How a bold vicar revived the connection between modern art and the church

Modern Art in Churches - The Rt Revd Lord Richard Harries · 39:19 · Video: Gresham College · Watch at the source

In short: In the 1940s, the church's relationship with contemporary art was arguably stagnant. Then came Walter Hussey. With little money and significant chutzpah, this vicar bypassed gatekeepers to commission legends like Benjamin Britten and Henry Moore, sparking a seventy-year era of bold ecclesiastical creativity.

The movement toward modernism in English churches began in earnest during the 1940s, driven largely by the vision of Walter Hussey, the vicar of St Matthew's in Northampton. Lacking significant funds or influential connections, Hussey relied on audacity to bridge the gap between the sacred and the avant-garde. He famously bypassed the BBC's dismissive musical agents to write directly to composer Benjamin Britten, a move that resulted in the creation of works such as "Rejoice with the Lamb."

Hussey’s influence extended to the visual arts as well, notably influencing sculptor Henry Moore. Initially, Moore was hesitant to engage with the church, believing that the tradition of religious art had become stagnant or "dead." However, encouraged by Hussey, Moore produced a "Madonna and Child" that allowed the artist to feel reconnected to a living tradition. This period of commissioning also saw the inclusion of works by other major figures like Bernstein and Walton.

This era of bold commissioning was not without intense friction. Modern works often challenged established ecclesiastical norms, leading to significant legal disputes. For instance, a stone altar by Henry Moore, commissioned for St Stephen’s Walbrook by Samaritans founder Chad Varah, became so controversial that it required a ruling from the Court of Ecclesiastical Causes Reserved. Ultimately, the highest court in the land granted permission for the piece, marking a pivotal moment in the survival of modern aesthetics within the church's architectural fabric.

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