1/12/2023 0 Comments Iconographer brother claude![]() ![]() There was no turning back.” Burt Chernow, Christo and Jeanne-Claude: a Biography (New York: St. The atmospheric description of the scene carries the mood of melancholy, daunting anticipation, and irreversible past: “It was the coldest winter in Christo Javacheff’s memory…A knifelike wind howled outside…No one spoke as the door locked behind them. On Januhe left communist Eastern Europe from Czechoslovakia and, concealed in a transport wagon together with fifteen other deserters, he illegally fled to Western Europe – Austria. ![]() In practice, however, their projects are powerful machines for advertising, attracting tourists and, finally, making money–not for themselves, but for the state.Ĭhristo and Jeanne-Claude’s authorized biography by Burt Chernow (2002), starts with an important turning point in Christo’s life. According to Christo and Jeanne-Claude’s authorized website, the purpose of their art is to offer the spectator the simple pleasures of beauty and joy. Although often related to the Land and Environmental art of the 1960s, the artists refuse to have their work be situated in the context of any particular artistic movement. They don’t accept sponsorship from any governmental or private organizations. In order to raise the millions of dollars required for a project to be completed, Christo produces a huge amount of preparatory drawings, collages, and maquettes, while Jeanne-Claude, who plays the role of a manager, PR, and an image maker of the artistic union, deals with them on the art market. Their vast ephemeral projects across Europe and the US, each one existing for no more than several weeks and involving approximately ten years and hundreds of people to realize, claim to possess political and economical autonomy. There are definitely influences of the East in the Divine Mercy image and devotion.Christo and Jeanne-Claude are probably the most elusive artistic couple in the contemporary art world. The Blood and Water flowing form Our Lord's wound in the icon reminds me so much of the two rays of Blood and Water depicted on the Divine Mercy image. I often times pray the Chaplet of Mercy before this icon, while focusing on the Blood and Water that comes forth from the Wounded Side of Christ. Below is a version of the Crucifixion icon that I have in my home: It is interesting that you mention devotion to the Wounded Side of Christ. Yes, I also prefer the middle icon as well. This icon inspired my own little akathist to our Lord Jesus Christ and His Wounded Side. The icons of the Mercy of Christ have an ecumenical iconographic theme in that it does NOT depict the physical heart of Christ and it celebrates the Wounded Side of Christ from which flowed Blood and Water, Mercy and Forgiveness etc. The Wounded Side of Christ is highly venerated as part of the devotion to "Christ the Lover of Mankind" and Orthodox Christians kiss the edge of the Chalice after receiving Communion - and this kiss venerates the Wounded Side of Christ. The Forward to that book juxtaposes that veneration to the Western devotion to the Heart of Jesus. There is also strong Eastern liturgical devotion to the Heart of Christ as shown by St Nicholas Cabasilas in the book published by St Vladimir Seminary press. One way Eastern iconographers have gotten around that rule is to be seen in the miraculous icons of the Seven Arrows and "Softener of evil hearts" where the familiar Western theme of Seven Swords of Sorrow are depicted encircling the front of the Mother of God but with no pierced heart depicted. Iconophile is quite right, one would not depict the heart on either our Lord or the Mother of God in iconography. I think I prefer the middle icon you show in your post the best!
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