I first met Sue Valentine during an extraordinary Icon workshop I taught in March, 2020, at Mt. Calvary Monastery in Santa Barbara California. It was extraordinary for several reasons- first, we all were just beginning to understand that Covid was seriously dangerous, but our worlds hadn’t changed yet to quarantine measures. Extraordinary too, because sadly, Mt. Calvary monastery is now closed forever. And then there were the students- such an interesting and dedicated group, of which Sue was one. Recently I have seen how profoundly moving her icons are and they are developing in such a wonderful way that I invited her to share about her experiences with Icon writing and here is her article:
The Suffering Servant
While new to iconography, I have appreciated from the very first icon I wrote just one year ago how God is using icons to speak to me.
I have been considering God’s call to be a servant, and learned I both significantly misunderstood how highly the Lord thinks of His servants, and also how profoundly they suffer. These days I ponder these things as I paint.
I find I am becoming used to the conventions in icons: a blue outer robe representing Christ’s divinity and a red inner robe representing Christ’s humanity. Then the Lord pointed out there is no blue robe in this icon, because as Philippians 2:5-8 tells us, Jesus voluntarily removed His blue robe when He came to earth to become one of us, to serve us, to suffer for us, and to save us. Then, in Matthew 27:28, after Jesus was arrested and convicted, the soldiers stripped Him of His humanity, removing His red robe, and mocked Him, pretending to worship Him as a king, all the while spitting on Him and beating Him.
Jesus’ servant life and suffering stripped Him of both robes.
With the icon now complete, as I gaze on it, I’m feeling the robe I have painted on Jesus is somewhat jarring. I’ve introduced alizarin crimson, a new color for me. I can’t even remember why I chose that color. Only later do I realize that when the soldiers stripped Jesus of His red robe, they put on Him a scarlet robe which is what I have painted. This icon is the picture of Jesus, not robed in humanity, but covered with the soldier’s scorn for His kingship as they dressed Him in a scarlet robe. With that realization, I see more fully what He suffered and the servant life I am invited into.
Jesus is no longer robed in scarlet, in red or even in blue, all of which I can attempt to paint as I am learning this new way to pray. What I cannot capture or even attempt is what I know is true of Jesus now and read in scripture: Jesus is finally robed not in finite colors, but in the splendor and majesty He deserves.
John the Theologian
This is John the Theologian. John is my favorite gospel, and this is the icon of the gospel writer John who had incredible revelations of the Lord later in life, and he wrote them down.
He has an ink well at the ready, and an angel whispering inspiration in his ear.
The verse written in the book is John 16:33 “I have told you these things, so that in me you may have peace. In this world you will have trouble. But take heart! I have overcome the world.”
I have been wrestling with the Lord about how to live out my calling as a teacher. The Lord has told me until those opportunities open up, I should write. But writing seems less appealing to me.
So when asking the Lord, “Why this icon of John?”, He reminded me that this type of painting is called icon writing. If this is the kind of writing the Lord wants me to do, then I’m very interested.
This is my first larger icon, 16 x 20”. I chose it because my daughter was struggling severely, and I felt I needed to sit with many faces of grief, from the demonstrative Mary Magdalene with her arms raised to the strangely peaceful woman in green, as they mourned over the body of Jesus and as I mourned.
Just the process of painting a larger icon forced me to sit with those feelings of grief longer.
This is another 16×20” icon, and a sequel to “The Lamentation.” Jesus is now risen from the dead, leaving only His graveclothes behind, so I am surprised this icon is never called “The Resurrection.” Of the many renderings of this icon, I chose this one because Jesus was still visibly present, even though only one of the women noticed He was there. Their focus was on the grave clothes, and so, largely, was mine. I was feeling a kind of desolation, but at least Jesus was with me.
I found this icon very difficult to do and the larger format made that more plain to me. There were long periods when I could not work on it at all. I didn’t even know what I was feeling, and I sought the Lord for insight. Finally, the Lord gave me a word for it: disorientation, which is how I titled this icon. That word helped me unpack what I was feeling. Things were moving very quickly in my life, I was under intense stress, deeply sad, and in shock. I was just hoping that as I painted, the Lord would keep speaking.
The turning point in completing this icon came when the Lord told me that the graveclothes were my false self. Like Jesus, I needed resurrection. I needed to arise from those graveclothes and leave them behind.
As soon as He spoke that to me, the work accelerated and was completed quickly and set in motion the courage to make other changes in my life as I embraced what gave me life.
Sue Valentine is from Chicago. She has a B.A. in Behavioral Science and an M.B.A. from the University of Chicago, has a certification in Spiritual Direction from North Park Theological Seminary, and is a licensed minister in the Vineyard Church. She is a worship leader, teacher, contemplative, practicing spiritual director and aspiring iconographer.
That’s all for this month. If you have a suggestion for an article or wish to submit one, please contact me for submission requirements- we are always looking for articles that promote the joy of icon writing!
The following article was submitted by educator and iconographer, Jeannie Furlong. Thank you Jeannie, I’m sure these book reviews will be very helpful, and help to spread the joy of icon writing around the world!
Icon Books, from Jeannie Furlong:
My interest in Icons seems to have been with me for as long as I can remember. It was their stillness and austere beauty that caught my eye, initially! My artist background couldn’t keep me from analyzing what I was seeing. Each new Icon fed my embers of interest and before long a small fire had ignited. I needed to know more!
