Russian Art Nouveau in religious paintings

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The history of the Vladimir cathedral

Now Kiev hard to imagine without the Vladimir cathedral. The idea of the Vladimir cathedral belongs to Metropolitan Filaret Amfiteatrov. Actually, his idea of creating a cathedral in Kiev in honor of St. Vladimir has been approved by the Synod, and Nicholas I in 1852, then began to raise funds, and up to 1859 were collected about 100 thousand rubles., Moreover Pecherska Laurus has donated one million bricks.

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But for the enormous, with thirteen domes, the project Vladimir cathedral architect Ivan Strom was not enough. Therefore, the diocesan architect Paul Sparro significantly reduced the project, leaving only seven domes, but from the construction management refused, citing his time. The work was entrusted to Alexander Beretti, who introduced the draft of the Vladimir cathedral opposite changes - leaving the outlines of the temple is practically unchanged, increased its size in half. It is for this project cathedral was laid in the day over. Vladimir July 15, 1862
 
Four years later, when construction of the Vladimir cathedral was almost completed, the walls of the Vladimir cathedral suddenly began to crackle under their own weight. While looking for the guilty and considered various plans for saving the Vladimir cathedral, took another ten years. Only in 1875, Alexander II, while in Kiev, drew attention to this "long-term construction and immediately ordered him away. By next year, Rudolf Bernhard developed a final draft of the Vladimir cathedral, the embodiment of which took architect Vladimir Nikolayev. He managed to eliminate the emergency situation and in 1882 completed construction of Vladimir's Cathedral (which thus lasted 20 years).
 
Interior Vladimir's Cathedral in the style of ancient temples originally designed the same Nikolaev, but this work Prahov interested in Adrian, who used their government connections, made in 1885 to design the cathedral were built to his design and under his leadership. On the paper were brought Viktor Vasnetsov, Mikhail Nesterov, Pavel Svedomsky, William Kotarbinsky, Mikhail Vrubel, pupils Murashko. Painting (mostly in ancient themes) was completed in 1896, and the cathedral was consecrated August 20, 1896
   
Vladimir's Cathedral was dedicated to the Baptist of Russia - St. Prince Vladimir. External and internal appearance of the temple is designed by architects in starovizantiyskom style, what ancient Russian churches built during the Saint Vladimir and Yaroslav the Wise. St. Vladimir's Cathedral was founded in 1862, but its construction, complicated by technical difficulties, dragged on for almost thirty years - from 1862 to 1896. The solemn consecration of Vladimir's Cathedral was held August 20, 1896 in the presence of Emperor Nicholas II and Empress Alexandra Feodorovna.
   
Vladimir's Cathedral is a traditional Russian architecture for shestistolpny church with three apses, topped with seven domes. The length of the Vladimir cathedral is 55 meters, width - 30, and height, together with the cross - 49 meters. Building's facade is decorated with mosaic works by the artist A. Frolov. On the massive bronze doors of the main portal of the Vladimir cathedral can be seen cast bronze reliefs with images of Princess Olga and Prince Vladimir the Saint.
   
Vladimir Cathedral in Kiev - is a shining example of the synthesis of art and architecture. Glory of the monument of outstanding cultural significance Vladimir's Cathedral was largely due to its unique paintings. Cathedral painted a group of prominent artists: Russian - VM Vasnetsov, MAVrubel, MV Nesterov, PA Svedomsky and VA Kotarbiński under the general supervision of Professor AV Prahova. Prahov is the author of a number of projects, details of the interior, in particular - the bronze doors. In decorating the interior of the Vladimir cathedral mosaics participated and masters of Venice. The overall theme of the Vladimir Cathedral painting - "The point of our salvation." This was narrated as a significant theme songs from the Gospels, as well as symbolically outlined the history of the Russian church: it symbolizes the thirty pieces of Russian saints: martyrs, saints, princes, the holy women - the whole history of Russian Orthodoxy, all impulses, the seeker of truth and heroism ...

VM Vasnetsov, 10 years Kiev creativity.

The main role in building the temple murals of the Vladimir cathedral belongs Vasnetsov. He sang 15 tracks and 30 individual pieces. Vasnetsov painted the main aisle of the Vladimir cathedral, which, besides the Gospel stories, a great place is occupied by large-scale historical compositions: "The Baptism of Prince Vladimir" and "Baptism of Kiev, as well as portraits of the canonized Russian princes: Alexander Nevsky, Bogolyubsky, Princess Olga. Brushes Vasnetsov a central arrangement of the altar of the temple - The Virgin and Child.
   
