Orthodox Arts Journal – American Association of Iconographers

Icons by Father Sophrony

Recently I have been reading a book by Sister Gabriela about Father Sophrony that includes many of his drawings and icons. I’m inspired by his approach and work and want to share that with you here.

While attending art school in Russia in the 1920’s, one of his teachers was Vassily Kandinsky. Soon after, Sophrony moved to Paris where he exhibited his paintings and was not interested in pursuing a Christian life. This changed drastically and in 1926 he entered the Monastery of Panteleimon on Mt Athos where he remained until finally settling in Essex, UK at the Monastery of Saint John the Baptist.

To learn more about Father Sophrony, please read Sister Gabriela’s excellent books: “Being, The Art and Life of Father Sophrony”, or “Seeking Perfection in the World of Art”, or “Painting As Prayer: The Art of A. Sophrony Sakharov.”

I include here several quotes from the “Painting as Prayer” book that I know will be inspiring to all of you as well:

“An artist is a person who believes with deep conviction in the rightness of what he creates; who devotes his entire life to art for mankind. Only in such people does the Divine spark burn, brightly an unquenchably. And this is what’s most important in art.”

Kandinsky

This is a quote in the book attributed to Kandinsky: ” the artist must not consider himself master of the situation, but the servant of nobler aims- a servant whose obligations are majestic, distinctive, and sacred. He must nurture himself and plumb the depths of his inner life, he must conserve his inner life and develop it lest his outer talent becomes empty, like a lost glove, the empty and vain likeness of a hand.”

Painting as Prayer, Book by Sister Gabriela

“The Icon is an art which expresses the spiritual world in form and color. It is made with a stylistic language of its own which introduces the person looking at it into another sphere of being, another world of perception. Intentionally it follows a different logic of perspective and reality, placing emphasis on the inner life because its main purpose is either to depict the face of God or convey the soul of the saint or the essence of the scene being depicted. Deliberately this makes it somewhat abstract. The artist seeks divine inspiration for their work and in order to receive this, rather than some other influence, he needs a humble and prayerful attitude, recognizing that he is not master of the situation.

Inspiration from on high depends to a considerable extent on us- whether we open our heart so that the Lord- The Holy Spirit Who ‘stands at the door and knocks’ does not have to enter forcibly.

The iconographer will try to free himself from all that hinders or is contrary to the action of Divine Inspiration. This requires both humility and asceticism, but as ascetic feats may lead to pride, and thus deter grace, it is humility that is the essential part. This keeps him both open to others and their suggestions and open to grace. It preserves a rigorous questioning and checking in prayer with his conscience and with the ideal which is the humble example of Christ.”

Orthodox Journal Article

I first learned about Father Sophrony’s work from an excellent article on the Orthodox Journal. Here is the link .

“For me, the most fascinating part of the study was the subject of Father Sophrony as an iconographer. His approach to iconographic practice is described and this section is rich in quotations and comments of great interest. Sister Gabriela writes that by having “absorbed the iconographic tradition through observation and living with it, while leading a strict ascetical life…one’s understanding goes deeper, beyond the external aesthetic aspect.” “…he understood iconography in its essential form, as an inspiration for prayer, and a “springboard”, as he called it himself, to eternity. In this sense he was free from any attachment to any specific school or iconographic movement. His sole interest was to render the icon as authentically as possible.” As a result of this it is apparent that “One cannot classify his icons into any particular style or school. He took what he found best from each. His only concern was the icon itself, how best to express the given situation.”

In summation Sister Gabriela writes of Father Sophrony’s life that “This is the search for Christ, the yearning for close contact with Him and, within this, striving to portray His face in a correct and worthy manner, both in the inner life and in iconographic panting.”

Additional Link to Icon Gallery in Slovakia

I have recently seen a lovely online exhibition of Eastern European Icons at The Gallery of Icons. Here is the link.

That’s all for this month. Please email me with suggestions for future articles on understanding and appreciating icons.

