Front Cover: Crucifixion, Graham Sutherland, 1946, oil on hardboard, 243.8 x 228.5 cm. Northampton, UK: Saint Matthew’s Church. Photo: Bridgeman Images. © The estate of Graham Sutherland.Sutherland would later state, “The Crucifixion idea interested me because it has a duality which has always fascinated me. It is the most tragic of all themes yet inherent in it is the promise of salvation. It is the symbol of the precarious balanced moment, the hair’s breadth between black and white.” It is clear that Sutherland possessed a developed understanding of the subject matter at hand: the realization that, as the English Catholic historian Christopher Dawson (1889–1970) explained, “Christianity began with a startling failure, and the sign in which it conquered was the Cross on which its Founder was executed.” G. K. Chesterton (1874–1936), the noted Catholic writer, summed up this paradox best when he exclaimed that “the cross cannot be defeated . . . for it is Defeat.” From “Objectifying the Unknown: The Catholic Art of Graham Sutherland”

Logos: A Journal of Catholic Thought and Culture

In this Issue

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A Classic for All Times: Manzoni’s The Betrothed
David Paul Deavel
pp. 5-21
DOI: https://doi.org/10.1353/log.2021.0006

Death in Venice and the Specter of Christ
Martin Lockerd, Aaron Miller
pp. 66-87
DOI: https://doi.org/10.1353/log.2021.0005

Reciprocal Generativity: Reason, Intimacy, and Sexual Difference
Timothy Fortin
pp. 88-123
DOI: https://doi.org/10.1353/log.2021.0000

Objectifying the Unknown: The Catholic Art of Graham Sutherland
Daniel Frampton
pp. 124-156
DOI: https://doi.org/10.1353/log.2021.0001

Contributor Notes
pp. 157-158
DOI: https://doi.org/10.1353/log.2021.0002

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