A Polish artist’s tribute to Mary

A devout Polish artist showed his love and gratitude to Mary for answering his prayer to survive. 

Before World War II, Adam Kossowski (1905-1986) had been a promising artist in Poland, with a keen eye for depicting feeling and emotion in a variety of mediums.  His studies and travel had enabled him to learn a wide range of artistic methods.  His foundation as an artist began in Warsaw and Cracow, but he enriched his abilities by travel to Rome, Florence, Naples and Sicily.

His ordinary life changed dramatically in September 1939 when Hitler’s armed forces invaded Poland.  Adam’s military unit was pushed eastward into the zone occupied by the Soviet army.  With thousands of his fellow soldiers, he was disarmed in November and sent to a Soviet labor camp in Siberia.  The harsh weather and brutal working conditions nearly drove him to despair.  But it was during this imprisonment that he began to pray.  He resolved to use his artistic talents to promote devotion to a merciful God, and to spread the virtues of Mary and the saints.

The answer to his prayer began in 1943, when the British government persuaded Stalin to release the captive Poles to allow them to fight on another front.  Adam and thousands of his fellow captives made their way to Britain to continue the war effort.  He contributed his talent to the Polish Information ministry in London.  When the war ended, he stayed in Britain and hoped to find ways to express his talent.

It was at just this time that the Carmelites in Britain had reacquired their ancient priory at Aylesford in Kent.  Aylesford was one of the oldest foundations in Europe, dating from 1242.  It was the home of Simon Stock, and the site of a pivotal meeting which helped the Carmelites to adjust to urban ministry as one of the great Mendicant orders.  And it was also the traditional place where Mary gave Simon the Brown Scapular as a pledge of her love and protection.

The heart and soul of this recovery of a historic priory was Carmelite Fr. Malachy Lynch.  Malachy hoped to restore the ancient ruin and turn it into a spiritual hub and pilgrimage site for Lay Carmelites and modern spiritual seekers.  In 1950, he gave Kossowski his first commission to paint seven panels which traced the history of Aylesford.  The result was so successful that Fr. Malachy began granting one commission after another as the restoration proceeded.  By 1972, Adam had contributed nearly 100 works of art, including oil paints, tempera, stained glass, ceramics and sgraffito murals.  The entire Aylesford campus was gradually enriched with Adam’s holy imagery. 

The next challenge was a ceramic Rosary Way, depicting each of the 15 mysteries of the rosary.  At first, Adam expressed his doubt that he could take on such an awesome task.  But Fr. Malachy assured him that Our Lady had sent him as just the right person to complete the work.  So, Adam went ahead and the result was brilliant.  The pain and suffering depicted in the various stations flowed from Adam’s own experience in the labor camp.  What began as a simple task gradually evolved into a labor of love and gratitude to Mary.

Perhaps the capstone of Kossowski’s work was the imposing ceramic depiction of the vision of Simon Stock and the Scapular.  This ambitious work required the use of a very large kiln at the Old Fulham Pottery, dating from 1672.  It was necessary to prepare each element carefully, since it could only be fired once at 1200 degrees.  This kiln is the only surviving one of its type. 

The central scene of the Scapular ceramic shows Mary holding the child Jesus, with Simon Stock knelling before her wearing his brown Carmelite habit with the white cloak.  Simon lifts the scapular, as Mary touches it and returns it to him as a sign of protection and dedication for the Carmelites.  The central scene is surrounded by celebrating angels.  Carmelite spirituality interprets this sign of Mary’s protection as a mark of identity to live as she did, and so receive God’s eternal salvation.

Kossowski’s original ceramic “giant” stands at the end of the Rosary Way.  The imposing 13 foot artwork marks the importance of the Carmelite relationship with Mary as their sister and protector.  As the Aylesford priory developed into a pilgrimage center, the Scapular Ceramic was a valuable teaching vehicle to explain what the scapular is and is not.  We commit ourselves to live as Mary did, and she promises that we will have the grace to save us from harm. 

The popularity of the work did not remain a secret for long.  Within a few years, Adam Kossowski came to the United States himself.  Since the new Spiritual Center in Darien had adopted the name “Aylesford” there was a practical reason to strengthen that link.  Adam supervised

several castings of the work which he detailed with his own hand.  The first casting was installed in Darien.    Others were sent to Mount Carmel High School in Houston, and Joliet Catholic High School. 

Kossowski’s skill as an artist blended with his personal spirituality, forged in suffering and redemption.  His tribute to Mary for her protection is a touching prayer in ceramic beauty.