Focusing on the classic methods of icon painting and its rich history, this detailed and practical guide covers everything, from the materials needed and how to prepare a panel to adding inscriptions and finishing off using traditional Byzantine techniques. It explains the origins and principles of icon painting; how to choose a subject; the technique of sacred geometry; the use of color, varnishing, and egg tempera; and how to use traditional gilding techniques. Part of the icon's symbolism is transmitted in the techniques used to create it and this is explored throughout. With in-depth information, step-by-step demonstrations, invaluable advice, and many superb examples of finished icons, this is the most comprehensive guide to the philosophy and practice of icon painting.
The traditional religious icons of Eastern Europe are more than symbols of faith and objects of worship. They rank among some of Europe's great pictorial images, a highly stylized from that was perpetuated for generations, dating back to the earliest days of formalized Christianity. With stunning illustrations, this book evokes the visual impact of its sacred subject matter. It touches on the techniques of icon painting and covers all periods, including the early Christian Church, the Byzantine tradition, the Macedonian Renaissance, and the major and minor Russian schools from Kiev to Moscow.
Mary Jane Miller discusses her technique, the history and meaning of icon painting. The book orients icon painters and examines why icons continue to be a spiritual tool. From a uniquely Western perspective, this step-by-step practical course brings to life the sacred and beautiful art of egg tempera painting.Included are recipe guides and patterns to work from. Beginners, intermediate, and advanced iconographers will all find new insights.With in-depth information, invaluable advice, and superb illustrations of each step, this is a most comprehensive guide to the philosophy and practice of icon painting.
The idea of the book “Science and Conservation for Museum Collections” was born as a result of the experience made by CNR-ISTEC (Faenza) in the implementation of a course for Syrian restorers at the National Museum in Damascus. The book takes into consideration archaeological artefacts made out of the most common materials, like stones (both natural and artificial), mosaics, ceramics, glass, metals, wood and textiles, together with less diffuse artefacts and materials, like clay tablets, goldsmith artefacts, icons, leather and skin objects, bones and ivory, coral and mother of pearl. Each type of material is treated from four different points of view: composition and processing technology; alteration and degradation causes and mechanisms; procedures for conservative intervention; case studies and/or examples of conservation and restoration. Due to the high number of materials and to the great difference between their conservation problems, all the subjects are treated in a schematic, but precise and complete way. The book is mainly addressed to students, young restorers, conservators and conservation scientists all around the world. But the book can be usefully read by expert professionals too, because nobody can know everything and the experts often need to learn something of the materials not included in their specific knowledge. Twenty- two experts in very different fields of activity contributed with their experience for obtaining a good product. All they are Italian experts, or working in Italy, so that the book can be seen as an exemplification on how the conservation problem of Cultural Heritage is received and tackled in Italy. —————————————————— SCIENCE AND CONSERVATION FOR MUSEUM COLLECTIONS INTRODUCTION 1 – PREVENTIVE CONSERVATION 1.1 Introduction 1.2 International standards and guidelines 1.3 Environment-material interaction 1.4 Microclimate and monitoring 1.5 Handling works of art 1.6 Exhibition criteria 1.7 MUSA project: intermuseum network for conservation of artistic heritage Bibliography Acknowledgements 2 – STONE ARTEFACTS 2.1 What conservation means 2.2 Natural Stones 2.3 Artificial stones 2.4 Deterioration of the stone 2.5 Cleaning of stone artefacts 2.6 Consolidation and Protection 2.7 Case studies Bibliography 3 – MOSAICS 3.1 Manufacturing techniques 3.2 History of the mosaic 3.3 Degradation of mosaic 3.4 Restoration of mosaics 3.5 Case study Bibliography 4 – CERAMICS 4.1 Ceramic technology 4.2 Technological classification of ceramics 4.3 Alteration and degradation processes 4.4 Ceramic conservation and restoration 4.5 Case studies 4.6 Examples of restoration Bibliography