PHOTO: Saint Marina, Lebanon, possibly Tripoli, 13th century, Tempera and metal leaf on wood, 8-1/2 x 6-3/8 x 7/8 inches. The Menil Collection, Houston. Photo: Paul Hester
This is how they describe the exhibit:
Orthodox Christianity developed in the Near East during the rule of the Byzantine Empire. Greek, Russian, Romanian, Serbian, and Bulgarian Orthodox churches maintained a tradition of icon painting rooted in Byzantium but each expressed it in distinctive ways. Transcending time and place through a delicate balance of tradition and innovation, these images of saintly figures and divine events were designed to imprint their holy subjects on the human mind. Though largely overlooked by Western audiences for much of their history, icons captured the imagination of early modernist painters and their distinct qualities were appreciated by contemporary audiences.
An icon, whether in an ancient or modern context, is a sign or likeness of something of greater significance. Throughout history religious icons have been used to instruct, adorn and inspire worship. To be an effective conduit to the sacred, an icon must achieve fidelity to the subject it represents, be accessible enough to be easily remembered, and blend new messages with familiar elements. The icons of Imprinting the Divine reveal a variety of visual strategies that repeat figures and scenes but that also refresh, revise and renew the various elements that go into their creation. As Carr writes in the exhibition’s catalogue, “The art form evolved in both meaning and technique, yet maintained the continuity and fidelity to type so crucial to its purpose. Even now, centuries later…icons have lost none of their power to intrigue and impress.” (p. 33)