Robert Lentz | |
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| Born | 1946 (age 78–79) |
| Nationality | American |
| Known for | Icon painting |
Robert LentzOFM (born 1946) is an AmericanFranciscanfriar and religiousicon painter.[1][2] He is particularly known for incorporating contemporary social themes into his icon work. He belongs to theOrder of Friars Minor, and is currently stationed in Holy Name Province.[3]
Lentz was born in ruralColorado to a family ofRussian descent and of aRussian Orthodox background.[1][2][4] Lentz originally intended to enter theFranciscan Order as a young man in the 1960s, joining the formation program for St. John the BaptistProvince, but left before taking his vows.[3] Afterward, he was inspired by his family'sEastern Christian heritage and became interested inicon painting. He took up formal study in 1977 as an apprentice painter to a master of Greek icon painting from the school ofPhotios Kontoglou at Holy Transfiguration Monastery inBrookline, Massachusetts.[1][2][3]
During his time in theSecular Franciscan community inNew Mexico, Lentz developed a close relationship to the local friars, and again felt the call to join the order. He was received into the Order of Friars Minor in New Mexico in 2003, and transferred to the Holy Name Province on the East Coast in 2008. After relocating he taught atSt. Bonaventure University.[3] He is currently stationed at Holy Name College inSilver Spring, Maryland.[5]
Lentz is gay. In New Mexico, Lentz taughtWilliam Hart McNichols, another gay Christian iconographer.[6]
Lentz's icons include fourteen large images of recently canonized saints, people of various cultures and ethnicities, and modern secular political and cultural figures.[4][7] His 1989 icon,Apache Christ, depicts Jesus as aMescalero holy man and is displayed in theSt. Joseph Apache Mission Church.[8]Toby Johnson calls Lentz's icon ofHarvey Milk "a national gay treasure".[7] His 1994 icon ofSergius and Bacchus was first displayed atChicago's Gay Pride Parade, and has become a popular symbol in thegay Christian community.[9] Addison H. Hart ofTouchstone criticized Lentz's works for breaking with the traditional purpose of Christian icons, writing that they "do not serve as vehicles of the tradition, but as propaganda and individual expression".[10]
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