The Making of the Blessing of the Animals

It has always been in my mind to pay homage to the presence of animals and spiritual support in my life (not to forget family and friends), as well as to the techniques, composition and extraordinary art left to us by the artists of the past. The seeds were planted in the late nineties for the perfect integration of these major influences when I heard of the Blessing of the Animals service in my spiritual home in Paris, The American Cathedral.

This yearly service is held in innumerable churches on or near October 4^th to celebrate the feast day of St. Francis of Assisi. As legend has it, this remarkable saint also preached to the birds and is the patron saint of animals. Unlike my portrayal of the event, in order not to tempt their God-given tendencies, animals may attend only with restraints, pet carriers or cages.

Though the setting is a fair rendition of the American Cathedral, my painting was never meant to be an exact portrait. Though I have kept the multiple lighting sources as is present in the Cathedral, like the artists of the past I’ve simplified, changed, and deleted some minor elements as well as altered perspective and scale quite a lot for compositional consideration to make the image more pleasing to the viewer’s eye. Moreover, this painting is not a reproduction of any Blessing I have seen, even though a few people and animals from actual ceremonies have been incorporated.

The image has been entirely created by hand with no mechanical means. It took me a year to decide on all the participants, do the sketches, create the composition and finalize the original line drawing. Since I was not drawing the image from a photograph, I had to draw the entire church background including working out the perspective for the tiles in order to place the figures realistically in the setting. The final detailed line image was drawn on vellum paper and retraced on the back; then it was taped to the painting support (prepared mahogany board) and rubbed with a blunt instrument to transfer the drawing to the board, then redrawn again on the blurred lines, followed by lifting the excess carbon with a kneaded eraser.

Note below that the central vanishing point located at the IHS symbol in the frontal piece is not in the center of the painting but is to the right, creating a far more interesting slightly asymmetrical design.

Drawn from over 26 years of my original source material (comprising hundreds of photos and onsite sketches), a list of all the characters who did become part of the painting can be found below under Subjects.

The underpainting of burnt umber on the Sapele mahogany panel unfortunately took three more years to complete due to a long hiatus caused by a minor right hand injury that morphed into a serious complication: Complex Regional Pain Syndrome. In 2013, Monica Gomez conducted an interview with me on KTEP radio that provides a little background. My hand will never return to pre “fall” mobility but the syndrome miraculously went into remission after three months of therapy. With a total of almost two years of intense physical therapy in the “torture chamber and on the rack” to unfreeze individually all the finger joints and wrist, my hand obviously manages quite well enough as evidenced by the completion of the painting.

Working with traditional techniques including mixing my paints from powdered pigments, I painted at least three more layers of full color on most of the painting followed by some final scumbling and glazing.  Started in 2009, after roughly 8 years of actual work, et voila: “The Blessing of the Animals” practically finished December 30, 2017, just in time to fly back to El Paso for my mother’s 95th birthday and to send it to it’s first exhibition in New York where it also won it’s first award.

Subjects

Starting from the left (drawn from over 26 years of my original source material and sketches)

1st Marshall Ordish, my great-nephew (brother Frank James’s daughter Jeanette and her husband RC’s son)
2nd Annick le Sassier Boisauné (a sister of my better half Henri) holding the music box my father made for me and contains any small pet the viewer imagines: parakeet, mouse, hedgehog, gecko, hamster, tarantula, turtle, baby rabbit, etc. The hands in the painting actually belong to an artist friend, Mary Villon de Benveniste, who posed for me in the Cathedral holding the music box.
3rd The Cavalier King Charles Spaniel and…
4th the Husky are two of the hundreds of random pets I’ve photographed during my many travels; I’ve also done a miniature drawing of him and used him again in For Art’s Sake
5th Dale Moore, a second cousin’s ex-wife (and who can also be seen in La Maison de Poupées), looking down at…
6th Soleil (while a puppy). Soleil’s mother was most likely a mix of Sheltie, Corgi and perhaps Basenji, while her father was just passing through. Though I had to put Soleil down at the age of 12 due to advanced cancer in 1993, I still dream of her now and then and wake up in tears to find she is not by my side. Nonetheless, she is alive in my painting.

8th One of our cockatiels in on Henri’s shoulder. We currently have two cockatiels and one budgie (parakeet) who have the same cage as us…our tiny Paris apartment.

10th Derek James, my nephew (brother Keith and his wife Ann’s son) and
11th Derek’s cat Cleo.
12th Sophia Zaboukos (daughter or Troy and Moya) is a child I saw attending a Blessing at the Cathedral.
13th The cat being blessed is from a photo I took near St. Severin in Paris.
14th The Rev. Jonathan Huyck, former Canon Pastor of the Cathedral, on staff from 2004 until 2010 when he returned to the States with his family to serve as Rector of Grace Episcopal Church in Providence Rhode Island.
15th The Very Rev. Zachary Fleetwood, Dean of the Cathedral 2003-2011 (9th Dean since the inauguration of the Cathedral on Thanksgiving Day in 1886). He retired from the Cathedral to become rector of St Columba’s by the Castle in Edinburgh in order to devote more time to writing, service and spiritual matters.

18th The puppy straining against the leash was another participant in a Blessing.
19th The cat on the steps (the only participant looking directly at the viewer) is Lizzie, another of Derek’s cats, and who was extremely shy but bonded with me nonetheless during a two month overlapping stay at Mom’s with Keith’s family (due to fire damage at their home being repaired).
20th Maxwell Moore, son of Dale – the 6th subject – and my second cousin Michael Moore.
21st Maxwell is petting a Yorkie I saw at a Blessing.

25th David James, nephew and son of my brother Frank and his wife Linda.
26th The impressive Maine Coon cat on David’s shoulders is Ramses and as mentioned above, also belongs to my brother Keith’s family, along with Cleo and Lizzie. The image adds the symbolism of The Good Shepherd to the piece.
27th Kennedy Ordish is another great-niece.
28th I saw this Sheltie on one of my trips to Scotland.

Besides the clergy, there are twelve characters in the painting, a reference to the twelve Apostles.

Using the Burberry outfit for the child in the central area allows enough detail and interest to catch the eye but is subtle enough in color to let the eye move on to take in the rest of the painting. The roughly triangular groupings of characters have little gentle overlapping to keep them from being isolated and thus also add to the movement across the whole image. Note the red leash from the straining dog connecting the central group to the right group.

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