Blessings and prayers,

Christine Hales

newchristianicons.com

onlineiconwritingclasses.com

Training for Iconographers

Greetings Fellow Iconographers :

Training for Iconographers

This month I am recommending two articles that have been published in an on-line journal- The Orthodox Arts Journal– as elements contributing to good training for Iconographers. As I go around the country teaching an “Introduction to Icon Writing Class”, I am aware of how little knowledge people in general have about Icon painting. It is impossible to gain enough knowledge of this art from a few classes to be able to make truly authentic Icons. I recommend two things: look at as much art and as many Icons as you possibly can. Books, online resources, museums, all of these will help your painting to become mature as you practice what you see. The second thing I recommend is to read as much as you can about the history as well as the technique of Icon writing. Both of these activities go hand in hand with taking workshops and practicing at home.

Two Articles for Iconographers in Training.

First Article

The first article is written by English Iconographer Aidan Hart and it is entitled, ” The Mustard Seed Garden Manual of Painting,: A Chinese Painting Manual Offers Inspiration to Iconographers.” This article contains quotes from the Chinese manual as well as comments by Aidan Hart as to their usefulness for Iconographers. It is quite a beautiful and clear article that speaks to some of the nuances of Icon painting. Here is a quote from that article. The italics are quotes from the manual, and the regular text is Aidan Hart’s commentary:

“You must learn first to observe the rules faithfully; afterwards, modify them according to your intelligence and capacity. The end of all method is to seem to have no method. (17)

When we learn a second language, we consciously study its rules of grammar and learn its norms. But as we gain knowledge and confidence, we find our own voice. Iconography should be the same.

I have heard it said by some Orthodox thinkers that iconography is not art. I disagree. The icon is indeed more than art because it is part of the liturgy and exists for more than aesthetic delectation. But it is at least art. Although the icon’s sacred purpose means that its aesthetic categories are more extensive than those of secular art, it should nonetheless include them. The same universal colour theories and composition principles apply.”

One more quote:

“If you aim to dispense with method, learn method. If you aim at facility, work hard. If you aim for simplicity, master complexity.(19)

Hard work is the only path to the authentic abstraction. In the years that I have taught iconography I have found that drapery is the most common stumbling block for learners. Prolonged and analytical study is required to understand the drapery that the icon tradition abstracts. Drapery’s complexity needs to be mastered in order to make sense of its simplification, otherwise it becomes irrational, not supra-rational. Lines need to be understood as horizons of forms and not strings hanging in space.

Here is the link for the entire article. Enjoy!

The Second article is written by Anton Daineko “The Living Icon”, also published in the Orthodox Arts Journal. In this article, Anton grapples with the issue of what is the criterion used to make authentic Icons? This is not a simple or easy question to answer. He cites examples of Iconographers from the past such as Andrei Rublev, Hilandar and Panselinos in order to visually show the necessary qualities of good Icons.

In this article, he also speaks about the importance of the Iconographer’s direct experience, through prayer, with God.

“The Criterion

Commenting on copying in iconography, Father Igor, a priest from Minsk and himself an icon painter, noted that “There are no icon copies; each icon is a REVELATION”. Naturally, this raises questions: is it even possible to define such a delicate matter as REVELATION, and what aspects should be included under the resultant definition?

It cannot be answered in a few simple words. With some icons, everything is easy: one look at the Redeemer from the Zvenigorod deesis tier, and you feel that it really is a REVELATION. But with most icons, the matter is far more complicated.

“It would be appropriate here to recall the words in the epigraph to this article, the Apostle Peter’s reply to Our Lord’s question “Who do you say that I Am?” – “YOU ARE THE CHRIST, THE SON OF THE LIVING GOD“.

Perhaps this line holds the key to understanding much about the Church, including the canonical texts: in those texts, the early Christians saw an image of the LIVING GOD, crucified and raised from the dead. And that is what is most precious in the Church. It is precisely the PRESENCE of the Living God that sets the Christian Church apart from other religions and other communities. And it is precisely this PRESENCE that we can observe in scripture as well as virtually everything else in church life. The icon is no exception in this regard.

