Lunch with LUMA: Hands to Work and Hearts to God: Shaker Art and Spirituality

Lunch with LUMA (Spring2015)

Tuesday, 10 March 2015
Cuneo Hall, Room 410
Lake Shore Campus, LUC

This event is for faculty only. Please contact CCIH ( with any questions.

An informal conversation with Pam Ambrose (Director of Cultural Affairs at LUMA) on the uniqueness of Shaker design, industry, and performing arts.

The Hank Center for the Catholic Intellectual Heritage, in collaboration with Loyola University Museum of Art (LUMA), is proud to present the Lunch with Luma series. These informal conversations with LUMA staff provide an opportunity for the Lake Shore Campus faculty to learn more about museum programs, collections, recent acquisitions, and notable events at LUMA. CCIH provides space and lunch. Please contact us for more information.

Lunch with LUMA: Crossings and Dwellings: Restored Jesuits, Women Religious, American Experience, 1814-2014

Lunch with LUMA - Crossings and Dwellings

Wednesday, 10 September, 2014
Mundelein Center, 4th Floor, Palm Court
Lake Shore Campus, LUC

By invitation only! Please contact CCIH ( for more information.

Crossings and Dwellings is on view at LUMA through October 19. The exhibition commemorates both the 200th anniversary of the Restoration of the Society of Jesus (1814–2014) and a century of women’s education at Loyola-Mundelein (1914–2014). For more information, visit


Jonathan Canning, Senior Curator, Loyola University Museum of Art (LUMA)
Dr. Kyle Roberts, Assistant Professor of Public History and New Media, LUC
Janet Sisler, Director of the Gannon Center for Women and Leadership, LUC

Lunch with LUMA: Edward Gorey: The Cautionary Tale and Unlikely Redemption

Lunch with LUMA: Edward Gorey: The Cautionary Tale and Unlikely Redemption

Wednesday, 26 February 2014
4th Floor, Information Commons
Lake Shore Campus, LUC

By invitation only! Please contact CCIH ( for more information.

Pamela Ambrose, Loyola's Director of Cultural Affairs will discuss the work of author and illustrator Edward Gorey and the current LUMA exhibitions "Elegant Enigmas: the Art of Edward Gorey," organized by the Edward Gorey Trust, and "G is for Gorey-C for Chicago: the Collection of Thomas Michalak."

Edward Gorey is well-known for his work as a teller of the cautionary tale, reminiscent of the emphasis on teaching life lessons in fairy tales and parables from the Bible. Edward Gorey's work often focuses on the unfairness of life, the random accident, and the penalties we might suffer for daring. Using examples of his work, Ambrose builds a case for Edward Gorey to be interpreted in the spiritual context of both the Christian parable of the New Testament and Zen literary practices to further a Buddhist spiritual advancement.

Lunch with LUMA: The History of the Reformation in Six Cups

Lunch with LUMA F13 - Reformation in Six Cups

Lunch with LUMA

Tuesday, October 1, 2013
Cuneo Hall, Room 425
Open to faculty (RSVP Required)

A History of the Reformation in Six Cups

A talk with LUMA Curator Jonathan Canning

With the acquisition this summer of a late sixteenth-century silver Anglican communion cup, the University’s Martin D’Arcy, S.J. Collection can now tell the story of the Reformation through six cups.

Firstly, LUMA’s fourteenth-century Sienese chalice embodies the Catholic doctrine of Transubstantiation promulgated by the Fourth Lateran Council in 1215. Its deep tulip-shaped bowl and broad stabilizing base safeguarded the wine that, upon consecration, became the very blood of Christ. The D’Arcy abounds with painted, sculpted, and embroidered images of chalices with similar profiles in the hands of angels at the Crucifixion.

In emulation of the domestic setting of Christ’s Last Supper, Anglicans adopted a type of covered cup to be found on their own dinner tables. The deep cylindrical bowl of LUMA’s 1582 Anglican communion cup is similar to that of a German covered cup also in the collection.

A commanding silver gilt chalice by the late seventeenth-century Augsburg silversmith Hans Jacob Ernst attests to the Catholic Church’s reassertion of doctrine. Red and white enamel plaques depict scenes from the Passion, including an image of an angel presenting Christ with a chalice of suffering in Garden of Gethsemane.

Two chalices tell the story of Catholicism in Anglican Britain. Both retain the traditional Catholic form adapted to the style of their times. The English chalice bears an inscription recording its presentation in 1684 by the recusant Lady Rockwood to the college of Jesuits that secretly ministered to Catholics in eastern England. The chalice bears no hallmarks to protect the identity of the silversmith should it have been discovered by the authorities. In 1724, Peter Browne presented a chalice to the Dominican house on his estate at Burrishoole, County Mayo. The Protestant Anglo-Irish authorities closed the priory and seized its property, including this chalice, later that century.

Look for the announcement of the Anglican communion cup’s installation at LUMA later in the fall.

New Program: Lunch with LUMA

New Program:  Lunch with LUMA

If the power of images to convey complex messages interests you, then you must see the seven nineteenth-century Mexican retablos that now grace the walls of the new conference room.  Gifts of Madeleine Gomez, and Jennifer and Isaac Goldman to the University, the small paintings on tin bear witness to the rich spiritual and cultural heritage of the Church in Central America.

Like Byzantine icons, retablos were vehicles by which the holy became present before the devotee. For this reason, retablo artists, most of whom were anonymous and unschooled, adhered closely to traditional European models brought to the New World by missionaries.  Mexican painters ignored Benedict XIV’s ban on representations of the Trinity in human form. It is not through physiognomy but by the color of their robes and the objects in their hands that one identified the three persons of the Trinity in La Santisima Trinidad. Two retablos promote the doctrine of the True Presence in the Eucharistic wine by depicting blood from Christ’s wounds filling a chalice around which lambs gather. A trace of older, indigenous imagery survives in the rendering of San Raphael. His feathered headdress  recalls those worn by pre-Conquest deities, priests, and rulers.