Twelve Ethical Principles of a Christian Sacred Artist

My friends and fellow sacred artists, allow me to present to you my expression of twelve ethical principles that I have developed for members of the Fra Angelico Institute of Sacred Arts. These principles may be valuable to colleagues in other Rites and Denominations in fostering dialogue about these ideas. I write this as a preface to a series to follow at fraangelicoinstitute.com, on the spiritual and artistic values of Beato Fra Angelico. I perceive Fra Angelico as being one of the last artists of the Gothic Period in Western sacred art that was true to the tradition that Pope Emeritus Benedict XVI speaks of in his book Spirit of the Liturgy. Please see the Explanatory Notes that follow these twelve principles. They further reveal my understanding of these points. Upon further discussion with you, these Principles may be edited to reflect your contributions. Thank you.

                        Twelve Ethical Principles of a Christian Sacred Artist

1) A Christian sacred artist’s work is wed to a Christ centered spirituality of service and tradition (with both a small “t” and a capital “T”).

2) A Christian sacred artist bases his or her work on prayer.

3) A Christian sacred artist’s spirituality has its roots firmly planted in Sacred Scripture and Church history.

4) A Christian sacred artist’s spirituality is enlivened when he or she prayerfully unites their inner senses (common sense, imagination, cognition, and sense-memory) fortified by faith, to their creativity.

5) Christian sacred artists recognize that the main work of the Church is threefold: spreading the good news of Christ’s Gospel message, prayer, and for the Western and Eastern Rites of the Church providing the Holy Sacraments (Holy Mysteries) to the faithful.

6) Christian sacred artists are a critical part of the liturgical work and prayer of the Church. They produce sacred arts that are sacramentals if they conform to the aesthetic, semantic, and theological principles of the faith.

7) Christian sacred artists believe that the grace of God compliments and strengthens their technical expertise.

8) Christian sacred artists believe that the act of making their work, and the finished product, is not just art; it is communion with the great mystery of God made visible in Christ and His saints.

9) Christian sacred artists who are members of the Western and Eastern Rites recognize that the creation of sacred art may be viewed as a liturgical act.

10) Christian sacred artists produce art that clearly teaches and preaches the lessons of the Hebrew and Christian Scriptures, and the Creeds of the Church, thus allowing their artistic message to contribute toward individual and congregational transformation in Christ.

11) Christian sacred artists are aware of the teachings of the 7th Ecumenical Council (2nd Council of Nicaea, AD 787) as it applies to icons and the role that the contributions of St. John of Damascus played in its debates.

12) Western and Eastern Rite sacred artists are aware of, and subscribe to, the principles that apply to sacred art within the writings of their spiritual leaders.

Explanatory notes – the numbers below correspond to the number of the specific Principle above:

 1) The small “t” relates to cultural norms of a specific Rite or denomination. The capital “T” refers to Church Tradition as specified by Jesus Christ, the Apostles, the Fathers of the Church, and the many hierarchical pronouncements proclaimed by Popes, Patriarchs, and Bishops of the Western and Eastern Rites of the Church.

2) Christian sacred artists undertake a great spiritual responsibility. This responsibility requires that the artist be firmly rooted in faith, grace, and prayer for they are promoting the truth, goodness, and beauty of Almighty God, His angels, and saints. Sacred artists are assisted in this by understanding that certain artistic schools or methods, an example being abstract expressionism, have no place in the sacred art of the Church.

3) This unity allows a sacred artist, through prayer, to walk the various paths of Holy Scripture and experience the moment that the Scripture, or story of the saints, presents to the soul. This experience feeds and transforms the sacred artist by affecting the clarity, line, and color of their art. This is how Beato Fra Angelico experienced the Crucifixion, and according to Vasari, as he painted it wept over the enormity of Christ’s sacrifice. In this process Fra Angelico prefigures Ignatius of Loyola by about 100 years in the ability to experience the words of Holy Scripture within his imagination. The use of the word – “imagination” – does not mean or imply “fantasy,” nor does the person at prayer “make-up” images not found in the Gospels or Church history. St. Andrei Rublev, Beato Fra Angelico, St. Ignatius of Loyola and others utilized this type of prayer experience to affect their work.

4) What is prayer? The saints tell us that prayer is the turning of the heart toward Our Lord God and allowing the mind and heart to sincerely speak words of love to Him. It is the connection, the sharing, of rational mind and free will to conversational intimacy with Our Lord, His angels and saints. The sacred artist enters into communion with God through prayer and this communion comforts and assists the sacred artist in their work.

