And ndrei Rublev is the first Russian artist who was numbered among the Orthodox saints. He created his own school of icon painting and departed from Byzantine art canons. In addition to icons, Rublev created wall paintings of churches and was engaged in book illustration: the ancient Khitrovo Gospel is decorated with his miniatures. However, the most famous work of Rublev was the icon "Trinity", which is now recognized as a masterpiece all over the world.
Ilya Glazunov. The youth of Andrei Rublev (fragment). 1985. State Tretyakov Gallery, Moscow
Ilya Glazunov. Sergius of Radonezh and Andrei Rublev (detail). From the cycle "Kulikovo Field". 1992. Gallery of Ilya Glazunov, Moscow
Ilya Glazunov. Portrait of Andrei Rublev (detail). 2007. Gallery of Ilya Glazunov, Moscow
Historians suggest that Andrei Rublev was born around 1360 in central Russia - possibly in Veliky Novgorod or in the lands of the Moscow principality. At baptism he was given a different name - he was named Andrew later, during the monastic tonsure. The opinions of historians about the origin of the icon painter are contradictory. On the one hand, "reclo" - a nickname, a prototype of the modern surname - was worn at that time only by noble and educated people. On the other hand, the nickname Rublev came from the word "ruble" - this is how in the old days they called a device for making leather. Only a person from a family of artisans could get "reclo" from the name of the instrument.
There is also no reliable information about the childhood and youth of Andrei Rublev. Probably, he began to study painting while still a boy: at that time they tried to send children to study as early as possible. Around 1405, the icon painter was tonsured a monk. This happened in Moscow, in the Spaso-Andronikov Monastery, which was then abbot Andronicus.
The first mention of Andrei Rublev in historical documents dates back to 1405. In the "Trinity Chronicle", among the events of this year, there is information about the painting of the house church of Moscow Prince Vasily I, the eldest son of Dmitry Donskoy. "And the masters byahu Theophan the icon-painter Grechin, yes Prokhor the elder from Gorodets, and the chernets Andrei Rublev", - the chronicler reported. According to the traditions of that time, the youngest of the artel was mentioned last in the list of masters. However, the very fact that Rublev was entrusted with such an honorable order and brought his name in the chronicles suggests that by this time he was already considered an experienced craftsman. Otherwise, his works would have remained anonymous, as happened with the works of most ancient Russian artists.
Rublev belongs to those happy chosen ones, so rare in the Middle Ages, especially the Russian Middle Ages, whose name was already pronounced by contemporaries with reverence, and the next descendants were surrounded by a legend ...
Mikhail Alpatov, art critic
Art critic Boris Dudochkin, based on the text of the chronicle, suggested that Rublev worked in Moscow or its environs for a long time, even before he was tonsured.
In May 1408, according to the same Trinity Chronicle, Andrei Rublev and Daniil Cherny began to paint the Vladimir Assumption Cathedral, built in the 12th century under the princes Andrei Bogolyubsky and Vsevolod the Big Nest. By the beginning of the 15th century, the temple suffered greatly from the Horde invasion, and by order of the Moscow prince Vasily I, its restoration began.
Fragments of wall frescoes and part of the iconostasis - one of the largest in Russia - have survived from the works of Andrei Rublev and Daniil Cherny in the Assumption Cathedral. The painting of the Assumption Cathedral in Vladimir is the only surviving work by Andrei Rublev, the year of which is precisely known.
The icons of the Deesis row, which depict Christ, reach a height of 3.4 meters. Rublev relied on Byzantine artistic traditions and the Moscow icon-painting school of Theophanes the Greek, but in many ways he deviated from them and interpreted the images of Christ, the Mother of God and the saints in his own way. Of the frescoes, a fragment depicting the Last Judgment is especially interesting: Rublev did not paint a dark scene of the punishment of sinners, but a holiday of justice and eternal life, which, according to Christian ideas, awaits the righteous.
Now the preserved icons and fragments of frescoes are kept in the restored Assumption Cathedral, which is included in the UNESCO World Heritage List.
