Our Church Art History - Church Art History

Art associated with the Church of Jesus Christ of Latter-day Saints and its members does not conform solely to one aesthetic or style, reflecting the diverse membership of the Church and their interest in exploring many forms of expression. Church art’s evolution is a story of a faith community using visual art to express its unique history, doctrine, and values.

Pioneer and Early 20th-Century Art

In the 19th century, Church art was practical and descriptive. Early artists, many of whom were converts from Europe, brought with them a traditional Romantic style that was applied to the American West’s landscapes. Their work often documented the pioneer migration and settlement of the Salt Lake Valley. This period focused on capturing the physical journey and building of the new Zion. One notable artist from this era is C. C. A. Christensen, a painter who created a series of narrative canvases known as the “Mormon Panorama.” These large-scale works were used as visual aids during lectures to tell the story of the Church’s early history to pioneer communities.

At the turn of the 20th century, a new wave of artists was commissioned to study art abroad. The “Paris Art Mission” sent artists like John Hafen and Lorus Pratt to study in Paris, with the specific intent of bringing new skills back to paint murals for the newly completed Salt Lake Temple. This infusion of European academic and impressionistic techniques brought a more refined and naturalistic style to Church art, moving it beyond simple documentation.

Mid-20th Century: The Rise of Didactic Art

The mid-20th century saw a shift toward highly didactic and illustrative art. The Church began to produce art for use in its various publications, such as magazines, curriculum manuals, and temples. This period is defined by a desire for clarity and literal interpretation of scripture. Artists like Arnold Friberg became incredibly influential. Friberg’s iconic illustrations for the Book of Mormon, with their heroic, muscular figures, defined the visual imagination of a generation of church members. Similarly, Harry Anderson and Del Parson created widely reproduced images of Jesus Christ that became staples in Church meetinghouses and homes. These artists’ styles, often a blend of realism and idealism, were meant to inspire and teach.

Contemporary and Global Art

In recent decades, Church art has begun to diversify, moving away from a singular, institutional style. The rise of new artistic movements and a growing global Church membership have fostered a more varied and personal approach. The Church History Museum’s International Art Competitions, started in 1987, have played a key role in this, encouraging submissions from members worldwide and expanding the definition of what constitutes Church art.

Artists like Brian Kershisnik and J. Kirk Richards have introduced more interpretive and symbolic styles, exploring personal spiritual experiences and universal themes rather than just historical narratives. Jorge Cocco Santángelo, an Argentine artist, has gained international recognition for his unique “sacrocubism” style, which deconstructs and reinterprets religious figures and scenes. This contemporary period also sees a greater representation of diverse cultures, with artists from around the globe creating works that reflect their own cultural heritage. This shift from a predominantly Euro-American aesthetic toward a more global perspective reflects the Church’s ongoing expansion.

Additional History Notes from Another Round of Research:

The history of visual arts in The Church of Jesus Christ of Latter-day Saints is a rich narrative that mirrors the Church’s own journey from a small, insular community to a global faith. Over time, the art has evolved from simple, documentary works to a diverse collection of styles and media that reflects its unique doctrine and international membership.

The Pioneer Era: Documentation and Romanticism

In the early decades, Church art was primarily a tool for documentation and historical record. The artists of this period were often converts from Europe who brought with them the prevailing artistic sensibilities of the 19th century, particularly Romanticism. This movement, with its emphasis on emotion, the grandeur of nature, and heroic narratives, was perfectly suited to the pioneer experience.

Artists like C.C.A. Christensen, a Danish convert, created a series of narrative paintings known as the “Mormon Panorama.” These large, scroll-like works were used to visually tell the story of the Church’s early history to pioneer audiences. His work, along with that of others like Dan Weggeland, focused on depicting the hardships and triumphs of the westward migration, the construction of temples, and key moments in Church history. The art was a collective memory, a way for the community to remember and honor its past.

The Paris Art Mission: Academic Realism and Refinement

As the Church became more established in Utah, its leaders sought to elevate the quality of its art. In 1890, the First Presidency sent a group of artists, including John Hafen, Lorus Pratt, and Edwin Evans, to study at the prestigious Académie Julian in Paris. This initiative, known as the “Paris Art Mission,” was a turning point. These artists were commissioned to return and create murals for the newly constructed Salt Lake Temple.

Their training in Academic Realism brought a new level of technical skill and classical refinement to Latter-day Saint art. Upon their return, they applied these principles to the temple murals, painting grand, idealistic scenes that were a departure from the more rustic, descriptive style of the pioneers. This period marked a crucial shift from art as a simple record to art as a sophisticated expression of doctrine and beauty.

A unique and significant figure from this era was Minerva Teichert, who, though she didn’t attend the Paris Art Mission, studied at the Art Students League in New York. Her distinctive style, which blended folk art with a grand, narrative scale, made her a pivotal artist. She created murals for many Church buildings and is most known for her Book of Mormon series, in which she used bold colors and simplified forms to convey the spiritual power of the narrative. Her art was a personal mission to tell the Church’s story on the walls of meetinghouses.

The Mid-20th Century: The “Golden Age” of Illustration

The mid-20th century is considered the “Golden Age” of Church illustration, a period that defined the visual culture of the Church for decades. As the Church began to mass-produce instructional materials like magazines and manuals, it needed a unified and consistent visual style. It turned to prominent American illustrators, many of whom were not members of the Church but who excelled at clear, didactic storytelling.