5) The Western and Eastern Rites go a step further and affirm that preaching the Gospel message and delivering the Holy Sacraments (Holy Mysteries) is critical for the spiritual health and salvation of God’s people.

6) An icon is a sacred image (confer John 1:14). An iconographer follows specific traditions of craftsmanship and specific elements of Theological (Scriptural and dogmatic content), Semantic (the visual language of the icon, appropriate perspective, the use of light, line, and color to create form, and correct use of signs and symbols within the icon), and Aesthetic principles (the quality of beauty with the icon itself). These three principles are based upon the sacred Tradition of the Church. The history of the Western and Eastern Rites illustrates that the sacred artist has continually moved through different artistic periods and technical understanding. As it relates to sacred art, the Western Rite of the Church moved out of an Iconographic period into the Gothic period, and then onto the Baroque period. The Eastern Rite stayed within the period of Iconography that developed out of the early centuries of the Church. Cultural conditions, access to earth pigments, and artistic differences affected the Iconographic period within the Eastern Rite of the Church. It is important to note that within the Western Rite a sacred image is an image that is created of a historical holy person or religious scene; however, the artist allows their full creativity and personal interpretation to enter into the craftsmanship and artistic process. Personal creativity and technique, while present within Iconography, is not seen as an important issue. An example of an icon is St. Andrei Rublev’s image of Christ, or his icon of the Holy Trinity. An example of a sacred image is Pietro Annigoni’s image of St. Joseph and the child Jesus in Joseph’s workshop, or Masaccio’s Holy Trinity. I am indebted to one of my teachers of iconography, Marek Czarnecki (whose teacher was Ksenia Pokrovsky), for clarifying the elements of theological, semantic, and aesthetic tradition for me.

Pope Emeritus Benedict XVI provides a wonderful overview of the three periods of sacred art within the Western Rite in his book Spirit of the Liturgy. You will notice that he does not include the Renaissance within the three traditions. Historical research has shown that Renaissance artists were not inspired so much by prayer in the production of their art; rather, they were motivated by the desire to please themselves, their patrons, or the profit motive. Some of the Renaissance sacred images do have spiritual value and can motivate the viewer to prayer and communion with God.

Icons, sacred images, woodcarvings, calligraphy and other sacred arts if based on the Holy Gospels and Church Tradition spread the good news of the Gospel. The sacred arts are sacramentals when they point the way to God. Sacramentals are blessings. The seven Sacraments (Holy Mysteries) provide the grace that interiorly heal and nourish us. Sacramentals, however, assist us in the exterior visualization of Our Lord Jesus who made that process possible through His Incarnation. It also assists us in the visualization of His angels and especially His saints, who modeled Jesus in their own lives. To picture this one has only to view an icon of St. Seraphim of Sarov, and remember his words that “A true hope seeks only the Kingdom of God…the heart can have no peace until it obtains such a hope. This hope pacifies the heart and produces joy within it.” Christian sacred artists are “hope filled” people.

7) Within the Western Rite, it is believed that “Our justification comes from the grace of God which was merited for us by the Passion of Christ. Grace is a participation in the life of God. Justification is conferred through the Sacramental grace of Baptism. Grace is the free and undeserved help that God gives us to respond to His call to become children of God, adoptive sons and daughters, partakers of the divine nature and eternal life” (confer John 1:12-18; 17:3; Romans 8: 14-17; 2 Peter 1:3-4). As the Council of Trent teaches – grace is known by faith – and as Our Lord teaches in Matthew 7: 20 “You will know them by their fruits” (confer Catechism of the Catholic Church, 2nd edition, paragraphs 1987 through 2005).

8) Contemporary Greek artist and iconographer, Dr. George Kordis, writes of this principle in his book Icon As Communion.

9) In the Western Rite, liturgy as defined in the New Testament, “refers not only to the celebration of divine worship but also to the proclamation of the Gospel and to active charity” (confer Luke 1:23; Acts 13:2; Romans 15:16, 27; 2 Corinthians 9:12; Philippians 2: 14-17, 25, 30. Confer Catechism of the Catholic Church, 2nd edition, and paragraphs 1066 through 1209). The work of a sacred artist (this of course includes all the sacred arts) can be viewed as a liturgical act because it provides a service to our neighbor, in that the sacred art elucidates the reality of the truth, goodness, and beauty of God by providing a means for the individual to hear or visualize that reality. The sacred artist assists the Church in making the reality of Christ present within the community of believers. Sacred artists, by providing this service, are participants in active charity. They aid in providing a “visible sign of communion in Christ between God and men” (confer paragraph 1071, Catechism of the Catholic Church, 2nd edition).

