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Cloisonne Enamel Pectoral Cross Collections

The "early cross collection" was followed by additional crosses in succeeding years. The collections are arranged by years in which they were produced. (click on any cross to enlarge and display slide show)

2009 Collection

  • Cross CE109
    Cloisonne Enamel Pectoral Cross
  • Cross CE209
    Cloisonne Enamel Pectoral Cross
  • Cross CE509
    Cloisonne Enamel Pectoral Cross
  • Cross CE609
    Cloisonne Enamel Pectoral Cross
  • Cross CE709
    Cloisonne Enamel Pectoral Cross
  • Cross CE809
    Cloisonne Enamel Pectoral Cross
  • Cross CE1809
    Cloisonne Enamel Pectoral Cross
  • Cross CE2109
    Cloisonne Enamel Pectoral Cross
  • Cross CE2909
    Cloisonne Enamel Pectoral Cross
  • Cross CE3909
    Cloisonne Enamel Pectoral Cross
  • Cross CE4109
    Cloisonne Enamel Pectoral Cross
  • Cross CE4609
    Cloisonne Enamel Pectoral Cross
  • Cross CE4709
    Cloisonne Enamel Pectoral Cross
 

2012 Collection

  • Cross CE212
    Cloisonne Enamel Pectoral Cross
  • Cross CE312
    Cloisonne Enamel Pectoral Cross
  • Cross CE512
    Cloisonne Enamel Pectoral Cross
  • Cross CE612
    Cloisonne Enamel Pectoral Cross
  • Cross CE712
    Cloisonne Enamel Pectoral Cross
  • Cross CE812
    Cloisonne Enamel Pectoral Cross
  • Cross CE1012w
    Cloisonne Enamel on Wood Pectoral Cross
  • Cross CE1112w
    Cloisonne Enamel on Wood Pectoral Cross
  • Cross CE1712
    Cloisonne Enamel Pectoral Cross
  • Cross CE1912
    Cloisonne Enamel Pectoral Cross
  • Cross CE2012
    Cloisonne Enamel Pectoral Cross
  • Cross CE2212
    Cloisonne Enamel Pectoral Cross
  • Cross CE2312
    Cloisonne Enamel Pectoral Cross
  • Cross CE2412
    Cloisonne Enamel Pectoral Cross
  • Cross CE2912
    Cloisonne Enamel Pectoral Cross
  • Cross CE3912
    Cloisonne Enamel Pectoral Cross
  • Cross CE4112
    Cloisonne Enamel Pectoral Cross
  • Cross CE4812
    Cloisonne Enamel Pectoral Cross
  • Cross CE5212
    Cloisonne Enamel Pectoral Cross
  • Cross CE5412w
    Cloisonne Enamel on Wood Pectoral Cross
 

2013 Collection

  • CE113
    Cloisonne Enamel Pectoral Cross
  • Cross CE213
    Cloisonne Enamel Pectoral Cross
  • Cross CE513
    Cloisonne Enamel Pectoral Cross
  • Cross CE613
    Cloisonne Enamel Pectoral Cross
  • Cross CE813
    Cloisonne Enamel Pectoral Cross
  • Cross CE913
    Cloisonne Enamel Pectoral Cross
 


2014 Collection

  • Cross CE214
    Cloisonne Enamel Pectoral Cross
  • Cross CE314
    Cloisonne Enamel Pectoral Cross
  • Cross CE414
    Cloisonne Enamel Pectoral Cross
  • Goldcross CE514
    Cloisonne Enamel with gold leaf Pectoral Cross
  • Cross CE614
    Cloisonne Enamel Pectoral Cross
 

 

2015 Collection

  • Cross CE1015
    Cloisonne Enamel Pectoral Cross
  • Cross CE1115
    Cloisonne Enamel Pectoral Cross
  • Cross CE115
    Cloisonne Enamel Pectoral Cross
  • Cross CE1215
    Cloisonne Enamel Pectoral Cross
  • Cross CE1315
    Cloisonne Enamel Pectoral Cross
  • Cross CE315
    Cloisonne Enamel Pectoral Cross
  • Cross CE415
    Cloisonne Enamel Pectoral Cross
  • Cross CE515
    Cloisonne Enamel Pectoral Cross
  • Cross CE615
    Cloisonne Enamel Pectoral Cross
  • Cross CE715
    Cloisonne Enamel Pectoral Cross
  • Cross CE815
    Cloisonne Enamel Pectoral Cross
  • Cross CE915
    Cloisonne Enamel Pectoral Cross
 

 

The Picasso Suite of Pectoral Crosses

In September--October of 1932 Pablo Picasso composed numerous studies of the crucifixion using pen & ink. These small sketches found in one of his sketch books (each approx. 14” x 20”) were based on Matthias Grűnewald’s large polytriptych, the Isenheim Altarpiece. Picasso’s drawings straddle the border between Expressionism and Surrealism with stylistic abstract references to bodily forms--bones, rib cages, skulls--all over-lapping, dark and brooding. A number of them have a black ground which highlights the whiteness of the forms, copying the effect which Grűnewald achieved with his dark, compressed space.

Picasso never translated any of these studies into a painting, preferring to continue the style with paintings of beach scenes, bathers, bull fights, horses and the minotaur. By 1937 he was adapting these forms to etchings--political cartoons mocking and opposing the dictator, Francisco Franco. They also were useful in his approximately 50 studies prior to the painting of Guernica in 1937, his famous mural protesting the bombing of a defenseless Basque town by the Nazis during the Spanish Civil War, which was displayed at the Spanish pavilion at the International Exposition in Paris. This painting showed the horror of a modern day crucifixion.

As a liturgical artist I’m captivated by the combination of Grűnewald and Picasso. The Isenheim Altar’s central panel of the crucifixion is an ikon that pictures what Martin Luther called the “theology of the cross.” Picasso captures the surreal context of crucifixion and its twisted torture of the body of Christ. The pathos is depicted with forms resembling bones scattered helter-skelter over the landscape and around the cross. Darkness covers the earth. In my pectoral cross designs for the “Picasso Suite” I adopt and adapt some of Picasso’s forms to convey pathos.

numbering system



Pablo Picasso
1881-1973

Pablo Picasso
Malibu Rum, Arts 11/13
www.artistli.com/pablo-picasso/



Picasso Suite
Collection

  • Cross CE113
    Cloisonne Enamel Picasso Suite Pectoral Cross
  • Cross CE313
    Cloisonne Enamel Picasso Suite Pectoral Cross
  • Cross CE413
    Cloisonne Enamel Picasso Suite Pectoral Cross
  • Cross CE513
    Cloisonne Enamel Picasso Suite Pectoral Cross
  • Cross CE613
    Cloisonne Enamel Picasso Suite Pectoral Cross
  • Cross CE713
    Cloisonne Enamel Picasso Suite Pectoral Cross
  • Cross CE813
    Cloisonne Enamel Picasso Suite Pectoral Cross
  • Cross CE913
    Cloisonne Enamel Picasso Suite Pectoral Cross
  • Cross CE1213
    Cloisonne
  • Enamel Picasso Suite Pectoral Cross