Anthony Blenkinsopp

Unfulfilled with the direction his painting was taking him, Anthony Blenkinsopp’s journey to his current practice is a fascinating one. While on holiday in Russia Anthony and his wife spotted a small Russian Orthodox Church just across the road from his hotel, and before even unpacking he found himself in the grounds of the church before being beckoned in by a friendly caretaker. “There was a service going on, and I saw the icons on the Royal Doors and it just felt like going home”. On his return to Exeter Anthony visited the Orthodox Church on Sidwell Street, The Parish of the Holy Prophet Elias, and eventually became an orthodox Christian.

Writing an icon (icons are ‘written’ not ‘painted’) is a spiritual process as much as an artistic one, and the strict parameters in which the icon is written reflects this. Saints are depicted within rigid conventions, such as to the colour of robes or objects being held. For instance, John the Baptist (left) will always wear camel hair and Christ is always depicted holding The Bible. As Anthony points out, icons are not strictly speaking portraits but pictorial prayers, and presumably they also historically needed to be easily identified by the faithful.

Anthony learnt the methods of icon writing from the Russian Master Nikita Andrejev of the Prosopon School of Iconology, established by his father Vladislav Andrejev, who developed the Russian float paint method based on the work of Andrei Rublev (c. 1370-1430). Natural earth pigments are tempered with egg mixture to form an egg tempera, and a poplar board is prepared using animal hide glue, linen and gesso. Paint is then ‘floated’ on to the board which is placed horizontally on the desk. Several layers of paint are applied, alternating highlights and ‘floats’. The gilding is 24 carat gold leaf. The finished icon is varnished with ‘Olipha’, which is a mixture of linseed oils.

As if to emphasise the fact that the icon writer is merely the conduit for the icon there is no signature on the front surface, only the name of the Saint whose icon is depicted, and the year of painting on the back surface.

You would be forgiven for thinking that there is little room left for creativity within such strict boundaries, but this is not the case. If you spend any time examining icons you will notice subtle differences in style revealing themselves. Anthony also points out that their is large scope for creativity even within the guidelines. “Although I mainly use established prototypes for my icons I have recently been experimenting with a less rigid use of prototypes whilst adhering strictly to the method of execution”.

To visit Anthony and to see his working method is to get a brief glimpse into the origins of western religious painting and portraiture, as the language of icon writing runs through the renaissance and into modern, secular portrait paintings.

Anthony’s icons have been sent far and wide, from Manchester to Syria, although you don’t have to travel that far, just to the top of Pennsylvania Road, to see a unique and beautiful art form and meet an inspiring and dedicated artist.