Spas. Icon from the Zvenigorod deesis tier (fragment), previously attributed to Andrei Rublev. 1410th. State Tretyakov Gallery, Moscow
Andrey Rublev. The Last Judgment: Procession of the Righteous to Paradise (detail). 1408. Assumption Cathedral, Vladimir
Apostle Paul. Icon from the Zvenigorod deesis tier (fragment), previously attributed to Andrei Rublev. XV century. State Tretyakov Gallery, Moscow
Since the beginning of the twentieth century, Andrei Rublev was credited with the Zvenigorod rank - a collection of icons created by order of the Zvenigorod prince Yuri. Historians suggest that initially there were seven of them, and they were intended for the prince's Assumption Cathedral or the Nativity Church of the Savvino-Storozhevsky Monastery. Only three large icons have survived - half-length images of the Savior, the Apostle Paul and the Archangel Michael. There is no historical evidence confirming the authorship of Rublev or establishing the date of creation of the images. In 1926, art critic Igor Grabar conducted a stylistic analysis of the icons of the Zvenigorod rank and attributed them as the work of Andrei Rublev. Many art critics of that time supported him. But in 2017, employees of the Tretyakov Gallery and the State Research Institute of Restoration conducted another study and found that another master painted these icons.
In addition to creating frescoes and icons, Andrei Rublev was also engaged in illustrating church books. He created several drawings for the Khitrovo Gospel: it was named after the owner, boyar Bogdan Khitrovo. The manuscript of the late 14th century was decorated with images of Christ, the Virgin Mary and the Apostles, but also with painted headpieces, initials in the form of animals. Rublev wrote for her miniatures of the apostles-evangelists - Luke, Mark, John and Matthew. On separate sheets, he also depicted the symbols of the evangelists: a bull, a lion, an eagle and an angel. Before that, in the Russian Gospels, these symbols were not placed on separate pages: they were woven into the ornament that surrounded the text, or made them part of other illustrations. Until the beginning of the twentieth century, the Khitrovo Gospel, placed in a rich salary, was kept in the Trinity-Sergius Lavra, then it was transferred to the Russian State Library.
Andrey Rublev. Ascension of Christ (detail). 1408. State Tretyakov Gallery, Moscow
Andrey Rublev. The Last Judgment: A Throne Prepared. The Mother of God, John the Baptist, Adam, Eve, angels, apostles Peter and Paul (fragment). 1408. Assumption Cathedral, Vladimir
Andrey Rublev. Prophet Zephaniah (detail). 1408. State Russian Museum, St. Petersburg
The earliest examples of Rublev icon painting correspond to the general rules followed by the masters of that time. On the Orthodox images of the XIV-XV centuries, it was customary to depict severe and ascetic faces with characteristic Byzantine features: large eyes, a high forehead, a straight nose and thin lips. The masters used mostly restrained, dark colors: dark red, brown, ocher yellow.
The icon painter and restorer of the early twentieth century Vasily Guryanov described the early works of Rublev as follows: “... the faces are written in thin layers, observing the extreme sequence in the transition from illuminated to unlit places, they look definitely greenish in the shadows and are modeled with brown (“ dark ”) ocher without marks, that is, without bumps in the brightest places to indicate glare with white paint; in accordance with the faces, the figures are also poorly modeled, and the outline is indicated only by a thin inventory. "
In his later works, Andrei Rublev departed from the canons of icon painting. He often used light, light colors - golden yellow, light blue, pink. The faces on his icons acquired Slavic features - a soft rounded oval of the face, blonde hair and eyes, a wide forehead. The expressions on their faces have also changed: Rublev's angels and saints have become joyful, spiritualized, and faint smiles have appeared on some faces. "Andrei Rublev revived the ancient principles of composition, rhythm, proportions, harmony, relying mainly on his artistic intuition", - wrote art critic Mikhail Alpatov.
The icon painter often used the glaze technique - on top of the main layer of paint he applied another, translucent one, on which he painted out subtle details. This technique made it possible to create smooth lines and smooth color transitions.
Icon "Trinity"
Andrey Rublev. Trinity (detail). 1420th. State Tretyakov Gallery, Moscow
Andrei Rublev began to create his most famous work - the Trinity icon in 1411 or 1425-1427. Such a vague dating is due to the fact that it is not known which temple the image was intended for: the early wooden cathedral of the Trinity Monastery, or the stone one built in its place. In the first case, the icon could simply be transferred to a new church, in the second, the icon painter worked on it simultaneously with all the other images of the iconostasis.
