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The Art Of Blasphemy
July 1958: Nuns evaluate a painting at an exhibition of modern art, organised by the Contemporary Art Society on the theme of religion, in London's Tate Gallery. (Photo by Frank Martin/BIPs/Getty Images)
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Frank Martin
Media ID 34408797
Back View Format Square Picture Exhibitions And Displays
Mouse Pad
Standard Size Mouse Pad 7.75" x 9..25". High density Neoprene w linen surface. Easy to clean, stain resistant finish. Rounded corners.
Archive quality photographic print in a durable wipe clean mouse mat with non slip backing. Works with all computer mice
Estimated Product Size is 20.2cm x 23.7cm (8" x 9.3")
These are individually made so all sizes are approximate
Artwork printed orientated as per the preview above, with portrait (vertical) orientation to match the source image.
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EDITORS COMMENTS
In this print titled "The Art Of Blasphemy," captured by renowned photographer Frank Martin, we are transported back to July 1958 in London's Tate Gallery. The image depicts a group of nuns intently evaluating a painting at an exhibition of modern art organized by the Contemporary Art Society on the theme of religion.
From their back view, we can sense the seriousness with which these nuns approach the artwork before them. Their presence adds an intriguing layer to this scene, as they represent tradition and spirituality encountering contemporary artistic expression. It is as if they stand as guardians of faith, carefully examining whether these avant-garde creations align with their beliefs or challenge them.
The square format enhances the composition's balance and symmetry while emphasizing the timeless quality of this moment frozen in time. The absence of color further accentuates the contrast between old and new, tradition and innovation.
Frank Martin skillfully captures not only a specific event but also a broader cultural tension that existed during that era. This photograph invites us to reflect on how art has always been intertwined with religion throughout history – sometimes harmoniously coexisting, other times sparking controversy or even blasphemy.
As viewers, we find ourselves drawn into this thought-provoking scene where two worlds collide: religious devotion intersecting with artistic exploration. Through his lens, Martin offers us a glimpse into an important chapter in both art history and societal dynamics – reminding us that great art often challenges conventions and provokes meaningful dialogue about our deepest beliefs.
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