Never work with children, animals or (I will add) unfamiliar scripts. St Ephrem (also spelled Ephraim) of Syria was a great theologian and hymn writer of the 4th century whose work seems to have fallen out of use in the West. Some time back I illuminated my own translation of his most famous prayer, though to my chagrin it has not sold yet.
My client for this new icon is an academic and scholar of Syriac, and I rashly agreed to copy the quotation in the original if it could be written out for me. The letters are less than a millimetre high, painted with a 00000 sable brush and written from right to left, as one might expect. Much gnashing of teeth has gone into this. Needless to say my first attempt was unreadable nonsense, but I am assured that the new improved version reads "Praise to the Lord of Nature; and glory to the Lord of Scripture" - or something acceptably close!
Some art deserves to be less noticed, and I have to admit that sadly most of the contents of the Salzburg Cathedral Museum fall squarely into that category. Worse still, the reputedly magnificent apartments of the former prince-bishops were closed for restoration, so I found myself scooting past quantities of truly dire (but impressively large) canvases, an entire corridor of curiosity cabinets with several hundred years' worth of dead animals and other dusty relics in them, and various other forbidding remains, wondering whether the fabulously wealthy bishops of Salzburg were just less efficient than their contemporaries in looting the best religious art, or whether they preferred to keep their wealth at home and commission only from the locals at the expense of quality. But then in the very last display case (which displayed, unaccountably, a huge pair of Dutch clogs) I read a querulous note complaining of Nazi thefts and Allied bombings, which went some way to explaining it. But I spent time there, it being a cold January day, and a few things did catch my eye at random:-
My Nativity icon for this year is a miniature on vellum, only six inches square. It will be framed and is for sale, should the spirit move anyone to own it! I have arranged the design as a quincunx, four circles around one, a geometrical arrangement with many resonances in Christian symbolism. I broke out a new precious pigment from Attila at Master Pigments for the dark blue used in this design, a rare mineral called vivianite, also known as blue ochre. It is very finely ground and a easier to apply than lapis lauzuli. Unlike lapis, it mixes with white without being overwhelmed. Also from Master Pigments were the vermilion, purple earth, and my favourite green volksonkoite - another rare mineral, this one from Russia. The florid decorative treatment is inspired by a margin I spied on the Abbey Bible, an Italian manuscript of the mid-1200s owned by the Getty Museum. By the way, the Getty is really wonderful at making digital images of its collection available on the internet for private study.
Have a blessed Advent and a joyful Christmas all!
This painting was finished and sent for reproduction way back in May or June, but I have had to be very patient about putting it on my boasting page, not wanting to blow the client's cover before they sent out their Christmas cards. Carpenters' Company is one of the ancient trade Guilds of the City of London, though nowadays I think their activity is confined more to charitable sponsorship and promotion rather than actual woodworking. Their guild Hall is a little too grand for woodshavings. Their brief was to include the Company arms and motto, the oak and pine leaves of their crest, something to do with carpentry and some seasonal motifs. I didn't have much notion what the medieval man at work in his woodshed might look like, but I took my inspiration from an amazing Spanish cathedral ceiling painting which immortalises the carpenters who built it. There they are in their stripey aprons and hose, hard at it with axes, chisels, saws and hammers. Working to the theme of 'Make Ready the Stable', a stray line I recollected from a Christmas carol, I wove them in with the heraldic elements, adding in a star and robin in my usual cod-medieval style (more than a nod to the Luttrell Psalter in this case). Delighted with the colour reproduction job the printers have done - colour conversion is never straightforward. The original painting, only about eight inches square, is framed and hanging somewhere in Carpenters' Hall for the rest of time.
These two miniatures on vellum are going off to my UK gallery this week, the first in an intended series featuring the unseen and unsung - and horribly endangered - amphibians of Europe. I think of them as our native dragons in miniature. and I hope a toad has never looked so glamorous. I don't know if they genuinely qualify as miniatures (4 x 7.5cm), as art societies make strict rules for such these things and I can't be bothered to look them up. The enigmatic title is an obscure reference to an obscure Japanese silk dyeing technique which has fascinated me for many years. It was revived and transmogrified by the great artist Itchiku Kubota, a Japanese 'living treasure' in his life time: I saw an exhibition of the first half of his incredible great work, 'Symphony of Light', in Paris in 1990. His completed oeuvre now lives in Japan, and is high on my bucket list (the way things are going with that travel fund, I shall have to stow away). My floral background is a tiny homage to his extraordinary kimonos, though the motifs I've used are entirely medieval European.
The view from my desk
Current work, places and events, art travel, and interesting snippets about Christian icons, medieval art, manuscript illumination, egg tempera , gilding, technique and materials.