For someone who first enters the Vladimir Cathedral, the strongest impression is the image of the Virgin. In the flickering twilight of gold, with light clouds, cold and gently lit dawn, Virgin easy and slowly goes to meet the audience: The Queen of Heaven is a sinful world his Son ... The traditional image of Our Lady was under the brush Vasnetsov extraordinarily original and unique interpretation. This image is called "GVARDIYSKE Virgin. Her large, full of sorrow and love brown eyes look kindly on the viewer. Extremely well her pale face lit up by internal light. The image of Our Lady is full of love and human beauty.
   
The original sketches of the painting Vladimir's Cathedral was preparing MAVrubel, but they were not accepted as final. Brushes Vrubel owned the painting of the right nave of the cathedral. Authorship MV Nesterova has 4 iconostasis of the side aisles, composition "Christmas", "Resurrection" and "Epiphany" and a number of icons of the main temple and chapels. Among them, especially an icon Holy Prince Boris and Gleb and the Holy Princess Olga. Written against the background of the typical "Nesterov" landscape, the image of Prince Gleb the sad poetry - like a premonition of imminent death from the hand of the murderer lies in the glow of inspired face of the young prince ... Svedomsky Kotarbiński together and performed 18 songs and 84 separate pieces of painting Vladimir cathedral. Among them are the dramatic and tragic pathos, is exceptionally realistic composition "The Last Supper, Christ before Pilate," "The Crucifixion", vivid images of ancient Princes Bogolyubsky and Igor's, the hero of the Lay. "
   
Multi-colored marble from Italy, France, Belgium, Russia and Spain decorate the interior of the Vladimir cathedral. Made of marble and mosaic floor of the Vladimir cathedral. Rich silver utensils for Vladimir cathedral made famous jewelry companies Klebnikov.
   
Vladimir Cathedral immediately drew the attention of contemporaries. Its artistic merits hotly debated, they are much debated, but the fact that this building has found its bright and powerful embodiment of the rapid rise of Russian art of the late XIX century, no one disputed. Contemporaries unanimously named Vladimir Cathedral in Kiev, "the first inspirational work of Russian religious art."
Since the work on the "Stone Age" Vasnetsov, Nesterov says, "was asleep and saw the painting of large walls. Meanwhile, in the early 1885 Adrian Prahov, who led the work on the interior finish just built by the Vladimir Cathedral in Kiev, the artist invited to participate in the mural in the church, he did not agree.

  But hand in this work, Vasnetsov dedicated to her ten years of his life. He put it all the passion and the anxiety of his soul, in it he attempted to realize his aesthetic ideal of creating art in the grand style, just returned from the closed world of collections and museums where it can serve the mass of ordinary people in their everyday lives.

One important task for Vasnetsov has overcome a kind of "split", which was formed from the end of XVIII century, between the clergy and of peoples, on the one hand, and the intelligentsia, with drugoy, in their attitude to the Russian icon painting.
For two centuries, the traditional icon-painting gradually being replaced as "antiquated medieval" works "the Italian letter" to the religious themes of the Academy of Arts, slightly different from the secular paintings. Entire ancient iconostasis replaced at this time for work performed in the academic spirit.
And the people shunned the paintings on the walls of the temple, respect, according to Mikhail Soloviev, an icon and choosing to pray in front of small analoynymi images created by simple painters in the spirit of traditional iconography.

According to the Vasnetsov, the temple was the place where could have happened "reunification" of the intelligentsia and the people. Umbrella, for both, could become a resurgent church art, accessible and comprehensible to all, expressing the national beliefs and ideals.

The basic idea behind the program, developed by Adrian Prahov for interior finishing of the Vladimir cathedral, a memorial church, dedicated to the 900-letiyu Baptism of Russia, was understanding the religious history of Russia. Since the overall theme of painting the cathedral became a "history of the Russian faith, the main attention was focused on the development of historical fact relating to the baptism of Prince Vladimir and Kiev, and Russian saints canonized figures of Old Rus and devotees of Russian Orthodoxy.

 
At the artist went to most of the work - the central nave, the dome, the image of the main iconostasis. In preparation. To work in the temple, Vasnetsov acquainted with the monuments of early Christianity in Italy, studied the mosaics and frescoes of St. Sophia Cathedral in Kiev, frescoes and Cyrillic Mihailovskogo monastery in Kiev.
He has already had the experience of the traditions of ancient Russian art - monuments of Novgorod, Moscow, Rostov and Yaroslavl architecture, the study of the Moscow Old Believer icons, portrait miniatures of ancient Russia, folk art.