For the basis of "Trinity" (the second name of the image is "The Hospitality of Abraham") Rublev took the Old Testament story about the forefather Abraham, to whom three angels appeared disguised as wanderers. Abraham and his wife Sarah greeted them with reverence, washed their feet according to the ancient custom, killed a calf for them and invited them to the table. The angels predicted to the elderly childless spouses that they would have a son, and Abraham himself would become the ancestor of an entire nation.
Andrei Rublev rejected many of the details that were customary to depict according to the canon: Sarah is absent on the icon, there are no scenes of washing the guests' feet and the slaughter of a calf, and the angels do not eat, but talk. The figures of angels form a semblance of a circle, the gaze does not stop at one of them, perceives all three as a whole: this is how the icon painter embodied the Christian idea of \u200b\u200bthe trinity of God.
For "Trinity" the author chose bright, clear colors - more intense than in his earlier works. He painted the background in golden yellow, the clothes of the angels in pink, green and bright blue. Blue paint - lapis lazuli - was rare and expensive at the time. The shade used by the icon painter was later called "rublevsky cabbage roll".
Until the 1917 revolution, the Trinity icon was kept in the Trinity-Sergius Lavra. From the end of the 16th to the beginning of the 20th century, it was placed in a gold frame, from under which only the faces and hands of the angels were visible. In 1904, the icon painter Vasily Guryanov took up its restoration: he removed the darkened drying oil and the later layers of paint, with which the original image was renewed, and then wrote it down anew. Subsequently, the Guryanovsky layer was also removed, leaving only the work of Andrei Rublev himself. Now "Trinity" is kept in the Tretyakov Gallery.
Between 1422 and 1427, Andrei Rublev, together with Daniil Cherny, led the artel of icon painters, which painted the Trinity Cathedral of the Trinity-Sergius Monastery. Then Rublev settled in the Moscow Spaso-Andronikov Monastery and began painting the Spassky Cathedral. In January 1430, the icon painter died. He was buried on the territory of the monastery.
In 1947, scientists Igor Grabar, Pyotr Baranovsky, Pavel Maksimov and Nikolai Voronin founded the Andrei Rublev Museum in the Andronikov Monastery. In 1985, it was renamed the Andrei Rublev Central Museum of Old Russian Culture and Art. At the entrance there is a monument to the icon painter by sculptor Oleg Komov. In 1988, the Russian Orthodox Church canonized Rublev as a venerable saint.
ICONS OF ANDREY RUBLEVBiography and work of Andrei Rublev
Andrei Rublev (+ c. 1430), icon painter, disciple of Theophanes the Greek, reverend.
At first he was a novice at the Monk Nikon of Radonezh, and then a monk at the Spaso-Andronikov Monastery in Moscow, where he died and was buried.
Old Testament Trinity
Andrey Rublev
Moscow school
1422 - 1427
142 x 114 cm
linden board. Matte pavoloka, gesso, tempera
icon. Temple image from the iconostasis of the Trinity Cathedral of the Trinity-Sergius Monastery
In the end of the XIV - n. XV century Rublev created his masterpiece - the icon “Trinity” (located in the State Tretyakov Gallery, on the plot “Abraham’s hospitality.” He filled the traditional biblical plot with deep poetic and philosophical content. Moving away from the traditional canons, he placed in the center of the composition a single bowl (symbolizing sacrificial death) , and its outlines were repeated in the contours of the lateral angels. The central (symbolizing Christ) angel took the place of the sacrifice and was highlighted by an expressive contrast of spots of dark cherry and blue colors, orchestrated by an exquisite combination of golden ocher with a delicate "cabbage roll" and greenery. circular rhythms that dominate all the contour lines, the coherence of which produces an almost musical effect.
“Trinity” is designed for far and near points of view, each of which in different ways reveals the richness of shades, the virtuoso work of the brush. The harmony of all elements of the form is an artistic expression of the main idea of \u200b\u200bthe "Trinity" - self-sacrifice as the highest state of the spirit, creating harmony of peace and life. In 1405, together with Theophanes the Greek and Prokhor from Gorodets, he painted the Cathedral of the Annunciation in the Moscow Kremlin (the frescoes have not survived), and in 1408, together with Daniel Cherny and other masters, the Assumption Cathedral in Vladimir (the painting was partially preserved) and created icons for its monumental three-tiered iconostasis. which became an important stage in the formation of the system of high Russian iconostasis.