Artists like Arnold Friberg, Harry Anderson, and Tom Lovell became incredibly influential. Friberg’s iconic illustrations for the Book of Mormon, with their heroic, muscular figures and dramatic compositions, became the de facto visual representation of the book’s narrative. His work, influenced by his background in Hollywood, brought a cinematic quality to the scripture. Similarly, Harry Anderson’s paintings of Christ and biblical scenes were widely licensed and became a ubiquitous presence in Church buildings and homes worldwide. His images of a serene, idealized Christ remain some of the most recognized and beloved. The purpose of this art was clear: to teach, to inspire, and to create a uniform visual identity for a growing global faith.

Additional Church Artists of Historical Significance

As we look in depth at our art history, there are many members of the Church who have contributed to the beautiful art we enjoy as a part of our religious heritage. It would be hard to identify all those who have influenced Church art. Even art teachers, supporters, and external mentors would need to be included if we were to be truly comprehensive.

However, based on artists of known influence, widespread recognition within the faith, and impact on the broader art world, we can identify a significant number of prominent artists in our history.

This list is not exhaustive and is not in any particular order, but it represents a wide range of styles and historical periods. Some artists included below have been discussed already in the historical information above.

Pioneer and Early 20th-Century Artists

These artists laid the groundwork for a distinct Church artistic tradition, often documenting the early history of the Church.

C.C.A. Christensen: Known for his “Mormon Panorama” series, a visual history of the Church’s early days.
Minerva Teichert: A prolific painter and muralist whose expressive, folkloric style defined a generation of Church art.
Mahonri Young: A renowned sculptor and painter, grandson of Brigham Young, known for his monumental public works.
John Hafen, Lorus Pratt, and Edwin Evans: Members of the “Paris Art Mission,” they brought academic realism and Impressionism back to Utah.
Avard Fairbanks: A sculptor whose work includes over 100 public monuments.
LeConte Stewart: A well-known landscape painter who served as the head of the art department at the University of Utah.
Alvin Gittins: Known for his realistic portraits, including a popular image of Joseph Smith.
James T. Harwood: The first Utah artist to study at the Académie Julian in Paris, he was a key figure in early Utah art.

The “Golden Age” of LDS Illustration (Mid-20th Century)

This period is defined by artists who created widely reproduced, didactic art for official Church publications and manuals.

Arnold Friberg: His iconic, heroic illustrations for the Book of Mormon are perhaps the most recognized LDS artworks ever created.
Harry Anderson: While not a member of the Church, his paintings of Christ and biblical scenes were widely licensed by the Church and became a visual standard.
Del Parson: Known for his highly popular and ubiquitous painting of Jesus Christ.
Tom Lovell: Another non-member whose biblical illustrations were widely used in Church publications.
Gary L. Kapp: His paintings of historical and scriptural scenes are a staple in Church art.
Ted Henninger: An illustrator whose work is featured in numerous Church publications.
Robert T. Barrett: A well-known illustrator and professor at BYU.

Contemporary and Modern Artists

This group includes artists whose work is diverse and reflects a wide range of styles, from traditional to abstract, and is often more interpretive and personal.

James C. Christensen: Known for his whimsical, fantasy-inspired art with spiritual and metaphorical themes.
Brian Kershisnik: His paintings have a unique, narrative style that blends folk art with spiritual and emotional depth.
J. Kirk Richards: His work is highly symbolic, often using simplified figures and rich color to explore gospel themes.
Jorge Cocco Santángelo: An Argentine artist who created a unique style he calls “sacrocubism,” using geometric forms to depict sacred narratives.
Greg Olsen: A highly popular painter known for his realistic, reverent depictions of Christ and his life.
Liz Lemon Swindle: Her art focuses on the life of Christ, particularly his interactions with women and children.
Wulf Barsch: A German-born abstract painter whose work is spiritually symbolic.
Walter Rane: An illustrator and painter known for his detailed and historical approach to gospel subjects.
Rose Datoc Dall: A contemporary painter known for her figurative work and striking portraits.
Simon Dewey: A British artist whose paintings of Christ are widely reproduced for their reverent and accessible style.
Michael Malm: Known for his realistic and often contemplative paintings of biblical scenes.
Caitlin Connolly: A contemporary painter and sculptor whose work often explores themes of femininity and divinity.
Paige Crosland Anderson: An abstract painter whose work draws on geometric patterns and themes of faith.
Joseph Brickey: A classically trained artist who paints historical and religious scenes.
Ben Hammond: A sculptor known for his work for the Pro Football Hall of Fame and other public art projects.
Megan Knobloch Geilman: An artist known for her use of various media to create symbolic and deeply personal works.
Annie Henrie Nader: A painter who creates colorful and heartfelt depictions of Christ and gospel stories.
YongSung Kim: While not a member of the Church, many church members are appreciative of Kim’s art. His most well-known painting among Church members is “The Hand of God” which depicts Jesus Christ reaching into the water to rescue Peter.

This list is just a starting point, as there are countless other talented artists within the faith who contribute to its rich artistic legacy. If you know of artists who could be added to the list, we’d be happy to hear from you.