Mounted in varnished oak wood, the religious triptych presents itself as a small oratory favorable to recollection and prayer.
It comes in a nice transparent box that enhances the quality of the presentation and makes it a welcome gift.
This category dedicated to Saint Teresa of the Child Jesus also contains the religious triptychs in which her blessed parents are represented.
For the triptychs dedicated to Saint Teresa of the Child Jesus, the Little Flower, we have chosen for the central panel of many models a text of the Carmelite of Lisieux or a short sentence. His title of doctor, awarded to him by St. John Paul II in 2000, gives these texts a great spiritual value and are likely to nourish our contemplation. On each product sheet we plan to put in the description a short meditation inspired by these texts. This work should be completed by the end of 2018.
The real artistic talents of Céline, sister of Saint Therese of the Child Jesus, both in the field of painting and that of photography, which at the time was a fledgling art, offered us materials of choice in terms of all the iconography related to St. Teresa of the Child Jesus, to her family and to the Carmelite community of Lisieux. When Céline entered Carmel in 1894, she took her camera with her. It was never seen before, and indeed, a real revolution in Carmel. This device was certainly not envisaged by the Teresian constitutions! nevertheless, it receives the approval of the Prioress who was Mother Agnes of Jesus since 1893. At that time the Carmel of Lisieux presented a curious contrast of austerity and freedom. The correspondence of Therese of the Child Jesus shows how easily we accepted the extras offered by Mr. Martin, father of the Saint of Lisieux. At the same time, it was cold to die. Everything was not as thoroughly regulated as now; the Prioress enjoyed great personal authority. Let's thank Heaven, due to this fact, there are more than 41 photographs on which St. Therese of Lisieux appears alone or in a community group.
For painting, Celine possessed a real talent that she could develop in part before entering to Carmel where she took the veil under the name of sister Genevieve. She followed for some time the lessons of a renowned painter from Normandy and a pupil of Flandrin, M. Krung. He praised her highly for her art of composition and was anxious to introduce her to the Salon if she would agree to lend herself to a few studies in the capital. But Providence decided otherwise. On several occasions, Mr. Krung will go to Carmel and check his progress, which gives him more confidence. He will even give him his large palette.