The iconic image consists of many simple elements: strokes, stripes, and smudges, while the different colors are obtained by various combinations of minerals and egg yolk. Taken separately, none of these elements carry any artistic – let alone spiritual – meaning in and of themselves. But when these elements come together in a particular combination, a miracle occurs: the strokes, the stripes, and the smudges cease to exist, and we see the Face of the Living God looking directly at us. It is as much of a miracle as the image of the Living God emanating from the simple words of the Gospels’ narrative.”

I suggest again, reading the entire article in order to fully understand the nuances and also to see more examples of the Icons mentioned in the article. We are so blessed today to have great contemporary Iconographer who are sharing their wisdom and experience to those who are eager to learn.

Enjoy, as we come to the official close of summer, and may God bless all of your Icon writing with His Presence.

Christine Hales

Christine Hales’ Icon Prints

Icon Classes Taught by Christine Hales

Understanding Icons Part I

Hello Fellow Iconophiles:

Understanding Icons Part I: Theory and Practice,

This month I am bringing the first of a two part lecture by Sister Petra Clare, an experienced Iconographer, retreat leader, and Orthodox nun currently living in a monastery in Greece. Sr. Petra has a teaching website where she offers on line classes and tutoring for Iconographers. There is much background and practical information on her site, which requires a fee to access.

Theoria

When thinking about Icons, there are so many levels of appreciation and engagement to consider. We’ve talked about several of these in past blogs- Icons as Lectio Divina, Icons for contemplation, prayer, etc., and now we delve deeper into what theory brings to full development in the Icon. The following paragraphs are taken directly from Sr. Petra’s EastXWest online Icon Course website, with her permission:

Monastic and patristic tradition, both east and west, call the process of understanding Scripture theoria. The Greek word theoria (*&(“+,) means ‘intelligent contemplation, paying close attention, looking at.’ It could mean looking interiorly, with ‘the eyes of the heart’ or looking exteriorly, with the physical eye. The term is always used by the ancient Greeks to refer to the act of experiencing or observing and then comprehending through interior consciousness. Our word ‘theory’ is derived from it,but has degraded over time, now meaning little more than a hypothesis used to justify a set of actions.

Cultivating theoria is central to the role of the iconographer. The divine vision is the spark which makes them iconographers. It is the foundation of their vocation. It enables them to shape content and artistic form, generating the visual prototypes which are the counterpart of the scriptural and liturgical canons. Without theoria, the icon would be a purely human product, a ‘painting by numbers.’

St. Fyodor of Rostov was an Iconographer whose love of God surpassed all else. By Christine Hales, — St. Fyodor of Rostov was an Iconographer whose love of God surpassed all else. By Christine Hales

First Principles: Theoria – Inspired Vision.

In the Biblical sense, theoria is itself part of holy tradition, for both Jews and Christians. In the Bible we meet patriarchs, apostles and prophets who receive insight into divine truth.

Breck reminds us that the ‘inspired vision of divine truth, as revealed in the person of Jesus Christ, enabled the early Church Fathers to perceive a depth of meaning in the Biblical writings which is of the presence and activity of the Holy Spirit.”

The link between theoria and the arts is made in Exodus:

‘Be sure that you make everything according to the pattern you were shown on the mountain; said the Lord to Moses (Exodus 25:40). Shortly afterwards God designates a craftsman ‘I have called by name Bezalel (B’tzal’el)’ and fills him with the Holy Spirit to design the artwork (Exodus 31: 1-11). God tells Moses that the design and craft skills are a direct gift from him. The craftsmen are singled out as those whom God has filled with ‘wisdom of heart’ or ‘instructed them with
wisdom’ (Exodus 35:35). He has given them a combination of combination of skill and intelligence (Exodus 36:1) and ‘stirred their hearts’ i.e. called them, to design and make craftwork (Exodus 36:2). He also calls Besalel and Ooliab to pass on their skills – and their spirit – by teaching (Exodus 35:34). Teaching is a gift of the Spirit, as it is later in 1 Corinthians 12:28. the gifts God gives to Moses’ craftsmen clearly depend on theoria to function.

