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Heaven, Hell, and Purgatory: Visions of the Afterlife in the Catholic Tradition MORBID ANATOMY at Green-Wood Cemetery

Detail of "Judgement Day" 1923, Signed WH Morris (otherwise unknown), oil on canvas .

Stephen ROMANO Gallery is pleased to announce it will be participating in the NEW MORBID ANATOMY exhibition at Green-Wood Cemetery

Heaven, Hell, and Purgatory: Visions of the Afterlife in the Catholic Tradition

curated by Joanna Ebenstein and Laetitia Barbier

April 20 – June 30, 2019

Opening Party: Friday April 26 (more below, tickets here)

Anonymous 1800's photograph detail of Luca Signorelli, The Damned Cast into Hell, 1499-1504, fresco, 23′ wide (San Brizio chapel, Orvieto Cathedral, Orvieto, Italy)

Featuring artworks by Mark DionPhyllis Galembo, José Guadalupe PosadaJacques CallotShannon Taggart and works spanning the 17th century to the present from the collections of Stephen Romano GalleryEvan MichelsonEva Aridjis and Eye's Gallery and much more!

In the Catholic worldview, when the body dies, the soul of the deceased is sent to a location in the afterlife to await the final judgment, at which point it will be reunited with the resurrected body. The souls of the unrepentant who have perpetrated the gravest sins are sent to hell, while the most stainless—saints who were martyred for their faith—are delivered straight to heaven. The majority of people, however, are sent to a place called purgatory. In this liminal space—a sort of temporary hell—souls are purged of their sins until they have attained the purity necessary to enter heaven and reside with God.

LE POITEVIN, [Eugène Modeste Edmond]. Les Diables de Lithographies. 1832.

The idea of purgatory is a contentious one. Originally developed in the eleventh and twelfth centuries, it rose to popularity in the fourteenth century in response to the mass deaths wrought by the Black Plague. Disagreements about purgatory contributed directly to the birth of Protestantism. One of Martin Luther’s major points of contention in his Ninety-Five Theses of 1517 was the Church’s use of indulgences—papal grants promising to shorten or cancel a person’s time in purgatory. Once sold as ubiquitously as lottery tickets, profits were used to fund various projects including the construction of St. Peter’s Basilica in Rome. Since that time, the popularity of purgatory has gone in and out of fashion. Today, it is visible only in rare bastions of belief, such as Naples, Italy, and parts of Latin America. The concepts of heaven and hell, however, continue to thrive in the Catholic ethos.

Unknown Artist Illustration of Dante's Inferno "Geryon Leading Dante To The 8th Ring Of Hell" circa 1950's, watercolor 19 x 11 inches

This exhibition explores Catholic visions of heaven, hell, and purgatory —via art, artifacts, and material culture drawn from The Green-Wood Historic Fund Collections and the greater Morbid Anatomy community—, tracing how they have manifested in various places and shifted and changed over time.

“Heaven, Hell, and Purgatory: Visions of the Afterlife in the Catholic Tradition” and the Morbid Anatomy Library are free and open to the public at the Fort Hamilton Gatehouse on Saturdays and Sundays, 12 –5 PM, from April 20 to June 30. To visit outside of these hours, email events@green-wood.com.

Original lobby card for the 1923 film "Haxan: Witchcraft Through the Ages"

For further information and visuals please contact Stephen Romano at romanoatephen@gmail.com

Signed WH Morris (otherwise unknown) "Judgement Day" 1923, oil on canvas .
Details of "Judgement Day" 1923, Signed WH Morris (otherwise unknown), oil on canvas .
exhibition details
Fritz Gareis (1872-1925) “The Light” circa 1920
Attributed to Johann Georg Gichtel (1638 – 1710) illustration of the works of Jacob Bohme 1575 – 1624 "CONVERSATION OF SOULS" 1665
Jacques Callot (1592–1635) The Temptation of Saint Anthony, 1635 etching.
Illustration by Bernard Picard from "Oeuvres Diverses de M. de Fontenelle." 1728
Group of Guatemalan Shaman Alter objects, circa 1970's .
Manuscript page depicting demons in Hell Rajasthan, India, early 20th century
Andreas Cellarius Harmonia Macrocosmica : sev Atlas universalis et novus, totius universi creati cosmographiam generalem, et novam exhibens 1660 32 x 24 inches Plate 1: PLANISPHÆRIVM PTOLEMAICVM, Sive Machina ORBIVM MVNDI EX HYPOTHESI PTOLEMAICA IN PLANO DISPOSITA - The planisphere of Ptolemy, or the mechanism of the heavenly orbits following the hypothesis of Ptolemy laid out in a planar view.

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