Russian Icons for Britain's Churches

LONDON -- Visitors here to Westminster Abbey, England's most important Protestant church, are sometimes surprised to see two prominently placed Russian Orthodox icons, usually with a healthy contingent of candles burning before them.


The icons, one of Christ and the other of the Mother of God, are the work of Sergei Fedorov, a 37-year-old classically trained artist who, in his six years in England, has painted for Protestants and Orthodox alike and has emerged as Britain's leading icon painter.


Although Fedorov's most prominent placement is in Westminster Abbey, he has also done work for other Anglican churches and even painted icons of two English saints, St. Swithin and St. Birinus. His commission two years ago for the Abbey came about through the sacristan, Father Jonathan Goodall.


According to Goodall, having Russian icons in the church where kings are crowned and the mighty and famous are buried is perfectly consistent because it is part of the process of "reviving something that was part of the Western history." In reference to "the increasing number of visitors from the Eastern Europe," Goodall said that "we wanted to show them that we knew about their culture."


Fedorov, a graduate of the secular Stroganov Art School in Moscow, first started painting icons 18 years ago and eventually studied the philosophy and technique of the art with Father Zenon, the monk now based at the Pskov Pechersky Monastery who is perhaps the world's most acclaimed living icon painter.


"Learning how to paint icons is not all about technique," Fedorov said.


"Now you can learn these techniques from books. Father Zenon gave me advice. But the most important element was the atmosphere in the workshop, which helped me to feel the icon."


After working for a full year with Father Zenon painting two iconostases at the Danilovsky Monastery, the seat of the Patriarch, Fedorov traveled around the Soviet Union from one church to another painting icons and frescos.


Then, six years ago, Fedorov ended up in London. How this happened is something Fedorov is reluctant to talk about, mentioning "complicated reasons," and adding, "If I get to the moon and there are paints there, why can't I paint icons there?"


Fedorov, who lives alone in West London and remains a Russian citizen, frequently returns to Moscow to work on wall frescoes -- he estimates he has painted a square kilometer of frescoes in his lifetime -- and iconostases, as well as for a chance to pick up more supplies for his icon painting in Britain.


In England, Fedorov said he has completed about 20 orders from Russian Orthodox churches and is currently working on a commission for the Church of England's Winchester Cathedral, which ordered nine icons, eight of them already completed. Two of the icons are of English saints, something Fedorov, an Orthodox believer, said is in keeping with his ecumenical view of the world. Aside from churches, Fedorov also paints icons for individuals. He wouldn't say how much he earns from icon painting, only that he earns a living.


"This is a private matter between an artist and the one who orders the icon. I prefer not to speak about it," said the soft-voiced painter. "The price depends on many factors, like the size, whether the icon is complicated, whether it contains gold and so on."


Fedorov doesn't always work in the same exact style because, in his opinion, the icon must fit the particular church environment. Besides, he is sometimes asked to do an icon in a specific style. Winchester Cathedral, for instance, asked him to make icons in the light Moscow-style of the 14th and 15th century that became famous through the work of Andrei Rublyov.


Despite his stylistic flexibility, Fedorov emphasizes that icons cannot be treated as mere pieces of art, as they are a vital part of religion.


"People living at the contemporary pace of life may not listen to the sermons," said Fedorov. "And that explains the revival of the icon, as the Gospel, but in colors, not in words."