Few modern public art initiatives have ignited as much artistic, theological, and political debate as the new stained glass windows for Notre-Dame Cathedral. It's no wonder that the French figurative artist Claire Tabouret, selected for the commission in 2024, has encountered significant scrutiny.
In December, audiences were introduced to Tabouret's artistic vision at the Grand Palais in the exhibition "Claire Tabouret: In a Single Breath," showcasing life-sized models of the six stained-glass windows intended to replace the 19th-century creations by Eugène Viollet-le-Duc and Jean-Baptiste Lassus. Known for her vibrant and emotionally charged portraits, Tabouret has envisioned a diverse, multiethnic group of worshipers depicted in prayer during Pentecost.
Chosen by French President Emmanuel Macron and Paris's archbishop Laurent Ulrich from a pool of 110 candidates, Tabouret was specifically selected to adhere to the Catholic Church's request for a figurative artist. This initiative follows the devastating fire in 2019 that affected the cathedral's roof and spire, prompting the French Ministry of Culture to commission replacements for the windows in six chapels along the southern aisle.
The decision has faced backlash, with critics deeming it an act of vanity, especially since the original windows survived the blaze. Concerns have also been raised regarding potential violations of the 1964 Venice Charter and cultural heritage guidelines, which emphasize the preservation of original elements whenever feasible.
In response to her critics, Tabouret stated, "These are individuals who oppose the project regardless of the details. They haven't truly engaged with the designs, opting instead to spread negativity online. Yet, I also receive a great deal of love, which is heartening."
Macron remains steadfast amid the criticism, pledging to fully restore the cathedral within five years with a "contemporary gesture." The discussion surrounding modernity has sparked further debate, questioning whether a monument meant to endure the test of time should be anchored to the aesthetics of a specific era, laden with its political and personal implications.
Conversely, some argue that it is the passage of time that transforms contemporary pieces into canonical works. The seven-meter-high windows, often deemed "original," were actually installed during a significant renovation in the mid-19th century, long after the cathedral's establishment in 1163.
Having relocated back to France from Los Angeles last year, Tabouret now resides outside Paris. She collaborates with the Simon-Marq Storied Glass Studio in Reims, which is acclaimed for its post-World War II restorations of cathedrals. Founded in 1640, the studio has worked with renowned artists like Joan Miró and Marc Chagall, and more recently, with German sculptor Imi Knoebel.
"In a country rich with history and architectural heritage, we cannot simply freeze time," Tabouret remarked. "The challenge lies in how we establish a harmonious dialogue between new elements and the layers of history in structures like Notre-Dame. To halt the layering process would, in my view, render it senseless."