Portrait of Santo Caserta, oil on canvas, c. 1932, 36 x 24 in.
Caserta (1910-2013), a friend of the Schmitts in Silvermine, studied the violin at Julliard School in New York, but had to abandon the instrument on account of a skin condition. He then taught himself to play the cello, and at the age of 46, auditioned for a position in the Philadelphia Orchestra under the legendary conductor Eugene Ormandy. When asked by Ormandy who his cello teacher was, Caserta had to admit that he had taught himself the instrument. Ormandy was so impressed that he gave him the job. which he held for the next twenty years.
Schmitt also painted a portrait of his friend playing the cello.
“There is no hope for mankind.
But there is every hope for an individual man.” (1930)
Angel at the Tomb of Christ, 1921, woodcut, 7×3½ in.
“No man can hope and be frightened at the same time.
Hope awaits the resolution of discord
In the midst of the courage to face those discords.” (1935)
Resurrection, c. 1940, Campion Hall, Oxford University
This painting is very similar to one of the same name bought by Schmitt’s good friend John Cavanaugh in the 1940s and now owned by the C. Michael Schmitt family. Schmitt’s great-granddaughter Bridget Skidd wrote of her discovery of this painting here.
“The Church keeps alive from day to day the tradition, the myth, which is eternally true. Without the memory of the fall from paradise and the Redemption, no apprehension of the Eternal happiness is possible to man.” (1960)
The Second Night, 1929, oil on canvas, 48 x 40 in.
From a contemporary black and white photograph; present location unknown.
For Carl Schmitt’s own “explanation” of this painting, see the article “The Artist Explains His Work,” from February 2015 issue of the CSF e-newsletter Vision.
“When suffering is the chief evil we are living the life of appearances.” (1932)
Gertrude Slicing Bread, c. 1921, pastel on paper
“Penance, by deliberation after evil, gradually teaches one to deliberate before evil.” (1939)