![]() Our temptations and responsibilities are great because the role of the icon in the salvation of mankind cannot be overlooked It was not easy there were moments when it felt like I was on the edge of a cliff and would fall. My goal was to understand historical icons and paint as our ancestral iconographers did. In the beginning, I rarely touched a brush, but this was a way for me to learn to be humble.Ī crucial step in my path was to stay on Mount Athos. I preferred a three-year apprenticeship with a fresco painter. Some students spent more time as apprentices while others preferred their independence. During the winter, all the work was done inside their ateliers, making icons for that church interior or other commissions. ![]() Since most newly built Romanian churches are painted in fresco, after college many of us worked in this medium as part of a team. What is important though, is that we follow them.ĭuring holidays, students could work with their teachers or other painters in egg tempera and fresco. I felt humble and knew I would always be a few steps behind these master iconographers. By the grace of the Holy Spirit, the one who inspired the ancient iconographers, I could slowly uncover one aspect of the icon at a time. At some point I remember copying without any understanding what was there, looking for the internal logic. To delve deeper on my own, I made copies of historical icons painted by the greatest iconographers.Īt the early beginnings everything was difficult. I learned all I could from my teachers and wonderful colleagues even though the situation there was far from ideal. With joy and fascination, I finally discovered the icon.Īfter the Seminary, I studied sacred art at the University of Bucharest, within its Department of Theology. I truly felt the presence of Christ right then and there. In my first year, God arranged for me to meet an important Romanian iconographer who, after the fall of communism, revived the authentic Byzantine legacy in Romania. I attended an Orthodox theological seminary for 5 years and studied portraiture in my free time. It’s important for an iconographer to be an active member of the church and to know its theology very well. I am sure God is always guiding my steps in life, so I see this positively. In secondary school my teachers were encouraging, but did not have artistic knowledge. I think that there is a huge difference between a young man who learns how to draw by studying Da Vinci’s artworks and one who studies drawing after Picasso. Then I studied the techniques of the classical Renaissance painters who attracted me the most. My preparation began in the church with my spiritual education. Later, I found all this in Byzantine art. He taught me how to pray, how to work honestly, to always strive for perfection and absolute beauty. My grandfather was a theologian with a deep love of beauty he especially encouraged my efforts, but his deepest wish was I become a priest. I used general subjects at that time, I wasn’t interested in making icons. I was interested in very realistic drawing and classical painting. Neculae – Before starting University, I learned to draw and paint on my own. Last year Daniel gave his first workshop in the US which was attended Marek Czarnecki, veteran American iconographer and teacher himself who agreed to conduct and edit this interview for us.)Ĭzarnecki – How were you educated as an iconographer? (Editor’s note: A few years ago we introduced our readers to the luscious work of Daniel Neculae, a Romanian iconographer now living in Luxembourg. Final model icon for a workshop given by Daniel Neculae in Washington D.C, 2015.
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