Sacred or scandalous? Catholic shrines take different approaches to Marko Rupnik’s art

 

Rome Newsroom, Jun 19, 2025 / 06:00 am (CNA).

Advocates for sexual abuse victims say that religious art by the accused abuser Father Marko Rupnik should be taken down or covered up to spare victims further suffering. But Church authorities in charge of the works, which decorate prominent Catholic churches around the world, have responded to those calls in different ways.

Rupnik has been accused of the sexual and psychological abuse of dozens of women under his spiritual care in the late 1980s and early 1990s. He was briefly excommunicated by the Catholic Church in 2020 and expelled from the Jesuit order in 2023, but he remains a priest. The Vatican is still in the process of making a final judgment in his case.

Responding to calls that Rupnik’s works be covered or destroyed and for reproductions to be removed from websites and publications, shrines in Europe and the U.S. have covered up their now controversial mosaics. But other institutions have taken a more tolerant approach. Some authorities, including the Diocese of Rome, are waiting to see what the Vatican does before they decide what to do with his art.

Earlier this month, the official Vatican News outlet removed images of the priest’s distinctive works, inspired by artistic traditions from Eastern Christianity, from its website, after years of criticism for its use of them to illustrate pages dedicated to saints and feast days.

The Vatican’s communications dicastery did not respond to a request for comment on the recent change and whether it reflected a new policy under Pope Leo XIV. Last year, the department’s top official, Paolo Ruffini, defended leaving the images online, saying that to remove them would not be “the Christian response” and that he didn’t want to “throw stones” at the disgraced artist.

According to the Rome-based Centro Aletti, the art and theology school founded in 1993 and previously directed by Rupnik, the workshop has 232 completed mosaic and other art projects around the world — with the vast majority concentrated in Europe, especially Italy, where there are approximately 115 installations across the country.

Centro Aletti last year called the pressure to remove works of art by the studio part of “cancel culture” and the “criminalization of art.” Neither Rupnik nor the workshop responded to requests for comment for this article.

Some calling for the art’s removal or concealment say that seeing the works in places of worship can have a traumatic effect on abuse victims, particularly since Rupnik’s accusers say he sexually abused them as they assisted him in the process of making his art.

The Pontifical Commission for the Protection of Minors sent a letter to top Vatican officials last year urging them not to display artwork, like Rupnik’s, “that could imply either exoneration or a subtle defense” of those accused of abuse.

The secretary of the commission, Bishop Luis Manuel Alí Herrera, told EWTN News in April in response to a question about the Rupnik case that “art can be a powerful tool for healing, but the content of an artwork — and especially the identity of its creator — can be re-traumatizing for someone who has experienced these horrific crimes [of abuse].”

Francesco Zanardi, an Italian abuse survivor and founder of Rete L’Abuso, told CNA that “in this case, [Rupnik’s work] is not art, it is a symbol,” which “creates problems for the victim, above all because it maintains a link between the Church and Rupnik … an inappropriate link.”

“That it should be removed seems obvious to me,” Zanardi added. He called it “almost offensive” how much attention is on Rupnik’s artwork instead of on the harm done to the priest’s alleged victims.

Others, instead, believe that Rupnik’s art should be understood as separate from the man and his alleged crimes. Father Dino Battison, chaplain of the Shrine of Our Lady of Health of the Sick in the northern Italian region of Veneto, told CNA that the shrine will be leaving its Rupnik mosaics in place and visible.

“Beauty and the message are one thing… Mercy is another thing not to be forgotten,” he said. “How many artists have behaved badly from a moral point of view… and how many works of art should we remove or destroy.”

Rome waits on Vatican

In Rome, Rupnik’s mosaics can be found in nearly four dozen locations, including a large number of parish churches as well as hospital chapels and the chapels of religious congregations and international seminaries.

The Diocese of Rome has Rupnik art in its major seminary and at the headquarters of the diocesan branch of the international charity Caritas. A diocesan spokesperson told CNA that any decision by the diocese will need to be made in conjunction with the Holy See.

The Vatican has at least three original mosaics by the artist, including in the Redemptoris Mater chapel in the Apostolic Palace in Vatican City, in the chapel of the Dicastery for Divine Worship and the Discipline of the Sacraments, and in the San Calisto Building in Rome’s Trastevere neighborhood.

Pope Francis also had at least one image by Rupnik hanging in his apartment at the Vatican guesthouse.

