Windows Into Heaven

“Icons raise the soul and mind to the realm of the spirit.” (Photis Kontoglou,  greatest iconographer of 20th century Greece)

Years ago I sat entranced watching a youtube video of writing an icon. I searched for places that taught the writing using the traditional materials; I was not interested in acrylic paints and faux gold leaf. Fast forward a decade. After my intense and animated monologue about the art to a friend, who never forgot my enthusiasm, she found an icon artist who writes icons using the traditional supplies. I was invited and became the third and final student.

We began with a wooden board to which we applied pure linen using a glue made from rabbit skin granules and water cooked to the “right consistency” over a double boiler.

Next we applied priming gesso made from rabbit skin pellets, white marble dust and water. Each of the ten gesso layers is painted on while quietly contemplating a specific theme chosen as a group: New Beginning, Patience, Thanksgiving, Open to God’s Will, Letting God Lead, Gratitude, Letting Go, Silence, Courage, Grace. In essence we have “written” these contemplations into the icon. You must not rush the layers; every trace of wetness must be dry, but not too dry; the layers need to remain in unity. And no layer can be stronger than the one beneath it.

Once the panel is sanded it is ready for the gold. We used 23 carat gold leaf. The gold signifies God’s presence while the pigment colors signify the creation. As a metal, gold is distinct from pigments which are earth or stone. “So on the one hand gold (denoting God) appears completely other than the pigment (creation). On the other hand there is an intimate relationship between them.

An under layer of bole is warmed and applied wherever the gold will be laid. The gold is carefully placed on a gilder’s cushion and cut to size. Immediately before applying to the icon the bole is brushed with a mix of water and alcohol- vodka works. Using a squirrel gilder’s tip rubbed on your hair or face for a little oil, the gold is picked up and then placed over the place you’d like the gold.

My first attempt, I inadvertently got the merest bit of water on my squirrel tip and the gold quietly and quickly curdled into an unusable snake. My dear friend began to laugh but had to slowly walk away from her gold leaf lest it take flight by the slightest breath of her guffaw. 

Next comes the actual painting. The colors are pure pigments from the earth mixed with the yolk of an egg. Reds, for example, are made from plants or creatures or by heating white lead.

Under the icon a prayer is written after a lot of meditation and prayer. The viewer will never see it, but the prayer is there nonetheless.

“If one is to make an icon that radiates love it must be made with love- love for the materials as well as for the subject and the viewer. Sourcing and preparing pigments helps gain a respect for them.” (Techniques of Icon and Wall Painting- Aidan Hart)

I was surprised by my absolute intimidation of the process and the respect for the materials. The process is slow and every single step has significance. My respect for this art continues to grow.





Huntsville, Alabama Museum of Art

This museum is easy to see in a few hours; it’s small.

“To think of art, or practice it as a tool for some other purpose is to sellout out to a technocratic bent of mind, damning it to a permanent identity crisis…” Calvin Seerveld

I was turned off by the rainbow 🌈 heart stickers on various pieces. Is it really necessary to the art I’m looking at to know the artists’ sex life? A piece of art should be able to hold its own without pandering. I mean, Picasso was abusive toward the women in his life, but we don’t get a warning sticker on his art about his personal life.

“Art is not a means to an end, it is not a function of something else. Art stands or falls on its own artistic contribution to the world.” Calvin Seerveld

🍊 Orange You Glad

A more complicated and step-by-step watercolor still life lesson for my older class and a simpler step-by-step for my younger class. For the older class, working from a black and white photo of the actual setup and also the actual fabric and tangerines, we began.

Linoleum Block Printing

I was excited to move my older class to the next level. In the past years we had created prints using styrofoam but this year they graduated to linoleum. The linoleum is much more resistant to cutting than the very easy styrofoam but these students rose to the occasion and created some beautiful work.

Norwegian Art

I read about a local Norwegian artist who is 86 years old and runs his own art studio. He sells acrylic paintings of Norwegian scenery of everyday life inside and out. He also carves the most endearing sculptures of everyday work. And he makes “tine” pronounced “tina.” They are round lidded boxes that were used as lunch boxes and for toting items.

We sat at listened to Joe Molvik’s life story in his small studio. And then I had to buy a tine.

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Watercolor on the grid

Our mind likes to play tricks on us, even when we’re trying to draw accurately. I introduce the grid as a way to get the perspective accurate. And then we continued with watercolor technique for some really great results.

Fat Cat 🐱

My goal for this lesson was to completely fill the space. Too often younger artists make use of a small section of their paper and the rest is empty. The goal was to make this cat almost bust out of the paper.

Roosters 🐔

My older class is learning some watercolor technique while painting a rooster. Wet in wet, wet on dry, and dry on dry. No two roosters looked alike because all the drawing was free hand. They could choose to paint just the head or the whole body. I had some color reference photos to gather inspiration but it was up to each student if they wanted to try and stick to true rooster colors or go whimsical.

This class also had the option of the dry watercolor boxed paint or creating their own palette with wet tube paint on their own pallet.

Reluctant Artist...

This guy has graciously shown up for private art classes for a full year. When he first came, I reminded him he could hardly draw a straight line. Not really but he needed improvement. With his mom’s request of “strictly drawing,” we did just that- pencil, paper, eraser. (At Christmastime I let him burst into a bit of color with a winter scene in watercolor.)

I was so glad to get his recent call asking for another year of art!

Getty Museum

The Getty museum building on its own is a glittering white marble art piece. The ride up the hill in their tram is worth the trip just for that view. And then you get to see the amazing art collection as well.

Clymer Art Museum Solo Show

This is a thrill for me to get my own show and have the very talented, Matthew Lennon, curate. To be able to drop off my art and know he will arrange and hang the show perfectly is a privilege. Andrew and I enjoyed the reception complete with a lovely glass of wine.

One of the things about being at your own show incognito is getting to hear the patrons’ comments about the work without them feeling like they need to filter.

Actual Linoleum Blocks

The high school class worked diligently and created some great art.

A few little mishaps with the linoleum cutter but thankfully band aids were available. I’m thrilled with the creative designs. Next week we print. I’ve discovered that acrylic paint definitely does not work as well as screen printing ink. Acrylic is too fluid and doesn’t adhere to the brayer to give a good even coat to the block.

When Life Hands You Lemons

My one hour class had the opportunity to meet for two straight hours in make up of an hour during spring break. I loved the little slower, less frantic pace. We worked in acrylic to paint a lemon branch. I had two of my own paintings for reference and various examples of the leaf shape and veins on the leaves.

One little girl finished her pieced and said, “This is the best painting I’ve ever done.”