10) Transformation in Christ is a spiritual process. Writers within both the Latin and Greek Rites of the Church and the various Protestant denominations have extensively written about it. The Holy Bible, the Philokalia, Dietrich von Hildebrand, and many other writers provide very helpful advice on this topic.

11) Christian sacred artists, as they study iconography and the various manifestations of sacred art need to also be aware of the significant contributions of Leonid Ouspensky, George Kordis, Aidan Hart, David Clayton, Jonathan Pageau, and the Monk Patrick Doolan. There is enough wisdom in their words and works to advance the studies of any serious Christian sacred artist.

12) Some of the Popes have expressed valuable artistic insights, which will assist the Western sacred artist in their comprehension of their task. A few examples of this are: Pope Emeritus Benedict XVI’s book The Spirit of the Liturgy, Pope St. John Paul II’s Letter to Artists, and Pope Pius XII’s 1947 encyclical, Mediator Dei. The encyclical Mediator Dei explains in paragraph 187, that “Three characteristics of which our predecessor Pope Pius Xth spoke should adorn all liturgical services: sacredness, which abhors any profane influence; nobility, which true and genuine arts should serve and foster; and universality, which, while safeguarding local and legitimate custom, reveals the catholic unity of the Church” (Pius XII referenced this from an Apostolic Letter of Pope Pius X of November 1903). These three principles, when united with the principles of aesthetic, semantic, and theological truth, provide the Christian sacred artist with a firm foundation on which to build their creative work.

Thank you for reading this and I look forward to your comments, Deacon Paul O. Iacono.

Copyright © 2011- 2017 Deacon Paul O. Iacono All Rights Reserved

Images:

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St. Andrei Rublev’s Christ (completed 1410, above) and his The Trinity (1411, or 1425-27)trinity-rublev-1410

 

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Masaccio’s Holy Trinity (completed 1428, above) and

Annigoni’s St. Joseph the Worker (altarpiece, completed 1963, below)annigoni, st joseph

 

The Way of Beauty On-Line Course and Reimbursement Scholarship Opportunities

The mission of the Fra Angelico Institute for the Sacred Arts is to teach the truth, goodness, and beauty of God through the prayerful creation of sacred art.

We are happy to announce that we have recently entered into a partnership with Thomas More College of Liberal Arts to present a wonderful on-line course to anyone interested in Catholic Culture and the sacred art of the Church. We also have a special opportunity for teachers of history, art, religion, and the humanities in Catholic high schools of the Diocese of Providence who complete this course.

Thomas More College of Liberal Arts is offering an on-line course entitled The Way of Beauty. This course has been designed by David Clayton and is being successfully implemented at Thomas More College of Liberal Arts. David is an Oxford University graduate, sacred artist, published author and broadcaster, and holds the position of Artist-in-Residence and lecturer in Liberal Arts at the College. David is passionate about Catholic art and music, the forms it has taken through the centuries, and the reinvigoration of Catholic culture. David’s blog can be found at www.thewayofbeauty.org.

As stated on the College website the Way of Beauty course “focuses on what shapes a Catholic culture and what makes it beautiful. It discusses the general connection between worship, culture and beauty particularly through the prism of visual art. The course program consists of a 13 episode video series and an e-book written by David Clayton. This book is only available to those who take this course. Participants who complete the on-line program are eligible to receive 25 hours of Continuing Education Units endorsed by Thomas More College of Liberal Arts. The College is regionally accredited by the New England Association of Schools and Colleges. Time spent in this program may also be able to be used towards later college credit offerings.” The cost of the on-line course is $99.00.

For the 2014-2015 academic year, The Fra Angelico Institute will provide reimbursement scholarships, through a competitive selection process, to Diocese of Providence high school teachers who enroll and complete the Way of Beauty on-line course.

In an attempt to provide a competitive atmosphere among the teachers, The Fra Angelico Institute for the Sacred Arts will provide a total of five reimbursement scholarships, one per high school, to Catholic high school teachers with the best implementation process.

