Divine Art: Fr. Anthony Salzman, Priest and Artist

By Nikos Linardakis, M.D.

In the charming town of Watkinsville, Georgia, nestled next to Athens, Georgia, is the modern St. Philothea Greek Orthodox Church (GOC). This place of worship holds a secret—a hidden treasure of art and faith. Stepping into the church, your eyes are immediately drawn to the icons and murals, where each stroke is a gracious testament to its own parish priest, Father Anthony Salzman, and his devotion and talent. If providence is on your side, you may find them creating a biblical story or image, or perchance, painting an angel in heaven or a patron saint.

The term iconography (εικονογραφία) originates from two Greek words: eikona (icon or image worthy of veneration) and graphy (to write). Hence, an iconographer is an “image writer,” who bears the sacred duty of revealing or translating scripture and the lives of our saints into visual form. They do this by “writing” or painting icons according to the Byzantine technique which is the heavenly reality on earth. Every step in the creation of an icon is a religious experience and action. This is also part of the reason why we are so moved by the spiritual depth of the images, and are touched by the artist’s work. In this way, we “read” the written icons, and uncover the significant spiritual messages or theological meanings.

After someone commissions an icon, the religious art is not supposed to be sold, or made into a profit. Because of their spiritual significance, icons are intended to be passed down to future generations—from one family to the next—as a gift.

A few years ago, I commissioned two icons: one of St. Michael the Archangel, and later, an icon of St. Paisios of Mount Athos. They were both created by the exceptional iconographer Veryle Lynn Cox. Her journey in the arts began in my high school hometown area of Hinsdale, Illinois. Through her work and the creation of these icons, I discovered the deeply religious and rigorous spiritual practices that iconographers adhere to so that the icons created are not just an artistic endeavor. The artists do not merely paint; they follow Byzantine traditions, involving prayer, fasting, and solitude.

Historically, icons were created anonymously; but today, iconographers may humbly sign their work, with “Through the hands of…(the iconographer’s name).” Beyond visual appeal and as reminders of our celebrated liturgy and saints, many icons have been known for their miracles.

After Veryle Lynn Cox completed the St. Michael the Archangel icon, I wanted to have it formally blessed for forty days and venerated in a local Greek Orthodox Church. Remarkably, just a few miles from Cox’s home studio, we discovered another source of inspiration—Fr. Anthony Salzman. As COVID-19 subsided, new acquaintances and icons emerged. Today, I want to highlight this renowned contemporary iconographer, Father Anthony Salzman, who has been a priest for 25 years, an iconographer for 35 years and a lifelong artist.

His work appears tireless, but surely, he unceasingly asks for God’s help in the process, painting numerous icons, and church murals across the country as well as printing icon Christmas cards for thousands of people. His contributions include mural icons for chapels and churches in Toluca and Mexico City, Mexico; St. Andrews Orthodox Church in Pensacola, Florida; St. Sophia GOC in New London Connecticut; the Assumption GOC in Pawtucket Rhode Island; the Annunciation GOC in Cranston RI, Prophet Elias Orthodox Church in Atlanta, and his own St. Philothea GOC, among others. These are just a few examples. His company, Image and Likeness Iconography, designs and prints Nativity Triptych cards used by churches all across the United States. The triptych cards, each featuring three leaves, are opened with care and often displayed, much like examining ancient writing tablets.

Ordained in 1999 by Metropolitan Alexios at the Atlanta Cathedral, Fr. Anthony has served St. Philothea for the past 25 years. His influence as a spiritual leader of his flock has inspired three priests, five presvyteres, four theologians and five seminarians from his parish. Married to Presvytera Christine, with two sons and two grandchildren, Fr. Anthony’s legacy echoes that of other iconographers in history. Most iconographers were called or influenced into this art. St. Andrew Rublev, Russia’s greatest iconographer, was guided by St. Sergius and learned iconography by Theophanes the Greek and the monk-ascetic Daniel. St. Luke the Evangelist was considered the first iconographer, and Andrew Rublev was born sometime around 1360-70 in Moscow and canonized a saint in 1988 by the Russian Orthodox Church. Together with Theophanes and Prochorus, Rublev painted the Cathedral of the Annunciation of the Moscow Kremlin, and then with Daniel, the Dormition Cathedral in Vladimir, Russia. St. Andrew’s most well-recognized icons are the Holy Trinity and the St. Michael icons. Many icons since that time have followed this study. My own icon of St. Michael the Archangel, completed by Veryle Lynn Cox, was based on the work of St. Andrew Rublev.

