Christian Icons – American Association of Iconographers

Our Lady of Guadalupe

One of the most important icons of the western world is Our Lady of Guadalupe, sometimes called the Virgin of Guadalupe.

While the history of the apparition and subsequent miracles are fodder for speculation, there are certain facts that all agree on.

A series of five apparitions occurred in December of 1531 within the Basiclic of Our Lady of Guadalupe in Mexico City. This basilica is the most visited Catholic shrine in the world, and the world’s third most visited sacred site.

According to legend, the Virgin Mary appeared four times to Juan Diego, an indigenous Mexican peasant, and once to his uncle, Juan Bernardino. The first apparition occurred on the morning of Saturday, December 19, 1531. Juan Diego experienced a vision of a young woman at a place called the Hill of Tepeyac. The woman spoke to Juan in his native language, Nahuatl, and identified herself as the “Virgin Mary, mother of the very true deity”. She asked for a church to be erected at that site in her honor. Juan Diego then told the Archbishop of Mexico City what had happened. Unsurprisingly, Juan wasn’t believed. Later that same day, Juan Diego saw the second apparition. The young woman asked him to continuing pressing the Archbishop for a church to be built.

Our Lady of Guadalupe Icon written by Christine Hales

The next day, a Sunday, when Juan Diego spoke to the Archbishop a second time, the Archbishop asked for a truly miraculous sign to prove her identity. Later that day, the third apparition appeared when Juan Diego returned to Tepeyac Hill. He again encountered the same young woman and told her of the request for a miraculous sign. She agreed to provide this the next day.

By Monday, Juan Diego’s uncle, Juan Bernardino, became ill and Juan Diego had to care for him. Unfortunately, the uncle’s condition worsened and In the very early hours of Tuesday, Juan travelled to find a Catholic priest to hear his uncle’s confession and minister to him on his deathbed. On this journey, Juan Diego traveled around the place of is previous encounters with the young woman because he was ashamed by not meeting her as promised the previous day. But still, the young woman found him and asked where he was going. This was the fourth apparition. When Juan Diego explained what had happened, she gently reminded him that he should have sought her assistance. She asked “ No estoy yo aqui que soy tu madre?” (AM I not here, I who am your mother? She assured him that his uncle was now recovering and told him to gather flowers from the top of Tepeyac Hill. This hill was normally barren in December. Juan obeyed her instructions and found Castilian roses, not native to Mexico, blooming there. The Virgin arranged the flowers in Juan’s tilma (cloak), and when he opened his cloak later that day for the Archbishop, the flowers fell to the floor, revealing the image of the Virgin of Guadalupe.

The next day, Juan Diego found his uncle completely healthy, just as the Virgin had told Juan. Juan Bernardino said that he had also seen her praying at her bedside and that she had instructed him to tell the Archbishop about his miraculous cure and that she had told him she wanted to be known as the Virgin of Guadalupe.

The Archbishop kept the mantle in the church where it attracted many visitors. On December 26, 1531, a procession formed to transfer the miraculous image back to Tepeyac Hill where it was installed in a small chapel. During this procession, the first miracle occurred when a young native who was accidently mortally wounded was completely healed when brought before the Virgin’s image with many prayers and supplications.

The Virgin of Guadalupe is known as the Queen of Mexico, the Paton saint of both North and South America, and titles given by Pope John Paul II, “Empress of Latin America and Protectress Of Unborn Children”.

It’s so interesting to hear the stories behind icons. Please contact me if you have other examples to share. (chales@halesart.com).

INTERESTING LINKS FOR ICONOGRAPHERS

Greek Iconographer, George Kordis, gave this talk on “Tradition as Creativity” at Saint Vladimir’s Seminary in April 2022: . https://www.youtube.com/watch?v=Jg6ts-8Kiaw

This link is to a video by iconographer Antonis demonstrating two methods of blending while painting in egg tempera: https://www.youtube.com/watch?v=hnaImXOEvuI

This is a link to an EWTN tv show called Living Divine Mercy, it features an interview and video about my icons.

That’s all for this month. If you would like to take my online Icon writing class January 17-20, 2023, please click here for more information.

Blessings, Prayers, and Best Wishes for a God Filled New Year!

Christine Simoneau Hales

christinehales.com

Icons as Memorial Portraits

Greetings:

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.

Fayum Portraits

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.

Christian Legend

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.

Holy Face of Christ Icon written by Christine Hales

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.

Comnenian Period

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.

Memorial Portraits

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.

During this Covid isolation period, I am offering my icon painting classes online. Click here if you’d like to see a schedule.