Each time you work on an icon – daily if you are a full time iconographer – pray for the gift of the Holy Spirit. You need this charism to develop your witness through icons.

We will confine our study of the relationship between Scripture and icon, to this context, ratherthan getting bogged down with modern textual criticism, which deals with other issues, outside the range of this course. We take as our starting point the text ‘all Scripture is inspired by
God.’ (Timothy II: 3:26). Breck describes this as synergy – a co-operative effort between the Holy Spirit and the human instrument ‘who receives divine revelation and translates it into gospel proclamation.’ This is the mindset the iconographer needs.

Iveron

Take a moment to meditate how you, as an iconographer, ‘receive divine revelation and translate it into gospel proclamation?’ How long do you put aside to meditate on Scripture or the life of a Saint, before beginning to paint? Do you frequently renew your spiritual contact with the mystery while you are painting – stopping for a little meditation? What supportive routines have you developed to retain an inner contact with the person or mystery you are painting during the hours at the easel?Having a good book about a saint or doctrine at hand during teabreak, watching a film about their life or surfing the net about their period of history in free time can all help. These nurture the process and make the icon ‘come alive’ in our hands. In short, do we ‘proclaim,’ out of our inner contact with the mystery, or merely copy?

All of the information above comes from the EastXWest online course: b1a Old Testament Principles. (Editor’s note: “Breck” refers to Scripture in Tradition, John Breck, SVS Press 2001 ISBN 1-800-204-2665.)

Thank you for reading, and becoming part of the American Association of Iconographers.

Blessings,

Christine Simoneau Hales

Email for membership information

Christine’s website

“Feed My Sheep”

Hello Fellow Iconographers:

This month some thoughts on a missional perspective about Icon writing:

Form Follows Function

Christ the Healer Icon at Christ the King SLC

“Form follows function” is a concept attributed to the American Architect Louis Sullivan, famous for developing the shape of the steel skyscraper in late 19^th century, at a time when economic and cultural forces made it necessary to drop the established styles of the past.

“Where function does not change, form does not change….It is the pervading law of all things organic or inorganic, of all things physical and metaphysical, of all things human and super human, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This is the law.” Sullivan, Louis H. (1896). “The Tall Office Building Artistically Considered”. Lippincott’s Magazine (March 1896): 403–409.

This principle kept recurring in my thoughts as I considered the function and form of Iconography today. We live today in an age of post denominationalism, where some of the more important issues of the Christian faith are less about division and nuanced theology and more about evangelization and healing. Healing for our culture and world is a function of a healthy relationship to God.

Christ the Healer Icon by Christine Hales

Creating Icons according to the Canons and honoring the Orthodox Church as well as all the Christian denominations is part of the tradition of spreading the Gospel through pictures. Martin Luther during the Reformation was not against Icons, seeing them as having an important role in teaching the tenets of the Christian Faith

How then can Icons and the practice of Icon writing address the needs of our time? Through prayer, teaching individuals the spiritual discipline of a prayerful art practice, and the placement of Icons in public and private spaces where those who don’t attend churches can see and experience God through the Icon.

Since Icons go straight our hearts and by pass the intellect, God’s love can sometimes be apprehended through an Icon more easily than a book, or sermon. Whether our culture realizes it or not, it is desperately in need of God’s love. When we are called to Icon writing, that can be an important way that we can share God’s love. In addition to the joy we have in writing the Icon, we can share it with many, many people as an act of service and giving of the fits we have been blessed with.

Students often ask me “What will I do with the Icons I write?” My answer is to offer them to people and places in your community. Give, lend, exhibit them in places where people who wouldn’t ordinarily encounter them can experience them. Provide the opportunity for God to encounter and affect those He is calling. Another way to integrate Icons into our world is to bring them when we visit the sick, and when we have our prayer groups. It is lovely to have them on our prayer shelves at home, and it is equally wonderful to share them!

