Russian Painting

1. Anonymous, The Virgin of Vladimir, 11th – early 12th century. Tempera with eggs on lime-panel, 100 × 76 cm, Tretyakov Gallery, Moscow.

The sublime imagery of the great icon painters, the portraiture of the eighteenth and nineteenth centuries, the paintings of sea, snow and forest, the scenes of peasant life and the historical works of the Itinerants, the stylishness of the World of Art movement, the bold experimentation of the artists of the early twentieth century… To anyone unfamiliar with Russian painting, its richness and diversity may well come as a surprise or at least an exciting revelation. Indeed, the creative energy of Russian artists over the past two and a half centuries has been such that a book of this size cannot hope to offer a comprehensive overview of their output. Its aim is therefore to provide a representative selection of Russian painting from the eighteenth century to the start of the post-Revolutionary period (plus some glimpses of more recent work), but without attempting to do more than briefly allude to Russia’s rich heritage of icon painting or giving in-depth coverage of Soviet era art.

Although icon painting rapidly became an integral part of Russian culture, initially it was an imported art form, brought to Russia from Constantinople. The name “icon” is itself indicative of its Byzantine origin, being a transliteration of the Greek word for a “likeness” or image. In 988, after sending out envoys to report on the various religious options available, Prince Vladimir of Kiev Rus (the first Russian state) adopted Christianity both for himself and his subjects, staging a mass baptism in the River Dnieper. In order to build and embellish Christian places of worship, he invited Byzantine architects and artists to Kiev. As a result, the grand stone churches in Kiev were endowed with magnificent frescoes and mosaics. However, many of the early Kievan churches were built of wood, which made mural decoration impractical. Instead, religious images were painted on wooden panels. And these were often displayed on a screen separating the sanctuary from the body of the church – which eventually evolved into the iconostasis, an elaborate tiered partition adorned with icons.

2. The Miracle of St George and the Dragon. 15th century. Egg tempera on panel, 114 × 79 cm, National Art Museum, Kiev.

3. The Passion of Christ. 15th century. Egg tempera on panel, 192 × 133 cm.

The most famous of these early icons, The Virgin of Vladimir, (now in the Tretyakov Gallery, in Moscow), is thought to have been painted in Constantinople during the first quarter of the twelfth century. Between then and the time of Simon Ushakov (1626–86), arguably the last icon painter of stature, a great variety of schools and styles of icon painting developed, most notably those of Vladimir Suzdal, Yaroslavi, Pskov, Novgorod and Moscow. The earliest icon painters remain anonymous. However, it is known that they were not all monks, and before long workshops specializing in icons and other forms of church decoration were common in many parts of Russia.