May God continue to bless you and keep you, and bless the work of your hands.

Christine Hales

www.newchristianicons.com

Please contact me if you’d like to write an article for the American Association of Iconographers. We would like to hear about your Icon painting practice and the effect icons have on your community.

Contemplation and Icons

Hello Fellow Iconographers:

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!

Saint Marina Icon — Paleologic Icon of Saint Marina

Contact Us:

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!

ONLINE ICON PAINTING ClASSES

I have two on line Icon painting classes coming up in September and November, you are welcome to join us!

Blessings and prayers until next month,

Christine Hales

www.newchristianicons.com

An American School of Iconography

Greetings Fellow Iconographers:

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,

Christine Hales

New Christian Icons.com

Medieval Russian Icons

MEDIEVAL RUSSIAN ICONS 11-17TH CENTURIES

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.

Our Lady Enthroned with Archangel Gabriel and St. Sergius of Radoneh, 15th Century

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.”

Prophet Elijah and scenes from His Life, 13th Century

Comnenian Icons

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.

Sts. Boris and Gleb, late 14th Century, Novgorod

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.

Virgin Orans, Great Panagia, 1224, Tretyakov Gallery, Moscow

Moscow Icons

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:

Index of Medieval Art

The Sinai Collection

Italian Museums on line

May God bless you with a sense of community as Iconographers, and bless you with health and grace.

Christine Hales, Iconographer/artist

Icon Website

Some Useful Iconography Links

Icon Books and more: Kolomenskya Russian Icons

Icons and Their Interpretation– A blog which features articles about Icons

Christians In The Visual Arts: An international group of Christian artists

Face Book Group: American Association of Iconographers

Practice

Dear Fellow Iconographers:

Teaching Icon classes as I do in monasteries, churches and art centers, the question that always arises at the end of class: How can I continue with Icon painting? Practice is what I always say. For that reason, this month’s blog for the American Association of Iconographers is a collection of information and links to help with further studies.

Ideally, someone who is learning to write Icons will choose a style or a teacher which whom to study. But even with that, one can only realistically take one or two workshops per year. What to do in the meantime? Here are my suggestions:

Practice

Using sketch paper and pencil, draw as much as possible. Copy Icons from books, prints, or the internet. Drawing is the number one art skill needed in Icon writing, as it is in all painting. Learning to think on paper is a valuable skill. A book that I recommend to beginners is: Drawing on the Right Side of the Brain by Betty Edwards. You can copy Icons in some of her exercises and you will be surprised at how quickly your drawing will improve.

Raising of Lazarus Icon Sketch in Black and White Christine Hales — Raising of Lazarus Icon Sketch in Black and White. Christine Hales

Sketch of Icon

Tonal sketch of Icon

Icon to be copied

Use watercolor paper and the four basic color of Icon writing: red ochre, black, white and yellow ochre. Make color and tonal studies of Icons on water color paper. Again, this simple practice will yield large results.

John the Baptist watercolor sketch Christine Hales

Icon Retreats and Workshops

For those who choose to study with me, here is a link to upcoming classes. My teaching method is always evolving and inspired by my prayer life. I particularly enjoy helping students who have had some experience writing Icons and now want to create their own Icon (still copied from before the Renaissance). If you do sign up for one of my classes and wish to do this, please email me well before the class date so that we can prepare you for getting the most out of the retreat.

Resources for viewing Iconographic Imagery

Kolomenskaya Versta is a site selling Icon books and materials. It is based in Russia and they regularly post free images to copy as well as links to all kinds of Iconographic information. Also known as Russian Modern Orthodox Icon, here is a link to their FB page.

Online illuminated Manuscripts from Open Culture. Also, the Book of Kells on line.

A beautiful FB page with many good examples of Byzantine Icons- Byzantine Art

Museum of Russian Icons, 203 Union Street, Clinton, Mass. There is an exhibition of Prosopon Icons currently in addition to their permanent collection.

Jacob Wrestling with the Angel, Nikita Andreiv

Resources for Icon Materials

Natural Pigments They have pigments, red clay, gold leaf adhesives, brushes, etc..

Kremer Pigments has a shop in NYC but you can also order on linear an immense array of pigment choices and other materials like stand oil, linseed oil, etc.

Pandora- Pigment sets, Painting Tools, Porcelain Palette

Gold Leaf and Gilding Supplies

Sepp Leaf www.seppleaf.com

Golden Leaf Products www.goldenleafproducts.com

Gold Leaf Wholesalers LA Gold

Icon Boards

Pandora Icon Boards, New York

St. John’s Workshop Icon boards

Icon Painting Videos from You Tube

Villanova University– full process of painting an Icon.

