 |
C.X.Silver
Gallery |
ICONS |
| Windows to the Divine and Eternity |
 |
 |
 |
 |
 |
 |
 |
 |
 |
JODY
COLE has been painting since 1980, and is a graduate of King's College,
Wilkes-Barre, PA with a degree in Theater and Art. She has studied with
iconographers, Vladislov Andreyev, Alexander Rosenkreuz, Peter Pearson
and Valentin Streltsov. In recent years she has conducted iconography
writing workshops, written commissioned icons for churches and individuals
as far away as Italy, and lectured on the history, symbolism and technique
of icon writing. Her website is at jcoleicons.com/Site/Home.html
.
SEAN
KRAMER, uses egg tempera for his icons. He has studied icon painting with
various Russian iconographers, and teaches at the New Hampshire Institute
of Art. He is especially interested in how different sacred art traditions
can nourish one another. The icons arose almost 2000 years ago from the
cross-fertilization of a number of spiritual and artistic traditions,
Egyptian, Syrian, Jewish, Christian and Greco-Roman. Found in Egypt from
the first centuries C.E. the mystical Fayyum sarcophagi portraiture in
egg-tempera and wax encaustic painting are one of the principle artistic
sources for the icons. At their foundations, the icons come from a meeting
of traditions and cultures. Sean’s website, www.sacredarticons.com,
documents the work he has done teaching iconography to students and shows
instances of his Syrian style icons.
DAVID
PALMER, iconographer and retired Director of Exhibitions of The Newark
Museum, Newark, New Jersey organized the 2008-2009 exhibition, Icons:
Windows to the Divine at C.X. Silver Gallery. Mr. Palmer is a graduate
of the Art Department at Wilkes University, Wilkes-Barre, PA and completed
a Master of Theological Studies degree at Drew University, Madison, NJ.
His studio is at Totts Gap Arts Institute, Bangor, PA.
PETER
PEARSON is a leading American iconographer. He has created hundreds of
icons for private collectors, churches, and other institutions throughout
the world. Mr. Pearson also studied architectural drafting and color at
the International Institute of Design in Washington, D.C., and theology,
with a specialization in liturgical studies, at Saint John of Damascus
Seminary in Boston, Georgetown University, and at Saint Vincent Seminary
in Latrobe, Pennsylvania, where he completed a Master of Divinity degree.
A former Benedictine monk, he now serves as a priest at St. Philip's Church
of New Hope, Pennsylvania. His website is at www.nb.net/~pearson
.
GEORGE
PHILIPOS was born in Egypt. At the Faculty of Fine Arts at the University
of Alexandria, he concentrated on painting, design, engraving and sculpture
en route to a Bachelor of Fine Arts Degree. At present, his passion in
Coptic Art is manifested in his paintings with religious themes. Mr. Philipos
has been commissioned to paint Coptic icons for various churches in Egypt
and the United States. More information on his work is at: www.geocities.com/gsph2002
KERI
WIEDERSPAHN, recipient of a 2008 NH State Arts Council
Grant to pursue study with world-renowned iconographer Ksenia Pokrovsky,
is currently studying with Father Andrew Tregubov. Originally as a sculptor
with a degree from Parsons School of Design in New York City, Keri has
been drawn to early sacred art of pre-Renaissance origins since living
several years in France and being exposed to Russian Byzantine Iconography
at that time, mentored by Ms. Pokrovsky, a major contributor to the fostering
of what was then the underground movement of iconography in Russia in
the 1960's. The organic and sacramental nature of the process of iconography
is of major importance to what Wiederspahn finds so beautiful, along with
the delicate art of working in luminous hand-made egg tempera paints crafted
from egg yolk and raw pigment, as well as pulling from the early practice
of encaustic painting, or painting with pigmented wax. Her current mentor,
Fr. Tregubov says in his book "The Light of Christ"--"The
very substance of the icon, the matter from which it is made, is light.
Paints are only subsidiary and have to be transparent, like a window through
which the rays of the sun shine into a dark room." More information
is at Keri's website, www.iconeyestudio.com.
Click
on the thumbnails at left to see more images.
The Russian Style
• Colors have a very transparent quality.
• The color palette is far more restricted; sometimes only four
or five colors are used in various combinations.
• Figures are rendered to emphasize length, gracefulness of line
and, at times, an almost surrealistic distortion.
• Sankir, the base color of flesh, can range from green, to olive,
to reddish-brown to an almost blackish-brown.
• Garment folds as well as background elements tend to be highlighted
to a lesser degree, if at all. There’s some shadowing.
• Halos can be gold leafed or rendered with a yellow-white or some
other color.
• Inscriptions are in Old Slavonic.
The Coptic Style
• Colors can be either transparent or opaque.
• The color palette is limited and sometimes lacking in subtlety.
• Figures are cartoon-like, almost dwarfish.
• Garment folds are sometimes highlighted, but not to the extent
of the Greek style.
• The images include many talismanic symbols and decorations.
• Inscriptions are Ethiopian, Coptic, or Geez (a Coptic liturgical
language)
| |
|
|
|
|
|
|
|
|
Open daily 10 am to 8 pm, appointments suggested, (802) 257-7898, ext. 2; (802) 579-9088.
Website Copyright © 2009 Adam Silver . All Rights Reserved.