![]() ![]() He travels whenever he's not working in one of his studios to meet with churches and install the icons. Now, 40 years later, he's a world-renowned iconographer with works in churches all over the globe. "After I discovered iconography it was double, how do you say, two things at once," Diamantopoulos said. Two years of art school turned into six years of apprenticeship with the iconographer before he set out on his own. In his final year of law school, he dropped out and began training as an artist. He was so interested in how the master artist worked, he went back for coffee again and again. He was at law school in Athens when he met an iconographer and visited his studio out of curiosity. When he was younger, Diamantopoulos wanted to be a lawyer. "You can't tell me you walk in here and not be moved." Christopher Constantinides, presiding priest at Holy Trinity. "Iconography is theology in color," said the Rev. From ground level you can see it clearly - Jesus washing the feet of his disciples before the Last Supper. One, with the pool of water, is hung on the north side. Virtual School Graduation Brings Together Hundreds of Texas Students From Around State Tall scaffolding line the transepts of the church - the east-west arms of the sanctuary - where the iconographer and his crew stand high above the pews and roll out the canvases he created back in Greece. In Dallas it takes a crew of six, including Diamantopoulos, 20 days to attach the canvases to the walls with special adhesive. It took a year and a half for Diamantopoulos and three assistants to write the icons before rolling them in bubble wrap and sending them halfway across the globe to Texas. "Someday after I finish the whole project, I'm sure this church will be a landmark site for Texas," he said.Īfter years of planning and fundraising, the icons are being prepared for Holy Trinity Greek Orthodox Church in Dallas. On a second-story balcony, he can look down at the image - better perspective for how it will look on the ceiling of a Dallas church. He's writing stories.Įvery so often, Diamantopoulos stood up and ascended a small spiral staircase. The Dallas Morning News reports he's not painting pictures, he said. Slowly, the story started to come together. Petrescu C (1931) L’art de la fresque.Leonidas Diamantopoulos put brush to a large canvas spread out on the floor of his Athens studio, etching out images of a pool of water and a man standing beside it. Romanian manuscript 4353 The Library of the Romanian Academy, Bucharest Romanian manuscript 3586 The Library of the Romanian Academy, Bucharest Romanian manuscript 1127 The Library of the Romanian Academy, Bucharest Mihalcu M, Leonida MD (2013) The hidden face of form and color, 2nd edn. Mihalcu M (1984) Romanian medieval values. Petrescu C (1932) Universul (Bucuresti), XLIX, May 1, 20: 9 Iorga N (1921) Comisia franco-romana II, nr. Kogălniceanu M (1882) Revista pentru istorie, arheologie si filozofie 1:33–35īerechet S (1928) Buletinul Comisiunei Monumentelor Istorice (Basarabia), II: 125–135 Arta de a zugrăvi biserici şi icone bisericeşti. Sandulescu-Verna C (1979) Erminia picturii bizantine. Uspenskii PD (1868) Erminiia ili nastavlenie v jvopinomi iscutssvo sostavlenoe ieromonahomi i jivpistemi Dionisiemi firnoagrafiotom. Grecu V (1936) Carti de picture bisericeasca bizantina. Schorn L (1838) Kunstblatt, Stuttgart und Tübingen 1–5(2):431 Rencontre, ParisĬennini CA (1960) The craftsman’s handbook. Reprint 2009 of the 1912 edition, Medieval and Modern Times Series. ![]() Imprimerie Royale, Parisīerger E (1987) Quellen und Technik der Freskos, Oele, und Tempera Malerei des Mittelalters nach Quellenschriften und Versuchen. ![]() Eikon, Cluj-Napoca, p 158ĭidron P, Durand AN (1845) Manuel d’iconographie chretienne grecque et latine. Mihalcu M, Leonida MD (2013) The hidden face of form and color. ![]()
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