When we are in love with God, we hear His voice. This encounter between Peter and Jesus has deep meaning to an Iconographer;

“He said to him a third time, “Simon, son of Jonah, do you love Me?” Peter was grieved because He said to him a third time, “Do you love Me?” And he said to Him, Lord, You know all things: You know that I love you.” Jesus said to him, “Feed my sheep” John 21:17

Our answer to God’s call to write Icons will be blessed in many ways we don’t know our understand now. Our obedience and faithfulness to develop our skills and understanding, engaging in a rich prayer life, all these contribute to the possibility of living more and more in God’s grace.

May you be blessed with God’s love and Spirit as you write Icons!

Fr. Nigel Mumford with Christ the Healer Icon

Christine Hales

USEFUL LINKS THIS MONTH:

Orthodox Arts Journal

This is a link to an article written by Aidan Hart, Iconographer that explores the relationships and differences between sacred art and secular gallery art, from an Orthodox perspective.

Museum of Russian Icons

A museum dedicated to Russian Icons, located in Clinton, Massachusetts. Here is a link to their current exhibition of Icons

A new Facebook Group I created to encourage community and share photos and links. You are welcome to join!

My Icon writing class schedule.

More on American Iconography

Hello Fellow Iconographers:

This summer I have been working on developing the school of American Iconography. When I say “school” I mean it in the Benedictine sense of a committed community of people who study, pray, and work together united by common goals and principles. We would be working, using artistic skills and prayers to further the work of God’s Kingdom, here on earth. In this school, God would be the teacher! Putting together a reading list would be a good start, so do email suggestions on that.

I’d like to share with you some of the goals and objectives I am setting for myself for the next three years. Please think about where you might participate and in what ways you can contribute. Volunteers, ideas, and suggestions are welcome!

Icon Goals 2017-2020

Exhibit Iconographic Imagery at museums, universities and seminaries.
Run Icon writing training classes, giving talks, and participating in symposiums.
Book and video documentation to provide future development of online Icon writing classes.
Complete Icon commissions in churches and for private collections.
Participate in Symposiums or panel discussions on art and theology.
Collaborating with seminaries and universities to make Icon writing an integral part of a fine arts curriculum.

I see these goals as laying a groundwork for future advanced workshops, and to creating a coherent system of training Icon writers.

I see Icon writing as an important activity to the future of our culture. Our thoughts and prayers together can be effective in creating an ethical and responsible society. Perhaps there are others already active in this area. If so, please contact me to being a conversation about how we can work together.

Happily, a similar effort is happening currently in Romania. The following quotes are taken from a blog post of the Orthodox Arts Journal : 2015 “The New Romanian Masters: Innovative Iconography in the Matrix of Tradition”

” Iconography, a recovered artistic language

It would have been impossible to imagine a public conversation on icons and their veneration a quarter of a century ago in communist Romania. It would have been impossible as well to imagine iconography taught in a public school and the technique of painting icons at the department of Fine Arts….Today it is a common gesture to order an icon for your house or to offer an icon as a present. Four of the twelve Orthodox faculties of theology in the country have created departments of sacred art, preparing iconographers and specialists in the preservation of medieval iconography; and many of their graduates have become proficient in painting icons and frescos….the icon has become a common presence in homes and offices.

The most remarkable aspect of this revival is that the abundant iconographic demand and the high number of skilled iconographers gave rise to a competitive ambiance that led to an obvious advance in the quality of iconography and, subsequently, to a new iconographic movement.

“… As with any profession, the new iconographers and church painters demonstrate an uneven value; it is not enough to learn the technique and follow the Byzantine herminia (the painter’s manual) to become a skilled and appreciated iconographer.

Important to Iconographic training:

1. A thorough education in classical art.

2. A personal spiritual life….a spiritual dimension is a necessary ingredient to painting an icon. Painting an icon is not a mere artistic activity but a facet of the larger spiritual growth, both personal and part of the community in which the iconographer lives.