I purchased my first Icon reproduction, Holy Trinity by St. Andrei Rublev. I then found two intriguing books, Icons andSpiritual Geometry,to read.I also purchased a set of egg tempera pigments to use in the future. Gradually, I realized I was being guided into a steady path centered on learning about and creating icons.
Next, what I really needed was a teacher with the patience of Job. Where? in the midst of a raging Covid pandemic would I find one? Many, many prayers (plus Google) brought me the answer, when a ‘search’ popped up Christine Hales Iconographer! And, she was offering a Virtual Icon class. My learning curve has been straight up; an amazing beginning, and I have learned an unbelievable amount about Icons under her instruction. Now, I am pleased to accept her invitation to share with you a few of the books I found useful on my journey, especially if you are a neophyte, like myself!
I’ve listed sources alphabetically by author. Each has unique information! Enjoy!
Praying with Icons by Jim Forest. Orbis Books, 1997. (Available from Amazon.com on Kindle). The author begins with retelling a personal journey early on with Icons. The interesting aspect, surprisingly enough, is that he is NOT an Iconographer, but his story is very ‘hands-on’ sharing his experiences with Icons. In addition to Icon information and interviews, the author delves into Learning to Pray. He surprises the reader in his section on prayers, with his inclusion of two specific prayers for the Iconographer which are The Rules for the Icon Painter and An Iconographer’s Prayer.
Eyes of Fire How Icons Saved My Life by Christine Hales. Christine Hales 2018. (Available from Amazon.com) The author uses a conversational voice taking the reader on a journey beginning with life discoveries that ‘saved her life’ and continues to chat along the way discussing the values found in many periods of art. Throughout the pages are beautiful color illustrations that spur the reader on. Building this background of information she creates a deeper understanding of Icons that as an art form wields spirituality by virtue of being an art form. Christine’s book is “about” writing Icons explaining foundational processes used for creating icons. It confirms that Icons are a window the artist speaks through, “With this method of art practice, the next step is to combine that with prayer, and in doing so, the Holy Spirit will lift up the space between hand, brush and board, and the reflection of Grace will manifest in your Icon, to be read by any receptive heart.”
Drawing Closer to CHRIST A Self-Guided Icon Retreat by Joseph Malham. Ave Maria Press. 2017. (Available from Amazon.com). The author takes the reader on a very defined study of Icons that includes study and painting. A self-directed “guide into the act of iconography, which is an act of prayer. It has been divided into seven chapters, which not only measure the days it will take to create your icon but also an approximation of the days in which God created everything from nothing.” The study and painting focus on the Icon Pantocrator. These seven chapters use a biblical passage to introduce the Day with the authors’ comments, proceeds to Theological Reflections and continues with Painting the Icon. In the Guidelines, the author encourages the participant, “Remember this is a retreat and not a work project with a deadline. Your seven-day retreat will be a fluid motion of prayer centered on the rhythm you set.”
Sacred Doorways A Beginner’s Guide To Icons by Linette Martin. Paraclete Press, 2002. (Available from Thriftbooks.com). As mentioned in the Preface by Dr Nicholas Gendle, Editor, this book is practical and by no means technical but purposely authored to appeal to the beginner seeking information about Icons. It is written in a very ‘conversational’ voice that carries the reader smoothly from chapter to chapter while delivering a great amount of information carefully crafted without overwhelming the reader. This wealth of information does whet the readers’ appetite to want more information. It could certainly fit the bill as a resource for a study group seeking to know about Icons or an individual preparing to take an Icon class. Chapter 8, God, Angels and People, extends a sense of familiarity about a few icons and terminology used in Christian settings sometimes ‘taken for granted’. This chapter expands the meaning of familiar terminology and explains how it relates within the church.
Icon Painting Technique: A Meditative Guide to Egg Tempera Painting by Mary Jane Miller. Mary Jane Miller, 2013. (Available from Amazon.com-Kindle) The author prepares the reader in the Introduction: “The book is about the subtle relationship between the icon painting and how it reflects and enriches ones spiritual life”.
Silence, plays a major role in the process of creating an icon as an “extraordinary kind of prayer” from beginning to end. “Icons are not portraits; they are a windows on a world that call us to be still, to look and reflect, to be at peace with ourselves, and to rest in a place of thankfulness with God.” The author substitutes the terminology of ‘painting’ for ‘writing’ in her discussion and explains why in the History Chapter. In the Chapter Technique & Materials, she author provides an extensive discussion about her special philosophy while painting with egg tempera. She also provides various ratios she uses in her painting. Painting the Icon is broken into 12 Steps. Each simplifies the painting of each icon to enhance listening to God.
Techniques of Traditional Icon Painting by Giles Weissman, Search Press, 2012. (Available on Amazon.com). A very sturdy paperback that focuses in great detail on the “processes” of writing Icons. It also contains beautiful full color illustrations including a ‘bird’s eye glimpse’ of the detailing for a reference for painting. Chapter 5 – Byzantine Drawing points out “the elements of the composition are positioned for balanced and harmony”. The author continues using detailed step by step information clarified by the narrative while beautiful pictures identify what your work will look like at each phase. Chapter 8 – Inscriptionsexplainsthe importance of an inscription, how to paint it, and includes many inscriptions with an interpretation and origin for them.
Article contributed by Jeannie Furlong:
Jeannie Furlong, Ed.D. Episcopalian, Wife, Mother, Grandmother of 11, Texan, Business Owner, Former Educator, Professor and future Iconographer! Conversation welcomed at email@example.com
Useful Links For Iconographers:
Greek Iconographer, Antonis with instruction on the Cretan style of iconography. It is a simple study which can help with dry brush technique:
He who works with his hands and head is a craftsman.
