I have so much to write about, and I’m so far behind! I hope you took opportunity to look at the pictures at the links I posted last time. I hope you enjoyed doing that, because I’m sending you another set the same way. But not at the same place.
I got a new phone for the Grand Tour. A smart phone. My first smart phone. Yes, I know, but my old flippy was just fine and no one ever tried to hack it, I’m pretty sure. Any way, the new phone is also my new camera, of course. And in a major breach of Douthett etiquette, it’s not an iPhone but an Android-running Samsung thing. It cost about a third of what an iPhone would have been, so I got it. Fine, I’m cheap. I can live with that. But I digress. Any way, since it’s an Android, it syncs with Google Photos, so that’s where my pics are going at this point.
After a stupidly long train trip from Harpers Ferry to Chicago (6.5 hours late arriving) and another hour train from Chicago to Sturtevant, WI, I arrived at the >Siena Retreat Center< on Sunday, August 5. Siena is a ministry of the Dominican Sisters of Racine, and it’s a really lovely facility. There is still a convent there with a fairly small group of sisters who are faithfully living out their vows and their mission of praise, blessing, and preaching. I chose Siena fairly early in my planning process for the Grand Tour, as it is only an hour from Yerkes Observatory, and it looked like a beautiful site right on Lake Michigan with some interesting retreat offerings. These observations turned out to be accurate. It’s a beautiful place, a lovely setting, and I chose an interesting and challenging retreat.
The retreat I signed up for was about the only one I could fit into any plan for the Grand Tour that was open to men and Protestants. It also intrigued me. “Painting and Praying with Icons: Our Lady of the Sign” is what I selected. I remember when I was in seminary and we studied the Great Schism between the Eastern and Western Church in 1050 AD, which in no small part focused on the proper use or lack thereof of icons. It was the culmination of what I remember being called the iconoclast controversy. I sided with the iconoclasts, the side that believed icons were a violation of the second commandment. As with many things, I have mellowed on this issue a good bit. Nevertheless, the idea of actually painting (or “writing” as it is said) an icon and praying with it was definitely going to be a stretch! Spoiler, I did paint/write my icon, but its future in my prayer regimen remains in question.
So I have a collection of pictures from the retreat that are primarily showing the progression, step by step of my icon writing. It is a fascinating process, but a bit grueling for beginners to fit in a week. I expected that it would almost a paint by numbers process, and that there would be vary little room for variation from the proscribed structure of the icon. At our level of competence any way, this turned out not to be the case. While all (there were 17 of us in the retreat) of our icons are essentially the same, they are also wildly diverse in their style and detail. This is due to different levels of skill and experience in part, as some of us had never really done any painting before and some were 30-year art teachers. But it also was a product of choice and preference, and maybe also theological emphasis. Any way, in the end, the icons were as unique as the people in the room. I think this was a delightful outcome for our group and is also generally acceptable at the casual iconography level. If we were doing icons for a church installation, I think the rules are more rigid.
Let me say just a word more about the group. I was predominantly women and predominantly Catholic, but there were a few Protestants and a few men. Well, about three of each out of 17. Still. Quite a few of the women were sisters, but only a couple were from Siena. One of the Protestant women was a pastor at Fourth Presbyterian Church in Chicago. Despite being in the minority in religious tradition, gender, and geography, I felt very much included in the group as a rule. Indeed, the group seemed to gel really well, being very supportive on one another and enjoying one another’s company. You know how in groups like this there is often that one person who is a thorn in the flesh? Well, unless it was me and I didn’t realize it, that thorn was not present.
Now, I did feel a bit like a stranger in a strange land in as much as many of the participants knew each other or knew the same people and places. Perhaps more than that were the distinct theological difference of belief and experience between Catholics and Presbyterians. The icon was of Mary and Jesus (more on that later), and my relationship with Mary is pretty academic. Meanwhile, for most of the Catholic folks, Mary is a present and active player in their daily life. For example, when we were finishing up, some of the women were complimenting my icon, and when I said I had never really painted before they were all the more impressed. One said, “She was really working through you, you can tell that!” I was caught completely off guard by this and had to spend quite a few moment figuring out who “she” was that was working. Of course it was Mary, but it never crossed my mind that Mary was as much author of my icon as its subject.
Okay, well, let’s get to the pictures. The link below will take you to an album full with some additional commentary on the process and the meaning of the icon itself, so I encourage you to go have a look. I say more about him in the album, but our instructor was Drazen Dupor from Croatia, and his website is >here<. Enjoyed getting to know him a bit.
Alright, alright. Enough talk. Let’s look at some >Platytera pictures<. There are a lot of near-duplicates, and some differences from one step to the next are pretty subtle, so you’ll have to pay attention. I’ll be glad to take your questions when you’re done.
And tomorrow, it’s on to the Yerkes Observatory, home of the largest refracting telescope in the world.