Great Russian icon painters

Beginning with the period of the baptism of Rus, which occurred at the end of the 10th century, an original and unique art developed in the bowels of the Orthodox Church, which was called Russian iconography. It was for almost seven centuries that it remained the core of Russian culture, and only during the reign of Peter I was pressed by secular painting.

Iconography of the pre-Mongol period

It is known that along with Orthodoxy, Rus borrowed from Byzantium and the achievements of its culture, which received further development in the Kyiv princedom. If the painting of the first Desyatin temple built in Kiev was performed by the overseas craftsmen invited by Prince Vladimir, then very soon Russian icon painters appeared in Pereyaslavl, Chernigov, Smolensk and in the capital itself, which was called the Mother of Russian cities. It is rather difficult to distinguish their works from icons written by Byzantine teachers, since the originality of the national school has not yet been fully established in the pre-Mongolian period.

Up to now, very few works were made, performed in that period, but even among them there are genuine masterpieces. The most striking of them is the two-sided Novgorod icon "The Savior Not Made by Hands," written by an unknown master at the end of the 12th century, on the back of which the scene "Adoration of the Cross" is depicted. For more than eight centuries, it amazes the viewer with the accuracy of the drawing and its smooth modeling. Currently, the icon is in the collection of the State Tretyakov Gallery. A photo of this icon opens an article.

Another, no less famous work of the pre-Mongol period, exhibited in the State Russian Museum of St. Petersburg - is also a Novgorod icon, known as the "Angel of the Golden Vlasas". The face of the angel, full of subtle emotionality and deep lyricism, makes the viewer feel calm and clear. The ability to convey such feelings Russian icon painters in their entirety inherited from their Byzantine teachers.

Icon painting art of the times of the Tatar-Mongol yoke

The invasion of the Rus of Khan Baty, which marked the beginning of the period of the Tatar-Mongol yoke, radically influenced the way of life of the state. Did not escape his influence and Russian iconography. Most of the previously formed art centers were captured and devastated by the Horde, and those who lost the common fate experienced difficult times, which could not but affect the overall artistic level of the works created in them.

Nevertheless, even in this difficult period, Russian icon painters managed to create their own school of painting, which occupied a worthy place in the history of world culture. Its special rise marked the second half of the XIV and practically the entire 15th century. During this period in Russia worked a whole galaxy of outstanding masters, the most famous representative of which was Andrei Rublev, born in the Moscow principality around 1360.

The author of the immortal "Trinity"

Having accepted monastic tonsure with the name of Andrey (his worldly name is unknown) in 1405, the master took part in the painting of the Annunciation Cathedral of the Moscow Kremlin, and then Uspensky in Vladimir. These large-scale works were performed by Andrey Rublev along with two other outstanding masters - Theophanes the Greek and Daniil Chernoy, which will be discussed below.

Creativity master is considered the pinnacle in the Russian iconography, which could not reach any of the masters. The most striking and famous of his work is the "Trinity" - an icon of Rublev, now stored in the Tretyakov Gallery in Moscow.

Using the Old Testament plot based on the episode described in the 18th chapter of Genesis (Hospitality Abraham), the master created the composition, for all its tradition, far surpassing all other analogues. Rejecting the unnecessary, in his opinion, narrative details, he concentrated the viewer's attention on the three angelic figures, symbolizing the Trinitarian God - in the visible image of which is the Holy Trinity.

The image symbolizing Divine Love

The icon Rublev clearly demonstrates the unity of the three divine hypostases. This is achieved by the fact that the basis for the compositional solution is the circle that forms the figures of the angels. Such a unity, in which individuals are a single entity, serves as a prototype of the high love that Jesus Christ called for. Thus, the "Trinity" - the icon of Rublev, became a kind of expression of the spiritual orientation of all Christianity.

Andrei Rublyov died on October 17, 1428, after becoming a victim of the frosty weather that erupted in Moscow. He was buried in the territory of the Andronikov Monastery, where death interrupted his work on the painting of the Savior Cathedral. In 1988, by the decision of the Local Council of the ROC, the monk Andrei (Rublev) was canonized in the saints' face.

Mentor of the great master

In the history of Russian iconography, next to Andrei Rublev, is his contemporary, Daniil Chyorny. Icons, or rather, the murals made by them during the painting of the Assumption Cathedral in Vladimir, are so similar in their artistic features that specialists often find it difficult to establish a specific authorship.

Researchers have a number of reasons to believe that fulfilling joint orders with Rublev, Daniel acted as a more senior and experienced master, perhaps even a mentor. On this basis, critics tend to ascribe to him those works in which the most clearly visible influence of the former icon painting school of the XIV century. The most striking example is the fresco "Lono Abrahamovo", which has survived to our days in the Assumption Cathedral of Vladimir. A photo of one of the fragments of the painting of this cathedral is preceded by this section of the article.

Daniil Cherniy died , like Andrei Rublev, as a result of the morass of the 1528 morass, and was buried next to him in the Andronik Monastery. Both artists left behind a lot of students for whom the drawings and sketches created by them served as models for future works.

Russian Painter of Byzantine Origin

No less vivid example of icon painting of this period can be the work of Theophanes the Greek. Born in 1340 in Byzantium (where his nickname came from), he comprehended the secrets of art, studying with the recognized masters of Constantinople and Chalcedon.

Having arrived in Russia as a painter already formed, and settling in Novgorod, Feofan began a new stage of his creative path from a painting that has survived to our times in the Church of the Transfiguration of the Savior. The frescoes depicting the Savior of the Almighty, the forefathers, prophets, as well as a number of biblical scenes, were preserved in it.

