Art History IEarly Christian and Byzantine Art

Icons

An icon is a holy image painted on wood, often in egg tempera with gold. Icons follow set types, so faces and poses repeat across centuries.

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An icon (Greek eikōn, "image") is a holy image, usually painted on a wooden panel, of Christ, the Virgin Mary or a saint. In the Orthodox churches of the Byzantine world and later of Russia, Greece and the Balkans, icons are honored with candles, bows and prayer; the honor is understood to pass to the person shown, not the wood and paint.

Icons were painted in egg tempera on a wooden panel coated with gesso (a smooth white ground of chalk or gypsum and glue), often with gold leaf behind the figures. Painters worked from dark to light, laying thin layers of brighter color over a darker base to build up faces.

Key idea

An icon is a holy image painted on wood, often in egg tempera with gold. Icons follow set types, so faces and poses repeat across centuries.

Why it works

Why would painters copy old types instead of inventing? An icon was meant to be a true image of a holy person, faithful to images believed to go back to early times. Repeating the type was a sign of faithfulness. Within the type, painters still showed great skill in the drawing, the color and the feeling of a face.
The Theotokos of Vladimir, about 1130, tempera on wood, painted in Constantinople. State Tretyakov Gallery, Moscow.

Looking closely: The Virgin of Vladimir. Mary holds the Christ Child, who presses his cheek against hers and clings to her. This type is called the Eleousa, "of tenderness." Her face is long and grave, with a small mouth, a long nose and large, sad eyes that look past the child toward us, as if she knows his future. The dark robes are simple shapes; the child's robe glints with gold lines. The faces are the original 12th-century paint; other parts were repainted over the centuries. Sent from Constantinople to Kiev in the 1130s, the icon was taken to Vladimir in 1155 and to Moscow in 1395, and it became one of the most honored images in Russia.

Icons were not always accepted. From about 726 to 787, and again from 815 to 843, Byzantine emperors banned religious images, a period called Iconoclasm ("image-breaking"), and many were destroyed. In 843 icons were restored for good, which is one reason so few earlier icons survive.

Duccio, Maestà, 1308 to 1311, Siena. Italian painting drew on Byzantine icons.

Worked example: Icon or Renaissance portrait?

A panel shows a holy woman with a long, solemn face, against a gold background, in a pose found on hundreds of other panels. What tradition is it, and why the repetition?
  1. Gold ground, a holy subject and a fixed type are features of icons.
  2. The pose repeats because icons follow set types handed down over centuries.
  3. The aim is faithfulness to a holy image, not a new likeness.

Answer: An icon; it repeats a traditional type on purpose.

Common mistake

Judging icons as failed realism. Their makers aimed at sameness and spiritual presence, not likeness. Check what the maker was trying to do before calling something a failure.
Italian painters of the 1200s learned from icons; Duccio's Maestà for Siena keeps the gold and the long faces. You will see how Giotto broke away.

Practice

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