Acknowledgements 5 – CLAY TABLETS 5.1 Defnition 5.2 Deterioration 5.3 Conservative intervention 5.4 Case study: Syrian tablets Bibliography Acknowledgements 6 – GLASS 6.1 General information 6.2 Processing techniques 6.3 Glass deterioration 6.4 Glass conservation and restoration 6.5 Case studies Bibliography Acknowledgements 7 – METALS 7.1 Origin of metals 7.2 Manufacturing techniques 7.3 Conservation state of metals 7.4 Conservative intervention for metals 7.5 Case studies: Recovery of metallic artefacts from terracotta containers Bibliography Acknowledgements 8 – GOLDSMITH ARTEFACTS 8.1 Goldsmith’s metals 8.2 Enamels 8.3 Precious stones 8.4 Alteration and degradation 8.5 Conservative intervention 8.6 Case studies Bibliography 9 – WOOD ARTEFACTS 9.1 Characteristics of the wood 9.2 Working techniques 9.3 Degradation of wood 9.4 How to start restoring 9.5 Restoration of a small inlaid table 9.6 Restoration of a commemorating wooden tablet 9.7 The restoration of a seventeenth-century wooden crucifix Bibliography 10 – ICONS 10.1 The construction of icons 10.2 Degradation and damages of icons 10.3 Methods of conservation and restoration of icons 10.4 Examples of conservative interventions Bibliography 11 – TEXTILE FINDS 11.1 Morphology, characteristics and properties of textiles 11.2 Decay of textile fibres 11.3 Conservation treatments of archaeological textiles 11.4 Conservation practice: two case histories Bibliography Acknowledgements 12 – LEATHER AND ANIMAL SKIN OBJECTS 12.1 Introduction 12.2 Skin 12.3 The tanning process 12.4 Parchment 12.5 Leather degradation 12.6 Conservative intervention 12.7 Examples of conservative interventions Bibliography 13 – INORGANIC MATERIALS OF ORGANIC ORIGIN 13.1 The materials 13.2 The restoration operations 13.3 Cases of study Bibliography Acknowledgements 14 – ANALYTICAL TECHNIQUES 14.1 General information 14.2 Optical microscopy 14.3 Spectroscopic techniques 14.4 Radiochemical techniques 14.5 Chromatography 14.6 Electron microscopy 14.7 Thermal analyses 14.8 Open porosity measurements 14.9 Analysis of microbial colonization Bibliography Acknowledgements
How to Paint Icons is a practical guide and workbook for focusing on the traditional methods of egg tempera done in the Byzantine style. The journal has the power to take you beyond just a painting of an icon. This book is intended to inspire iconographers. Concentrating on techniques, materials, and insights while archiving your work enhances the iconography practice. Part of the workbook and journal will offer an opportunity to focus on the smaller aspects of icon writing with tips and shared discoveries gained through Miller's experience. Superb examples and illustrations are arranged to help you progress step -by-step. This will be a great guides for icon painting, an addition to you library collection of Books on Iconography. Iconography is undergoing a revival in our twenty-first-century, it has entered a non -Orthodox world. The journey of an iconographer surpasses the feeling of being spiritual and becomes knowledge of God written in stone. Mary Jane Miller, has painted in her studio in San Miguel de Allende, Mexico for nearly 30 years. Combining prayer and this sacred art keeps her connected to a lifestyle that celebrates mystery. Prayer and iconography come together in this workbook and study guide for icon painters. This workbook unfolds sequentially by chapters. It provides illustrations, places for recording your commentary, exercises and helpful hints for navigating through the world of Icon Painting with egg tempera. This instructional workbook is meant for anyone with an interest in the ancient art of icon writing, as practiced ages ago and including our present day. The hope is for you to refine the teachings and expand them into your daily life and practice.
For more than a thousand years, Eastern Christians have used their hands and hearts to create icons, proclaiming God’s reality in a visible–and breathtakingly beautiful–way. This ancient art is enjoying a renewed interest in the West, as people of faith create icons and use them to meditate on mysteries for which there are no words. A Brush with God is a guide to painting icons and using them in prayer. Written with warmth and energy, it describes the history of icons and examines why they’ve been a spiritual tool for so many centuries. Written from a uniquely Western perspective, the book guides artists–from novices to professionals–through the process of icon painting, using traditional techniques but employing contemporary materials. Included are eight full-color plates of the artist’s icons.
