Aidan Hart UK. Painter of Byzantine icons in egg tempera
Egg Tempera Icons On this page are examples of icons painted for past clients. Click on one of the icon photos to see a larger image in a new window. When you have finished looking simply close the window. See below for an explanation of the ancient technique used to paint them. Prices vary according to size and complexity, but as a guide, single figure icons 30 cm (12 inches) high with burnished gold are around £750, and a feast icon 37 cm (15 inches) high would be around £2,000.
All images are copyright and can not be used for any purpose without permission.
Archangel Michael
(detail)
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Click below to view examples of other work done by Aidan Hart.
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Timotheos (detail)
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Abigail
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Angel(detail)
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Basil the Great(detail)
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The Transfiguration
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The Resurrection
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The Crucifixion
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Royal doors, Barnoldswick
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Righteous Joseph (detail)
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Protomartyr Stephen
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Protomartyr Stephen(detail)
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Peter and Andrew
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Mother of God with Angels
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Merciful Christ
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John the Baptist
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Christ in Glory
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The Holy Family
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Doubting Thomas
(U.S.A.)
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Royal Doors
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The Annunciation
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The Archangel Michael
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The Holy Family
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The Mother of God and Saviour
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The Mother of God - Key to the Door of Paradise
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The Virgin as Paradise
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The Virgin Deisis
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The Mother of God
(Shrewsbury Greek Orthodox Church)
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Detail of Archangel Gabriel
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The Saviour
(Shrewsbury)
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New Martyr Elizabeth
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Royal Doors
(Shropshire)
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Saints Laurus and Florus
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Nativity
(Shrewsbury)
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The Myrrh bearing women
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St. Anastasia
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St. Gregory Nazianzus
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St. Seraphim of Sarov
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The Resurrection
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Transfiguration (detail)
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Transfiguration
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Creation: St. Caedmon's Hymn
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St. Winifred
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Transfiguration
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Christ, detail
(Shropshire)
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St. Chad (Lichfield Cathedral)
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Evangelist Luke
(Cambridgeshire)
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Christ (Shropshire)
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ICONS
Portable icons have a long history in the Church. They are a window to heaven, and an affirmation of the role of the material world in the spiritual life. (For a summary of the history and theology of icons, read the article “Sacred Icons” in the “Articles” section of this website.)
The oldest surviving portable icons are from the early sixth century, and are found in St. Catherine’s Monastery, Sinai. These are painted in encaustic, or wax mixed with pigment. From about the ninth century the egg tempera technique replaced this encaustic method. It is this ancient egg tempera method that Aidan uses. A simplified description of the process that he follows is as follows.
First the subject matter is researched (for example I read the life of the saint, or the appropriate hymns if the icon is of a feast). On the basis of this and a study of existing icons a design is made on paper. A board is then cut from hardwood (oak, ash, sycamore and lime are commonly used) and hollowed out. If the board is wider than about 20 cm then tapered and dove-tailed battens are inserted into the back to reduce warping but allow seasonal movements in the wood.
Two layers of hot rabbit skin glue size are then applied, followed later by a layer of open weave linen. Then two layers of size and a little whiting (a very fine inert powder) are applied as a sort of primer. Then the gesso proper is applied in about fifteen layers. This consists of size with a lot of whiting.
The gesso is sanded very smooth, using seven to eight grades of sandpaper. The design is then transferred. If the icon is to be water gilded, then about six layers of bole are applied to the area to be gilded (bole is size mixed with a clay, usually red). This bole is sanded with the four finest grades of sandpaper and polished with a cloth. Gilding is done by wetting an area at a time with water and alcohol and then applying loose gold leaf (23 1/2 carats). After a short time the gold is burnished with an agate stone.
The painting then begins. The paint consists of egg yolk and water and a little vinegar mixed with natural pigments. These are generally taken from the earth (e.g. ochre, sienna, umber) and from finely ground semi precious stones (I particularly use azurite, cinnabar, malachite and lapis lazuli).
After the name of the saint or feast has been written, the icon is completed and is delivered. It is traditional for the owner to take it to church to be blessed. As egg tempera continues to harden over time it is best not to varnish it immediately after painting, and so I ask that the icon be returned for varnishing after a year.