Annunciation
Andrey Rublev
1405 BC
81 x 61 cm
icon. Festive rank
In the ancient life of St. Sergius of Radonezh, compiled by his disciple Epiphanius, decorated with numerous miniatures (16th century list), Andrei Rublev is depicted in three forms: sitting on the stage and writing on the wall of the church the image of the Savior Not Made by Hands; coming to the newly built stone church in the Lavra and buried by the Lavra brethren.
The largest works by Andrei Rublev are icons, as well as frescoes in the Cathedral of the Assumption in Vladimir (1408). The deisis of the work of Theophanes the Greek and Andrei Rublev, as well as the entire golden-domed Church of the Annunciation in the royal court, near the royal treasury, burned down during a great fire in Moscow in 1547.
Epiphany
Andrey Rublev (?)
first half of the 15th century
81 x 62 cm
icon. Festive rank
Cathedral of the Annunciation of the Moscow Kremlin
The greatest masters of Old Russian painting, including Dionysius, were deeply influenced by his work. At the Stoglava Cathedral (1551), Rublev's iconography was proclaimed a role model: it was directly instructed "to paint icons from ancient images, as the Greek painters wrote, and as Andrei Rublev and other notorious painters wrote."
The great work on the restoration of his works and clarification of his artistic biography, done in the XX century, led to the formation of a romantic "Rublev legend", extracting the heroic figure of the artist from the anonymous, ascetic, supra-individual environment of medieval creativity.
Locally revered as a saint since the 16th century, Andrei Rublev in our time has become one of the all-Russian saints: canonized by the Russian Orthodox Church in 1988; the church commemorates him on July 4 (July 17 n.c.).
Savior the Almighty
Andrey Rublev
1410 - 1420s
158 x 106 cm
(the icon "Spas" has a right pine board, added at a later restoration
icon. The central part of the icon-painting Deesis from Zvenigorod
Moscow, State Tretyakov Gallery
Creativity of Andrei Rublev
The works of Andrei Rublev belong to the highest achievements of Russian and world spiritual art, which embodied a sublime understanding of the spiritual beauty and moral strength of man in Holy Russia. These qualities are inherent in the icons of the Zvenigorod tier ("Savior", "Apostle Paul" (located in the Russian Museum), "Archangel Michael", all - at the turn of the XIV-XV centuries), where laconic smooth contours, a broad manner of writing are close to the techniques of monumental painting.
Transfiguration
Andrey Rublev
Moscow school
1405 BC
80.5 x 61 cm
linden board, ark, shallow husk. Pavoloka, gesso, tempera
icon. Festive rank
Cathedral of the Annunciation of the Moscow Kremlin
Of the Rublev's frescoes in the Assumption Cathedral, the most significant is the Last Judgment, where the traditionally formidable scene turned into a bright holiday of the triumph of Divine justice. The works of Andrei Rublev in Vladimir testify that by that time he was a mature master who stood at the head of the school of painting he created.
In 1425-1427 Rublev, together with Daniil Cherny and other masters, painted the Trinity Cathedral of the Trinity-Sergius Monastery and created icons of its iconostasis. The time when new internecine wars were brewing in Russia and the harmonious ideal of man, which had developed in the previous period, did not find support in reality, also affected the work of Rublev. The coloring of the later icons is darker; in some icons, the decorative principle is intensified, in others archaic tendencies are manifested. Some sources call the painting of the Savior Cathedral of the Andronikov Monastery (c. 1427) the last work of Rublev. He is also credited with a number of works, the belonging of which to Rublyov's brush has not been precisely proven: frescoes of the Assumption Cathedral on Gorodok in Zvenigorod (late 14th - early 15th centuries), icons - Our Lady of Vladimir (c. 1409, Assumption Cathedral, Vladimir ), “Savior in Strength” (1408), part of the icons of the festive rite (“Annunciation”, “Nativity of Christ”, “Meeting”, “Baptism”, “Resurrection of Lazarus”, “Transfiguration”, “Entrance to Jerusalem” - all ok . 1399) of the Annunciation Cathedral of the Moscow Kremlin, part of the miniatures "Gospel Khitrovo".