Fr. Anthony Salzman’s unique Byzantine-rendition style distinguishes his work, blending tradition with a modern touch. His technique and form built a reputation over the years. His icons are not merely “works of art,” but vehicles of Christian worship and faith. They convey profound spiritual truths, and it is apparent that he uses the icons as artistic expressions of the Orthodox Christian message of salvation. It is as if these paintings want to achieve more, to expand their colors, and yet they know they must remain restrained and subdued—out of humility. Unlike other icons, I recognize his swirling patterns, almost decorative, imbued with a faithful loyalty to God’s plan. They are complex compositions.

“This ancient process makes the invisible visible,” explains Fr. Anthony. “By revealing more than the physical world, they portray the illumined or transformed spiritual world.”

“Byzantine and Russian Iconography use reverse perspective. In traditional western art, depth of perspective makes it seem that the picture is going back into space. It creates atmosphere which is an illusion and turns you into a spectator. Reverse perspective, however, has the viewer as the focal point so that it appears that the image comes out to meet you, the viewer; thus, making you a participant. In an icon, you may notice that you can sometimes see the sides and the top of a building at the same time. This has the theological significance of ‘participation’ with the image. The faithful are not mere spectators, but actively involved, in a personal way. If the image is of Jesus Christ, then the participation is in the form of worship. If the image is of the Virgin Mary or the saints, the participation is in the form of honor and emulation.”

When asked about how he generates inspiration, Fr. Anthony shared his journey from fine art to theology. “It has to do with becoming Orthodox and giving up my identity as a fine artist.” He studied printmaking and painting at the University of Minnesota and out of college was living the dream as an artist with a studio on the Mississippi River, exhibiting and selling his art work. Everything changed one Sunday, “God asked me: is art God or am I God? That question led me to seminary. It was like a knife through my heart, because my whole identity was ‘artist.’ So, I eventually submitted and confessed that God is God.”

He continues, “I said to myself, I guess I have to apply to seminary then. I had an application sitting on my counter for months, so I sent it in. My thought was if I get accepted, it will be God’s will, and I will go to seminary. I got accepted, gave up my identity as an artist, and went to study theology at Holy Cross Greek Orthodox School of Theology.” After his first year at Holy Cross, he met an iconographer, Nick Fotios, who led Fr. Anthony to assist in painting Saints Constantine and Helen GO Church in Cambridge, Massachusetts for the next three years. He graduated summa cum laude from Holy Cross Greek Orthodox School of Theology in 1989. After seminary, he married Christine Paninos and moved to Greece.

“There I met a monk and studied in the shadow of the seventh-century Church of Hagia Sophia, in Thessaloniki.” He studied with this monk for three years and then three more years with master iconographer Kosta Photiadeis. Fr. Anthony also studied Byzantine Art History at Aristotle University of Thessaloniki, Greece for three years.

Fr. Anthony’s creative process is a blend of discipline and divine inspiration. “Iconography is a way of looking at the world,” he says. “It is a whole way of perceiving and understanding this perfect liturgical art form.” He views iconography as a transcendent art form, connecting heaven and earth. This invites the viewer to actively participate in a divine experience. “When we look at and venerate an Icon, guided by the Holy Spirit, we are encountering our Lord and Savior or a saint. We are not passive observers of something happening,” he explains, “We are active participants in a heaven and earth experience—the eternal ‘Now’ of God. There are canons in iconography that help us keep on track. Just like a train has railroad tracks that don’t prohibit its freedom, but allow it to go places, so do canons of iconography help us to create within the tradition. But as iconographer George Kordis says, ‘if Icons are not personal, in other words, involve the artist in the creative process, then they are not fully Icons.’ We are not merely scribes, copying ancient prototypes, but we are engaging the modern world with the foundation of the past, making the invisible visible for our contemporary society.”

I wanted to understand how Fr. Anthony’s beliefs influenced his own art. He shared, “My personal and spiritual beliefs are directly connected to my art.” Fr. Anthony gave up Fine Art to study Theology in Boston, and began learning Byzantine iconography as an apprentice for three years in Cambridge, Massachusetts. He then studied under Fr. Paul Politis in Greece for three years, followed by Politis’ teacher, Kosta Photiadeis for another three years as already stated.

