23.3.14

More Apocalypse Paintings...

Since people have been posting the art they did for the apocalypse prize contest (which I've really enjoyed looking at, by the way) I figured I'd post mine too. Here they are! I wanted to do a sort of juxtaposition between the portrayals of women found in the apocalypse, so the first is the woman standing on the moon with a crown of twelve stars etc. and the second is the harlot on the beast. On the top of both together are the 24 elders. 


Apocalypse Paintings

It looks like the finalists have been announced for the Apocalypse Prize competition:  http://apocalypseprize.com/Finalists.html

Congratulations to them! I'm looking forward to seeing all of the entries in their web gallery in June.

In the meantime, here are the 3 paintings that I entered:

The Adoration of the 24 Elders (Acrylic and metal leaf on panel board, 24" x 24")

The Adoration of the 24 Elders (Detail)
The Harlot Riding the Beast (Acrylic on panel board, 12" x 12")

The Marriage of the Lamb (Acrylic and metal leaf on panel board, 12" x 12")

I was already a big fan of medieval illuminated manuscripts and the Gothic style, but this was a great opportunity to really research and learn how to create works of art in continuity with the conventions of traditional Western iconography. During my research I unexpectedly fell in love with some Romanesque era manuscripts and they started influencing my work. I was also surprised to find how much the depiction of Christ in Majesty from the Westminster Psalter has in common with Byzantine Icons of Our Lord, and how even the most stylized drapery seemed to correspond to real observations of how the folds of robes would fall on a form.

20.3.14


Hi my name is Patrick Nunes.  It’s good to be a part of this blog.  I am currently teaching Visual Arts at an all girls Catholic High School and I am working towards a enrolling in a Master’s program for illustration.  Here are a couple of illustrations I created.  I used pen and ink for the illustration of the Christ.  The last illustration is an idea to remodel the architecture at the high school where I currently teach.  It currently has dated 60’s look.  My thought was that Spanish Colonial architecture is timeless and would tie into this region’s (California’s) Catholic and historical roots.


 
 
Here's a link to some of my other artwork.
http://patricknunes.wordpress.com/

17.3.14

St. Nicholas of Myra

ST. NICHOLAS

This is an ink drawing on a 5" x 7" piece of paper. I drew it using calligraphers' inks applied with dip pens and brushes. Black, indigo, sepia and dark green inks were used, although the variations do not show up well in the scan.

The central image depicts St. Nicholas bringing back to life three boys who had been killed and butchered by an evil innkeeper who intended to serve their bodies as pickled meat. In the border I drew another of the saint's well-known miracles, his rescuing a ship from sinking in a violent storm.

Letterpress Broadsides

WALSINGHAM

RESURRECTION

Millefleur Press is my imprint for publishing letterpress broadsides and fine printed books inspired by the incunabula and blockbooks of the 15th century, and the books of the 19th century Arts & Crafts presses.

I recently issued two 7" x 10" broadsides, one of Our Lady of Walsingham and one of the Resurrection of Christ. Both are based on ink drawings on paper that I drew in late 2012. Scans of these drawings, slightly enlarged and modified, were used to create plate for letterpress printing.

The prints were made on a Heidelberg Windmill press at Rohner Letterpress (Chicago, IL). The printing method involves pressing a piece of paper against a hard plate whose raised surfaces are inked; this is essentially the method invented by Gutenberg that remained dominant until the 20th century. Graphic Chemical & Ink (Villa Park, IL) supplied a traditional ink made from linseed oil & furnace black. The paper was handmade from cotton pulp at Twinrocker Handmade Papers (Brookston, IN). It is a laid paper, which means that it has a slight ribbed texture from the wires in the papermaking mould.

I am coloring some of these by hand, using calligraphers' inks. Each hand-colored broadside is unique; I deliberately avoid using the same selection and arrangement of colors twice. The result is a work of art that is in one respect a print and in another an original drawing.

See here and here for more detailed descriptions of the two works.