Savior in strength
Andrey Rublev
Moscow school
10s of the 15th century
18 x 16 cm
icon
Moscow, State Tretyakov Gallery
Archangel Gabriel
Moscow school
1425 - 1427
189.5 x 89.5 cm
icon. Deesis rank
Dmitry Solunsky
Andrey Rublev and his follower
Moscow school
1425 - 1427
189 x 80 cm
icon. Deesis rank
Trinity Cathedral in the Trinity-Sergius Lavra. Sergiev Posad
Nativity
Andrey Rublev
1405 BC
81 x 62 cm
icon. Festive rank
Cathedral of the Annunciation of the Moscow Kremlin
Presentation of the Lord
Andrey Rublev
1405 BC
81 x 61.5 cm
icon. Festive rank
Cathedral of the Annunciation of the Moscow Kremlin
Entry of the Lord into Jerusalem
Andrey Rublev
1405 BC
80 x 62.5 cm
linden board, ark, shallow husk. Pavoloka, gesso, tempera
icon. Festive rank
Cathedral of the Annunciation of the Moscow Kremlin
Ascension of the Lord
Andrey Rublev
1408 BC
125 x 92 cm
linden board, pavoloka, gesso, tempera
icon
Moscow, State Tretyakov Gallery
Saint John the Baptist
Andrey Rublev with assistants
Tver school
1408 BC
313 x 105 cm
linden board, pavoloka, gesso, tempera
icon. Deesis rank
archangel Michael
Moscow school
1408 BC
314 x 128 cm
linden board, pavoloka, gesso, tempera
icon
Saint Gregory the Theologian
Andrey Rublev, Daniil Cherny and the workshop
Moscow school
1408 BC
314 x 106 cm
linden board, pavoloka, gesso, tempera
icon. From the deesis rank ("Vasilievsky rank") of the Assumption Cathedral in Vladimir
Saint John Chrysostom
Andrey Rublev, Daniil Cherny and the workshop
1408 BC
313 x 105 cm
linden board, pavoloka, gesso, tempera
icon
Annunciation
Andrey Rublev, Daniil Cherny and the workshop
1408 BC
125 x 94 cm
linden board, pavoloka, gesso, tempera
icon. Festive rank
Descent into Hell
Andrey Rublev, Daniil Cherny and the workshop
1408 BC
124 x 94 cm
linden board, pavoloka, gesso, tempera
State Tretyakov Gallery
Apostle Andrew the First-Called
Andrey Rublev, Daniil Cherny and the workshop
Moscow school
1408 BC
313 x 105 cm
linden board, pavoloka, gesso, tempera
Archangel Gabriel
Andrey Rublev, Daniil Cherny and the workshop
Moscow school
1408 BC
317 x 128 cm
linden board, pavoloka, gesso, tempera
Art critic M.V. Alpatov wrote: "The art of Rublev is, first of all, the art of big thoughts, deep feelings, compressed by the framework of laconic images-symbols, the art of great spiritual content", "Andrei Rublev revived the ancient principles of composition, rhythm, proportions, harmony, relying mainly on his artistic intuition. "
Andrei Rublev (1370-1428) is the most famous and respected icon painter of the Russian land. Canonized by the Orthodox Church as a saint.
Monasticism
The painter was tonsured at the Andronikov monastery under the name Andrei. Rublev's work proceeded from the ancient traditions of the Moscow principality, and he acquired artistic experience following the Slavic religious canons.
It cannot be called painting in the usual sense, his work from the very beginning reflected a sacred theme. The first works of the artist, which he wrote, were intended for the "Gospel of Khitrovo". These were miniatures that matched the meaning of the book.
The first masterpieces
In 1405, Rublev participated in the painting of the Annunciation Cathedral of the Moscow Kremlin, together with Theophanes the Greek, an experienced icon painter, who at that time already had such masterpieces as Monk Andrei Rublev was admitted to such a responsible work, and even with such a famous artist as thanks to his pronounced talent. In the very first months of the icon painters' work, the higher clergy of Moscow were convinced of the correct choice - the paintings of Andrei Rublev fully corresponded to the high church standards of that time. After completing work on the frescoes of the Annunciation Cathedral, Rublev became a recognized master of Russian icon painting.
