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Color theory and symbolism are also important parts of Icon writing and full of variations and developments through the evolution of practice over time. The Advanced Icon Writing Class in Albany has spent all of last year with a focus on Color theory as it relates specifically to the Icons. This is a process and I think an important step in it is to thoroughly understand Illuminated manuscripts, Psalters, and create a kind of summary of early medieval and Christian Iconography in this context. In this way, the Icons can be used to embrace the challenge of our time to grow our faith and bring it to our communities. So many people in our world need God’s Presence and they are just not ready to walk into a “church” to experience it. I think also, in addition to the traditional Liturgical role Icons have held in the Church, we are also looking to embrace an Evangelical approach, bringing and making accessible Icons to the unchurched by exhibiting them outside churches. What are the unique and highly valued characteristics of Americans that we can bring to the field of visual language creation for the twenty-first century that makes our faith in God visible? Big question! I’m hoping to hear ideas from some of you as this is an ongoing exploration to clearly define what we as Americans bring to the field.Ĭertainly an ecumenisicm would be an important part of this, as well as a highly inventive and creative approach to image making. Now I realize that in addition to studying the plastic arts of picture making, it is also important to research and define what an “American School of Iconography” will look like. It was very exciting to discover this through the language of pictures! And helpful in my painting too! I was then able to examine the Renaissance perspective that has led to the present era of humanism and veneration of science over belief in God. The five day workshops are good, but a consistent practice and study with supervision is also needed.įor example, it was through learning Icon writing that I learned of a different pictorial and spiritual perspective from the one I had learned in art college. I think it is more ideal for an Iconographer to be able to teach consistently over several years on a regular basis, thereby helping individual students to progress in their individual painting skills and spiritual and historical understanding. Most of my Iconographer friends here in the USA have learned in this way and learning the culture of the Byzantine and Greek eras has provided a valuable perspective on our own times. To learn Icon writing, one usually needs to study with a Russian or Greek Iconographer who usually gives one or two, 5 day workshops a year. Icon Writing is experiencing a revival in the last twenty years.

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