He who works with his hands and his head and his heart is an artist.”
Saint Francis of Assisi
One of the beautiful things about writing icons is the re-introduction of ancient materials and methods. If a modern painter makes a painting of religious imagery without observing the ancient materials and principles of iconography, the effect just isn’t the same.
I realize that many of the readers of this blog are international as well as American, so this month’s news is about materials and where to get them. There are two books that I find extremely helpful that I would like to recommend.
The first is, Living Craft, A Painter’s Process, by Tad Spurgeon. This book contains “creative methods and materials based on older practice, featuring solvent – free techniques. There are also several highly informative chapters on the grammar of color and ninety unique formulas for oils, mediums, grounds, and paint.”
Many materials and processes are explained in detail in this book. For example, there are pages describing the how and why of using cloth to cover the wood surface before gesso application. In this book there are several formulas for glue size, gesso, egg emulsion and varnishes. Even though this is not strictly an icon book, the methods and materials within are of great value to iconographers as well as painters.
Since the philosophy behind this book values the traditional materials and processes of classical painting, there are many sections that go more deeply into materials than most icon books.
“When a painting is constructed with harmonious proportions- a process with both inner and outer dimensions- the result has both beauty and strength. Proportional harmony is involved in three major areas: the color, the composition, and the materials themselves.” And another quote that I find valuable in teaching color theory for iconographers is:
Living Craft, Tad Spurgeon
“Painting light convincingly is not enhanced by color variety, nor by color identity, but by the accuracy and harmony of color relationship within the value structure. These must be finely tuned to feel natural and are far easier to access with fewer colors and mixing based on value and temperature – the logic flight- than with more colors and mixing based on guess work.”
Living Craft, Tad Spurgeon
This is not so much a textbook as a record of one painter’s process of experimentation and research into classical and pre classical materials.
The other book I highly recommend is Formulas For Painters by Robert Massey. (Available on Thriftbooks.com)
Formulas For Painters
This is a book that is easy to see and read and contains two hundred simple formulas for making paints, glazes, mediums, varnishes, grounds, fixatives, sizes and adhesives for tempera, gouache, pastel, encaustic, fresco and other painting techniques.
Here is a quote from the author’s introduction:”Since the Middle Ages- indeed as early as the thirteenth century when Theophilus, the monk of Paderborn, wrote his work, On Divers Arts, – artists and craftsmen have cooked, blended, borrowed, and stolen an amazing variety of recipes and formulas, always striving to concoct a better paint or a quicker drying varnish tonsure the permanence of their art works.”
There are recipes for hide glue solutions, synthetic resin emulsion, egg and water solution, gelatine, and casein sizes to be used in the preparation of gesso. The varnishes section is particularly helpful for iconographers, with many alternatives to the traditional olifa of linseed oil.
I hope that these books prove helpful to iconographers searching to find the methods and materials that work best in their studio, climate, and circumstances.
A couple of additional points to share: Betsy Peter, an iconographer from California has been hosting an informal discussion, on Zoom, with and for iconographers each Sunday afternoon. Different topics are introduced each week and it is an open forum for sharing links and information. For an email invitation contact me below.
Also, my next online Icon painting class will be on April 13-16th, a morning session and an afternoon session, each of the four days. The focus will be on color and the Icon and we will be painting Saint George and the Dragon in egg tempera. There is a lot of advanced information regarding color theory for the experienced iconographers as well as step by step demonstrations for complete beginners.
I hope this blog is helpful, and provides not only community but valuable resources for al iconographers. Until next month, may God continue to bless the work of your hands and keep you safe and well.
The very first Christian Icons were memorial portraits from the Catacombs immediately following the Resurrection and continuing for three hundred years. They were created to keep alive the memory of the early Christian martyrs. Until Emperor Constantine legalized Christianity in 313, Christians had to hide their faith or risk death or persecution.
For the early Christians, it was the memorial image that made the unseen world of their faith live in reality. The martyrs became invisible, but constant companions through portraiture and symbolism in the early icons.
The Byzantine system of sacred portraiture and narrative derives, in part, from the stylistic influences of the Egyptian Fayum period. A certain standardization of facial features in sixth century icons of Byzantine Saints developed that bears a striking resemblance to the Fayum portraits of the first and second centuries.
Some of the earliest surviving icons of Mary and the saints are from wall paintings and mosaics after the sixth century. The most common subjects of early memorial portraits were Christ, Mary, saints and angels.
After the period of iconoclasm, Byzantine portraits of saints began to place more emphasis on the functions and status of the saints depicted in addition to attempting a physical likeness. First, these distinctions were made, for the lesser saints, with words and inscriptions. Later, visual images symbolically represented status and function, but naming of the icon was still an important element visually. It allowed the viewer to “read” the icon and know exactly who the icon was honoring.
Early Christian legend has Saint Luke as the first Icon painter, as he was commissioned to paint a portrait of Mary and the Christ Child. This Icon of the Mother of God is called the Hodegetria.
A fourth century legend speaks of King Agbar who, in need of healing, had sent his messenger to Christ asking for an audience. When Jesus was unable to go, He put His face to the cloth and Christ’s image was miraculously transferred to the cloth. The messenger brought this image to the King who was instantly healed. This legend is attributed to the Mandylion Icon.
Acheiropoieta refers to the holy image that appeared miraculously, as in the case of the Mandylion and also to the Icon of Veronica’s veil. This type of icon is thought of as a true image, not made by human hands.
