The Painted Life
The Painted Life is a cycle of 50 oil-on-canvas paintings depicting the spirituality of Mary Ward. The paintings are currently displayed in the Congregatio Jesu school, Augsburg, Germany. It is thought two paintings were created during Mary Ward’s lifetime and the remainder were completed in the years following her death c. 1660.
There are no surviving documents that record the circumstances of the commissioning of The Painted Life. The cycle of paintings is attributed to artists who worked in Northern Europe “between Flanders and the Tyrol.” From Wetter, “Tenth Letter of Instruction,” p. III. As many as five different artists are thought to have contributed, none of whom have been identified. The inscriptions, in German, were added at the end of the seventeenth century. The text is attributed to a German Jesuit, Fr Tobias Lohner.
The Painted Life cycle is available below in gallery format. A guide to the historical background and meaning of each painting is being developed by Dr Claire Renkin and Angela Slattery ibvm.
If used in publication please acknowledge
© Geistliches Zentrum Maria Ward Augsburg, Foto Tanner, Nesselwang
Bibliography
PL 1.
In this opening scene the artist announces the essential idea that will underpin Mary’s life and mission. The word “JESUS” written in gold appears in reverse as if coming from little Mary’s lips. Jesus is to be first and foundational in Mary’s life. Her central position accentuates the importance of this initial insight in her spiritual journey. Symbols of new life pervade the painting.
According to oral tradition, Mary’s mother, Ursula, was pregnant at this time. The gold IHS (the Latin abbreviation for the word “Jesus”) pendant at her waist reinforces the painting’s theme as well as signifying family faith.
Behind Mary is the birthing chamber with cradle and fire suggesting the birth is imminent. At the right servants prepare garments for the new-born. One turns and glances towards Mary’s mother. Perhaps her movement is in response to Mary’s word?
Themes to unfold throughout this lifecycle are established in this first painting. The word ‘Jesus’ evokes the future direction of Mary’s life. Much good will come through the mission of this one woman.
Pl 3 A little girl's high spirits
Pl 5 Shafto's proposal - a second offer of marriage
Pl 6 Harewell - the man on horseback
Pl 7 Harewell - First Holy Communion
Pl 8 A third marriage proposal - Eldrington
Pl 9 Osgodby - Vocation to the religious life
Pl 10 A burning desire for martyrdom
Pl 12 Mary's family and confessor urge her to marry
Pl 14 The spilling of the chalice
Pl 15 Mary leaves England for the first time
Pl 16 Father Roger Lees - Mary's vow of obedience
Pl 17 Mary at Coldham Hall
Pl 18 Dressed as a serving maid
Pl 19 Another conversion to the faith
Pl 20 A fine collation is returned
Pl 22 The first companions
Pl 23 Mary Ward and her confessor
Pl 24 Take the same of the Society
Pl 26 Saint James to the rescue
Pl 27 A second manifestation of the Just Soul
Pl 29 Mary's concern for priests
Pl 30 Vocation to the apostolate
Pl 31 The Calling of the Apostles
Pl 33 Concurrence with divine Grace
Pl 35 The spirituality of the Institute
Pl 36 Prayer for Cardinal Trescio
Pl 37 The strength of the relgious state
Pl 38 The strength of the Institute
Pl 39 How to bear the suffering
Pl 42 Mary renews her self oblation to God
Pl 43 Feldkirch - Christmas
Pl 44 Feldkirch - Mary's prayer for the King of England
Pl 45 On the way to Munich
Pl 46 A glimpse of future Confirmation
Pl 47 A missing sum of money
Pl 48 A novice's temptation
Pl 49 A friend of the Institute
Pl 50 The glory of eternity