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Марсель Ленуар и его фреска "Божия Матерь во славе"
В "том самом" тексте о последней вышивке священномученицы Марии Парижской сказано:
В 1931 г., за год до пострига, будущая мать Мария во время очередной миссионерской поездки по русскому рассеянию Франции посетила Тулузу и зашла в Католический институт, где строилась церковь. Ее внимание привлекла огромная - 90 кв. метров - фреска художника Марселя Ленуара, о которой велись горячие споры. Она изображает "Божию Матерь во славе".
...Пресвятая Дева держит в руках не сидящего Младенца, а распластанного, с простертыми ручонками, не благословляющими, а с открытыми ладонями. За телом Младенца, исполненным в очень бледных, мертвых тонах, еле-еле начертана вертикальная перекладина креста.
Это центральная часть фрески "Увенчание Пресвятой Богородицы небесной славой". Прочее:
Изображение взято отсюда. Там же и комментарий, на французском, которым я не владею... Но, вроде бы, написано, что художник был атеистом :((
PS Paul Delane любезно перевел комментарий на английский язык:
THE FRESCO BY MARCEL LENOIR (Institut catholique de Toulouse: Leo XIII Room)
The Triumph of the Virgin Crowned by God the Father, Presenting His Crucified Son to the World.
Commissioned from the artist in 1920 by professor Camille Soula, who was familiar with the empty walls of this great hall, the fresco was carried out in 1922-3, as a result of eighteen months of unrelenting work.
Marcel Lenoir had prepared for this work in 1921, by drawing many portraits and doing many drawings. Starting from English Pre-Raphaelitism and influenced afterwards by Impressionism, Fauvism and Cubism, Lenoir had arrived at an extremely personal style, in drawing as well as in painting. Declaring himself to be resolutely atheist, he was, however, impressed by the sublime inspiration of Christian art.
This vast composition of 16.30 m in height (that is 63 sq metres) is divided into sections that are clearly defined by their masses and their oppositions. Forming a powerful group at the centre, the Virgin, holding the Child Jesus with his arms in the form of a cross, is crowned by God, of whom we only see the hands and the right shoulder; the head, seat of divine thought, is lost in the light. Also participating in the same group are Mary Magdalen and Mary Salomé on the left, and Saint John on the right. Above, large angels, forming a vault, play trumpets. On either side, in light tones, sings a choir of altar boys, reminiscent of those of Luca della Robbia. Below occurs a circle of little angels, grouped on either side under a little shelter. In some cases, their dress merges with the columns. Finally, at the two extremities, in a harmonious transparency, appears man and his world, with these same men at their work. A crowd among them, however, comes to greet the extraordinary event which is taking place, armed young people on the left, grouped around a knight, bringing the homage of secular power, a procession of priests coming out from under an arch on the right, symbolizing the Church.
Most of the figures depicted in this fresco are portraits of notables from the city or friends of the artist. The priest at the head of the procession has the features of Monseigneur Breton, who at that time was in charge of the Institut catholique. Marcel Lenoir, accompanied by his wife and his son, represented himself seated on the roof of the shelter on the left.
Because of its historic and artistic importance, the fresco by Marcel Lenoir has been listed, since 13 February 1996, in the Supplementary Inventory of Historic Monuments.
1] S. [1] S. FUMET, Marcel Lenoir, l’homme et l’œuvre, Paris, 1926; J. GIROU, « Marcel Lenoir et la fresque de l’Institut catholique de Toulouse, in Le Gai Saber, December 1956, pp. 157-166; P. MESPLÉ, « La fresque du « Couronnement de la Vierge » par Marcel Lenoir », in l’Auta ,publication of the society : Les Toulousains de Toulouse… n° 407, December 1974, pp. 215-217: "La nouvelle chapelle du Séminaire Léon XIII", in l'Auta, n ° 202, March 1950, pp. 45-4 7; G. VIGNE, « Les symbolismes de Marcel Lenoir », in Catalogue , Marcel Lenoir, Montauban, 1994, pp. 35-39, 63 (n° 54-55), 71 & 77.