  
This experience is most evident in the interpretation of artist images of outstanding historical figures of ancient Russia. He wanted to show his characters living history participants, benefiting from the chronicles and lives of the saints, Scripture, art and culture and folklore, the materials of archeological excavations in museum stores. Warriors defending awn independent homeland, are clad in heavy armor Andrew Bogoliubsky and Alexander Nevsky. People's ideas about smart, strong-willed, determined and inflexible rulers embody the image of Prince Vladimir and Princess Olga.

Connection realistically interpreted by the figures and background, according to the conventional manner of Russian icons and miniatures, ornamental frames for all figures and scenes were part of that peculiar style which was developed Vasnetsov in the Vladimir Cathedral and went into the everyday life of Art titled "GVARDIYSKE style.

  Great impression produced in the cathedral altarpiece of the Virgin. The colossal figure of the Virgin with the Christ-child in her arms, she of the shimmering golden light in the upper polvine altar apse, prevailed over the entire space of the nave. With the simplicity and humanity embodied in the image of the Virgin artist beauty of femininity, strength and infiltration of maternal feelings of spirituality. At the same time he was pronounced national type of Russian beauty. No wonder Virgin Vasnetsov was one of the favorite images immediately after the consecration of the Vladimir cathedral. Reproductions from him could be found in many houses of Russia in the late XIX-early XX century.

 
Working in the cathedral, Vasnetsov, of course, could not rely solely on their own performances, artistic experience and knowledge of, or be guided by their emotions and fantasies popyvami. He had to constantly check whether it agrees with the spirit of the Church, with canon, and much has been drawn to discard if the sketches seemed insufficient church. After the sketches were to be taken by the church, and its meetings are not always smooth.
   
In August 1896, all forests in the cathedral were removed and could have a complete idea of the success of GVARDIYSKE painting was enormous. He was devoted to articles, notes the study. They gained an extraordinary popularity and were repeated at the end of XIX-early XX century in many churches in Russia. Individual plots are widely reproduced in the press. In Vasnetsov seen "genius herald a new direction in pelirioznoy painting.

At the beginning of XX century in the relations V. Bacnetsova and artistic community prizoshlo some cooling, increasingly began to sound harsh criticisms. This was largely due to the discovery of authentic ancient icons.
"I myself thought that I entered into the spirit of Russian icons and all that, I expressed the inner world of the painter of that time that I learned is already out of pride - the technique of the old time. Okazalos, however, that I was profoundly mistaken. The spirit of ancient Russian icons appeared many times higher than I thought. The inner world of painting at that time was much richer in a spiritual sense, than the spirit of our time, or my personal or Nesterova, and we are far from their equipment to their picturesque effect. " -that was the view of the Vasnetsov.
This feedback, a courageous and gorkoe recognized masters, who believed that "there is in Russia for Russian hu-dozhnika holier and more productive things as decorating the temple.
Not all of the Vladimir Cathedral in Vasnetsov happened as he mechtalos, not all the intentions of the master have been implemented. But the task of creating a large hudozhestvennogo style, set here by the artist, was for Russian art novatorskoe great importance.

  Magazine "World of Art" wrote about sobore: "Since Vladimir Cathedral can not agree, but it must be considered as a significant artistic proizvedeniem sovremennogo and an outstanding monument of Russian religious consciousness."

From the memoirs of Vasnetsov Benoit: "On Vasnetsov very soon after it began in 1886 for a list of Kiev Vladimir's Cathedral, there were rumors that out of hand it turns out something sublime and holy, a kind of new revelation. K the end of this work, this rumor has spread from uzkohudozhestvennyh circles in all Russian educated society. Gradually he became convinced that Vasnetsov guessed the very depths of the Russian religious outlook and that he created murals on monumentality and the sanctity of equaling only ancient Byzantine and Italian models. When as a visiting Frenchman, Baron de Bai was delighted with the creation Vasnetsov, and even dared to print in a small pamphlet, to express this enthusiasm, while a "blessing" of Europe finally reinforced the Russian public opinion, to a hair's breadth as an enthusiastic article about Italian Bryullov and Bruni appeared in his time something like laurel wreaths, derived straight from Parnassus. "

Vasnetsov contributed to the success, however, another factor is not particularly weighty in substance, but which took more time force, namely: a fashion in the early 90-ies mysticism that is so incidentally coincided with the revival of official religiosity. How to "Pompeii" praised our unsubstantiated and underdeveloped romance, along with the most hostile to the romanticism of the academicians, and now Russian dilettante mysticism agreed on an evaluation of paintings Vladimir's Cathedral with the representatives of the church and the formality of pomp, to which they should have, in essence, to fight . "