Whistler’s Mother: Devotional Center of Male Melancholic Religion

Abstract

In previous writings, I have argued that the 3-to-5-year-old boy's emotional separation from his mother is the key experience in his development of a melancholic orientation to life (Capps, Men, religion, and melancholia: James, Otto, Jung, and Erikson, 1997) and that men's religious proclivities (based on honor, hope, and humor) reflect this emotional separation (Capps, Male melancholia: Guilt, separation, and repressed rage, 2001). In an earlier article published in Pastoral Psychology (Capps, Leonardo's Mona Lisa: Iconic center of male melancholic religion, 2004), I argued that Leonardo da Vinci's Mona Lisa is the iconic center of the male melancholic religion, that it displaces the Virgin Mother Mary of traditional Christianity in this regard, and that the painting aids in the difficult task of transforming melancholia into the mourning of the lost maternal object. In this article, I argue that James McNeill Whistler's painting of his mother plays a similar role in male melancholic religion, but with an important variation: I use Ernst Troeltsch's classic church-sect typology to show that Leonardo's Mona Lisa is the iconic center of the churchly form of male melancholic religion, while Whistler's mother is the devotional center of its sectarian form.