The next guest-curated Baumeister is taking shape: On July 24, our editor Alexander Russ met with David Adjaye in his London office to discuss initial ideas.

The next guest-curated Baumeister is taking shape: On July 24, our editor Alexander Russ met with David Adjaye in his London office to discuss initial ideas.

David Adjaye sees the Baumeister issue as a “personal manifesto” in which he will reveal his architectural stance. As in the guest-curated issues previously curated by David Chipperfield and Christ & Gantenbein, this Baumeister will not be a monograph, but rather a search for traces of influences and attitudes that have shaped David Adjaye.

David Adjaye was joined by Peter Allison, a building historian from the British architect’s team, and Anna Robinson, the press manager of Adjaye Associates. In a two-hour editorial meeting, we talked about initial topics and a possible outline for this special Baumeister issue, which will be published in March 2018.

Images: Anna Robinson

The theme of the conception of Mary – in the narrower sense, the doctrine of the immaculate conception of Mary – is one of the central motifs in the history of Christian art and faith. To this day, it inspires discussions about theology, symbolism and cultural significance and at the same time offers a broad insight into the different ways in which it has been depicted, which have changed over the centuries.

Religious motifs have been among the fundamental themes of European art history for centuries. The Immaculate Conception of Mary (Immaculata Conceptio) is one of the most frequently discussed subjects, as it combines theological, historical and artistic perspectives. The idea that Mary was preserved from original sin at her own conception developed into a central subject of ecclesiastical debate in the Middle Ages and was not defined as dogma until 1854 by Pope Pius IX. At the same time, an extensive pictorial art tradition developed that anchored the motif in the liturgy, in urban piety and in everyday culture.

The doctrine does not refer to the virginal conception of Jesus, but to the special role of Mary within the history of salvation. Early on, theologians were concerned with the question of how the special position of Jesus’ mother could be justified. While some medieval scholars regarded freedom from original sin as a logical consequence of her later role, others expressed doubts as to whether this idea was compatible with the general doctrine of redemption. With the dogmatization in 1854, a tradition of piety and imagery that had already grown over centuries was subsequently confirmed by doctrine. At this time, a wide variety of representations had long existed that made the subject present in the church and public space.

In art, the Immaculata is not visualized as a narrative scene, but as a theological-symbolic pictorial formula. Particularly in the Renaissance and Baroque periods, iconographic elements emerged that are still associated with the motif today: Mary appears youthful, standing on a crescent moon, surrounded by a halo of rays and accompanied by angels. This symbolism refers to purity, election and closeness to the divine and translates biblical and litany-like references into an idealized vision of heaven.
Well-known examples can be found in the work of Bartolomé Esteban Murillo, whose numerous versions of the Immaculate Conception – such as the famous version “The Immaculate Conception of Los Venerables” in the Museo del Prado – are among the most influential depictions of the theme. El Greco also took up the motif with his “Immaculate Conception watched by Saint John the Evangelist” (also “The Virgin of the Immaculate Conception and St John”), Giovanni Battista Tiepolo with his “Immaculate Conception” (Immacolata Concezione, today Prado) and Diego Velázquez with an early “Immaculate Conception” (German “Die Unbefleckte Empfängnis”, around 1618). In sculpture, corresponding interpretations can be found in southern German rococo altarpieces, for example by Ignaz Günther, whose Immaculata figures such as the “Maria Immaculata” (Attel) work with lightness, movement and rich ornamentation.

How religious art is shaped always depends on social and political conditions. In the case of the Conception of Mary, there are clear regional differences between Protestant and Catholic regions. While the motif is rare in Protestant regions, in Catholic countries – such as Spain, Italy, the Habsburg region and parts of France – it became an integral part of the visual tradition.
In Spain, a particularly colorful, emotionally charged and Marian-influenced visual language shaped the appearance of the subject, as exemplified by Murillo’s depictions of the Immaculata. In France, on the other hand, a more classicist, light-influenced aesthetic that emphasized idealized beauty and tranquillity prevailed at times. These different manifestations clearly show how closely art production, regional piety and religious identity were intertwined.

The theme remains present in the present day, but is often formally or conceptually reinterpreted. Some artists concentrate on abstract aspects such as light, purity or transformation and break away from the traditional iconography of the Immaculata. Others address the social significance of femininity, motherhood and religious role models, thus critically reflecting on historical pictorial traditions. Museums and research institutions regularly dedicate exhibitions or academic articles to the subject, in which historical works and contemporary positions are juxtaposed. The conception of Mary thus remains a subject of interdisciplinary debate between theology, art history, gender studies and cultural studies.

Several works have particularly influenced or expanded the motif. These include, among others:

• Bartolomé Esteban Murillo: various versions of the Immaculate Conception, such as “The Immaculate Conception of Los Venerables”, which are considered reference works for the Baroque iconography of the Immaculata.
• El Greco: variants of the “Immaculate Conception”, such as “The Immaculate Conception watched by Saint John the Evangelist” and “The Virgin of the Immaculate Conception and St John”, which are notable for their expressive forms and strong verticality.
• Giovanni Battista Tiepolo: “The Immaculate Conception” (Immacolata Concezione, 1767/68), originally intended for the church of San Pascual in Aranjuez and now in the Prado, which demonstrates the Baroque penchant for dynamism, brightness and atmospheric light in a particularly impressive way.
• Diego Velázquez: an early “Immaculate Conception” (ca. 1618), in which tendencies towards an idealizing, yet still strongly naturalistic depiction of Mary are already apparent.
• Rococo altars in Bavaria and Austria, for example with Immaculata figures by Ignaz Günther, which stage the motif in a three-dimensional and expansive manner and make the Queen of Heaven on the crescent moon visible as a dynamic, slightly moving sculpture. Such works not only served devotional purposes, but also had a lasting impact on the perception of the theme in public and sacred spaces.

Whether in historical paintings, baroque altars or modern art projects – the conception of the Virgin Mary has established itself as a versatile subject. Her depiction combines religious content with cultural and aesthetic developments that have been effective for centuries and are constantly being reinterpreted. This shows that the conception of the Virgin Mary is not only a subject of church doctrine, but also an important element of European cultural history that continues to occupy artists, scholars and the public.