The second time Andrei Rublev's paintings are mentioned in the annals of 1408, they were murals in the Vladimir Cathedral of the Assumption. This time the artist worked together with the famous icon painter Daniil Cherny. By that time, Rublev had already formed his own style, truly Russian. The next joint work of the icon painter was the Cathedral of the Trinity-Sergius Lavra in Sergiev Posad.
"The Holy Trinity"
At the very beginning of the 15th century, Andrei Rublev created one of the main works of his entire life - an icon that is currently in the Tretyakov Gallery in Moscow. The artist endowed the traditional plot from the Bible with a special meaning, gave the image a barely noticeable plot content. In the center, the icon painter placed a bowl, and around - three angels sitting aloof. Holy spirits, servants of God are dressed in different ways. The angel in the middle is dressed in a red chiton with a yellow clave sewn on and covered with a blue himation, behind it is a spreading tree, a symbol of belonging to the Supreme Creator. The Holy Spirit on the right, in clothes of smoky green tones, is in its hypostasis, a rock rises behind him. The angel on the left, in light purple capes, is located against the background of the house, he is the creator, the head of the house-building. Fatherly superiority is read in the look turned to the other two angels. The holy spirit in the middle and the angel sitting on the right bowed their heads in his direction.
The unsurpassed world-class masterpiece created by the Russian icon painter Andrei Rublev is Trinity. Description of the picture, its history, information about where it was for six hundred years - all this is reflected in special editions dedicated to the great artist. The most reliable information can be found in the Tretyakov Gallery, which is located at the address: Moscow, Lavrushinsky Lane, 10.
List of works
The famous paintings of Andrei Rublev are about thirty icons painted by the artist at different times, which are in the Annunciation Cathedral of the Moscow Kremlin, the Cathedral of the Assumption in Vladimir, the Russian Museum of St. Petersburg, the Tretyakov Gallery. At one time, icon-painting images were found corresponding to the style of the famous icon painter, but it was not possible to determine the full identity.
Let's list the paintings by Andrei Rublev with the names and location:
- "Transfiguration of the Lord" (81x61 cm). Festive rite in the iconostasis of the Annunciation Cathedral.
- "Annunciation" (81x61 cm). Festive rite in the iconostasis of the Kremlin Cathedral of the Annunciation.
- "Savior the Almighty" (158x106 cm). Tretyakov Gallery.
- "The Old Testament Trinity" (142x114 cm). Tretyakov Gallery.
- "Presentation of the Lord" (81x61 cm). Annunciation Cathedral, festive rite.
- (189x89 cm). Trinity Cathedral of the Zagorsk Monastery.
- "Dmitry Solunsky" (189x80 cm). Trinity Cathedral of the Sergiev Posad Lavra.
- "The Nativity of Christ" (81x62 cm). Cathedral of the Annunciation of the Moscow Kremlin.
- "Savior in Strength" (18x16 cm). Tretyakov Gallery.
- "Entrance to Jerusalem" (80x62 cm). Festive rite in the iconostasis of the Annunciation Cathedral.
- "Ascension of the Lord" (125x92 cm). Tretyakov Gallery.
- "Saint John the Baptist" (315x105 cm). Tretyakov Gallery.
- "Gregory the Theologian Saint" (314x106 cm). Cathedral of the Assumption in Vladimir.
- "Descent into Hell" (124x94 cm). Tretyakov Gallery.
Andrey Rublev's paintings in the Russian Museum
The following icons are in St. Petersburg:
- "Archangel Gabriel" (317 x 128 cm);
- "Apostle Andrew the First-Called" (313x105 cm);
- "Annunciation" (125x94 cm);
- Prelate "(313x105 cm);
- "Archangel Michael" (314x128 cm).
The name of Andrey Rublev became the personification of ancient Russian art.
Andrey Rublev - perhaps the most famous artist of medieval Russia. His name is still widely known today, but we know very little about his life.
Where and when he was born is unknown. Moscow is called the place of his birth (1360?), And his place of residence is the Trinity Monastery.