3. They do not imitate but innovate within the canons of tradition. Probably the most interesting value gradually assumed by the iconographers of the new generation is that they cherish artistic originality and freedom of expression. They do not accept to create in a mannerist way and to reproduce the masters of the past while making a concession to a common, popular taste. Paying attention to the smallest technical and theological detail, they strive to avoid not only religious kitsch but also religious clichés. After assimilating the skills, the Byzantine canon, a rich documentation and a general knowledge of the medieval art, some of them have been able to define their own style. And this fact has allowed them to rethink classical iconography and innovate in terms of style, colours and composition as well as to find new themes and become “hagiographers”. All these elements have led them to reach an unprecedented quality of the iconographic act in which they commit themselves to artistic originality”

I think the first two paragraphs of quotes above are inspiring. The last three paragraphs can help to define a best practices manual that can be applicable to the American School of Iconography.

Our Lady of Guadalupe Icon by Christine Hales

“An Icon is therefore is always either more than itself in becoming for us a heavenly vision or less than itself in failing to open our consciousness to the world beyond our senses.” St. Dionysus Aeropagite.

I will be attempting to collect and notate sources of Iconographic references that will help define this American School go Iconography over the next couple of years.

Thank you for your patience and contributions!

That’s all for this month, have a blessed Labor Day,

Christine Hales Icon Website Fine Art Website

Icon Writing Classes

Formation and Training of Future Iconographers

Dear Fellow Iconographers:

Following up on the blog from last month where I included the links to Iconographer Aidan Hart’s articles about Icon writing: “Introduction to Principles of Icon Training, and Principles of Icon Training Part 2 , another link has been recently published on a Russian website called mmekourdukova, which I also include here: “The Icon: Truth and Fables” by Irina Gorbunova.

Aidan Hart’s excellent articles attempt to define important principles in the training of future Iconographers, and I suggest reading each of these in order to form your own opinions, and discuss in class the important aspects of each article to your own Icon writing. I think it’s important to keep an open mind and respect the calling of each person who has interest in Icons or creating Icons. In the Russian( or Ukranian) article there is an element of mocking and sarcasm that I find detrimental to the humble and prayerful attitude necessary for Icon writing. But please read, and add your own thoughts and comments.

These two recent articles are only relevant because there are more people today interested and wanting to write Icons than in the previous century. There can be many causes for that, but I like to think that as we explore our spirituality and gain a closer relationship to God, we need and want visual images that bring us fresh revelation of His love for mankind, his promises, His wisdom and faithfulness. As we regularly bring these qualities of holiness to mind in our daily lives, we can then integrate them and share them with others around us.

It is often said that Icons are “windows” into the heavenly world. When we look through those “windows” we see heaven, and are more able, as St. Paul advised ” to focus on whatever is good”. Truly a challenge in todays world.

The other attractive aspect of Icon writing to me is that of “passing on” to the next generation all that I can offer in terms of living the Gospel message through Icon writing. Investing in the younger generation is a goal worthy of Icon writing in my opinion. But how? How and what kind of an Icon be created that will draw them in? Good questions to ponder as we work on our Icons.

The recent Icon exhibition and pipe organ concert that I organized for the Albany, New York area at Westminster Presbyterian Church, was an experiment to see if contemporary New Yorkers would respond to Icons as art and vessels of God’s presence within the Byzantine context of worship with the five senses. A lot of this was new information to some of the people, but familiar to others. People came who simply wanted to see the Icons, and people came to hear composer and organist Al Fedak offer a phenomenal program of music played with a world class pipe organ.

I gave the introductory talk, introducing the concept of Byzantine worship, and Al Fedak explained the contemplative and meditative nature of the pieces he chose, and he also invited people to walk around, view and interact with the Icons. My students and I who created the Icons were available during intermission and at the reception following to answer questions and help people understand more about what they were viewing.

It was truly a memorable evening as we were lifted up and carried individually and collectively in worship on a Friday night in Albany amongst the community of saints! Icons on a mission!

