artists have agreed to create work for
churches in France, several on morę than one occasion. Most have taken on the task with
gravity, and many have produced work of high ąuality, sometimes of indisputable beauty.
Indeed, in the 1980s as part of the greater postmodernist trend, artists turned again toward
Ingę Linder Gaillard
75. The Cathedral at Evry, outside Paris, consecrated in 1997, arch. C. Mollard
15. Katedra w Evry pod Paryżem, konsekrowana w 1997, arch. C. Mollard
would appear in the French context that the answer is yes. Artists have been shown to
desire ecclesiastical space as a venue because it can be considered as a catalyst for con-
templation, reflection, and production. It has often involved challenging commissions with
relatively strict demands, rare elsewhere in the art world, and has therefore provided
uniąue opportunities. One wonders, too, if less attention from abroad can partially explain
what has sent French artists inward to her churches. Can they be considered as sites of
protection and resistance in this respect as well?
As demonstrated throughout this article, many artists have agreed to create work for
churches in France, several on morę than one occasion. Most have taken on the task with
gravity, and many have produced work of high ąuality, sometimes of indisputable beauty.
Indeed, in the 1980s as part of the greater postmodernist trend, artists turned again toward