In order to enter the competition to receive the reimbursement scholarship an interested Diocesan teacher will:

1) Notify the Fra Angelico Institute of their interest through our email at frainstitute@cox.net.

2) Formally register by clicking on the tab and following the prompts for the On-Line Course through www.thewayofbeauty.org.

3) Through the teacher’s personal Google account, participate in the program which consists of 13 on-line videos (approximately 30 minutes apiece) produced in association with Catholic TV.

4) Read the e-book – The Way of Beauty: Liturgy, Education, Art, and Inspiration. This e-book has been written exclusively for this course.

5) Submit on school stationary a statement from the teacher that the course has been completed, a one-page summary of how the course will be actually implemented in their curriculum, and one or two suggestions on how the course may be improved.

6) Submit a letter from the principal of their high school stating that they support the teacher in their desire to implement the goals of this course.

Using the US Postal System, these documents should be mailed to: Deacon Paul Iacono, Fra Angelico Institute for the Sacred Arts, St. Francis of Assisi Church, 114 High Street, Wakefield, RI 02879.

We hope you enjoy the course and best wishes to the teachers who compete for the reimbursement scholarships!

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved

Lesley Green – A Rhode Island Sacred Artist

One of the great blessings the Lord has granted me is the privilege of meeting so many wonderful people who are interested in studying and creating sacred art. An example of this is the fine Rhode Island artist, Lesley Green.

Lesley is no stranger to art. She has been interested in it since adolescence and received a BFA from the Rhode Island School of Design. She continued to pursue her studies while taking time out to marry and raise a family.

I first met Lesley a number of years ago, when my wife and I started the Fra Angelico Institute for the Sacred Arts.  We invited people from around the Diocese of Providence to come to our first informational meeting. I could tell upon first meeting her that she was highly motivated to consider studying and prayerfully create sacred art.

My first workshop in sacred art soon followed that meeting and Lesley came to learn the basics of how to paint a sacred icon. Her excitement and interest were, and still are, gratifying to see. She continued to make rapid progress with me and took the advice that I give to all of my students: “Branch out, and study with as many other sacred artists as you can.”

I firmly believe that a sacred artist needs to be exposed to, not only a variety of artistic talents and skills, but to the prayerfulness of other iconographers as they practice their ministry in sacred art. As a result, she has since enjoyed studying with Rev. Peter Pearson and Michael Kapeluck, two artists from Pennsylvania who paint in the Russian Orthodox style.

Lesley realizes that her art is more than art for art’s sake. As a committed Roman Catholic she understands that her art is a dramatic form of silent evangelization of the Word of God. She takes seriously the invitation of St. John Paul 2’s 1999 Letter to Artists to participate in the “call” to the vocation of a sacred artist. He tells us that in doing so we fulfill our personal responsibility to do our part in spreading the Good News of Christ. He says,

“In order to communicate the message entrusted to her by Christ, the Church needs art.  Art must make perceptible, and as far as possible attractive, the world of the spirit, of the invisible, of God.  It must therefore translate into meaningful terms, which is in itself ineffable.

Art has a unique capacity to take one or other facet of the message and translate it into colors, shapes and sounds, which nourish the intuition of those who look or listen. It does so without emptying the message itself of its transcendent value and its aura of mystery.” 

It is this “aura of mystery” that Lesley is prayerfully attempting to make visible to the viewer of her art. For, as sacred artists, we are all called to make visible the “ineffable mystery” that is God, His angels, and His saints.

Lesley’s most recent completed icons of Saint Gabriel and St. John the Baptist are quite lovely. I especially like the fact that St. Gabriel is shown holding the Holy Eucharist. As you know, the Archangel Gabriel was depicted in the Hebrew Scriptures as being a healer, especially of the eyes. This sacred icon aptly shows that the source of the Archangel’s power is Christ Himself. The second icon showing St. John the Baptist in a prayerful pose indicates that even in Heaven he continues his mission of imploring us to repent of our sins.

St. Gabriel the Archangel and St. John the Baptist, pray for us.

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Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved

 

St. Thomas: Skeptic, Cynic, and Repentant Saint

It is the evening hour on the first Easter Sunday. Gathered in the upper room the Apostles were in turmoil. They doubt. They fear. They have lost their sense of trust. They believed that Jesus was dead; and they knew that the Temple guards had orders to arrest all of them on sight. Earlier that morning, Peter and John had entered Jesus’ tomb, and came away amazed at what they saw. But the other Apostles in that room (all were present except Judas and Thomas) had not witnessed the empty tomb.