His artistic manner, characterized by high harmony, as well as the completeness of the compositions, was recognized by contemporaries, and the master had followers. This is clearly shown by the murals of the churches of the Assumption of the Virgin and Fyodor Stratelite, made by other artists in the same period, but retaining clear signs of the influence of the painting of the Byzantine master.

However, in full, the work of Theophanes the Greek was revealed in Moscow, where he relocated in 1390, after spending some time and working in Nizhny Novgorod. In the capital, the master was engaged not only in the painting of churches and houses of wealthy citizens, but also with the creation of icons and book graphics.

It is commonly believed that under his leadership, several Kremlin temples were painted, including the Church of the Nativity of the Virgin, Archangel Michael and the Annunciation. His authorship is attributed to the creation of a number of famous icons - "Transfiguration of the Lord" (photo in this section of the article), "The Don Icon of the Mother of God", and "Assumption of the Mother of God." The master left in life in 1410.

A worthy receiver of the masters of the past

Dionysius, the icon painter, whose icons were made for the cathedral church of the Assumption of the Blessed Virgin Mary of Iosifo-Volokolamsky monastery, as well as the frescoes and the iconostasis of the Ferapont Monastery, have forever entered the treasury of Russian culture as a continuation of the artistic traditions founded by Andrey Rublev and his contemporaries.

It is known that Dionysius, unlike most Russian icon painters, was not a monk. Most of the orders he performed with his sons Vladimir and Theodosius. Until now, quite a lot of works have been preserved, either by the artist himself or by the artel he leads. The most famous of them are icons - "Epiphany", "Our Lady Hodegetria" (next photo), "Descent into Hell", as well as a number of other works.

Years of his life are not exactly established, it is known only that the master was born around 1444, and the date of death is approximately 1502-1508. But his contribution not only to the Russian, but also to the world culture is so great that by the decision of UNESCO, 2002 was declared the year of Dionysius.

Russian icon painters of the 17th century. Simon Ushakov

Any division of the historical space into periods of artistic upsurge or decline is of a very conventional nature, since even in the intervals of time not marked by the appearance of significant works, the prerequisites for their future creation are undoubtedly formed.

This can be clearly seen in the example of how the peculiarities of the social and spiritual life of Russia in the 16th century gave impetus to the changes that gave rise to new artistic forms of the fine arts of the next century.

Certainly, the brightest and most original creative personality of the 17th century was the icon painter Simon Ushakov (1626 - 1686). Early comprehending the secrets of skill, he was already at the age of twenty-two, was recruited as an artist of the Silver Chamber of the Armory, where his job was to make sketches for making church utensils and luxury goods.

In addition, the young master painted banners, drew cards, invented ornaments for needlework and did many more similar work. He also had to write images for various temples and private houses. Over time, it was this area of creativity that brought him fame and honor.

After transferring to the Armory Chamber (1656), Simon Ushakov firmly established himself as the most recognized artist of his time. No other Moscow icon painter had such glory, and was not so kindly treated by royal favors. This allowed him to live a life of honor and contentment.

Despite the fact that the Russian icon painters were obliged to write their works exclusively on ancient patterns, Ushakov boldly used in the compositions individual elements of Western painting, whose samples by that time were increasingly appearing in Russia. Remaining on the basis of the original Russian-Byzantine traditions, but at the same time creatively reworking the achievements of European masters, the artist created a new, so-called Fryazh style, which later developed in the work of icon painters of a later period. This article is a photo of his famous icon "The Last Supper", written by the master in 1685 for the Assumption Cathedral of the Trinity-St. Sergius Lavra.

An outstanding master of fresco painting

The second half of the XVII century was marked by the work of another outstanding master - Guria Nikitin. Born in Kostroma, presumably in the beginning of 1620, he was engaged in painting from a young age. However, the beginning master acquired serious experience in Moscow, where in 1653, together with the artel of his fellow countrymen, he was engaged in painting a number of the capital's churches.

Guriy Nikitin, whose work every year was more and more perfected, became known primarily as a master of fresco painting. Until now, many paintings preserved in monasteries and individual churches in Moscow, Yaroslavl, Kostroma, Pereslavl-Zalessky and Suzdal have been preserved.

A characteristic feature of the frescoes performed by the master on biblical subjects is their festive color color and the richness of the symbolism, for which during the life of the artist they were often reproached for the secularization of art, that is, the reorientation of it to the problems of the perishable world. In addition, the result of his creative search was a special artistic technique that allowed the master to create in his compositions an extraordinary spatial effect. In the history of art, he entered under the name "the formula of Guria Nikitin." The illustrious icon painter died in 1691.

Creativity of Theodore Zubov

And finally, talking about the iconography of the XVII century, we can not fail to mention the name of another outstanding master - this is Theodor Zubov (1646-1689). Born in Smolensk, he moved to Veliky Ustyug in the beginning of 1650, when he painted for one of the churches an icon "The Savior Not Made by Hands," immediately creating his reputation as a mature artist.

In time, his fame spread so widely throughout Russia that the artist was summoned to Moscow, and enlisted in the staff of the icon-painters of the Armory Chamber, where he served for more than forty years. After the death of Simon Ushakov, who for many years headed the masters assembled there, Theodor Zubov took his place. Among other works of the master, the icon "Apostolic Ministry" was especially famous. The photo of which ends the article. A worthy contribution to the development of Russian art was made by the sons of Zubov - Ivan and Alexei, who became the Petrovsky era one of the best native engravers.