CNA received no response from the Vatican Press Office or the Dicastery for Communication about what the Holy See or the pope will do about the works of art.

The Jesuit order has works by its former member in five locations in Rome: in two chapels at its general curia, in the chapel of the international seminary, and in the chapels of two residences.

Rupnik’s former superior, Father Johan Verschueren, told CNA’s Spanish-language news partner, ACI Prensa, that the order is not planning to remove Rupnik mosaics from Jesuit communities for the time being, treating it as an “internal problem” because they are in private chapels closed to the public.

Verschueren said opinions about the art differ by generation, and “so far, only some younger Jesuits in formation are not happy with these mosaics. For trained Jesuits it is different.”

For some Jesuit priests, Verscheuren said, the mosaics “now function more as a mirror of our fallen human reality: We are all capable of great and terrible things at the same time. It humbles us and helps us realize that we are all sinners in need of salvation and mercy.”

International shrines act — or don’t

Rupnik’s art can be found in some of the most prominent Catholic shrines around the world, including the National Shrine of Our Lady of Aparecida in the state of São Paulo in Brazil. The second-largest cathedral in the world, the Aparecida shrine is decorated with more than 65,600 square feet of Rupnik mosaics on its exterior depicting scenes from the Old and New Testaments.

ACI Prensa received no response from the shrine to an inquiry about the fate of the Rupnik mosaics.

At the end of March, the Shrine of Our Lady of Lourdes, one of the most popular shrines in the world, announced it would cover mosaics by Rupnik on the entrances to the shrine’s main church between late March and early June.

“A new symbolic step had to be taken to make the entrance to the basilica easier for all those who today cannot cross the threshold,” Lourdes Bishop Jean-Marc Micas said at the time.

Eight months prior, the Knights of Columbus covered the priest’s mosaics in the two chapels of the St. John Paul II National Shrine in Washington, D.C., and in the chapel at the Knights’ headquarters in New Haven, Connecticut, a dramatic move that represented at the time the strongest public stand by a major Catholic organization regarding the former Jesuit’s art.

“The No. 1 factor [in the decision] was compassion for victims,” Patrick Kelly, supreme knight of the Knights of Columbus, told EWTN News in 2024. “We needed to prioritize victims over anything, any material thing.”

The Shrine of Our Lady of Fátima in Portugal, which receives over 6 million visitors a year, said earlier this year it is taking a mixed approach: It has stopped using images of Rupnik’s art in any online or published materials, but it will not take down the mosaics that cover the entire back wall of the shrine’s largest and most modern worship space, the Basilica of the Holy Trinity.

In the southern Mediterranean island country of Malta, the Diocese of Gozo has said it is sticking to its decision not to remove a series of Rupnik mosaics from the Basilica of the National Shrine of the Blessed Virgin of Ta’ Pinu, including one above the main door. 

Other prominent sites of Rupnik art

One of the most popular shrines in Italy, the shrine of St. Pio of Pietrelcina in San Giovanni Rotondo, also features floor-to-ceiling Rupnik mosaics in its lower church, where Catholics pray at the tomb of the Capuchin saint commonly known as Padre Pio. The mosaics along the access ramp and in the crypt were completed between 2009 and 2013.

The Capuchin Franciscan friars who run the shrine in San Giovanni Rotondo did not respond to CNA’s question about whether they would do anything about the mosaics.

An aide to the bishop of Caltagirone in Sicily, whose cathedral church features Rupnik mosaic installations from 2015 on the back wall of the sanctuary and on the front of the altar, and whose seminary chapel features a Rupnik workshop painting dating to 2023, said there was no assessment in progress about their possible removal.

After Italy, Spain is the European country with the highest concentration of works by the priest, with at least 12 separate sites featuring his art. Among them, highlights include the Madrid Cathedral (with mosaics in the sacristy, chapter house, and chapel of the Blessed Sacrament) and the Cave Sanctuary of St. Ignatius in Manresa.

The Loyola Center in Bilbao, a religious center associated with the Society of Jesus, has several mosaics designed by Rupnik as well as a Jesuit church in Seville.

In statements to ACI Prensa, José Luis García Íñiguez, coordinator of the communications office of the Jesuits in Spain, said the order’s headquarters in Rome has offered to initiate a process of reparation in an unspecified form to 20 of Rupnik’s victims, but “for now, there is no firm decision on what to do and how to do it with the mosaics.”

Montse Alvarado and Paola Arriaza contributed to this report.