Page 21 - For the purpose of this essay when I refer to ‘spirit’ ‘devine’ or ‘spirituality’ I am referring

does not hold definite religious views, as an ‘agnostic, who tries to keep his window on
to the reality as widely open as possible’. Also in her introduction to ‘Theological
Aesthetics’ (2004, p5) she refers to the importance and attraction of the image of
divinity still holds us in fascination when she says, ‘Certainly, while the church pews

often remain empty, the totally unexpected crowds at the Image of Christ exhibition in
2000 at the National Gallery, London, are a striking reminder how the image of God,
the beauty of Christ, the vision of the invisible divine still attracts in our frequently
cynical post-modern age’.
Perhaps painting speaks more directly to the soul or spirit of the viewer
than the endless rituals and doctrine of organised religions, perhaps the fascination with
the divine, the connection, the knowing, the yearning to fill the emptiness and voids
that organised religions have left, never more so than in these modern times, is now
being fulfilled and now being satisfied more unswervingly and honestly through
painting, perhaps the need to be understood, to be recognised and to see ourselves
represented visually, this need, this intrinsic aspect of the human condition that people
have experienced since the first cave paintings and marks were made in prehistoric
times, is now expressed and represented more accurately by those contemporary
painters who have the awareness not to compromise and who have the humility to be
open to this inspiration, be it divine, spiritual or whatever label used, in the realisation
of their painting.

Conclusion

As discussed, clearly throughout history the awareness of the spiritual for painters, both
as an intrinsic part of their creative process as well as necessary for connecting with
their audience has been well documented. Conscious awareness of the role of the divine
influence is acknowledged and indeed celebrated by many painters throughout the ages,
from pre-history, Classical, Greek and Byzantine, Renaissance and Baroque to Turner,
th
Blake and Friedrich the great exponents of the Romantic movement of the 19 century.
Artists such as Rothko, whose passion for and lifetime quest to express the divine
through his paintings, particularly in his chapel series, were and still remain hugely
influential. Similarly the four contemporary painters interviewed evidently
acknowledge the significance of divine inspiration or the role spirituality plays in the
development and creation of their painting, as well as acknowledging its value in the
making of great art and therefore its connection with the audience, but not merely as
dormant observers of the painting being viewed, but as active participants in
completing the spiritual experience, as discussed earlier.
Irrespective of the subject matter or theme choice of the painter, whether
figurative, abstract, large or small scale, whether the painter’s belief system is religious,
agnostic or otherwise, as Stone states ‘In contemporary usage, spiritual is a term that
has a broad array of meanings – psychological, mystical, otherworldly, or even referent
to some vague supreme power as “The Source” of intergalactic fantasy’. ‘Image and
Spirit’ (2003, p11), and recognising the importance in the craft necessary to express
and make works of art, this is secondary to the painter being open with humility, having

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