Hope you all enjoy this beautiful summer, Happy Fourth of July!!

No Monday night Icon class on July 4!!

Please visit my website for information on upcoming Icon classes and retreats.

Have a blessed month,

Christine Hales

Here’s a link to my Art/Icon Facebook page

and websites: www.newchristianicons.com www.christinehales.com www.halesart.com

www.kingdomartsministry.com

Icons-Evolving As A Message for the Twenty-First Century

Dear Friends and Fellow Iconographers:

It is an exciting time to be writing Icons. The inspiration of Andrei Rublev writing the great “Holy Spirit” Icon as a symbol for unity – a unity that was so needed in his country at that time, is applicable to us all today. What are the Icons our culture NEEDS? What are the issues that need to be addressed in prayer and how can we make timeless images that can help to focus the prayer of a nation?

After attending the icon Workshop held at Wesley Theological Seminary in Washington DC, led by Philip Davydov, I am inspired even more to explore this idea of an American Iconography. In light of the recent events in Charleston, SC. I feel an urgency to address the needs of our country in prayer and Sacred Imagery.

Dutch Sheets: “I have great hope for America because the depth of a fall never determines God’s ability to restore. I’m not afraid of the powerful strongholds because size and strength are completely irrelevant when measuring His ability to deliver. And I’m not intimidated because statistical odds, whether of success or failure, cease to be relevant when God is involved. His limitless ability negates the very concept of “odds,” and trumps all other winning hands.”

Just a short time before the Charleston shooting, a conference on painting Sacred icons the twenty-first Century was held, also in Charleston.

Here is a link to the “Living Tradition” Symposium organized by the Orthodox Arts Journal in Charleston, South Carolina. The ideas expressed are interesting ones to thoughtfully consider. It’s my opinion that it would have been good to have some American women Iconographers as well as some of the talented Romanian and other InternationaI Iconographers present to represent their views as well.

In a recent article in The New Liturgical Movement, noted Iconographer Aidan Hart wrote an article entitled “Diversity within Iconography – An Artistic Pentecost”. Here is an excerpt:

“But where does the mean lie between unspiritual innovation on the one hand and mere duplication on the other? Genuine variety in liturgical art occurs when the iconographer unites spiritual vision with artistic ability – energized with courage and the blessing of God. Vision without artistic ability produces pious daubs. Not every saint can paint icons. Although icons are more than art, but they are not less than art.”

This is a blessed time to have such great artists and Iconographers working together to create an authentic sacred art for the twenty-first century. I feel called to encourage community amongst iconographers, accepting our differences and celebrating our shared strengths. Very much like Pentecost, we can all receive the Holy Spirit but God will give each of us a language that can speak to our countries.

Locally, one of my students, and a member of the St. Luke’s Iconography Guild, Dahlia Herring, has transformed her contemplative approach to Iconography into action:

“A Refugee Art Exhibit- Resettling In Albany”

Through art work and written stories, the children from some of the most war-torn countries on earth, including Burma, Iraq and Afghanistan, express what it means to leave everything familiar and start a brand new life in the United States. These young artists eloquently and directly voice their hopes and disappointments, their fears and joys as the begin their new lives and education in Albany. The exhibit will be in the City Hall Rotunda until June 30th. You can find pictures of the Open House for this exhibit on FaceBook at https://www.facebook.com/USCRI.Albany. A Refugee Art Exhibit: Resettling in Albany was organized by the Capital Region Refugee Roundtable (co-chaired by Dahlia Herring) and the Albany Office of the US Committee for Refugees and Immigrants.

Also Local News: Albany Icon Writing Classes Monday nights June 22, NO CLASS June 29, . For July, Classes July 6,13, 27 ( No Class July 20.)

Also NOTE: Another member of the St. Luke’s Iconography Guild discovered a pigment company in California that has good pigments at a reasonable cost. Worth looking into! Agulis Pigments :agulisfarm@live.com

Look forward to hearing from you and have a blessed summer.

Christine

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