From the sixth century onwards, Icons began to be venerated in the church and some were believed to be miracle working images, validating and inspiring the faith of the early Christians.
During the Comnenian period, 1081-1185, icons proliferated as murals and mosaics as well as panel paintings for the Iconostasis. Similarly, the Paleologan period, c.1261 saw the flowering of many iconographic mosaics and murals commemorating the saints and the Gospel narrative.
Russian Byzantine Icons
Typically painted on wood, Russian Byzantine Icon portraits tend to emphasize the mystical connection between the saint and God. This is achieved through a softer, more diffused portrait with less sharp or hard edges than other styles. Two of Russia’s most famous iconographers, Andrei Rublev and Dionysius, not only continued the previous Byzantine Iconographic tradition, but they also were able to creatively add subtleties and nuances to it that appealed greatly to the people of their time.
In the words of Egon Sendler, ” Icons are images of the Invisible”. They are memorial portraits that capture visually for us the memories of the saints who went before us. They hint at their accomplishments, the intensity of the saints’ connection to God and His Gospel through symbols, words and pictures.
Making the invisible world of our faith visible has never been more important. Our world and culture are crying out for vision, a perspective, that will help to make sense of the chaos. May God inspire each of us, in the individual way He has for each of us, to reach out and make His world visible and accessible to our loved ones, our neighbors and our world.
This month the topic of our newsletter is contemplation and Icons. As I continue teaching Icon writing (painting), now online due to the pandemic, it seems important to post about the importance of linking prayer to the process of painting Icons. In order for the Icon to reflect God’s Presence, it’s very important for the iconographer to be in a state of grace and prayer while working.
Reflection on the saints being being painted and continuous prayer help to insure that the icon is an authentic expression of who the saint is when transfigured by God’s grace. This is the true likeness of the saint- his transfigured person through the light of God’s action upon him/her in their lives.
In The Eastern theological tradition, man is seen to be on a mystical journey that leads to “Theosis” or deification. Icons represent this union between God and man. The Icon is a manifestation of the presence of God. It draws and brings us into this Presence so that we can experience God in our soul. In this way we become a living icon of God.
Contemplation and Icons
In Byzantine religious culture, the purpose of meditation, prayer and contemplation was always to lead to enlightenment, that is, prayerful immersion in the rays of Divine energy as evidenced in the icon of the Transfiguration.
In Vita Consecrata we read this from Pope John Paul II, : We must confess that we all have need of this silence, filled with the presence of him who is adored : in theology, so as to exploit fully its own sapiential and spiritual soul; in prayer, so that we may never forget that seeing God means coming down the mountain with a face so radiant that we are obliged to cover it with a veil (Ex 34.33); in commitment, so that we will refuse to be locked in a struggle without love and forgiveness. All, believers and non-believers alike, need to learn a silence that allows the other to speak when and how he wishes, and allows us to understand his words”
Whereas St. Benedict, who has set the tone for the spirituality of the West, calls us, first of all, to listen, the Byzantine Fathers focus on gazing. This is especially evident in the liturgical life of the Eastern Church as the 2nd Ecumenical council in 787 makes clear, when it says : “What is communicated through the Word is revealed silently through the Image.” In Byzantine Liturgy therefore, Word and Icon complement each other.
Each of us is an Icon of God, and through prayer and contemplation, we are able to see our brothers and sisters as God sees them, and then bring this deep sense of God’s view to the process of painting Icons.
Hesychasm is a mystical form of prayer practiced by Byzantine Monks and iconographers of the thirteenth and fourteenth centuries. Jesus‘s teaching in the Gospel of Matthew tells us that “whenever you pray, go into your room and shut the door and pray to your Father who is in secret; and your Father who sees in secret will reward you”. Hesychasm in tradition has been the process of retiring inward in order to achieve an experiential knowledge of God. The Jesus prayer, prayer of the breath, was commonly the prayer used when painting icons in this tradition.
The Jesus prayer is this, or a variation of it: “Jesus Christ, Son of God, have mercy on me.”
And to finish, here is a quote from “The Message”, a treatise from fifteenth century St. Joseph of Volokolamsk:
“Wherever you may be, O Beloved, on sea or on land, at home, walking, sitting, or lying down- ceaselessly pray with a clear conscience, saying, “Lord Jesus Christ, Son of God, have mercy on me,” and God will hear you.”
Equipped with prayer and contemplation, the iconographer is able to paint with God’s direction and all will be well!
Each month, we choose a topic relevant to the education of contemporary iconographers, and I invite you to make suggestions, submit possible topics, or write a guest post. Contact me!
During this time of pandemic it’s good to think about Icons of healing and restoration. There are many that come to mind, but Saint Raphael seems particularly appropriate as he is the patron saint not only of travelers, but also of physicians, nurses, and medical workers. For this reason, I am offering an online icon painting class in September where we will write an Icon of Archangel Raphael. His feast day is September 29, and is celebrated along with Saints Michael and Archangel Gabriel.
The story of Archangel Raphael is beautifully told in the book of Tobit in the Apocrypha. Raphael means God heals. In the book of Enoch he is believed to have healed the earth when it was defiled by the sins of fallen angels. In John 5: 1-4, the Gospel speaks of the pool at Bethesda where many sick people gathered, awaiting the movement of the waters. “An angel of the Lord descended at certain times into the pond and the water was moved. And he that went down first into the water was made whole of whatsoever infirmity he was under.” Because of the healing powers associated with Raphael, he is considered to be the angel in that Scriptural story.
