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) click
image to enlarge
Click
below to view examples of other work done by
Aidan Hart.
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Deisis Triptych
click
image to enlarge
Christ
click
image to enlarge
Our Lady of Joy click
image to enlarge
Our Lady of Sorrow click
image to enlarge
Our Lady of Glory click
image to enlarge
The Annunciation click
image to enlarge
Christ the Gardener
click
image to enlarge
Peter and Paul
click
image to enlarge
Timotheos (detail) click
image to enlarge
Abigail click
image to enlarge
Angel (detail) click
image to enlarge
Basil the Great(detail) click
image to enlarge
The Transfiguration click
image to enlarge
The Resurrection click
image to enlarge
The Crucifixion click
image to enlarge
Royal doors, Barnoldswick click
image to enlarge
Righteous Joseph (detail) click
image to enlarge
Protomartyr Stephen click
image to enlarge
Protomartyr Stephen(detail) click
image to enlarge
Peter and Andrew click
image to enlarge
Mother of God with Angels click
image to enlarge
Merciful Christ click
image to enlarge
John the Baptist click
image to enlarge
Christ in Glory click
image to enlarge
The Holy Family click
image to enlarge
Doubting Thomas
(U.S.A.) click
image to enlarge
Royal Doors click
image to enlarge
The Annunciation click
image to enlarge
The Archangel Michael click
image to enlarge
The Holy Family click
image to enlarge
The Mother of God and Saviour click
image to enlarge
The Mother of God - Key to the Door of Paradise
click
image to enlarge
The Virgin as Paradise click
image to enlarge
The Virgin Deisis click
image to enlarge
The
Mother of God
(Shrewsbury Greek Orthodox Church) click
image to enlarge
Detail of Archangel Gabriel click
image to enlarge
The
Saviour
(Shrewsbury)
click
image to enlarge
New
Martyr Elizabeth click
image to enlarge
Royal Doors
(Shropshire)
click
image to enlarge
Saints
Laurus and Florus click
image to enlarge
Nativity
(Shrewsbury)
click
image to enlarge
The
Myrrh bearing women click
image to enlarge
St. Anastasia click
image to enlarge
St. Gregory Nazianzus click
image to enlarge
St.
Seraphim of Sarov click
image to enlarge
The
Resurrection click
image to enlarge
Transfiguration
(detail) click
image to enlarge
Transfiguration click
image to enlarge
Creation:
St. Caedmon's Hymn click
image to enlarge
St.
Winifred click
image to enlarge
Transfiguration click
image to enlarge
Christ,
detail
(Shropshire) click
image to enlarge
St. Chad (Lichfield Cathedral) click
image to enlarge
Evangelist
Luke
(Cambridgeshire) click
image to enlarge
Christ
(Shropshire) click
image to enlarge
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.
