Spring Icons 2017

Hello Fellow Iconographers:

Icon coloring book
Kindergarten Icon coloring book

This month, sharing Icons with kindergarten children in Boston was a special joy – I used pages from the Icon coloring book that they could “paint” and I demonstrated making egg tempera- they loved trying it!

Also was blessed to lead an Introduction to Icon writing workshop in Miami and Morningstar Renewal Center, directed by Sue de Ferrari. Many of the participants were students of Sue’s in a unique Spiritual Direction Training program through St. Thomas University. It was a blessed workshop in so many ways, including a Good Friday Stations of the Cross prayer walk, using my Stations Icons.

Stations of the Cross Icons
Stations the Cross Icons

The weekly Albany Icon writing class is up and running again. To view class times and schedules got to www.iconwritingclasses.com.Icon Class in Miami

In teaching Icon workshops and classes,, and particularly in giving talks about Icons to a more general audience, I realize how important it is to explain the difference between an Icon and a religious painting. I think that issue warrants more thought and explanation amongst the Icon writing community. When we consider the history of Icons, and the development of Icon writing particularly from the eighth century forward, there seems to be a development that begins to decline in levels of artistic and spiritual quality particularly in the seventeenth through nineteenth centuries.

Religious Paintings vs Icons

Madonna and Child Icon
Madonna & Child Icon by Christine Hales

We can see that in the elongation of forms, the more naturalistic rendering of people and objects, and in the gradual loss of that flatness of spatial relationships. What begins to happen is that the “heavenly world” that world that operates not on the same laws as earth, but instead, the miraculous space that God inhabits.

Raphael
Raphael

I believe that most of us Iconographers are aware of this and the importance of not copying Icons from the Renaissance forward is part of that understanding. Does anyone know of more clearly articulated articles or books that define this difference between “good Icons” and ones that are considered “corrupted”? I think it would be useful for the Iconographic community to consider various ideas and opinions on this subject, so please email or forward relevant writings on the topic and I will try to continue to post regarding this notion of “what makes a Good Icon?”. Below is an in depth video that is interesting and informative.

“God in all that is most living and incarnate in Him, is not far away from us. altogether apart from the world we see, touch, hear, smell and taste about us. Rather he awaits us every instant in our action, in our work of the moment… he is at the tip of my pen, my brush, my needle- of my heart and of my thought.”  Teilhard de Chardin

Blessings and prayers until next month

Christine Hales

Icon Classes Website     Icon Website    Christine’s Paintings

February Icon Resources

Hello Fellow Iconographers:img_5817

This month I would like to give you some  of my resources and links that have a lot of varied information about Icons and creating Icons. Some of these are repeats from last year, but thought you all might like to see them here in one place:

Materials/Pigments

Natural Pigments, Kremer Pigments, Daniel Smith, Guerra Paint and Pigment

These are some of my favorites, and if you’d like to leave a link in the comment section, I’m happy to add any others.

Icon Boards

Pandora, St. John’s Workshop, True Gesso Icon Panels

Icon Websites with Resources :

Versta-K Russia: Russian Modern Orthodox Icon Site: Lots of links and Russian Icon books for purchase

British Association of Iconographers

Icon Classes

Icon Master Class at Holy Cross Monastery, West Park, NY,    March 21-24, 2017          FB event 

Introduction to Icon Writing Classes: St. James Episcopal Church, Madison Ave, New York, NY  June 9-11

Prosopon School of Iconology

Article About Iconography

Also want to mention the article that came out in the National Catholic Reporter, Dec. 2016: “Iconography Classes Draw non Orthodox in Search of Spiritual Images”.  It is important because it draws attention to the current revival in Icon Writing classes as well as making the point that sacred images are of increasing importance to all denominations of Christianity.

“Experts say the growth in interest — and diversity of religions involved — has been building over the last couple of decades.”

“David Morgan, a religion scholar and art historian at Duke University, said the iconography tradition, which dates to the early centuries of Christianity, is designed to be distinct from more naturalistic art, which became more common in the Renaissance period.

The flatness of the image, its stillness, the large eyes of its figures and the often symmetrical style are all intentional ways of distinguishing between the ordinary world and a heavenly realm.

The two-dimensional image denies three-dimensional presence,” he said. “It says the spirit is not about three dimensions. It’s about a reality that is revealed in the image, revealed in the holy Scriptures, revealed in the sacrament, and it’s something that one needs to recognize as very special.”    There is more in the article and I have included the link above.

It is  hopeful and encouraging that many more people are experiencing the spiritual joys of Iconography. img_5944

I gave a talk this month at Church of the Redeemer, a beautiful Episcopal Church in Sarasota, Florida, that was well attended and the questions afterwards showed a lively interest and an awareness that Icons have the effect of strengthening our faith in many different ways.

I think that understanding our differences as Iconographers and agreeing on the important elements of Icon writing that we share are key to being part of a vibrant community.  Perhaps we can all include the community of Iconographers  in our prayers as we move forward in Faith as servants of God and His Church.

May God bless you all,

Christine

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