Cheryl ann pituch iconographer blog
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And we could just barely discern the light outlines of other figures waiting to come alive with bright hues. Brilliant blues, golds, and reds were marking the shapes of the figures. We could see the Dormition of the Virgin Mary (Koismisis tis Theotokou) begin to take shape, selected in honor of the church just beyond the belltower, Koimisis tis Theotokou. Wearing a colorfully smudged painting smock and waving paintbrushes in the air as she spoke, she would point out her current work area. There she would be, perched atop scaffolding to reach the lofty heights of the semicircular area. Nevertheless, we admired her patient tenacity and resolved to stop periodically beneath the tower to mark her progress. And in a small Greek village where timeand efforts-could move slowly, it was a challenge for her to impress upon the men the necessity for repairing the tower leaks immediately. It was a learning process for the villagers, Ann elaborated, because she had had to explain a number of times that they had to repair the leaks in the tower so that the fresco would not be damaged while it was being completed or even after finished. And there is no margin for error: once painted, the color must remain without alterations.
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During this laborious process, the final product is dependent upon temperature and humidity, as well as viscosity of paint and pressure of the paintbrushes.
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In between the individual layers, the surface would have to be thoroughly dried and the bell tower kept free of water leaks which could destroy the fresco. The images of frescoes could only be created one section at a time. Central figures were beginning to take shape and color, but, as the artist herself later explained, the process would require repeated wetting, painting, and drying of the same images. The work would take weeks, if not months to complete.
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Summer's Top Movie Pick: My Big Fat Greek Wedding, by Mary Papoutsy Kandylakia: Roadside Shrines to Lives Lost and Saved, by Mary PapoutsyĬelebrating Greek Independence, by Dr. Greek Memorabilia on E-Bay, by Mary Papoutsy And, as we gazed at the brightly-colored figures of the icon, we marveled not only at the progressiveness of the village elders in welcoming this magnificent fresco, but also in the willingness of an English painter to offer such a gift to the village. But Ann is longtime summer resident whose masterful, acclaimed works in a variety of media have graced the local museum's walls and exhibition halls throughout Europe and the U.S. The fact that Ann was a woman only drew occasional comments, even though men - typically clergymen - have produced icons. Vatoussans appreciated her attempt to recreate an authentic fresco, using traditional, time-consuming techniques, the first time in many centuries on the entire island. Nonetheless, as we stopped to admire her work, we could discern a sense of village pride among the narrative of our Greek friend. A vivid work-in-progress, the icon had had deeply moved us, particularly, since the artist was a foreigner and, most of all, a woman. On our last trip to Mytilene to visit the town of Vatoussa, villagers enthusiastically pointed out the Byzantine-style fresco of artist Ann Welch beneath the dome of the town's bell tower.