From 1854, the descriptions of the paintings or watercolors he sold became more precise, now including terms such as “Venice sunset,” “small Montmartre,” “big Venice,” and “Venice party.” The year 1863 witnessed a shift in the accounting: Ziem stopped recording the capital income from the annuities, bonds, and shares he owned. This is why our analysis of Ziem’s account book starts from 1850. One year later, his bookkeeping became more precise: Ziem recorded the number of paintings and watercolors that he sold. While Ziem always recorded the name of the person he was dealing with and the amount of the transaction, the description of the artworks and the number of works sold were usually missing. In 1849, he began his accounting with a two-column assets vs. In leafing through the notebook, it quickly becomes clear that Ziem changed the notation as time went by. Owned by the Musée Ziem in Martigues, France, the account book is an 86-page notebook recording the artist’s sales transactions from 1849 to 1883 (fig. What Can Be Learned from Félix Ziem’s Account Book 2, Detail of the account book for 1865, n.p. The analysis is thus based on econometrics, social network analysis, and mapping.įig. To properly understand Ziem’s account book, I have used a methodology that takes into consideration its quantitative and serial aspects. Unlike the more common dealers’ ledgers, which concern both first-hand and second-hand sales, Ziem’s account book only provides information about the works he sold directly to his customers, or, what we might call the primary art market. The aim of this article is to open this “black box” in order to understand both his economic success and the social networks at its core.įor an art historian, artists’ account books are all the more valuable, as they are rare. To what did the artist owe his fame and fortune? The key to understanding his reputation and, especially, his monetary success, is his account book, which he kept meticulously for more than thirty years, from 1850 to 1883. In 1910, thanks to a bequest of Alfred Chauchard that included a number of his paintings, he became the first artist whose works entered the Louvre Museum during his lifetime. Recognized as the “painter of Venice,” he made his reputation in the 1850s by displaying his landscapes at the Paris Salon. Institute students with Bishop Michael Hanley displaying icons on Trinity Sunday.Ĭhristopher Armstrong-Stevenson, founding Director guided the Iconography Institute for over two decades until his retirement in July 2019, when he passed the paintbrush to Christine Thum Schlesser.Félix Ziem (1821–1911) was one of the wealthiest artists in nineteenth-century France. In 2010, the Institute was honored for its work in helping to bring icons back into use by Western Churches, through an invitation to a private audience and Blessing with His All Holiness, Bartholomew I, the current reigning Patriarch of Byzantium. Jon’s icons are present in many parish churches and Roman Catholic Archdiocesan establishments in Oregon, several other states and in the Patriarchate of Byzantium. Jon was designated Trinity Iconography Institute’s new Master Iconographer. Sherry trained in Turkey and was acknowledged as an iconographer by His All Holiness Athenagoras I, the then Patriarch of Byzantium/Constantinople (now Istanbul, Turkey).īeginning with the Fall 2012 class we welcomed Father Jon Buffington, a Chaldean Catholic priest, as our new Instructor. Many will remember the large amount of work written by Sherry under her former name of Bettendorf. Lynch who lives in La Center, Washington. From 1999 until the Fall of 2012, the Institute’s Instructor was Master Iconographer Sherry V. Helens, Oregon, who was then followed by several itinerant instructors. The Institute’s founding Instructor was Thomas Howard, from St. Trinity Iconography Institute is also acknowledged as a Diocesan resource, recognized by our Bishop. The Institute’s work is recognized by Trinity as an integral component of the Cathedral’s Spiritual Formation program. Students agree to commit to the practice, Canons and Rubrics of iconography according to the Eastern Orthodox Christian Church. The Trinity Iconography Institute at Trinity Episcopal Cathedral, Portland, Oregon, was created in 1995, as an ongoing activity to train individuals of any Christian denomination, who are interested in iconography.
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