The doors to the upper chamber, like their hearts and minds, were locked – bolted tight. Fear choked their bodies. They felt trapped and disoriented. They doubted. They despaired. The words of Mary Magdalene, John, or Peter himself, were insufficient to break the fear, break the anxiety, break “the idle talk,” as Thomas, had so precisely framed it earlier in the day. At that moment, the Apostles did not realize that Jesus’ mission was still incomplete.

Then it all changes.

Jesus enters their room, blessing them with His peace and Spirit. You see, Jesus returned that night to deliver a very personal message to each of them. He desired to share an understanding of what it means to be members of His divine family who share in His mission to spread the good news of the Gospel.

What is this “Good News”? It is the news of the reality of our redemption won for us by Jesus’ sacrifice. It is the news of the divine mercy of Christ offered to all who desire it. It is the news of the reality of Jesus’ Sacramental grace that comes to us through the Apostles and their successors; and it is the good news of the Gifts and Fruits of the Holy Spirit that dwell within us specifically through the Sacraments of Baptism and Confirmation.

Jesus, the Eternal Wisdom, in perfect obedience to His Heavenly Father, knew that He had to give them practical spiritual gifts, because His mission would ultimately become their mission to the world. That night, seeing the resurrected Jesus, was the beginning of the awareness of their new role. Full recognition of it would only come at their reception of the Holy Spirit, their Confirmation, on Pentecost.

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A week later, Thomas returned to the upper room. He proved stubborn and unbelieving. He wasn’t there on that first night. He had not seen the facts as they had. As a cynic he was distrustful and contemptuous of human nature and the motives, goodness, and sincerity of others. As a prototype for modern man, he insisted on experiencing it for himself. He wanted contact. He wanted to put his finger into the wounds in Christ’s hands and side.

Then Jesus appears a second time.

Confronted with the resurrected Person of Jesus, challenged with the sight and touch of Jesus’ mortal wounds, and hearing the words “Thomas, do not be unbelieving, but believe – [trust in Me],’” – at that moment, Thomas unbolted the locks of cynicism that had bound him, repented and sincerely proclaimed: “My Lord and My God!”  In front of those assembled, Thomas witnessed and experienced the finest quality of God – the attribute of divine mercy.

Aspects of Thomas’ personality can be found in all of us. We want to believe but have never actually heard the risen Christ speak or seen Him in His resurrected flesh. We observe the behavior of fellow Christians and the temptation to judge them rises in our minds, and, we doubt – the doubt of Thomas: “How can this be true. Look at how they behave.” Vacillation, anger, materialism, pseudo-sophistication, and adolescent anti-authoritarianism are just a few of the things that may fuel our judgmental natures.

You see, the trouble is not with our Scriptural evidence, but with ourselves – with our priorities. By virtue of our Baptism and Confirmation we should walk in faith, not judging others but lifting them up, renewing them, offering them a drink of the cool water of reconciliation with God. A reconciliation made possible by Jesus’ sacrifice and the Gifts of the Spirit.

From these Trinitarian Gifts come the exceptional graces of divine mercy that the Apostles needed for their mission. From these gifts, the timidity, doubt, despair, and dejection of the Apostles turns to courage, faith, love, and trust in Jesus as Lord and God. These Gifts provide them with a life that is totally devoted to spreading the “Good News” – a life that is filled with outward obedience and interior peace.

With this in mind it is truly appropriate that Popes John 23 and John Paul 2 were canonized today in Rome. Their immense gifts, nurtured by the Holy Spirit, filled the Church and the world with an understanding of the peace and loving Mercy that Jesus offers to all of us.

It is also interesting to note that the motto of Saint John’s papacy was “Obedience and Peace” and that of Saint John Paul 2 was “Totally Yours.” These two men, linked by the gifts of obedient Christian service, love of the Blessed Mother, and the desire to maintain interior peace through prayer and the Sacraments provide us with clear direction for living as fruitful Catholics in a weak and faltering world.

Let us pray with devotion and love to our new saints and remember that today’s Gospel has Jesus challenging us as well as St. Thomas when He says: “Trust in me;” and we, like Thomas, need to respond with the simple, yet profound prayer, “My Lord and My God, I trust in you.”

