This month the focus is on the fifteenth century Iconographer, Dionysus.
Born sometime in the 1440’s near Borovsk, a small town southwest of Moscow, Dionysus’ earliest works are wall paintings at the Parfuntiev Monastery. Throughout his life, he was attracted to the beautiful and colorful Novgorodian style of Iconography. Dionysius’ colors were delicate and transparent and his elongated figures increased the elements of elegance and symbolism in his work. 
Certainly he must have been aware of the work of Andrei Rublev (c.1360-1430), who painted in the old Iconographic tradition. However, Dionysus’ work reflected a new development in compositional style that increased the energy and vitality of the Icon.
One of the Last of the Old Master Iconographers
Dionysius’ style was called “Muscovite Mannerism” and it bridged the gap between Novgorodian Icon painting and the later Stroganov school. His best frescoes are in the Ferapontov Monastery, which include the beautiful “The Meeting of Mary and Elizabeth”. Dionysus and his sons completed all the frescoes on the Virgin and scenes from her life at this monastery. In addition to egg tempera, he was a master of encaustic painting as well.
Personal Style
Dionysus ‘ color palette was strongly influenced by a group of early Renaissance artists from Italy who arrived in Moscow. This can be seen in the delicately blended and balanced soft pigment colors such as pink, lilac and turquoise, creating harmonious chords of color in his frescoes and Icons. The lyrical effect of his style of coloration affected much of the Iconography of the 16th century.
In 1482 Dionysus was called to Moscow to paint the Deesis on the Iconostasis in the Cathedral of the Dormition. After also painting murals in two of the chapels, he and his sons were asked to paint one hundred Icons for the Volokolamsky Monastery. With this, Dionysus devoted the remainder his life to icon panel painting, but today many of those Icons are either lost or un-restored.
Joseph-Volokolamsk was a wealthy patron who commissioned Dionysius to paint over ninety Icons. But the most comprehensive collection of his work is to be found at the Ferapontov Monastery. It is a series of frescoes depicting the life of Mary.
When writing(painting) Icons, it is always helpful to study from the great Iconographers of the past. Although their work speaks specifically to their time, these early Masters used principles of composition, color, and space in harmonious ways, and that kind of perspective has been largely missing in the art of our time. Copying these works helps educate Iconographers and helps bring valuable knowledge forward into today’s Icons.
This blog is created to share valuable ideas and information with Iconographers around the world. Below are some useful links for Iconographic materials. Until next month:
Christine Hales
American Association of Iconographers 