After he married and moved to Greece to study, Fr. Anthony asked his spiritual father for permission to pursue fine art again. “He gave me his blessing and told me just don’t draw or paint naked women. I said OK. So, I began a sketchbook based on reading the Psalms.” Over many years, he compiled numerous sketchbooks. “I quickly realized that my art was too literal, evangelical, and bordered on proselytization. So, I began to investigate and explore more freely, the idea of the human and divine. In other words, I wanted honest and true insights and encounters as a human being, without having an agenda. It seemed more authentic and genuine, and I enjoyed this new approach to fine art.” These new pieces are what Jonathan Pageau calls “Narthex Art,” art that isn’t inside the Church, but points you towards it and helps you enter it.

Over time, this artwork developed to be both modern and spiritual, adding little sayings and quotes to his art, inspired by the work of Brian Andreas and StoryPeople, which reflect his playful approach to creating art. “I call these Whimages, i.e. Whimsical Images. I am working on a book called Learning to Play. Through play, I find that the artist that I am shapes images in unique ways as I explore and play. My wife calls it ‘doodling’, but it is more than that. This approach makes me think of how God, the consummate Artist, must have created. For example: He brought forth the angelfish and many other creatures through play, there is no other explanation for the depth of creative beauty that we witness in the world. When we approach the creative act without a set destination or predetermined expectations, we are often led to astonishing results.”

“When I studied fine art in college, I wasn’t taught how to paint. I was told to just express myself. But that is like going into a German class and having the teacher tell you to just express yourself. I have nothing, I have no tools, I need syntax, grammar, vocabulary, in order to express my thoughts and feelings in a foreign language. It was when I began to learn the visual language of Byzantine Iconography that I began to learn how to paint and express theology in color.”

Byzantine art arose from the Greco-Roman times, flourished for a millennium during the Byzantine Empire era, between the fourth and fifteenth century (from 330 C.E. until 1453 C.E.). In these Middle Ages, many people became Christian, and icons strengthened their faith and will, even as the Ottoman Empire took over. The icons portrayed the divine Holy Spirit and grace of a saint. They provided a visual form, not to aim as an exact portrait, but instead as a holy representation. Each focusing on the divine essence or likeness of the individual. Thus, each icon has a deep symbolic meaning and tells some form of a biblical story in a historical yet timeless context. The icon shows us not just material reality, but also spiritual reality, depicting life transfigured by God’s love.

Fr. Anthony’s creative process, driven by faith and freedom, embodies the divine inspiration he sees in all of creation. What is truly inspiring is his tireless dedication to sharing his craft. He also is the President of The Liturgical Arts Academy, which is a one-week intensive training program of Byzantine Chant and Iconography. If you would like to learn more about TLAA, visit their website at https://www.theliturgicalarts.org/

I’ve admired the work of notable modern-day iconographers like Georgios Chirakakis from Heraklion, Crete and Dimitri Kolioussis from Santorini, Greece. Fr. Anthony Salzman is a talented, faithful and serving man, fully armed with respect and devotion to this sincere and relevant art form. Fr. Anthony has worked within the Church, producing beautiful art that I believe will endure for another millennium.

Countless hours are spent on creating each masterpiece. Some are sold to and commissioned by private collectors, churches and monasteries. His life has evolved from a freelance artist to becoming a renowned iconographer. Although Byzantine in tradition, his work also expresses Orthodoxy today. He says, “These icons are part of our church and our worship experience. They draw us closer to God and His saints. As we kiss the feet of Christ on the Cross, it is as if kissing our most loving Lord.”

His journey from fine art to theology, his dedication to iconography, and his unique creative vision have made him a beacon of art and faith for others. Through iconography, Fr. Anthony helps bring the Divine closer to us. His work offers a window into the sacred life, a window into Heaven, and reveals the enduring power of our Orthodox faith.

To commission an icon or to purchase icon greeting cards, please visit:

https://www.imageandlikeness.com/ and on Instagram @frantonios

Photo Credits: Blaine Cox and Fr. Anthony Salzman

Dr. Nikos Linardakis is president of The Bêne Baby Company. The published author of several medical and trade books, he is currently completing a historical fiction novel about the naval heroine Laskarina Bouboulina in the Greek Revolution of 1821, The Mistress of Spetses.