In the book of Tobit, Raphael appears in the form of a man who will accompany Tobias on a journey. To the recently blinded Tobit (Tobias’ father) Raphael says, “Take courage, the time is near for God to heal you. Take Courage” Tobit 5:10.
During the journey, Raphael heals Sarah of the demons that plagued her so that she could safely marry Tobias. Tobit is also healed of his blindness by Raphael. When Raphael finally reveals his identity as an angel of God the two men were afraid and fell down, but Raphael said to them ” Do not be afraid, peace be with you. Bless God forevermore…I was not acting by my own will but by the will of God. Bless Him each and every day and sing His praises….. They kept blessing God and singing His praises and they acknowledged God for these marvelous deeds of His, when an angel of the Lord had appeared to them.” Tobit 12:16
In this story and also in the meaning of the name Raphael, credit is given to God who heals, and it is to God that the angels and the saints point and direct our worship and attention.
Raphael is thought to guard travelers on their journeys and is sometimes depicted with a staff and also holding fish which relates to the healing of Tobit’s blindness with fish gall as directed by Raphael. In Europe Raphael is known as the protector of sailors and is shown in a relief on the Doge’s palace in Venice with a scroll saying “Keep the Gulf quiet.”
Raphael is sometimes thought of being one of the three angels who visited Sarah and Abraham. He, along with Archangels Michael and Gabriel were sent to fulfill God’s will concerning Sodom, Sarah and Abraham.
Flannery O’Connor is believed to have said the Saint Raphael prayer at the beginning of each day:
“O Raphael, lead us toward those we are waiting for, those who are waiting for us; Raphael, Angel of happy meeting, lead us by the hand toward those we are looking for. May all our movements be guided by Your light and transfigured with your joy.” Amen
During these difficult times of pandemic, let us pray often for those afflicted and for all those doctors, nurses and medical workers who are at the front lines of this battle. And we pray also for the speedy discovery of a vaccine cure, in Jesus name, Amen.
Last March, I was blessed to teach an Icon workshop at Mt. Calvary Monastery in Santa Barbara, California where I met many motivated and interesting iconographers. One of these is Dorothy Alexander, an Iconographer in Santa Barbara who hosts a twice monthly Icon painting group at her home. The following is an article she has written about this group. An inspiring and much needed aspect of Iconography is community!
FROM DOROTHY ALEXANDER:
“Here in Santa Barbara, California, an ecumenical group of iconography students meet for Open Icon Sessions twice a month. These sessions have been on hold due to the COVID-19 pandemic and will be starting up again on June 6, 2020.
Why do we meet?
We are admonished to encourage each other throughout the scriptures. “Therefore encourage one another…” I Thess. 4:18
“But encourage one another daily,…” Heb. 3:13
We share a common bond of desiring to create icons to the glory of God, that others will be drawn closer to God through the icons, and, most importantly, to encourage each other as we work on the icon of Christ in each of us.
Some iconographers have spent years in apprenticeships, travelled to distant lands to learn in specialized schools, others are self-taught, and others have attended many weekly iconography courses. There is not just one “right” way to come into iconography. Just as in our individual journeys in faith, God leads and directs us as we need, not as our neighbor needs.
“A very good piece of advice that I received at Seminary when we were leaving was to never paint on my own. Not only is it important to check in with other painters about theology and subject matter; we also learn so much from seeing our colleagues’ work in progress and discuss their use of materials and painting techniques…”
As the Finnish iconographer, Helena Nikkanen (a student of Ouspensky), painted and restored Coptic icons in Egypt (2016) it was a team effort. She was Head Restorer for the Society for the Conservation of Ethiopian Cultural Heritage.
Their four-person team discussed a lot of icons, each with their own area of expertise. In the production of the icon project, the face of Christ was a nun of Hanuna’s paintings; Manali was responsible for small details such as Coptic texts. Nikkanen made drawings of icons and nun Martha was responsible for priming the icons.
The St. Croix Catholic Iconographers Guild has worked on icons corporately the way Nikkanen suggests. They have also worked on jointly painting iconography on the interior walls of a church on Standing Rock Indian Reservation in July of 2019. https://www.facebook.com/groups/iconography/
Three members of our Open Sessions are making diptych icons to give to our priests at St. Athanasius Antiochian Orthodox Church. They can take these with them as they bring the Eucharist to parishioners. This idea was given to us by people in the Iconography Ministry at St. Kateri (https://www.facebook.com/groups/766736060032157/).
These groups have been examples of how a guild or group of iconographers can serve others to the glory of God. We are praying together, painting alongside each other, and someday we may paint an icon together to serve our community. We exchange books/teachings, share our struggles, and lift each other up in prayer.
The Group Formation:
In 2009 I first met with a group of egg tempera artists in the home of Theresa Rohter. Here is Theresa’s description of how that group came into being.
Adult Education in the 90’s had a watercolor class and the Instructor, Rose Margret Braiden, took some instruction on how to paint an icon and incorporated it with egg tempera. I happened to hear about the class and enrolled. I was the only one doing religious paintings, and only working with egg tempera while others were mixing water color with egg tempera. As I became better at egg tempera, an opportunity arrived in Santa Barbara; The Prosopon School gave a workshop at the Old Mission.
I took a few more workshops and as I developed skills in mixing pigments and working on icons, I invited a few people to my home that were interested in iconography. The rest is history.
Over the years I have developed lasting relationships with people that I have much in common with: faith and iconography.