This lavishly illustrated guide to iconography explains through words and pictures the history, meaning, and purpose of Christian icons as well as the traditional methods that religious painters use to create these luminous, spiritually enlivened works of art. Solrunn Nes, one of Europe's most admired iconographers, illuminates the world of Christian icons, explaining the motifs, gestures, and colors common to these profound symbols of faith. Nes explores in depth a number of famous icons, including those of the Greater Feasts, the Mother of God, and a number of the better-known saints, enriching her discussion with references to Scripture, early Christian writings, and liturgy. She also leads readers through the process and techniques of icon painting, showing each step with photographs, and includes more than fifty of her own original works of art. Deeply inspiring and utterly unique, The Mystical Language of Icons will inform both those who are familiar with the rich tradition of religious art and those who are not. It also serves as a powerful devotional resource in its own right, one that Christians everywhere can turn to again and again. Book jacket.
Visions, Messages and Meanings : Studies Presented to Leslie Brubaker
Author: Angeliki Lymberopoulou
Publisher: Ashgate Publishing, Ltd.
The focus of this volume is the identification of 'visions', 'messages', and 'meanings' in various facets of Byzantine culture and the possible differences perceived by their original audience and modern scholars. It addresses how far interpretations should go, whether there is a tendency to read too much into too little, or whether not enough attention is paid to apparent detail that may have been important in historical context. The essays span a wide chronological era, so present a means of assessing the relative degrees of continuity and change in Byzantine visions, messages and meanings over time.
"A collection of essays by eleven scholars of Russian history, art, literature, cinema, philosophy, and theology that track key shifts in the production, circulation, and consumption of the Russian icon from Peter the Great's Enlightenment to the post-Soviet revival of the Orthodox Church"--Provided by publisher.
Historically, the many well-known icons of the Virgin Mary included hand tooled pewter and silver halos. For iconographers today, painting saints with halos embellished in pewter is still a thriving art form in many countries, especially in Mexico. Inspired Byzantine iconographers use metal foil for embossing pewter, chasing and engraving to accent sacred art. Valentin Gomez and Mary Jane Miller's new book Embossing Metal: Templates and Beginner Techniques for tooling metal foil pewter is an essential resource. Russian and Greek iconography employ countless elaborate design styles. We offer the book as guidance, it is a collection of icon templates for those devoted to traditional fine craftsmanship. Beautifully embellished halos have been a Byzantine iconographical legacy and tradition for centuries. This book is geared towards those of you in the iconography community interested in creating your own silver halos. The first section of the book discusses tools, supplies and technique. Tools and metal foil sheets are all you need to create beautiful designs. Each tool has its own character and purpose to help you press from the back to the front and flatten raised areas that get distorted. As you learn to refine the edges of your patterns, you will add a few more tools to accommodate increased skill. This book gives you a place to begin and inspires you to go further with practice. After describing the tools and supplies, I give you basic techniques, step-by-step, to teach yourself how to create borders and halos to embellish your icons. The process is simple, and only requires investing hours of focused practice. After about ten hours of practice, you will begin to sense and feel the amount of pressure required to make fluid designs and texture. Experimenting will bring the best results and in no time you will be skilled enough to create beautiful work for embellishing your icons.
Research Paper (undergraduate) from the year 2019 in the subject Art - History of Art, grade: excellent, , language: English, abstract: The only mentioning of this Madre della Consolazione icon to the moment belongs to A. Rizzi who attributes it to any anonymous Cretan-Venetian painter of the 16th c. However, many iconographic and stylistic anomalies examined in this study, make such attribution inacceptable. As well inacceptable result some recent publications trying to suggest that the author of this iconographic type should be the Greek icon painter Nikolaos Zafouris and that his devotional paintings destined to Latin clientele should be icons. The objectives of the actual revision of these positions are to contribute for a better distinguishing among originals, copies, and replica of the Madre della Consolazione representations known to the moment, and to complete knowledge of existing sources and data regarding the Orthodox and Italian variants of this Mother of God type as regards religious history, names, iconographic prototypes and sub-variants. The exploration is limited to the microscopic and photographic investigation of the technical-technological aspects of the original. Its guide line is the impact of the post-byzantine painting on other artistic traditions as well as the reverse process, the westernization of the Orthodox painting, and namely: what determined the dynamic of the material & technical upgrading, and if the technical-technological characteristics have any relation to the place of making and to the desired significance of the image; how did traditional egg tempera evolve through mixed techniques to oil painting and how did this influence the plastic construction of the imagery; how was employed the technical knowledge going back to ancient sources.