The French Dominican monk and artist, Marie-Alain Couturier (1897–1954) was initially trained as a painter. He went on to become a friar at Le Saulchoir in Belgium, receiving his ordination in 1930. Largely recognized as the figure at the centre of the debate on the role of apostolic art in the 1940s and 1950s in France, he was a friend of many pioneers of modernist art, such as Braque, Matisse, and Picasso. Through this, he was an interlocutor between the secular domain of modernist aesthetics and the clergy’s religious world. Drawing on an unknown work of Couturier’s, the central thesis of the paper is that his thought was defined by heterogeneity and contradiction. In this manner, his thoughts on art and religion problematize and reconfigure any straightforward causal narrative which announces the unilateral victory of secular ideas.

中文翻译：

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在天主教与现代主义艺术的十字路口

法国多米尼加修士和艺术家玛丽·阿兰·库图里埃（Marie-Alain Couturier，1897-1954年）最初接受画家的培训。他后来成为比利时勒索舒尔（Le Sa​​ulchoir）的男修道士，于1930年获得圣职。他是法国1940年代和1950年代使徒艺术作用辩论的中心人物，在世界上广为人知。布拉克，马蒂斯和毕加索等现代主义艺术的先驱。通过这种方式，他成为现代主义美学的世俗领域与神职人员的宗教世界之间的对话者。该论文的中心论点是借鉴了库图里耶的一部未知作品，他的思想是由异质性和矛盾性定义的。通过这种方式，他对艺术和宗教的思想使任何简单的因果性叙事都成为问题，并重新构成了叙事性思想的单方面胜利。