After the tragic Thomas Fire and Montecito debris flow, Theresa was not able to host these sessions. With the aid of family, friends, and the Montecito Bucket Brigade volunteers, the cases of pigments which Theresa lovingly prepared and maintained were found. These are the pigments which we still use today. Each person who uses them donates $10 per session to replenish the supply.
From the Group:
The best way to get a feel for what we do as a group is to hear from the group. Several participants from the last six months were asked to contribute their thoughts on these three questions:
– How have these sessions aided your iconography journey?
– What do you value in our community?
– What is an unexpected benefit of painting/drawing icons together?
Here are their reflections.
Veronica Kortz with her tryptic icon
These sessions have aided my iconography journey by getting feedback from more experienced iconographers, helpful hints of how to correct, improve, and enhance our icons.
I value our community friendship, the sharing of insights, ideas, and support.
An unexpected benefit of painting/drawing icons together is the bond of prayer and fellowship in our community.
Nancy Kazanjian, our “Cover Girl” at an icon workshop
The Open Icon Sessions in Santa Barbara have enriched my life through Icon Writing. The supportive educational and prayerful environment touches deeply while developing further skills and understanding of the processes, application, and tools. The perimeters of our study are so broad and life enhancing that it is difficult to put into words.
Through our work we deepen friendships and respect towards one another. I value the principles of Iconography, and the foundation of shared faith. I treasure the time of reflective prayerful work. I am sincerely grateful for the generosity and the opportunity to participate.
Kristine Amerson with her Christ the Good Shepherd icon
Gathering together in Open Icon Sessions has blessed me in many unexpected ways. I was drawn into the iconography world when a friend shared an icon she wrote at a retreat. The icon spoke to me and although I did not have any formal background in art she encouraged me to prayerfully consider attending an icon workshop.
What I value most about our community is the diversity, unity, and companionship it offers. All are welcome; we encourage each other and share deeply in one another’s spiritual journeys.
An unexpected benefit has been the depth of spiritual connection I have found on this sojourn.
Sandra Talmadge with her Archangel Gabriel
The Santa Barbara Open Icon Sessions have been a life-line for me for many reasons. The sessions themselves are always done in a prayerful and respectful atmosphere. The clubhouse we meet in is spacious, comfortable, and accommodating, as well as having excellent kitchen facilities for our potluck lunches.
The more experienced offer input as far as each participant needs or wants. The schedule is completed far enough ahead of time to allow for planning. The email communications always include links for further education and interest.
Many masters cannot teach or organize; yet God has blessed us with an organized time of learning together in iconography.
What is more, all of this is done for the love of God. No one pays a fee unless pigments are needed. This has allowed me to continue my love of iconography, with excellent quality, even though I struggle with limited resources.
Terry Kanowsky (Photo of Cristy Maltese and Terry, on the right, having presented icons they painted for the homebound ministry at their church.)
One of the aspects I find so rewarding about Iconography is the time I find for myself and my spiritual center. These meetings enhance the sense of peace and accomplishment my Icon writing gives me. From the comradeship we have on the car pool up to Santa Barbara through the fellowship I enjoy with all the other Icon writers at the meetings, it is truly a “soul day” for me!
I love how we all share our knowledge and in so many ways our love of God and the beauty we create through His hand. In other art forms there is often a lot of ego involved in group get-togethers. But I don’t see that at the Open Sessions. Everyone is quick to help, encourage and share tools. The experienced writers have patience with less skilled or less experienced writers too.
An unexpected benefit is all I learn at each session. How to be prayerful, all aspects of the writing process….little hints, ideas and “best practices” are all things I take away from each meeting.
Nataliya Tinyayeva at an Open Icon Session
In my opinion the iconography sessions are a beautiful part of my spiritual journey.
It is the way to deeper understanding of what an actual icon is, how it can reflect the author, the writer’s skills and the spiritual side of the author.
I personally was always thinking that the iconographer has to be perfect. I was thinking I don’t deserve to write an icon and I am still kind of thinking this way 🙂
However, I understand that there are so many ways to write the icons, we all are human and we aren’t perfect. We can’t produce the perfections, but He can. Of the majority of icons done by good masters only a few of them are done with God’s Spirit. Of course it would be the best to study Iconography at the Orthodox monastery and learn all aspects of Iconography from monks, learn different perspectives of Iconography, but today we live in such a relaxed, chaotic, and weak world that even a small particle of light can become the huge help for people to unite in God. For me, this small particle is these Iconography sessions. It is the additional opportunity to think about God and focus on the Jesus prayer.
There is a quiet environment with spiritual music. It is a good place to be in prayer and to meet other people who want to be united with God, who want to reflect the face of Jesus, Panagia, and Saints into the wood. It is the wonderful opportunity for us to exchange our experience, to get skills from more experienced Iconographers and of course it is the way to improve the skills; because, who knows…. maybe one day somebody will venerate our icon and pray to God. Such thoughts could not only be the motivation to get better at Iconography but also give some inspiration. That is why for me those sessions are very important; I receive support and the desire to continue this journey. I wouldn’t have any confidence to continue Iconography without these sessions.
In a perfect world not only adults but also kids should learn Iconography as a natural way of living and growing. And wouldn’t it be wonderful if at least one child would continue the journey of writing icons and become a good master.
Andrea Carr at an Open Icon Session
I can’t begin to express what a blessing it is and how fortunate we are to have these Open Icon Sessions. Our group, which ranges from beginners to advanced, is so supportive of one another. We each have our own work space which is very ample, and I love it when one of the other Iconographers will quietly and prayerfully come up to my table to observe and then comment on my work. Our group is so insightful and we have all learned from one another. If I ever need help, there are many there for support and the suggestions are given with love and respect.