 

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Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved. The above is my homily of 4/27/2014 delivered at St. Francis of Assisi Church at the 10 AM and Noon Masses in Wakefield, Rhode Island USA.  Note on the artwork: The icon dates from the 16th century; the stone pillar relief is found in the Cloister de Santo Domingo de Silos in Northern Spain. It was carved during the renovation of the monastery and dates to 1150. The 13th century saint and founder of the Dominican Order, Dominic Guzman, mother’s name was Joan. She is considered a saint of the Latin Rite of the Catholic Church. St. Joan prayed to the famous Spanish Benedictine monk. St. Dominic of Silos. She named her son, Dominic, in honor of him. St. Dominic of Silos is also considered the patron of all women who are pregnant. During his lifetime St. Dominic of Silos was known for his medical and healing abilities and has been considered the patron saint of women with difficult pregnancies. He died at the age of 73 in the year 1073.

Beautiful Russian Sacred Icons at the New Haven Knights of Columbus Museum

If you are in the vicinity of New Haven, Connecticut within the next two weeks take the opportunity to stop by the Knights of Columbus Museum for their magnificent exhibit entitled “Windows into Heaven – Russian Icons and Treasures.”

The Museum is located at One State Street, New Haven, and offers free admission and parking. They are open from 10 to 5 pm.

For the past year it has hosted a private collection of spectacular Russian sacred icons and liturgical artifacts. It is the finest collection of Russian sacred icons that I have observed in the Northeast owing to the fact that each of the icons and treasures are in excellent condition.

You will enjoy artifacts such as a 7th century Byzantine Reliquary (bronze, traces of gold plate, and blue enamel) and three rooms of sacred icons encompassing the portrayal of Jesus Christ, His Mother – the Blessed Theotokos, much loved saints, and angels.

Their website,  www.kofcmuseum.org/en/index.html provides a wonderful overview of the 225 pieces that are on exhibit. They mention that “few customs or traditions have endured for longer than a millennium, but the use of icons in Russia is among them. In this exhibition, the Knights of Columbus Museum is pleased to share more than examples of Russian Orthodox iconography, along with other liturgical and devotional items.

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Icons are often called windows into heaven because they are said to give the viewer a glimpse of the eternal realm. Many of the items are more than 100 years old, predating the Bolshevik Revolution (1917).

In AD 988 Prince Vladimir of Kiev converted to Orthodox Christianity, and he persuaded his countrymen and women to do the same. Thus, iconography was introduced as a means of fostering religious understanding and devotion among all the people of Kievan Rus (present day Ukraine, Belarus and northwest Russia).

The artistic traditon followed the strict models and formulas of the Byzantine Greek Orthodox tradition (these artistic practices developed in Constantinople and Greece and spread both East and West). Ultimately, the Russian sacred art tradition developed its own distinctive styles within each major city of Russia.

As a form of sacred art, iconographers historically prayed or fasted before and during the creation of an icon. Traditionally, icons were painted in egg tempera on wood and often accented with gold leaf or covered with ornately gilt metal covers called rizas. Rich in symbolism, they are still used extensively in Orthodox churches and monasteries, and many Russian homes have icons hanging on the wall in a “beautiful” (or prayer) corner.”

“Icons have been synonymous with Christian prayer and practice for centuries,” said Supreme Knight Carl Anderson. “One of the great traditions of Eastern Christianity, icons are less well known here, and we are pleased that this exhibit will enable residents of the Northeast to grow in their understanding of the history and religious significance of these windows into heaven.” This exhibit concludes on April 27, 2014.

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Viewing this exhibit during Holy Week or the First Week of Easter leading up to Divine Mercy Sunday and the canonization of Pope John 23rd and Pope John Paul 2 on April 27th would be of great assistance in your joyful experience of the reality of the resurrected Christ. My prayers are with you for a prayerful Holy Week and a blessed Easter Season!

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved. The sacred icons shown are taken from the Knights of Columbus website which offers a history of each sacred image or artifact exhibited.

 

 

A Recent Art Workshop Leads to Another! – The Fra Angelico Institute

This past month the Fra Angelico Institute for the Sacred Arts was happy to sponsor a two day workshop. The purpose of this workshop was to introduce people to the idea that everyone has the capacity for expressing themselves in art. Using acrylic paints the participants were taught the process of “seeing” an image of a rose, breaking down its component parts, drawing the rose, applying and mixing pigments, painting the rose, etc.

