Is it possible to separate an artwork from the artist who created it? This question that seems typical of a university classroom, a congress in some remote city or an after-dinner conversation involving several rounds of drinks has pitted two important Vatican heavyweights (and who knows if on one side the Pope himself) against each other in the public arena. It is not usual. And like everything that happens in the Holy See it may be indicative of more. Or maybe not.
The case
It's all about father Marko Rupnik, a Slovenian Jesuit priest and prominent artist, who has been at the center of a significant scandal involving allegations of sexual and psychological abuse. Rupnik, renowned for his religious art and mosaics adorning numerous churches worldwide, faced accusations that span several decades and involve numerous victims.
His religious art, particularly his mosaics, can be found in various significant religious sites around the world. Some examples:
Redemptoris Mater Chapel (Vatican City): One of Rupnik's most famous works, this chapel within the Vatican Apostolic Palace features intricate mosaics that were commissioned by Pope John Paul II. The mosaics depict scenes from the life of the Virgin Mary and are known for their vibrant colors and spiritual depth.
San Giovanni Rotondo (Italy): Rupnik designed the mosaics for the Church of Saint Pio of Pietrelcina, located in San Giovanni Rotondo. These mosaics are prominent features of the new church, dedicated to Padre Pio, and are highly regarded for their beauty and theological richness.
Basilica of the National Shrine of the Immaculate Conception (Washington, D.C., USA): Rupnik created the "Redemption Dome" mosaics in this significant basilica. The dome's mosaics depict various biblical scenes, focusing on themes of redemption and salvation.
Sanctuary of Our Lady of Lourdes (France): Rupnik contributed to the artistic embellishment of the Rosary Basilica in Lourdes. His mosaics in this famous pilgrimage site are noted for their detail and spiritual resonance, enhancing the sacred atmosphere of the basilica.
St. Stanislaus College (Slovakia): Rupnik designed the mosaics for the chapel at St. Stanislaus College in the town of Spišská Kapitula. These artworks are appreciated for their intricate design and the way they integrate traditional Christian iconography with modern artistic techniques.
In a nutshell, until the scandal came along, Rupnik's works were celebrated for their vibrant use of color, intricate detail, and ability to convey deep spiritual messages, making significant contributions to contemporary religious art.
Once again, unfortunately, the same as always.
The scandal first came to light in 2019 when the Jesuit order confirmed it had received reports of Rupnik's misconduct. This is an elegant and bureaucratic way of saying that Rupnik took advantage of the sacrament of confession to make sexual propositions to consecrated women, abusing his position of power. This was not sporadic, but continuous over time.
The Vatican initially responded to these allegations by imposing certain restrictions on Rupnik's ministry. However, critics argue that these measures were insufficient and lacked transparency, leading to widespread discontent and calls for more decisive action.
The sanctions were: Prohibition of hearing confessions (thank goodness). Prohibition of Spiritual Direction (thank goodness again): Restriction from Public Ministry (same thing) and, attention to this, Prohibition from Conducting Artistic Workshops: Given his prominence as a religious artist, Rupnik was restricted from conducting workshops related to his art. This measure was intended to reduce his public visibility and avoid situations in which he could abuse his position of authority.
In January 2020, the Vatican's Congregation for the Doctrine of the Faith (CDF) reportedly conducted an investigation into new allegations of abuse that emerged. Despite the gravity of the accusations, the CDF dismissed the case later in 2020, citing that the statute of limitations had expired. This decision sparked outrage among many who felt that the seriousness of the allegations warranted further action, irrespective of legal technicalities.
Even worse; despite the allegations and the restrictions placed on him, Rupnik continued to hold a prominent position within the religious art community. He continued to produce significant works and maintain a public presence, which many saw as a sign that the Church was protecting him due to his status and influence.
Anyway in 2021, further allegations surfaced, prompting the Jesuit order to intensify their investigation. These new claims painted a grim picture of a pattern of abuse and manipulation extending over a prolonged period. The testimonies of 21 nuns who testified to having suffered abuse appeared and the Vatican decreed an "apostolic visitation" which is nothing more than appointing a kind of special prosecutor to investigate the case.
What did Rupnik do in the meantime in the middle of the storm? Not a care in the world. He publicly flouted the prohibitions and continued his intense public activity. And finally, a year ago he was expelled from the Jesuits for not obeying the restrictions. The criminal investigations continue to this day.
But the issue is, in addition to what to do with the man, what to do with his work. And here things are heating up. Since the scandal became known, voices multiplied in the Church sphere demanding the removal of Rupnik's works of art. In France, the bishops even set up a commission to study the removal from the shrine of Lourdes.
Heavyweight duel
On June 21, the prefect of the Vatican Dicastery for Communication, Paolo Ruffini, said that eliminating Rupnik's works "is not the Christian response". The works remain. Ruffini is not a secondary character. We have already talked about him in this post. He is the first layman to head a Vatican dicastery. In a "normal" State he would be a minister.... Ruffini is a journalist with a long experience in the Italian national radio and television "RAI", and later in the direction of a Catholic television channel. And, above all, he is a man the Pope trusts. He is his spokesman. Nothing less. And lest there be any doubt, Ruffini's office continues to use Rupnik's illustrations on its website.
In less than 48 hours the Archbishop of Boston, Cardinal Sean Patrick O'Malley, enters the scene and says exactly the opposite. The Pope's safeguarding czar issued a statement saying he has asked the heads of all offices in the Roman Curia to take down the artwork. If Ruffini is a heavyweight, the American cardinal is even more so. Although he has just turned 80 years old and can no longer participate in a Conclave (although he can be elected, as we explained in this post. In fact he obtained several votes in the Conclave in which Francis was elected), O'Malley is one of the most respected figures in the Catholic Church. This Capuchin friar, who although a cardinal still wears the habit of a monk, took charge of one of the dioceses in the world most punished by the scandal of sexual abuse in the Church: Boston. In addition, O'Malley is the head of the Pontifical Council for the Protection of Minors (PCPM) and member since the beginning of the Pope's most inner circle the so-called G-9 Council.
These are not just any two people, but two men with direct access to the Pope and who enjoy his confidence. What is Francis going to do?
Sacred art has an extra dimension compared to other art. Millions of people around the world pray before those images painted by men. Some of those artworks mark in the mind of the one who prays the image of Jesus Christ, Mary, the Apostles, the Saints and scenes from the Gospel or the Old Testament. Of course, it is a blessing not to know many times who those artists were (and what they did or did not do). But in the case of Rupnik we do know. The question remains open.