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| 26" x 40" |
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Iconography
All the walls were once pristine white, and we started this project with the painting behind the iconostasis, then worked up to the Theotokos in the half-dome. (More building photos here.)
The Theophany temple, styled after the Chora, an orthodox church in Istanbul, is typical of the Byzantine style of churches of the 13th century. It is built of modern materials, therefore, modern murals and techniques were applied for the iconography on the walls.
The artists consulted with Victoria Ryan of Art Care Services before any work was started, to determine the most archival materials and methods for these murals. The icons are painted on canvas with acrylic paint, then cut and glued with a special adhesive called Beva Gel. This glue is available from Conservators Products Company. It is a reversible application, allowing for the removal of the icons if this should become necessary for any reason.
It is also much easier for the artists to paint the artwork in their own studio, and then spend only a few days applying the completed iconography to the walls.
Considerable research was required to plan the murals to be painted. Many online sources were examined, and books were reviewed for insight and inspiration.
And much discussion between artist and priest ensued.
Installation Day
Measuring and getting hangers in place, which turned out to be a bit of a challenge. The wall wasn't quite what it seemed to be - plaster over old brick rather than concrete.
Three Panel Mural
Complete with gilding except for detailing and frame.
Click on the photo to enlarge.
Gilding Process
Laying the gold over the bole and size-prepared cross motif.
After rubbing, the back paper is removed.
The adhered gold is then gently brushed of excess.
The gilded cross is later detailed with background color to neaten the edges.
Then on to the next gilded banding.
It's a time-consuming and meticulous process, but well-worth the end result.
In the Details
When the under-painting and the color balance has been established, detail painting begins.
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| Close-up of left angel icon |
The unique drapery shadows and highlights of iconography being added below.
St. Mary's Mural Painting Continued
Next, color is laid into the mural and balance checked.
Below is an example of background lily frieze underpainting and color overlay with detailing.
Here is the center mural panel with detailing added.
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| Right angel full |
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| Left angel head |
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| Right angel head |
The dark shiny red tone behind the angel heads is bole, or the underground for gold leaf that will be applied last. For more information about gilding, click here.
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| Detail with gold leaf applied |
St. Mary's Catholic Cathedral
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| The original designs |
Preparing the canvas and getting ready to build supporting framework
Preparing paint for the marbelling
The artist at work on the faux marble painting
Sketches of the mural figures left panel and center
Right panel detail sketch
"Carving" detail on three lower panels
Gluing canvas to frame with archival BevaGel adhesive
One finished lower architectural panel
Left, center, and right murals in process
Detail right panel
Detail left panel
Design ideas for St. Catharine of Siena
(Originally posted in 2008 and bumped up for reconsideration and additional design discussion with client.)
We've been away working on some church murals at another church, but had a break to moodle some more designs for the clerestory windows at St. Catharine of Siena. Here are variations and ideas:
All are in the $2,000/each range x eight windows, except for the most simple bottom window which is less.
Cost is determined by various factors, including the number of pieces of glass in the window, the particular glass chosen, whether glass-painting is involved, and the materials market in general.
Because glass and metal are selling at all-time highs right now, quotes we send out to clients are only good for three months. The stained glass industry is very labor and energy-intensive, not only because they require huge inputs of energy to manufacture, but also because they are not common commodities, often being imported from overseas. Many art glasses, for example, are manufactured in Europe. High oil costs immediately drive the cost of shipping up, and thus the cost of glass. This is above and beyond the intensive energy useage required to run the glass furnaces and manufacture the glass to begin with. The lead came cost is also being driven by scarcity of metals, so this is another factor to consider.
Below are suggested designs for windows in the choir portion of the church, four total which will each have a different symbol for the four evangelists. This one is for St. Luke. Here are two possibilities, and at bottom left the beginnings of a third:
These larger windows will cost from $3,000 - $4,000 each.
If symbols of the four evangelists aren't what the church would like, another option would be full-figure depictions of the saints. These, of course, would cost a bit more.
We've been away working on some church murals at another church, but had a break to moodle some more designs for the clerestory windows at St. Catharine of Siena. Here are variations and ideas:
All are in the $2,000/each range x eight windows, except for the most simple bottom window which is less.
Cost is determined by various factors, including the number of pieces of glass in the window, the particular glass chosen, whether glass-painting is involved, and the materials market in general.
Because glass and metal are selling at all-time highs right now, quotes we send out to clients are only good for three months. The stained glass industry is very labor and energy-intensive, not only because they require huge inputs of energy to manufacture, but also because they are not common commodities, often being imported from overseas. Many art glasses, for example, are manufactured in Europe. High oil costs immediately drive the cost of shipping up, and thus the cost of glass. This is above and beyond the intensive energy useage required to run the glass furnaces and manufacture the glass to begin with. The lead came cost is also being driven by scarcity of metals, so this is another factor to consider.
Below are suggested designs for windows in the choir portion of the church, four total which will each have a different symbol for the four evangelists. This one is for St. Luke. Here are two possibilities, and at bottom left the beginnings of a third:
These larger windows will cost from $3,000 - $4,000 each.
If symbols of the four evangelists aren't what the church would like, another option would be full-figure depictions of the saints. These, of course, would cost a bit more.
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