Guillem Ramos-Poquí
Icon of St Thérèse of Lisieux (1873-1897)
“St Thérèse of the Child Jesus and the Holy Face”
74 cm x 65 cm (29" x 25 1/2 ") April - August 2009
“St Thérèse of the Child Jesus and the Holy Face”
Carmelite Nun. Canonized May 17, 1925. Doctor of the Church, 1997
Painted on the occasion of the visit of her relics in Cathedrals and Monasteries
in England and Wales: 16th September- 16th October 2009
Commissioned by the Discalced Carmelites in England and Wales
Blessed by Bishop Crispian Hollis on 16th of September at Portsmouth R.C. Cathedral
Egg tempera and water-gilding on wooden panel prepared with gesso
74 cm x 65 cm (29" x 25 1/2 ")
Work by Guillem Ramos-Poquí © London 2009
Assisted (small inset icons) by Lynne Taggart
Final Destination: Carmelite Priory, Boars Hill, Oxford OX1 5HB, UK
The Relics of Saint Thérèse, with the Icon in the background
at Portsmouth Cathedral on 16th September, at the start of the tour
16th September- 16th October 2009
The blessing of the Icon of Saint Thérèse by Bishop Crispian
at Portsmouth Cathedral on 16th September, at the start of the tour
The relics of St Therese and the icon during the
Night Vigil at Portsmouth Cathedral. 16th September 2009
The icon of Saint Therese next to the relics of the Saint,
in Saint Therese of Lisieux, Taunton, Somerset, 18th September 2009
(Picture Marcin Mazur, CCN, Catholic Relics co.uk)
The icon of Saint Therese on display during the tour, next to the relics of the Saint,
in Cardiff Cathedral, on 22nd of September 2009
The icon at Liverpool Metropolitan Cathedral during Mass, 24th September 2009
The icon of Saint Therese at Salford Cathedral 25th, 26th Sept 2009
The icon at Lancaster Cathedral during a Service (28-29 Set 2009)
Bishop Campbel was the celebrant, 20 priests concelebrated at the evening Mass,
with around 700 attending. Just in front of the icon was a box for petitions, it was well used
An historic first visit to York Minster Cathedral for the relics of St Therese of Lisieux.
This photo was taken in preparation for the Night Vigil with Ecumenical Vespers on 1 Oct 2009
(Photo: catholicrelics.co.uk)
Evening Mass in Middlesbrough Cathedral 2nd October
(Photo: catholicrelics.co.uk)
St Therese in Leeds Cathedral, during the welcome Liturgy, 3rd October 2009
(Photo: catholicrelics.co.uk)
In Leeds Cathedral 5th Oct 2009
Carmelite Monastery, Kirk Edge, 5th Oct 2009
Walsingham, Chapel of Reconciliation, 6th October 2009
At the Welcome Ceremony of the Relics of St Therese, in the
Carmelite Church, Kensington, London , on Sunday evening 11 of October 2009:
His Eminence Cardinal Cormac Murphy-O'Connor,
Alan Hopes, the Mass presiding bishop (auxiliary bishop in Westminster0
Philip Boyce OCD bishop from Ireland (Diocese of Raphoe)
The Relics and Icon of St Therese at Westminster Cathedral, London
(During the three day visit to the Cathedral, in this case the 5pm Vespers, on 14th Oct 09)
The relics of the Saint, and the icon, which have became inseparable during the tour,
they will both be travelling to Lisieux (on Friday 16th) for the Closing Ceremony
The icon of Saint Thérèse at Postsmouth Cathedral on 16th September
flanked by Fr. Michael McGoldrick OCD, Superior of the Carmelites
in England and Wales and Guillem Ramos-Poqui
Guillem Ramos-Poquí
Work-in-progress: Draft notes for the Icon of Saint Thérèse of Lisieux
Studio notes on symbolism and iconographical elements
21st April 2009
1.The two small icons of the Mandilion and the Child Jesus at either side:
St Thérèse’s full title is: “Thérèse of the Child Jesus and the Holy Face”, thus the reason for the two small icons at either side: "The Holy Face" being an image of the face of The Man of Sorrows on a cloth ("Mandillion", "Sudarium" of Saint Veronica, or Hed of Christ imprinted on Veronica's Veil). The "Child Jesus" is blessing with his right hand as He points to His Sacred Heart, surronded by rays. The girdle (or cord) around Jesus’ waist suggests the letters Α and Ω, and also Christ’s anagram XP.