Julia Brigit Hayes teaches online classes for drawing and painting Icons

Prosopon School of Iconology teaches workshops nationally. Another short video of their technique.

East X West online Icon Course with Sr. Petra offers many video tutorials and a thorough grounding in Iconographic history, drawing and painting.

That’s all for this month. Please let me know if this has helped you, and I wish you peace and joy in spreading the beauty of Icons throughout the world!

Christine Hales

Icon Website

Print Website

Fine Art Website

Opportunity

The British Association of Iconographers is preparing for their annual exhibition in London this fall:

Saint Mark Icon , american Association of Iconography — Saint Mark Icon

‘Icons for Unity’ Thursday 15th to Saturday 17th of November 2018 at
St Savior’s Church, St.George’s Square, Pimlico London, SW1V 3QW

“”There will be a fee of £5 for each icon entered and it will be possible for you to arrange the sale of your own icons with no sale commission due to the BAI.

After 1st May further details and registration forms (Intention to Exhibit form) for the event will be emailed by Rhian to those who have paid for hanging space. Please note all submissions must be made by 31stAugust 2018 to enable their inclusion in the catalogue

It is an exhibition for everyone and whilst the talent and expertise of the professional iconographers will always be discernible, the work of artists old and new to iconography will also be welcome. Please distribute the flyers included with this Review to publicise the event.

“We need members to help by preparing for the exhibition and as curators during the event. So please volunteer and make the event a great success………”

We offer the BAI as a means of maintaining contact between members and of providing them with support in their work and their devotions. We hope that it might be of benefit both to people who are interested in the use of icons in their spiritual life and to those whose interest is in icons as a sacred art form. The aims of the Association are to establish contact with iconographers, learners, beginners and those with a greater proficiency, to deepen our knowledge and understanding of icons and the spirituality associated with them (including Orthodoxy); to offer a forum for the interchange of ideas and techniques; to offer information about forthcoming exhibitions, courses or other events of interest and to be a means of sharing ideas and experiences. We produce a Review four times a year together with a meditation on the icon of a particular saint or festival. This includes the historical background and hymnody associated with the subject. We would also value any comments and ideas that you might have, in particular, any material that you think would be of interest to other members which we could include in the Review. If you would like to join, please write to the Membership Secretary (see Page 38)

We feel there is a risk that people practising this art form might feel isolated; if so do join BAI.

If you would like to become a member of BAI, it is fairly simple: visit their website www.bai.org.uk and go to the contact page. There are a few membership options to choose from and payment can be made through PayPal.

“I think it is promising that today we are witnessing a rebirth of Christian art,, reconnecting with the art the Icon, of a Christian art that endures in the great norms of the iconological art of theist but that also extends to today’s experiences and vision.” Benedict XVI

ICON WRITING CLASSES taught by Christine Hales at Holy Cross Monastery in West Park, NY:

LEARNING FROM BYZANTIUM – Mother’s Day Icon Writing Retreat May 11-13

Basic concepts of Icon writing, history and methods of painting will be demonstrated. We will also have meditation and prayers on Mary as this is Mother’s Day Weekend and we will do a Mary Icon together. Icons have played an important role in healing and bringing forth peace to nations, and there are many examples of Icons in Belarus, and Eastern Europe that are attributed to healing miracles, often these are Mary Icons. $580 includes Icon Materials, meals and overnight accommodations at the Monastery $120 deposit

COLOR AND LIGHT IN THE ICON- JULY 24-27

This is a special class. Beginners are welcome, and it is also for advanced Iconographers who want to learn more about color in Icons. We will cover color symbolism, color theory, the Iconographer’s palette, and more fun and in depth topics on color. We will write the Icon of Jesus as the Good Shepherd. If you have a different Icon you’d like to paint, email hales@halesart.com Christine with the image and you can work together before the class to make that possible. $580 Fee includes Icon Materials, meals and overnight accommodations.

SACRED GEOMETRY IN COMPOSITION OF THE ICON September 25-28

This is the class when we discuss in depth the sacred geometry that is the foundation of Icon compositions. Sacred geometry is a method of understanding the pictorial space and relationships of images and colors within the Icon and It is an essential part of an Iconographer’s training. There will be a slide talk one evening as well as hands-on exercises to demonstrate the concepts. We will endeavor to complete an Icon by the end of this workshop using sacred geometry. $580 includes materials, overnight accommodation at the monastery and meals.