The first chronicle mention of the "monk Andrei Rublev" dates back to 1405: at this time, together with Theophanes the Greek and Prokhor from Gorodets, he decorated the Annunciation Cathedral of the Moscow Kremlin with icons and frescoes. These frescoes have not survived.
Icon "Venerable Andrei Rublev"
Some information about him can be gleaned from the annals. For example, the chronicle indicates that in 1408, together with Daniel Cherny, he painted the Assumption Cathedral in Vladimir, the Church of the Holy Trinity in the Trinity Monastery. The frescoes have not survived. According to the testimony of Epiphanius the Wise, Andrei Rublev painted this temple in the 1420s. After the death of Daniel Cherny, Andrei Rublev worked in the Moscow Andronikov Monastery, where he painted the Church of the Savior (his last work). But only small fragments of the ornament have survived to this day.
Most of the documented works of Rublev have not reached us, except for two icons from the Deesis and seven icons from the festive row in the iconostasis of the Kremlin Cathedral of the Annunciation; part of the frescoes of the Vladimir Assumption Cathedral; the famous icon "Trinity" from the Trinity Church of the monastery of the same name.
Rublev is also credited with miniatures and initials of the Khitrovo Gospel (early 15th century, Russian State Library, Moscow); Our Lady of Tenderness from the Assumption Cathedral of Vladimir (c. 1408-1409); Zvenigorod tier, from which three icons have survived: with Christ the Savior, the Archangel Michael and the Apostle Paul (c. 1410-1420); fragments of frescoes on the altar pillars of the Assumption Cathedral in Gorodok (Zvenigorod) and on the altar barrier of the Nativity Cathedral in the Savvino-Storozhevsky Monastery near Zvenigorod.
But many more icons are attributed to the "Rublev's circle", although there is no way to confirm their authorship.
Andrei Rublev died in the Andronikov monastery on January 29, 1428 (?). Since 1959, the Andrei Rublev Museum has been operating here, where you can get acquainted with the art of his era.
At the Stoglav Cathedral in 1551 Rublev's iconography was recognized as a model. In the XX century. much attention was paid to this painter, his works were studied and restored, the minimal information about his life that was already known was clarified, his name was covered with a haze of romanticism. And after the famous film by A. Tarkovsky "Andrei Rublev", the image of this artist was riveted close attention even by those people who were far from both faith and icon painting. In 1988 he was canonized by the Russian Orthodox Church as a venerable saint.
Creativity of Andrei Rublev
Andrey Rublev Hall at the Tretyakov Gallery
Second half of the 14th - early 15th centuries were noted in Russia by their interest in moral and spiritual problems. Andrei Rublev embodied in his painting a new, sublime understanding of the spiritual beauty and moral strength of man. Therefore, his work is one of the peaks of Russian and world culture. The greatest masters of Old Russian painting, including Dionysius, were deeply influenced by his work.
Assumption Cathedral in Vladimir
The Assumption Cathedral in Vladimir is an outstanding monument of the white-stone architecture of pre-Mongol Rus (1158).
At the beginning of the XV century. Andrei Rublev and Daniil Cherny were invited to decorate the temple. Some images of the large composition of the Last Judgment, which occupied the entire western part of the temple, and fragmentary images in the altar of the cathedral, have survived from their paintings. Most of the frescoes that have come down to our time were made in the 19th century.
This is the only surviving fresco by Andrei Rublev. It is mentioned in the Trinity Chronicle; it is also the only documented, accurately dated and preserved monument in the artist's creative heritage.
Icon of Our Lady of Vladimir "Tenderness" from the Assumption Cathedral in Vladimir (c. 1408)
The authorship of the icon is attributed to Andrei Rublev. I. E. Grabar, V. N. Lazarev, G. I. Vzdornov, O. S. Popova agree with this opinion.
M.V. Alpatov and E.S. Smirnova reject its authorship.
The icon "Tenderness" is one of the most ancient copies of "Our Lady of Vladimir".
Our Lady of Vladimir
Icon "Trinity" (1411-1425 / 27)
This icon is the standard of Rublev's creativity, his authorship is undoubtedly. One of the most famous Russian icons.