Whilst she was a nun, St. Thérèse was a practicing artist herself, a painter and a poet. She has left us with a production of beautiful watercolours rich in symbolic iconography. Therefore, for the original iconographic sources of the two images in this icon, one needs to take into account the actual images which inspired St Thérèsee, as available in her time (these, and her own art work, are documented in the extensively illustrated book : ‘Thérèse and Lisieux’ ‘s, text by Pierre Descovenant and Helmuth Nils Loose. Novalis & Eerdmans, 1996). We can discover that, within the Latin Sacred Tradition, the images of the Child Jesus and the Holy Face which inspired St Therese have an affinity with paintings by Duccio and Mantegna (for the Head of Christ, in the, icon of the Holy Face), and with Duccio and Fra Angelico (for the icon of the Child Jesus). These iconographic references have been adapted in this icon accordingly.
2.Flowers
St Therese’s beautiful writings and paintings often made references to flowers. She uses flowers as symbols with which to represent her personal approach to Christ, comparing herself to simple flowers:
“Jesus deigned to teach me this mystery. He set before me the book of nature; I understood how all the flowers he has created are beautiful, how the splendor of the rose and the whiteness of the Lily do not take away the perfume of the little violet or the delightful simplicity of the daisy. I understood that if all flowers wanted to be roses, nature would lose her springtime beauty, and the fields would no longer be decked out with little wild flowers. And so it is in the world of souls, Jesus’ garden. He willed to create great souls comparable to Lilies and roses, but He has created smaller ones and these must be content to be daisies or violets destined to give joy to God’s glances when He looks down at His feet. Perfection consists in doing His will, in being what He wills us to be". (The Story of a Soul)
"...Like the daisy With the rosy calyx, Me, tiny little flower, I will open up to the sun...."(PN52, poem, 31st May 1897)
There are two flower arrangements, the one on the left the flowers give tribute to Mary and on the right to Christ.
3. Bouquet of flowers on the left:
These are arranged around a white Rosary, which appears in the background. The Rosary is displayed with the five sections to form the shape of a pentagon (a symbol of Mary), and with the Cross suspended on the right. The top of the pentagon, above the red rose, is crowned with the initials of Ave Maria, A M, flanked by two jasmine flowers.
The main flower is a red rose, “a rose without thorns”, or symbol of Mary.
Next to the red rose, a white Lily, symbol of purity. And a small campanula, also symbol of Mary.
On the right a daisy, with a butterfly on it, the butterfly being a symbol of the soul. Directly below and above the little cross a corncockle flower. Above the lily, a white wild rose.
A little sparrow appears, this is to do with Terese's teaching about Littlness comparing herself to a "Little Bird". The sparrow is inkling his head upwards. It's that when Therese speaks of the petit oiseau in Manuscript B, an important element is that, while the big birds can fly up to the sun, the little bird keeps gazing at the sun, even if there are clouds in the way. In this case you could say that the sparrow is looking at the icon of the Holy Child.
4. Bouquet of flowers on the right:
The flowers are here arranged around a diagonal cross. Clinging from the cross: ivy, symbol of fidelity and the faithful. The cross is crowned with the initials of Christ: JHS, with a jasmine at either side. Also around the cross a scroll with the words of Therese: “I have sought nothing but the truth” (“Je n’ai jamais cherche que la verite”). Above the Cross some small red flowers, called Crown of Thorns. On the right of the cross, bending over towards it: a daffodil, a symbol of Easter (the Resurrection) and of spiritual renewal. On the left of the cross: a shaft of wheat, a Eucharistic symbol, and a violet.
At the foot of the cross, over the three ivy leaves at the bottom: the word: CARMEL. |
Closeup of face, showing her blue eyes
Icon of St Thérèse of Lisieux (1873-1897)
“St Thérèse of the Child Jesus and the Holy Face”
We read in "The Photo Album of St Therese of Lisieux", a presentation of the photos of the saint, with a commentary. In the commentary, Francois de Ste Marie quotes a description of her features in a 1915 document, which I take to be an edition of the Story of a Soul: the description is rather idealized, but speaks of her "deep blue eyes". The commentary goes on: "Perhaps Fernand Laudet gave us the best description in a book on St Therese published in 1927: 'Some assure us that she was very beautiful, others that her face was charming, but I believe it would be more accurate to say that her face was a little irregular, although it did possess a charm. She had two large blue eyes, under very straight eyebrows, and her complexion was lily-like and surmounted by a cloud of golden hair. People said: "She has a heavenly look."'" [p.23] |
Detail, The Child Jesus
Detail , The Holy Face
Detail, bouquet, left
Detail, bouquet right
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PREVIOUS RECORDS DURING WORK IN PROGRESS:
The drawing
The drawing, detail of the face
The wooden panel has been prepared with layers of gesso and
sanded down, now the drawing can be transferred, and then incised
The smooth gesso background area of the image was treated with some coats of red bole and
sanded down to perfection.
