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| Brother Placid Stuckenschneider, O.S.B. |
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Nomination:
For his role as Pioneer Artist in the field of American Liturgical Art.
PIONEER OF
AMERICAN LITURGICAL
ART
Born in Cedar Rapids, Iowa, and reared in Great Falls, Montana, he and his one brother attended public schools throughout their academic years. They grew up poor, as most Americans did in those days of the Great Depression; but their seasons of youth were filled with a combination of hard work, studies, lots of love --- and a wealth of fun. His brother later married, had five children, and died of lung cancer at the young age of 54. Placid's emotions fervently nudged him toward a religious calling.
After the end of World War II "Pfc. Stucky" was in Japan and in the occupation army. He became a cartoonist of Pacific Stars and Stripes, freeing Bill Keane and allowing him to return home to start his famous long running strip, "The Family Circus." Pfc. Stucky called his cartoon "Orient-Tashun by Stucky" which tried to bring some humor into the lives of homesick GIs.
St. John's is one of the largest Abbeys in the world, having over 300 monks attached to its foundation. In 1948 when Placid was searching out religious Orders, he often passed the twin towers of the Abbey, traveling by bus to and from Layton Art School in Milwaukee. What impressed him about the Benedictines was that when he wrote to different Orders asking for information, most responses were mimeographed letters, accompanied by the usual packets of printer materials. Abbot Alcuin of St. John's personally answered Placid's request for information, inviting him to consider a trial visit.
He did visit at the Abbey, but returned to the art school to complete the semester. It was then that he decided to enter the monastery.
His first years at the Abbey were not easy. The trials of adjusting to every day community living were hard on him. And though art was his life far before entering religion, his career was stifled by the duties he was expected to perform in the monastery. He rendered these chores with ease and accepted them as God's Will, taking them quite seriously; whether it was driving St. Mary's Mission bus for Chippewa Indian children, working the fields, milking the cows, or even laboring in the butcher shop.
Five years after his entrance, while working in the barn at the Indian Mission, Liturgical Press Director, Father William, approached him and asked, "Do you think you could complete four designs a month for THE LITURGICAL PRESS at St. John's?" Placid, completely absorbed in putting up chopped hay, wasn't certain if the question was in jest or, if St. John's request was a reality. The matter was most definitely a serious one, for this inquiry began a career that has touched the hearts of English speaking Christians all around the world. His bulletin designs were distributed each month to a half-million readers who see and admire the scriptural sermonettes being transformed into his contemporary expressions of faith.
During his five year mission at Redlake, he learned that his talent would have to be versatile; the monastery's budget did not include costly materials. He first worked on wood sculpture there, carved from an old, church pew, donated to the mission. When a kiln was available, Placid worked with ceramics. When paint was found, he'd paint; and if a blacksmith shop was offered, he'd weld, or work at soldering stained glass windows. Finding each new media was as creatively challenging to him as executing the works themselves. Illustrated magazine covers and book jackets, and his illustrations in GROWING UP IN CHRIST, (a child's bible), and A PARADE OF SAINTS, and three clip art books, have placed him with other top artists in the field of sacred art. During his career, Brother illustrated 20 books.
St. John's Abbey possesses one of the most impressive collections of sacred art in the United States. Brother Placid's work can be found throughout these massive structures, and one finds no need to question which art-forms belong to him - for his style is masculine and purely Benedictine. His works are quiet and deep; reflecting a person who holds a great reverence for life. His symbolisms speak in metaphors beyond words.
Brother Placid's life has been very hectic. Another one of his duties and occupations is that of church consultant. Since Vatican II, over 30 churches in Minnesota and the Dakotas have commissioned him to renovate their naves and sanctuaries. In many instances Brother has painted icons to enhance the contemporary changes of the structures. But unlike traditional icons-severe, Placid features his subjects in very contemporary style, bringing them to the people of this and future generations.
Over the years, he continues his artistic studies at Notre Dame University, Blackhawk Mountain School (in Colorado), Sagrada Studio (in Albuquerque), San Miguel de Allende (in Mexico), and at Snomass, Colorado. During these summer courses, Brother traditionally completes commissions that monastery living far too seldom allow. It is at these places that he has accomplished some of his major paintings and sculptures. Monastery-duties come first to this famous artist-monk; he is simply a monk who happens to be an artist. Over the past 40 years, while being on the full-time staff of THE LITURGICAL PRESS, he trained himself to drop all work when the chapel bells ring. He always places his art-life second.
It is said that the properties of God are truth, goodness and beauty. Abbot Boniface Wimmer, founder of the American Benedictines, wrote that he suspected that more souls are won to God by beauty than by truth and goodness. And it was St. Benedict's rule that expressed the hope that the casual visitor to any monastery would sense the presence of God within its walls and be moved to prayer. Brother Placid's prominent works of art maintains the high quality and technique of this Benedictine tradition.
Brother's trademark, which he uses instead of his signature, is a letter "P" made with a fish. The "P" stands for Placid, while the fish represents the ancient symbol of a Christian. He sees Christ in all things, and attempts to fuse the spiritual and the natural. He feels that the artist has a role in bridging the gap between the visual and the spirit, and it is evident that this is his life's challenge.
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