Our desire was to ultimately interest people, who possibly never considered themselves as having artistic talent, to see that they could paint a good quality representation of an object. This would then lead to their participation in a sacred art workshop in which they would be learning how to reveal, through prayer, study, and artistic techniques, the spiritual message of sacred images painted in an iconographic style.

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I am happy to say that this workshop will lead to another sacred art workshop here at St. Francis of Assisi Church in Wakefield, Rhode Island. We will conduct our Spring 2014 workshop on Saturday mornings from 9:30 to 11:30 on March 29th, April 5th, 12th, and 26th. An assessment will be made on the 26th to determine if we need additional sessions. The cost of the workshop is $35.00.

Each participant will receive a photocopy of a sacred image, personal instruction, a brief “process” manual of steps, a 1/2 inch wooden board, and brushes. Tube acrylic paints will be provided.  If each participant desires their own tube of paints the cost will be higher. Members of the Institute, or others interested in the process of painting a sacred image in the iconographic tradition, are welcome to contact me by March 20th if they desire to participate in the Spring 2014 workshop. Members of the Institute who have participated in past sacred art workshops will be given the opportunity to paint a new sacred image in the iconographic style. If you are interested please email me at frainstitute@cox.net. 

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved

Christ in the Wilderness, a Russian Artist, and a Challenge

In the late 19th century a Russian painter, the noted portraitist, draughtsman, and teacher Ivan Kramskoi painted a haunting image of Jesus alone in the desert. It is a painting which expresses the internal struggle of the flesh versus the spirit. It portrays Jesus, in the early morning hours and the cold air of the dawn, with the sun rising over His back.

He is surrounded by small boulders and sits on a rock, hands in front of him, eyes filled with anguish and pain. This portrait of Christ in the desert is not one of victory; looking closely at His face you recognize the seriousness of the struggle and the irrefutable fact of Jesus’ humanity.

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Observe Christ’s clenched hands, gaze deeply into His eyes, and you will see the artist’s portrayal of a Savior that is already at the beginning of His ministry aware of the viciousness of the tempter and the burden of our sins that will weigh upon Him.

Kramskoi’s painting is so powerful because it shows not the physical tearing that was to come in the scourging and crucifixion, but the sensual, psychological, and spiritual battles that would challenge the mission and authority of Jesus Christ.

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Jesus had to confront, in that very first desert assault, whether or not He was going to be faithful to His mission; was He going to be faithful to the anointing that He received from the Father and the Spirit at His baptism?

The Gospel challenges us with the same questions: are we faithful to our Baptismal promises? Are we faithful to the Commandments? Are we faithful to the call that we received at our Confirmation to live and practice the truths that He taught us, not just when we feel like it, but everyday – even in the most difficult of circumstances?

As disciples of Christ we are on a daily basis constantly revolving around the axis of temptation and sin – faith and grace. We understand that temptation, in and of itself, is a test – it is not sin. It is only sin when we willfully place ourselves in its power, when we give into its power to overwhelm our body and soul, – a deadly power that obtains its animus and energy from the original tempter – Satan himself.

Christ lived blamelessly in the face of evil, but you say, I am not Christ, I am a weak man or woman, boy or girl. I say true, we all are, but by virtue of our faithful reception of the Sacraments we have the power of Christ’s grace within us.

Unlike Christ we don’t enter the wilderness of our own temptations alone. When we do face the anguish of our own sin, our own desolation in the face of Satan’s onslaughts, when we peer over the edge of the pit of sin – Christ’s witness tells us “Do not despair. Do not dwell in the pit. Do not accept the pit of sin as being permanent.” Jesus Christ tells us that He has instituted a Church that, with all its human sins and imperfections, still exists – in purity – to convey through its clergy the grace of God.

One of the first things that you notice about Christ in this portrait is that here, at the beginning of Jesus’ ministry, the artist has Jesus’ hands clasped together. Yet, when you walk into a Catholic or Orthodox Church, and look at the crucifix or an icon of one, you see Jesus as He ends His ministry on the Cross, with His hands unclasped, and stretched out, stretched out for each one of us.

This Lenten season we need to reach out our hands to the One, who 2000 years ago, stretched out His hands for our Redemption – and who still reaches out for us today. Reach out to Him in prayer and the Sacrament of Reconciliation, and through Jesus, reach out to those around you who are suffering in the same way, and lead them back to the love of Christ.

Copyright © 2011- 2014 Deacon Paul O. Iacono All Rights Reserved