WALSINGHAM

RESURRECTION

12.3.14

The Adoration of the Lamb

Here is a meditation on Revelations chapter 4 and 5...
"Write therefore the things which thou hast seen, and which are, and which must be done hereafter..." (Apocalypse 1: 19). In the image below, St. John, the beloved disciple, is seen writing down the vision he describes in Apocalypse chapter 4 through chapter 5 verse 14. St. John watches this scene unfold through the little portal, as a trail of incense sneaks through the opening of the portal from the bowls of incense burning throughout the vision of the throne of God...
The Gregorian chant which I calligraphed is taken from the Introit for the Feast of the Kingship of our Lord Jesus Christ. The text of this chant is taken from Apocalypse 5:12, 1, 6; a gorgeous song of adoration: "The Lamb that was slain is worthy to receive power and divinity and wisdom and strength and honor; to Him be glory and empire for ever and ever." I chose a 14th century Parisian script for the text.
This song of adoration is sung by the voices of "many angels around the throne" to the lamb "standing as it were slain" and holding the scroll with the seven seals.
Below are some seraphim and cherubim...
Inside the letter "D" for the text of the chant "Dignus est Agnus," one of the 24 elders plays his harp, and his crown is cast down on the ground.
In the four corners of this piece are scenes from the Old Testament, the New Testament, and the present. These little scenes offer different viewpoints on Christ as lamb, some being "types" and others being fulfillments. Here are closeups of the four corners. In the upper left, Abraham is about to sacrifice his son Isaac, a "type" of the Lamb of God, while the hand of God in heaven stops him, and a ram is caught in the bushes.
In the upper right corner, Christ's precursor, St. John the Baptist, in pictured in the desert pointing to Christ saying "Behold, the Lamb of God." Christ is pictured here symbolically, in the style of medieval art.
Down in the lower left corner, Christ is pictured as the King of Glory, crucified on the Cross, becoming the true lamb of God who takes away the sins of the world.
Finally, in the lower right corner, a present-day priest elevates the Lamb of God. The Lamb of God is hidden under the appearance of bread, at Mass. This is a fulfillment of the "what is to come" of the Apocalypse, and will be completed perfectly in heaven. The same company of angels which surrounds the Lamb with their song in heaven, mystically surrounds the priest at Mass elevating the host, and this song is echoed in our hearts whenever we kneel in the pews at Mass, adoring Christ.
11"x17" gouache , 24 karat gold leaf, and Japanese Sumi ink on Bristol board.

24.2.14

Saint Flavian

An illustration for my "Book of Saints" project, Saint Flavian of Carthage. More about him on my blog post.

20.2.14

33rd Annual Chesterton Conference Logo


Go Register! If I had time this would have been fun to animate.

4.2.14

Pope Francis I

A portrait of the Holy Father executed in graphite and charcoal on paper.

30.1.14

Summer Art Programs at Thomas More College

If you are interested in taking a crash-course in cast drawing, this is it.  Thomas More is partnering with the Paul Ingbretson studio in Manchester, NH for a two week course that includes evening lectures on Beauty.

There will also be a one-week program on Iconography with David Clayton.

For more information, visit  http://www.thomasmorecollege.edu/summerprogram/

Here's the setup I used for one of my cast drawings:







28.1.14

Feast of the Presentation, Feb. 2nd

A patron asked me to create an illumination carrying the theme of waiting for one's vocation. The illumination was to be a gift for his friends' wedding. One of the most poignant Scripture passages I know of having to do with waiting is the above text from the Canticle of Canticles, chapter 3. For a while, I was struggling to think of an image to couple with this text, until my husband suggested Simeon and his vocation of waiting a lifetime until his own eyes behold the Messiah. How poignant to contemplate Simeon's own canticle, the "Nunc Dimittis," alongside this canticle. The detail is difficult to see in this reproduction; you'll find the infant Christ held in Simeon's arms. Gouache, 23k gold leaf, and Japanese Sumi ink on watercolor paper, 8"x10."

13.1.14

The King of Kings

The third of three illustrations inspired by the Book of Revelation. Babylon is fallen as the King of Kings appears with his army.

10.1.14

Illustration for Christmas Eve service booklet

This children at the creche drawing is of the actual Nativity scene set up by the baptistery in my church.
 
Roland
 
 

8.1.14

Confessions of a Newbie

Hi, everybody! I'm very excited to have become part of this blog - especially as the logo is Fra Angelico. About me - I'm a senior art student, majoring in painting and graphic design, from Topeka, Ks. I have a deep appreciation of all art (I am an art student, right?) but especially for medieval illumination. Oh, and if you see my profile picture, you'd see that I'm also a lover of both Doctor Who and Antoine de Saint-Exupery. :)

Here are some examples of my own work. The first two are the works I made for the apocalypse competition - although I'm really rusty at it, the chance to do large scale illumination was irresistable. The works after that are what I'm used to doing, biggish (usually around 30x40") photorealistic oil paintings.












































I look forward to seeing everybody's work on here! Oh, and happy New Year. Mine's going to be very busy.

The Woman Clothed with the Sun

The second of three pieces inspired by the Book of Revelation. The woman clothed with the sun, the moon at her feet and a crown of stars on her head; her child has been taken up into Heaven for safety while she has been given the wings of an eagle to flee from the dragon. Michael the archangel wars with the serpent who sweeps a third of the stars from Heaven with its tail.