I have never returned home from one of these sessions without gaining invaluable instruction and I feel so much zeal and joy from our community. If I ever forget any of my supplies at home, our group is so generous with lending a compass or ruler and if we need to buy pigments or supplies, they are there at a very reasonable cost.
An unexpected benefit from coming to these sessions is that we get to hear from the members the retreats and classes they have attended around the United States or even internationally. I just dream when I hear these fascinating stories and we get to learn so much about icon history. And I can’t fail to mention the pot luck dishes we bring to class for our lunch. I have never eaten so well in my life and it is always gourmet and scrumptious. I have met friends that I will have for my entire life and we always keep each other in our prayers.
Martha Helkey is working on an Our Lady of Guadalupe icon like this one made by Tina DaRos.
I appreciate the time spent together with my fellow iconographers. It is a prayerful time for me.
Asia Ballew making a chalk drawing of St. Brigid, with Dorothy Alexander
It is amazing to connect with other American iconographers. It is wonderful to know that I don’t have to go to Greece or Russia to connect with other iconographers. Talented and gifted men and women are right here!
The Open Icon meetings are so uplifting, encouraging, and insightful. As one of the only young people in this group, I’m learning so much from the older, seasoned iconographers who have been passing on to me so much knowledge about this art.
Dorothy Alexander with two of her icons
While it would be easy to stay in my little icon studio and paint on my own, I have grown in iconography through the assistance of others in this community. The kindness, gentle corrections, and challenges have all improved my icons.
Nikita Andreyev, my first icon instructor, said painting an icon is 90% prayer and 10% brushwork. This statement has stayed with me as a foundation in my journey of iconography. For me this has been a spiritual journey and I am humbled when people are glad to receive icons which are never perfect, are definitely flawed, and truly made by human hands. I continue to strive to improve and encourage others to do the same. This community has been used by God to bless me
Praying that the Holy Spirit will guide us, we meet that our “…hearts might be comforted, being knit together in love, and unto all riches of the full assurance of understanding, to the acknowledgement of the mystery of God, and of the Father, and of Christ;…” (Colossians 2:2).
If you would like to be added to our email list please contact Dorothy at firstname.lastname@example.org.
Thank you, Dorothy, for contributing this article and for organizing your group of Iconographers. We welcome your ideas and feedback on future articles for the Association.
This month I wanted to write about the idea of an American School of Iconographers. Not a brick and mortar school, but a school in the Benedictine sense of a community of people who share values, beliefs, and common goals. A school of people who desire to learn from and support each other in the goal of painting Icons would , ideally, be comprised of diversity as well as commonality.
One of the tenets in the Iconographer’s Rules that we all learn when starting to write Icons is “Never forget the joy of spreading icons throughout the world.” Although Icon painting is often a solitary process, joining together in classes can help combat the undesirable effects of isolation and promote growth and learning.
Recently, during the stay at- home -order due to the corona virus, several online Icon classes have sprung up, and I suspect that we will see a lot more of these in the future. Will these replace the onsite icon classes taught by iconographers at colleges and monasteries? No. Live, in-person classes provide an opportunity for feedback, practice, and personal remedial direction, and that works hand in hand with on line classes at other times during the year. The on line classes provide an ongoing way to practice drawing and painting that make the in person classes a valuable source of individual instruction.
Writing Icons is no simple task, as most of you have discovered. Initially, a novice Iconographer is encouraged to copy Icons from before the sixteenth century. This usually involves tracing the Icon, then transferring the image to a board and painting. However, after a few years of this kind of practice, one can move on to learning to draw iconographically. Drawing icons freehand, and learning the basics of sacred geometry composition are tasks for intermediate level iconographers. Color theory comes next, along with practice, practice, practice. It’s good to practice on watercolor paper, do studies, learn how to draw garments, and hands. Then, drawing the face, understanding dynamic symmetry and theology of icons are tasks for advanced Icon classes.
There’s always so much to learn and it’s exciting to have such rich subject matter to explore. When you add all this to the joy of growing closer to God through prayer, contemplation, and icon writing you have an absorbing and life giving practice.
Being an active member of a Church and faith community is essential to writing icons also. Since God, theology and art are so intertwined in this process, it is important to have a spiritual director with whom to ponder and question how God wants to use this art form through your work. Iconographers need to have an active prayer life and understand how Icons are used in contemplation and liturgy.
The American Association of Iconographers is a free association of Iconographers who share a common desire to be supportive to each other and grow in faith and icon writing. We have a Face Book Group ( just search for American Association of Iconographers on Face Book) which you can join. Anyone who is a member can post their ideas, questions, useful links, etc. Because it is an Ecumenical group, we practice acceptance of both Orthodox and non Orthodox Iconography. We usually don’t publicize or promote individual Iconographers’ classes, but instructional video links are acceptable for posting.
It Takes Time to Develop
There have been many developments and changes to the world, as well as to the world of Iconography over the last twenty years. Similarly, it will take time to develop characteristics, attributes, and a standard for excellence in this field.
It will be helpful to see visual examples and hear of other Iconographers’ experiences in their locations regarding community, learning, creating a standard for quality and relevance. Perhaps in the future we could have a virtual conference or series of meetings to discuss these topics. Also, writing blogs for this group can be a way to share experience and perspective.
So far, the guiding principles are: The creation of a spiritually healthy, ecumenical, support group that promotes the practice of Icon sharing, learning, and promoting the love of Icons that can provide direction and possibly regulate a set of guidelines for future Iconographers.
