Icon Of St Katherine

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Catherine, Duchess of Cambridge (born Catherine Elizabeth Middleton on 9 January 1982), popularly known as “Kate”, is the wife of Prince William, Duke of Cambridge. William is second in line to the thrones of the sixteen Commonwealth realms, and if he becomes king, she would become queen consort. Catherine grew up in Chapel Row at Bucklebury, a village near Newbury, Berkshire, England. She studied in Scotland at the University of St Andrews, where she met William in 2001. They started a romantic relationship that continued until a break-up lasting for several months in 2007. However, they continued to be friends and rekindled their relationship later that year.

Prior to the wedding, Catherine attended many high-profile royal events. Once their relationship became public, Catherine received widespread media attention and there was much speculation that she and William would eventually marry. Their engagement was announced on 16 November 2010, and they married on 29 April 2011 at Westminster Abbey.

Early life and family Catherine was born at Royal Berkshire Hospital in Reading on 9 January 1982 and christened at St Andrew’s Bradfield, Berkshire on 20 June 1982. She is the eldest of three children born to Carole Elizabeth Middleton (née Goldsmith), a former flight attendant and now part-owner of Party Pieces, a private company with an estimated worth of £30 million, and Michael Francis Middleton, who also worked as a flight attendant prior to becoming a flight dispatcher for British Airways, currently also an owner of Party Pieces. Her parents married on 21 June 1980, at the Parish Church of Dorney, Buckinghamshire, and in 1987, founded Party Pieces, a mail order company that sells party supplies and decorations. Catherine has a sister, Philippa Charlotte, known as “Pippa” (born 1983), and a brother, James Middleton (born 1987). The family has complained about press harassment of Pippa and their mother since Catherine’s engagement.

Catherine’s paternal family came from Leeds, West Riding of Yorkshire, and her great-grandmother Olivia was a member of the Lupton family, who were active for generations in Leeds in commercial and municipal work. Her ancestors include The Rev. Thomas Davis, a Church of England hymn-writer. Carole Middleton’s maternal family, the Harrisons, were working class labourers and miners from Sunderland and County Durham.

Catherine’s parents were based in Amman, Jordan, working for British Airways from May 1984, to September 1986, where Catherine went to an English language nursery school, before returning to their home in Berkshire. After her return from Amman, Catherine was educated at St Andrew’s School near the village of Pangbourne in Berkshire, then briefly at Downe House. She continued her studies at Marlborough College, a co-educational independent boarding school in Wiltshire, followed by the University of St Andrews in Fife, Scotland where she met William. She graduated with an MA (2:1 Hons) in the History of Art.

Saint Catherine of Alexandria: an icon written by Olga Christine ...

Here is a very special icon of the Saint Catherine of Alexandria. I completed this work May 2011.

Back in January this year, I wrote about my return to writing* the icon of St Catherine of Alexandria. This was the 2nd icon of this saint that I have worked on.

See the previous posting for background information about the icon and who I think the persona of this non existent saint was based on: Hypatia of Alexandria. http://www.olgachristineinnerspace.com/?p=390

See another icon of Saint Catherine of Alexandria prepared by my hand on my icon website. http://olgachristine.com/icon_stcatherine.html

Friends have asked to see how icons are made. In response, it seemed a good idea to record the process of making icons. Here is my first attempt beginning with an icon that was already 70% complete when I started recording the process.

I began work on this icon sometime during 2007/2008. I always found it particularly difficult. It is a complex icon, much more so than I expected. But more important than complexity, I simply could not find the right space for the icon itself. Something of a space arrived when I found literature on Hypatia of Alexandria and then much later, after I saw the movie Agora, the space of the icon to work from became much clearer to me.

Then came a realization regarding the spaces of icons. From this and other icons I am working on right now, I have begun to understand, and maybe begun to see, that for a creative work to take on its own presence, there must be a seed. This makes perfect sense to me now. I see the seed in the esoteric sense, as the progeny of a greater archetype.

I watched the seed for this one land as I reworked some areas of the icon, especially the face. The presence become more apparent with each session of work until at one point I realized that this icon had her own presence. Not a reflection, not a connection to somewhere else, but the unique presence of this individual icon.

Returning to the process of this icon writing, I re-started by removing the work I had previously done on the face. It had not been good work and there was no sense of presence. Here she is without face and then followed by another view with the new color for the face. Maybe you will notice an absence of presence.

There was much reworking that went on with the gold paint, as well as the wheel, the books, and the robes. That work is not obvious from the photos here.

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