Contact
Lori Callaway, Guest House Manager
Email: guesthouse@hcmet.org
Phone: 845-384-6660, ext. 1
Tuesday – Friday
9:00 AM until Noon
1:30 PM until 4:30 PM

One more important item to share: The Museum of Russian Icons in Clinton, Massachusetts has a Center for Icon Studies. Their Journal of Icon Studies has some interesting articles on a variety of Iconographic topics.

Blessings and joy until next month,

Christine Hales

Icons Fine art

Easter Blessings!

Stations of the Cross, Station Five, written by Iconographer Christine Hales — Stations of the Cross, Station Five, written by Christine Hales

This Easter particularly brings to mind the need for unity amongst all the Christian denominations.

“Icons are intended to respond to deep questions, and every age has its own set of problems that trouble the heart.” Windows to Heaven, Zelensky and Gilbert.

The Twenty First Century is witness to the dire need of Christians to join together and celebrate the common elements of their faith. It is time to stop celebrating theological divisions. Unity and harmony are the true state of the Triune God.

Facing statistics of the staggering lack of

Christians in the North East of the United States, as well as the continuous rise of Islam, if Christianity is to survive- and it will- the need to respect and love each other’s differences in service to unity is imperative.

Maximus the Confessor (600AD) writes of the Holy Trinity “ It is in this blessed and most sacred peace that unity is achieved which surpasses the mind and reason.”

Aidan Hart, in his book Beauty, Spirit, Matter; Icons in the Modern World, writes :

“Since it is love which unites the world and brings it to fulfillment we can expect that the world’s Fall has been preceded by a loss of love, or at least by a misdirection of love. And indeed, St Maximus speaks of the Fall in terms of a falling away from the double command of love; love of God and love of one’s neighbor.”

Crucifixion Icon written by Christine Hales

As we prepare to celebrate the glorious truth of the Resurrection, consider the crucifixion Icon. It tells the New Testament story that includes the women mourning and watching, Mary Magdalene, Mary, the mother of James and Joseph, and the mother of the sons Zebedee. Also in the Icon is the Roman soldier who pierced Jesus’ side. He is cowering. In the top third of the Icon are the angels prophesied by Jesus in John 1:51:

“Truly, truly I say to you, you will see heaven opened, and the angels of God Ascending and descending on the Son of Man.”

Even in this sad scene, we see the golden light of God and hope permeating the background. The angels are pointing to fulfillment of the prophecy.

As a result of Christ’s crucifixion, resurrection and redemption and the Holy Spirit’s visitation at Pentecost… “the universe has become one vast church or temple, reflecting the beauty of the Lord, bringing for all human kind the universal message of salvation.” Zelensky and Gilbert.

Holy Face of Christ Icon written by Christine Hales

Catholics, Orthodox, and Protestant Christians are united in our love and reverence for the inestimable love of a God who would send His only Son to die for our sins. That we may be the inheritors of His love for us, and bring HIs love to our world that is in such need of it.

May God bless you all this Easter,

Christine

Website

Saint Patrick

St Patrick, kidnapped — St Patrick kidnapped into slavery

“He who forms the mountains, who creates the wind, and who reveals His thoughts to mankind, who turns dawn to darkness, and treads on the heights of the earth– the LORD God Almighty is His name.” –Amos 4:13

Saint Patrick of Ireland

As a young boy, Patrick was kidnapped by brutal pirates and carried away to Ireland where he was sold as a slave. For the next six years he was a shepherd in Northern Ireland. This is where he learned to pray. “In a single day I would say as many as a hundred prayers, and at night only slightly fewer.” The Confession of St. Patrick.

“I arise today

in a mighty strength

calling upon the Trinity,

believing in the Three Persons

saying they are One

thanking my creator.”

In the experience of slavery and exile, the young boy discovered God . In the midst of this terrible alienation brought on by his exile from family and country, Patrick experienced a deep abiding connection that enabled him to feel strengthened by God.

St. Patrick baptizing the Irish drawing by Christine Hales

He is a legend in Irish history and spirituality. Patrick’s story of being kidnapped by Irish pirates eventually gave rise to a remarkable inner transformation that led him eventually to return to Ireland, serving the Irish people by bringing God’s love to them.

Like St. Francis, Patrick chose a lifestyle of poverty, preferring to single-mindedly focus on the Divine connection within. “For I know full well that poverty and adversity suit me better than riches and delights.”

