Hello Fellow Iconographers:
Such a beautiful summer. God’s creation is never so felt and experienced as in the beautiful summer months and upstate NY has been in a sweet weather pattern for most of august with beautiful sunny warm days.
Our Saint Luke’s Gild is comprised of eight students, several of whom have studied Icon writing with for several years. The emphasis that I bring to the sacred art of Icon writing is that of color theory, fine art , and sacred geometry principles in composition. The work of the guild members is unique and interesting, bringing both the spiritual qualities of prayer and sacred reading in an integrated approach to the creation of an icon with good fine art principles as well.
The Guild has a Facebook page: We are an ecumenical community of artists and artisans who are committed to making art that is reflective of a deep Spirituality and Faith in God. We do this primarily through the practice of writing Christian icons and studying the historical background and hymnody, and lectio divina relationships within the visual imagery of iconography. We believe in the didactic value of icons and engage with prayer as part of our painting practice and have exhibitions of our work in order to engage our community with God’s presence and action of His Holy Spirit at work in our Icons.
This month I wanted to mention one of the guild members: Jennifer Richard-Morrow, who is a fine artist, specializing in pastels, oils and icons. She is a long time member of Saint Vincent’s Church in Albany where she serves as a member of the funeral ministry, helping with the funeral services, particularly with elderly people who have no relatives or few friends left.
Jennifer has also had a lifelong interest in local New York history and has worked as an historical interpreter for the State at upstate Historic Houses and museums. She is currently on staff at Thomas Cole House in Catskill. Her Icon of Kateri Tekakwitha is one of the most historically accurate ones in existence today.
Jennifer and the other Iconographers and members of the Guild live a life of prayer and service to their local churches and communities.
On September 14, we will be moving the location of our Icon writing class to Westminster Presbyterian Church on State Street in Albany, NY. We meet on Monday evenings and it is recommended that interested people take an introduction to Icon Writing class with Christine before starting the Monday evening class.
UPCOMING INTRODUCTION TO ICON WRITING CLASSES
St. James Episcopal Church Fri evening, 6:00 – 9PM, Saturday, 9-5PM -Sunday, 1:30-5:00PM October 16-18th Cost $215 includes materials and lunch Saturday. Email Grace Beecham to register: firstname.lastname@example.org or email@example.com.
INTERESTING ARTICLE ABOUT GREEK ICONOGRAPHY
The following excerpt is taken from The Orthodox Arts Journal blog, and I include this because internationally many of us Iconographers have a similar approach – that of bringing forward the good from the past, but not slavishly copying. The task of creating a fully authentic 21st Century Icon is before us.
“Kontoglou and the rest of the 30’s generation where not turning to the past out of conservativism, but as a step to redefine the path of Greek art.
He was interested in reviving the orthodox aesthetic that had been heavily compromised by Western naturalistic ways of expression. In this aspect he was a real revolutionary; he managed to overturn the established church painting norms of the time (which was heavily influenced by the so-called ‘Munich painters’) by letting in, a “strong breeze from the east”. It was much later in his career, I believe, that his teachings were over-systematized. This led many of his followers to a stagnant and uninspiring way of painting icons based on mere copying with lack of artistic personality.”
Another Greek Iconographer in this article is Spyros Papaloukas who has another interesting approach to the creation of an authentic contemporary Icon, and here again, I quote from the blog :
Spyros Papaloukas saw in Byzantine art elements that were critical to the modern art movement and in many cases realized that solutions to artistic problems posed by his contemporaries were to be found in Byzantium. In several cases these gave him the answers to formal problems that were vital to painters of his time. Flatness and the adherence to the two-dimensional character of a painting, the possibility of the coexistence of multiple view points, the vital part that color played as an expressive and not merely descriptive element – all these were characteristics that modern painting shared with Byzantine art. This has been noticed even by modern painters whose art had no obvious religious focus such as Malevich and the other Russian avant-gardes, or like Henri Matisse. Matisse made a statement very much in accordance to Papaloukas, about 20 years later, in 1947, when he confronted for the first time Byzantine icons on his trip to Russia: “It was before the icons in Moscow, that this art touched me and I understood Byzantine painting. You surrender yourself that much better when you see your efforts confirmed by such an ancient tradition. It helps you jump the ditch.” You can read the entire blog and see the color illustrations here.
These ideas and issues help us here in America to join with our international counterparts in thinking and praying our way to what God is asking us to do with His Icons today.
Thank you all for reading, and we ask your prayers for us in this work.
Christine Simoneau Hales