Please feel free to use the contact form below with suggestions, ideas, and possible submissions for blog posts.
May God continue to bless you in all that you say and do,
In the creation of Icons today, I find it particularly helpful to keep looking to the past in order to understand the nuances and dynamics of Icon making through the centuries. Medieval Russian Icons and their development is particularly applicable to this task. The following is excerpted from the book, A History of Icon Painting, and this chapter was written by Angelina Smirnova; Moscow, 2005.
Early Russian Christianity
Since the adoption by Russia of Christianity in 988, Christian art was able to develop and flourish. Particularly in the metropolitan areas like Moscow and Kiev, the foundation was laid for Christianity and its art to spread through Russia, Belarus, and the Ukraine. While in these early centuries Icons were favored by Monks and used as devotional images in chapels, churches and monasteries. They were very important inRussian Orthodoxy.
The first Russian icons were heavily influenced by Byzantine culture which formed the basis of knowledge concerning the canons and painting traditions of icons.
Wealthy princes and czars commissioned spacious churches that required large painted images, resulting in clearer silhouettes and pronounced rhythm and contours that could give a compositional unity.
The themes of overcoming suffering and the hope of salvation dominated the subject matter of these icons which laid the foundation for Andrei Rublev’s painting in the fifteenth century.
“The saints on Russian icons are often endowed with a particularly forceful expressiveness in which Christian spirituality clearly demonstrates the power of saints over the cosmic forces of nature. The images on Russian icons are more open and direct compared with the refined intellectualism of Byzantine art, which drew more strongly on the Hellenistic tradition and was more remote from the sphere of everyday emotions.”
The second half of the eleventh century Russian princes built churches to establish their governments and required monumental icons to adorn them. Most of the themes repeated Byzantine icons but there were some original ones depicting the Russian saints, e.g. Boris and Gleb.
The Comnenian style, characterized by more muted expressions, light transparent colors, and the addition of a blue/azure color, developed in twelfth century Russia. By the thirteenth century, after the devastating effects of the Tartar-Mongol hordes, icons began to show expressions of strength, resolve, spiritual integrity and power.
A Russian style of icon painting was becoming clearly evident by the thirteenth century. In comparison with Byzantine art there was now a flatter picture plane and composition, rich color, and a more open yet inward expression on the figures. There were local exceptions, such as Novgorod, which retained a simplicity combined with vibrant colors.
As Moscow became the political and cultural center of Russia in the late fourteenth and early fifteenth centuries, a clearly defined style emerged. Fifteenth century Russian icons represent the ideal heavenly world and God’s grace, in contrast to the fourteenth century icons which showed believers the steps to overcoming obstacles to spiritual development. Now, ideal harmony was the theme of icons and that is perfectly expressed in Andrei Rublev’s Holy Trinity icon. Rublev’s icons exemplify Byzantine classicism and seem to combine aspects of earlier styles of Russian icon painting in a mystical and beautiful way. Later, Dionysius would elongate figures and open out towards the viewer, compositional elements and figures. (For more on Dionysius see earlier post on this blog site.)
The Paleologue period of Byzantine iconography, 1261-1453 continued to influence Russian Icons of the sixteenth century, but there was also more of a theological-didactic narrative to these icons. A western influence began to be seen in the modeling of the faces and forms and a more naturalistic rendering of space.
I hope this brief history encapsulation is helpful to
iconographers of the twenty-first century who seek to maintain the canons of Iconography and also create religious art that relates to and inspires Christians today.
A good source of images can be found in some of the digital libraries that are now being made public:
It has always fascinated me that the more I study, write, and paint Icons, the more I discover further nuances and distinctions between styles and methods of icon painting. In reading Viktor Lazarev’s article “General Observations on Russian Iconography” in his book “The Russian Icons, from its Origins to the Sixteenth Century”, Lazarev delineates many distinctions between Byzantine and Russian Iconography.
For example, in the tenth century, Byzantine artistic influences began to be seen in Russian art, specifically icons. The cities of Pskov and Novgorod were the most affected, partly due to their form of government that allowed for more artistic freedom. By the time of Andrei Rublev, a distinct school of Russian Iconography could be recognized.
Rus appropriated the Byzantine iconographic types such as the Mother of God, portrayals of Gospel scenes, and similar Old Testament compositions. But in Russia, the faces become more gentle and open, colors became more intense, and highlights smaller and more intense which are sometimes barely perceptible. So, in this way, Russian iconography can be said to transform Byzantine iconography in a way that it is less severe and more open to nuances of content and expression.
Later, the creation of original prototype independent of Byzantium emerged in Russian icons. Some examples of this are the Synaxis of the Mother of God, and the Virgin of Mercy. These changes reflected the every day need for peasant life to be in communion with saints and angels. Protection for their flocks, houses, trades, and health became the subjects and content of numerous versions of Mary, local saints, and the angels.
Russians considered iconography to be the most perfect of all arts. “The art of the icon was invented by God’s very self, who adorns the sky and the stars and the earth with flowers because of their beauty. Icons were shown the utmost respect.” (V. Lazarev, p.23). They were bearers of moral authority and bearers of spiritual grace and holiness. Today icons are endlessly attractive precisely because of this moral purity that appears in icons through the fifteenth century, but begins to disappear with the sixteenth century.
Making efforts to understand distinctions between different styles of iconography, one begins to develop a real understanding of the essential elements of iconography and a to cultivate a desire to bring forward these distinctions to iconography today.