It was
then gilded (water gilded method) and it is now in the process
of
being burnished using
an agate
burnisher.
Then the edges will need to be carefully sharpened
In order to interpret the light-dark pattern of the face, the Byzantine "schemata"
or rules of
representation
of the face in icon painting (see above example, in the middle)
needs to
be applied,
so the volumes
of the face respond to a clear structure
Here we follow Duccio's "schemata" in relation to the process of painting
a face, that is to say, to begin with, using "verdaccio" to define
the volumes of the face structure
The floral motives need to be clearly defined and for this the colour background is painted
carefully and
then
cotton buds are used to clean the edges
The left floral pattern, showing the symbols already described
The right symbolic floral pattern, showing the symbols already described
We have now reached the "first stage" of egg-tempera painting according the Byzantine tradition,
when the major flat areas of colour
have been defined and when, following Duccio's method,
a layer of "terra verte" colour has now been
applied over the
previous "verdaccio" modeling
of the face
(which can still be seen, underneath).
The painting will now require another
six to eight weeks of intense work before it is completed
DETAIL, UNFINISHED WORK....WORK IN PROGRESS!
DETAIL, UNFINISHED WORK....WORK IN PROGRESS!
PRELIMINARY DRAWING ON PAPER:
STUDY OF ST. THERESE'S VEIL....WORK IN PROGRESS!
An early stage of painting the face according to Duccio's technique, when the red chicks are painted
using pure vermillion, over the previous "verdaccio" layer
The background of the two inset icons have now been water gilded using palladium precious metal leaf
The name of the Saint has been incised on the gold leaf background, ready for painting
Also, the halo of the saint has been demarcated in a sequence of
round tiny circular punches on the gilded background
Work in Progress - Unfinished stage 11th Aug 09:
The flesh colours are now being built up in layers, using a very fine cross-hatching painting technique
This will be followed by the strong highlights. St Thérèse eyes needed to be changed from brown to blue
(See further above detail of icons and caption: "Close up of face, showing her blue eyes...")
.
The small icons at the top are in the process of being painted and their letters are not yet done
The flowers and the veil are not finished yet,
etc etc
TO BE CONTINUED! (go back to start of this web-page)
****
The complete process of painting this icon can
be shown by means of a Power Point presentation
(not available on line, only by means of a lecture)
****
So far her relics have been to 42 countries in 15 years
VISIT ITINERARY:
Places and Dates in England and Wales
of the relics of St Therese of Lisieux
when the icon will appear at each venue along the tour,
accompanied by two Discalced Carmelites,
Brs Noel O’Connor (left) and Robert Opala (right)
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SEPTEMBER 2009
Wednesday 16: Portsmouth RC Cathedral
Thursday 17: Plymouth Cathedral
Friday 18: St Teresa of Lisieux, Taunton
Saturday 19 – Sunday 20: St Chad’s Cathedral, Birmingham
Monday 21: Sacred Heart & St Teresa, Coleshill, Birmingham
Tuesday 22: Cardiff RC Cathedral
Wednesday 23: St Teresa’s, North Filton, Bristol
Thursday 24: Metropolitan Cathedral of Christ the King, Liverpool
Friday 25: Salford Cathedral
Sunday 27: Manchester University Chaplaincy
Monday 28: Lancaster Cathedral
Wednesday 30: St Andrew’s, Newcastle-upon-Tyne
OCTOBER 2009
Thursday 1: Feast of St Thérèse of Lisieux – York Minster
Friday 2: Middlesbrough Cathedral
Saturday 3: Leeds Cathedral
Monday 5: Nottingham Cathedral
Tuesday 6: National Shrine of Our Lady of Walsingham
Wednesday 7: Oxford Oratory
Thursday 8: St Joseph’s, Gerrards Cross
Friday 9: Aylesford Priory
Sunday 11: Carmelite Church, Kensington, London
Monday 12 – Thursday l5: Westminster Cathedral
On Friday 16th Oct the Relics and Icon will travel to Lisieux
The Icon's Final Destination: Carmelite Priory, Boars Hill, Oxford OX1 5HB, UK
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LINKS:
Icon of Calvary, 2009
Church of St Joseph, Dublin
http://www.ramos-poqui.com/calvarydublin
Contact
ICONS AND EARLY ITALIAN
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