Artwork by Michael Galovic is commissioned by churches, colleges and other institutions, as well as by individuals.
Several factors are decisive in determining an estimate for ordering an icon or contemporary artwork:
With all this information, Michael would be able to provide an estimate either immediately or very promptly.
It should be noted that the copyright/intellectual property always remains with the artist. He may reproduce any of his artworks in any media without the need for consent from the owner. Should a new owner, however, wish to have that artwork reproduced, he or she must obtain a written consent from the artist.
Out of many commissions he has had so far, Michael would single out one above others: An icon of Saint Benedict of Norcia specially created for His Holiness, Pope Benedict XVI. In 2008, the Eparchs and Clergy of the Melkite, Maronite, Ukrainian and Chaldean Catholic Churches in Australia, decided to present the Holy Father with an icon of Saint Benedict of Norcia, father of western monasticism during His visit for World Youth Day in Sydney, July 2008. According to the present Australian Bishops, receiving the icon Pope “revealed an informed interest in the icon as a work of sacred art, but above all, he could not hide His delight and appreciation of a gift that had so much meaning”.
Soon after the event, Michael has received a personal note from the Holy Father thanking him personally and praising his work on creating a new icon of St Benedict in a traditional style.
Sometimes when commissioning an icon, people know exactly what they want. Still, as icons are fairly costly too, it is good to clarify as much as possible what is the future client getting for their money.
Mostly a model or prototype from the past is found to assist the process; some want their new icon to look “exactly” like the model in question, or it serves but a guidance and as a rough idea, or only as a departure for an entirely new creation. Further, a client may have some special requests as to the way the saint or the scene is to be depicted, as well as to certain technicalities being part of the “craftsmanship” side of the new icon. It can be a request for a special type of gold or gilding in general, elaborate halo, intricate pattern on the frame, or, simply, an icon with no “frills”, mostly for the costing reduction.
It is not easy to lay it all out to the new customer who is enthusiastic and yet, perhaps slightly apprehensive whether they are to get the best possible outcome. It is worth noting that there are always those who display a remarkable trust and faith in the iconographer, even if they were not familiar with him beforehand; they just advise of their basic requirements and leave the rest to unfold with Grace of God.
Here is an example of how an old icon can be reworked, assuming altogether a new and exciting guise, a possibility of a big makeover of an old, damaged, unclear and seemingly basic icon.
Some years ago, in one of my books, I came across an image of an old icon of Saint Maroun, a patron saint of the Catholic Maronites. It attracted my attention mainly because images of this particular saint are extremely rare; this one has been done by a Russian iconographer, judging by style and by the inscription. I decided to try myself in creating an icon of this saint and that was to wait until very recently when the time came for me to approach this little project.
Here is the image of Russian, 18th century icon of St Maroun (Maron), 4th century monk from Syria.
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CONVERSATIONS
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Heavenly beings: the icon paintings of Michael Galovic
