Among these are Alexander Stalnov, Valentina Zhdanova, Ivan Kusov, Khristina Prokhorova. First of all, we have to mention the name of a staff preservationist of the Russian Museum, Sergei Golubev (1947-2008), who educated many generations of iconographers in the Icon Painting School of the Saint Petersburg Spiritual Academy. The approach to studying was rather conservative. Saint Petersburg’s school of iconography started in the 1980s with an interest in iconography rising out of restoration specialists. Zinon has has gone through all the epochs of Christian art, although, in reverse order. The connection with style has always been strong in Fr. Now he works exclusively in encaustic, a method of painting with hot wax, using early Christian prototypes. Zinon started in 1970, emulating the works of Nesterov and Vasnetsov, after which he delved into 15th century style and Byzantine styles of various epochs. None of these artists remained a mere talented copier of medieval art, but found his or her own way in the profession, developing their own voice.įr. This generation of artists had not only been rediscovering iconography, but also traditional techniques of egg tempera, natural pigments, gesso (levkas) recipes and varnishes, all of which are now taken for granted. Without knowing any better, they began by pouring “little lakes” of paint onto the surface of boards and letting those puddles fuse with the underlying layer. Only after a period of time had passed, artists stopped transferring drawings using tracing paper and began to fully exploit the possibilities of egg tempera. Zinon at Danilov Monastery in Moscow during its restoration to commemorate 1000 years of the Baptism of Russia in 1988. Almost all of them, in varying degrees, began with Fr. Others, like Andrey Davydov and Alexander Sokolov, became interested in iconography while studying in art colleges. Some, like Alexandre Lavdansky, Alexander Chashkin and Anatoly Eiteneier came from the Avant Guard movement.

All of them came to the icon by different paths. Most of them are muscovites, who started their creative careers in the 1970s and early 1980s, when icon painting was considered religious propaganda. Of course, the icon is primarily made for a church, monastery and prayer, but at the same time it is a work of art, and maybe it is the best of what is now in our art,” said the archbishop.įirst the story of contemporary Russian iconography, we have to look at the works of the older generation of iconographers. “Icons should not only be painted for churches or monasteries, but spread throughout Russia. At the opening of the exhibit, Archbishop Pankraty stated, “contemporary icons have to be studied, collected, preserved, and used to teach future iconographers.” This idea led to the exhibition. A large portion is planned to be transformed into a larger scale project, the Museum of Contemporary Russian Icons. The idea for the exhibition was conceived upon the untimely passing away of one of the leading iconographers of Moscow – Alexander Sokolov (1960-2015). Please review Instant Checkmate Terms of Use.Ĭopyright © 2023 INSTANT CHECKMATE LLC All Rights Reserved.Art critic Anna Chukina, Alexander Lavdansky (middle) and Andrey Bubnov Instant Checkmate does not make any representation or warranty about the accuracy of our website or about the character or integrity of the person about whom you inquire. (These terms have special meanings under the Fair Credit Reporting Act, ('FCRA'), which we incorporate here.) The information available may not be 100% accurate, complete, or up to date, so do not use it as a substitute for your own due diligence, especially if you have concerns about a person's criminal history. Instant Checkmate does not provide consumer reports and is not a consumer reporting agency. DISCLAIMER: You may not use our service to make decisions about consumer credit, employment, insurance, tenant screening, or any other purpose that would require FCRA compliance.

Alexander papkov iconographer