While I appreciate the rediscovery and appreciation of traditional forms and approaches to art that are out there today with regard to sacred art I am somewhat troubled by the underlying message of some of the proponents of this type of art: namely that neo-Baroque, or neo-classical art and techniques are the best, and that anything modern or abstract is somehow lacking or unsuitable for sacred applications. Some of the greatest sacred art in the western world is in fact very abstract... abstract in the sense of not being representational but not realistic. The flat picture plane of many a painting by Fra Angelico, and the strange perspective of the works of Duccio have much in common stylistically with 20th century masters such as Ben Shahn. Those who think that traditional liturgical or sacred art must be neo-Baroque or neo-Classical are mistaken. The reality is that "modern" art can be used in any liturgical context and blend right in, as in this video of a Carmelite Mass... notice the very modernistic and abstract reredos behind the altar.
I have really been enjoying getting back into landscape painting. It is a quite a challenge for someone who has for so long painted in a rigid, geometric style. I've been doing a bunch a small studies in oil on canvas board to get back into practice. I've also been experimenting with landscape in egg tempera and doing some work that I think is good. Once again edge tempera proves itself to be a versatile and beautiful medium... no wonder Wyeth used it so much! The goal is to do a number of small egg tempera landscapes, and some in watercolor as I did about 12 years ago, and then to do some larger landscape paintings in oil on canvas. For some reason when I paint in oil I need to work larger. I am still working on my older stuff. Just recently I completed a very small icon commission of the Virgin and Child (picture below - sorry for the glare in the photo), and I am currently working on a largish icon of the Descent of Christ from the Cross. The Sunday school kids are fas...
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