One often sees Icons of St. Patrick holding a shamrock, an illustration of how he used the humble clover leaf to illustrate the Trinity- three in one- to the largely pagan population Ireland. Pre-Christian Ireland was where God sent Patrick. His spiritual story is told in “The Confession of St. Patrick”, along with many Scriptural references that relate to his experiences.

Patrick was born in Britain about 385, and began his mission in Ireland during the early 400’s.He became fluent in the Irish dialect during his period of slavery, and despite much hostility and danger, he was very effective in bringing the Gospel to Ireland.

Saint Patrick founded many churches and monasteries across Ireland.

Holy Bishop Patrick,

Faithful shepherd of Christ’s royal flock,

You filled Ireland with the radiance of the Gospel:

The mighty strength of the Trinity!

Now that you stand before the Savior,

Pray that He may preserve us in faith and love!

Icon notes for March:

The American Association of Iconographers now has a Facebook Page which you are welcome to join. The rules of the page are that postings may be submitted by any member and the content needs to be of interest and benefit to Iconographers.

Video of Iconographer George Kordis beginning a Christ Pantocrator dome:

Blessings and Prayers,

Christine Hales

New Christian Icons

Icon Painting Classes Schedule for 2018

https://www.googletagmanager.com/gtag/js?id=UA-114937457-1

window.dataLayer = window.dataLayer || [];
function gtag(){dataLayer.push(arguments);}
gtag(‘js’, new Date());

gtag(‘config’, ‘UA-114937457-1’);

SaveSave

The Worldview of an Iconographer

What is a worldview? We all have one. Our culture has a pervading worldview that changes with the times. Having recently emerged from a postmodernist cultural viewpoint, we now experience the effects of pluralism, relativism, and syncretism in the world around us.

This is a new Icon of God Creator of the Universe by Master Iconographer Christine Hales — God, Creator of the Universe by Christine Hales

Our world view is a concept which we hold, both consciously and unconsciously that determines our ethics, behavior, and makes up the nature of our ultimate reality.

As a Christian, our worldview is identified with the truths of the Bible, Christ, the Trinity, and the Gospel- essentially, Christian theism. The reason we choose Icons created before the seventeenth century as our models to create new Icons is because Christian theism was the pervading worldview in the Western world until the advent of the Renaissance when Humanism began to emerge. The worldview of the early Icons was one of a personal, triune God of the Bible, the universe was God’s creation and human beings were God’s special creation, created in His Image.

“During the period from the early Middle Ages to the end of the seventeenth century, very few challenged the existence of God…….Christianity had so penetrated the Western world that whether or not people believed in Christ or acted as Christians should, they all lived in a context of ideas influenced and informed by the Christian faith.” The Universe Next Door, James Sire

As Iconographers, we want to first understand the world and people around us, and then genuinely communicate God’s reality, His Truth, to our world through the practice of Icon writing. We use the examples of the early Icons as our models to help us portray a worldview that we ourselves are not able to experience in our contemporary culture.

A worldview is a commitment , a fundamental orientation of the heart, that predisposes us to a particular reality. And that worldview provides the very foundation on which we live, work, play, and love others.

Saint John the Evangelist Icon — St. John the Evangelist Icon

If it’s true that all of one’s thoughts and actions originate in the heart, our relationship to God becomes central to us as artists and Iconographers. More important even, than whether one uses acrylic paint, egg tempera, or use a particular style of painting Icons.

The Christian worldview is the central defining perspective and it encompasses notions of wisdom, spirituality, emotion, desire, and will. So when we say that prayer is the first and most important part of Icon painting, it is also important to keep clear about this Christian worldview, and that it is different from the worldview of the culture around us.

Early Christian Icon from St. Sophia Cathedral, Kiev

Ideally, our Icons become a bridge that unites the Christian worldview with whatever worldview popular culture is experiencing. It is only through our compassionate understanding with those people and institutions around us that our Icons can go out into the world and be the blessings they are meant to be.

“Mother Teresa of Calcutta used to say that “the money in your pocket is not yours, it belongs to God.” The same is true of all the gifts you have received. They have been given to you by the Holy Spirit to bring the world back to God. ” Deacon Lawrence

May God inspire each of you, may you hear His voice, and may your Icons truly be a blessing to the world you inhabit.

Christine

Christine Simoneau Hales

“If we want clarity about our own worldview, we must reflect and profoundly consider how we actually behave.” “The Universe Next Door” by James Sires

SaveSave

	Michael Hales on Why Icon Writing and not …
	Michael Hales on Why Icon Writing and not …
	Jill on Why Icon Writing and not …
	Ardis on Why Icon Writing and not …
	Caroline G on Rainy Spring!