St. Louis University Museum of Art, Cupples House

St. Louis, MO

I was asked by Fr. David Suwalsky, S.J., the director of the St. Louis University Museum of Art, to record in writing some of my remarks regarding my approach to the portrait of the Reverend Maurice MacNamee, S.J. made during the unveiling of the portrait on November 14^th, 2007.   A good museum director is also an exceptional archivalist, so I am happy to oblige.

I should first say that it is a great honor to be given the privilege and responsibility to create a posthumous portrait of an individual so distinguished as Fr. Mac.   I use the word “responsibility” because I believe that the portrait artist has the potential to do a great disservice to the life’s work of the subject if not done absolutely correctly.  A portrait will hang for public display for many years beyond the life of the individual and serves as the only opportunity for many that never knew the individual to appreciate the individual in a way that accurately reflects their human nature, accomplishments and the reputation they worked so hard to create within their lifetime.

I hope for example, you will notice in this portrait that Fr. Mac was a kind, deeply spiritual individual with a clever ability to work within the system and with a good humored human nature to work with people to do so.  As an artist you can also realize that the slightest misstep in that portrayal could have the effect of portraying “clever” as “sly” and “good natured” as “conniving.”  How unfair it would be to create that impression in perpetuity for those that never knew him.  The portrait artist’s responsibility is great indeed.  

In any portrait such as this, I seek to define a concise theme that portrays that individual’s life work. What is it, in a nutshell, that defines the way in which this individual approached his life.  For Fr. McNamee, I had the advantage of reading his memoirs as well as the invaluable input of Ms. Mary Bruemmer and Fr. Terrance Dempsey, who knew Fr. MacNamee quite well.   I always begin my portraits with a title, for it is that title which defines the theme, and that theme which provides the objective to be achieved throughout the process of creating the portrait. Without an objective, you are simply relaying an image with no substance or direction. The theme for Fr. McNamee became quite evident at an early stage. This portrait was titled “A Recognition of Beauty” or perhaps more correctly “Through Christ, A Recognition of Beauty.”   

Let me explain.  Fr. MacNamee was raised as a poor Irish Catholic farm boy in Wisconsin.  “Poor” is an inappropriate term, for through hard work and enterprise, they lacked for nothing, but there was certainly no room for the impractical.  Resources were limited, and all available resources went toward practical considerations.  Fr. MacNamee relayed in his memoirs that as he shepherded the cattle from one field to the next, that he could not help but be inspired by the tremendous beauty that surrounded him on the country road he took.  In particular, he noticed the beautiful white cemetery irises that withered uncared for in the cemetery he passed each summer day.  He took it upon himself to purloin three irises one day (yes, he admits he stole them) and convinced his mother to let him plant and care for them in the family vegetable garden.  His mother agreed, as long as he was willing to do the extra work to care for them after all his other chores were done.    

Fast forward then to the Cupples Mansion, which as everyone knows, was saved virtually single handedly by Fr. Mac.  What others saw as an old granite “white elephant” in the middle of a growing campus, Fr. MacNamee recognized as an uncared for thing of beauty. One which, despite practical considerations, he was willing to care for with the extra effort required after his other chores were done.  How fitting that the three irises also are the emblem of the University at which he spent virtually his entire career – which St. Louis University likes to refer to, in their French tradition, as  fleur de lis.  His recognition of beauty explains why he spent so much of his life furthering the arts; starting the art history school, amassing the impressive collection of art at St. Louis University and his ongoing fascination with beautiful architecture.  Beauty surrounds us if we do the work to recognize it.     

This portrait is a tribute to that unique affinity for recognizing, working and protecting that beauty that defined this individual.   You will notice that three essential elements are portrayed in an equilateral triangle to make this individual’s driving force clear.  The irises which represent beauty, the crippled hands that define hard work and Fr. MacNamee’s face which represents spirituality.  You will also notice that the crucifixion and the cross are arranged in a direct line through Fr. Mac’s face towards the beauty and goodness in the world.   It was his recognition of the sacrifice of Christ which caused him to recognize and protect the beauty in all things.   You may also note the skull and bone over his right shoulder.  He has chosen to turn his back to evil and embrace goodness.  For the artists among you, you may quibble that the irises are far more prominent than is appropriate – that they should be recessed back into the background.  Artistic license allowed me to bring them forward on the same tonal plane as the other two elements, to accentuate their equal importance.

The triangle is important as it represents interconnectedness.  It does little good to spiritually recognize beauty without the willingness to do the hard work to protect and promote it.  Hard work towards creating beauty is empty without spirituality and spirituality and hard work means nothing if your goal is not goodness.  I believe that was Fr. Mac’s essential sermon, were he to give one.

Fr. MacNamee was an admirer of all the arts but his favorite was religious paintings by the Flemish masters in the Flemish room of the Cupples Mansion. It is for this reason that the Flemish room and the crucifixion painting by Jan I. Van Rillaert was chosen as the backdrop.  You may also notice that the Steuben Vase used in the painting is also part of the fantastic collection of art glass which Fr. Mac acquired.

Finally, let me say that I believe there are three levels to a successful portrait.  The first is an accurate likeness which should simply be a given.  Secondly, there should be some emotional connectedness with the viewer, based on the individual’s posture, expression and other emotional trigger which define that individual to those that know him.  Essentially, this is a likeness on a level relying on more than just line and form.  The third level takes the subject matter beyond that.  It brings the individual into the room with you both physically and emotionally even if you never knew the individual.  It is a “liveliness” which makes the individual so natural and lifelike that the viewer can feel their presence.  It is a rare accomplishment when achieved.  I can only hope you feel Fr. Mac’s presence when viewing this portrait, whether or not you ever had the good fortune to have known him.   I did not know Fr. Mac, but feel that connectedness, I hope you do as well.

Rob Dreyer

Artist