Tea at Trianon: The Case of Marko Rupnik: An Artist’s Perspective

John Wilson Croker on Marie-Antoinette

"We have followed the history of Marie Antoinette with the greatest diligence and scrupulosity. We have lived in those times. We have talked with some of her friends and some of her enemies; we have read, certainly not all, but hundreds of the libels written against her; and we have, in short, examined her life with– if we may be allowed to say so of ourselves– something of the accuracy of contemporaries, the diligence of inquirers, and the impartiality of historians, all combined; and we feel it our duty to declare, in as a solemn a manner as literature admits of, our well-matured opinion that every reproach against the morals of the queen was a gross calumny– that she was, as we have said, one of the purest of human beings."

~from History of the Guillotine by John Wilson Croker, 1844

Edmund Burke on Marie-Antoinette

"It is now sixteen or seventeen years since I saw the queen of France, then dauphiness, at Versailles; and surely there never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like a morning star full of life and splendor and joy. Oh, what a revolution....Little did I dream that I should have lived to see such disasters fall upon her, in a nation of gallant men, in a nation of men of honor and of cavaliers! I thought ten thousand swords must have leaped from their scabbards, to avenge even a look which threatened her with insult. But the age of chivalry is gone; that of sophisters, economists, and calculators has succeeded...."

~Edmund Burke, October 1790

Saturday, March 14, 2026

The Case of Marko Rupnik: An Artist’s Perspective

From Sisters of the Little Way:

The floor-to-ceiling mosaic chapel I walked into that day was designed by Fr. Marko Ivan Rupnik. A former Jesuit, the priest now faces multiple accusations of sexual abuse from female religious, many of whom were involved in the creation of his artwork. After great public pressure to address the accusations of abuse, an independent tribunal at the Vatican has been set up to determine Rupnik’s fate.
Celebrated for many years, Rupnik and his team of artists at Centro Aletti sought to create contemporary liturgical art by blending Eastern and Western tradition. As an artist, I can understand why many were drawn to Rupnik’s work. His designs maintain an interesting consistency and coherence as well as a boldness in color and asymmetry that creates a sense of movement. Drawing the viewer into a cosmos of sacred symbols, his installations encompass entire environments. Scooping the viewer into a world of intentionality, his work reorients tradition in a way that feels authoritative and purposeful.
Centro Aletti, the community that assists in producing and installing Rupnik’s work, describes their artistic style by focusing on the themes of light, movement, and brightness. Their “new organic language” is free, they argue, from anything “gloomy, dark, oppressive, or depressing—it’s an explosion of light.” This aspect of his art always unsettled me; the abundance, brightness, and proliferation of his designs struck me as impersonal, more a product of capitalism’s influence on the Church than something sacred or precious. Overshadowed by revelations of abuse, the emphasis on explosive, bright light in Rupnik’s mosaics becomes not just uncomfortable but ironic. His artistic choices, unfortunately, make sense in terms of research on people who sexually abuse others, which often highlights the stage of “grooming” victims and communities by maintaining an image that comes across to others much like Rupnik’s icons—exceedingly “bright.” (Read more.)