Andrei Rublev "Trinity". Tempera on wood. 142 x 114 cm State Tretyakov Gallery (Moscow)
The icon depicts three angels. They are sitting at a table on which stands a bowl with a calf's head. The figures of the angels are arranged so that the lines of their figures form a kind of vicious circle. The compositional center of the icon is the bowl. The hands of the middle and left angels bless the cup. Angels are motionless, they are in a state of contemplation, their gazes are directed to eternity.
In the background - a house (Abraham's chambers), a tree (Mamre oak) and a mountain (Mount Moriah).
Mamvri oak (Abraham's oak) - the tree under which, according to the Bible, Abraham received God.
Mount Moriah (Temple Mount) - a rectangular area surrounded by high walls, towering above the rest of the Old City of Jerusalem, 774 meters above sea level.
The appearance of three angels to Abraham is a symbol of the consubstantial and three-hypostatic God (Holy Trinity). It was the Rublev icon that corresponded to these ideas. In an effort to reveal the dogmatic doctrine of the Holy Trinity, Rublev minimized the details that precede the meal. Angels talk, not eat, and in the icon all attention is focused on the silent communication of three angels.
Over the angel symbolizing God the Father, Rublev placed the chambers of Abraham. The Mamvri oak symbolizes the tree of life and recalls the Savior's death on the cross and His resurrection (center). The mountain is a symbol of spiritual ascent, which is carried out through the action of the third hypostasis of the Trinity - the Holy Spirit.
Gospel Khitrovo
This is a handwritten Gospel of the late XIV century. It is named after its owner, boyar Bogdan Khitrovo. The manuscript was adorned with a precious setting and donated to the Trinity-Sergius Lavra, where it was kept in the altar until 1920. At present, the Gospel is in the collection of the Russian State Library.
The gospel is richly decorated (headpieces, initials, miniatures and symbols of the evangelists). The origin of the manuscript is attributed to the Moscow school of Theophanes the Greek, and the authorship of a number of miniatures is attributed to his student, Andrei Rublev.
"Angel of Rublev"
Icons from the iconostasis of the Trinity Cathedral of the Trinity Monastery (c. 1428)
All researchers are unanimous in the opinion that the iconostasis belongs to the Rublev era and that to one degree or another Rublev and Daniil Cherny participated in its creation. The iconostasis is still poorly understood and has not been fully published.
This is the only one of the first high iconostases of the early 15th century that has survived almost completely (only some of the icons have been lost).
Zvenigorod rank (c. 1396-1399)
"Zvenigorod rank" - three icons depicting the Savior, the Archangel Michael and the Apostle Paul (from the collection of the State Tretyakov Gallery).
Presumably from the iconostasis of the Assumption Cathedral in Gorodok. For a long time it was attributed to the brush of Andrei Rublev, but in 2017 the attribution was set aside on the basis of high-tech comparisons with the "Trinity".
Nativity Cathedral in the Savvino-Storozhevsky Monastery (frescoes)
Savvino-Storozhevsky Monastery (Zvenigorod)
Founded at the end of the XIV century.
Images of the hermits Paul of Thebes and Anthony the Great. Some scholars attribute the authorship of the frescoes to Andrei Rublev.
Icon "John the Baptist" (mid-15th century)
The icon comes from the Nikolsky Pesnosh monastery near the town of Dmitrov. Belonged to the Deesis semi-figured rank of the Zvenigorodsky type. Attributed to Andrei Rublev.
Icon "Savior in Strength" (early 15th century)
Attributed to Andrei Rublev or "Rublyov's circle".
Andronikov's Gospel (Moscow, first quarter of the 15th century).
The miniature "Savior in Glory" was made by the artist "Rublev's circle". The manuscript does not contain direct dating, but its design is similar to such well-known manuscripts as the Khitrovo Gospel.
Conclusion
Rublev's work is distinguished by two traditions: Byzantine harmony, sublime asceticism and softness of style, characteristic of Moscow painting of the XIV century. It is this gentleness, as well as concentrated contemplation, that distinguish his works from other paintings of that time. Rublev's characters are most often depicted in a state of serenity or a state of prayer. This distinguishes his work from the expressive Theophanes the Greek. An atmosphere of quiet contemplation and goodness flows from the icons of Andrei Rublev. This silence is also present in the color - dim, calm; and in the roundness of the figures; and in the harmony of lines like a quiet melody. All creativity of Andrey Rublev is permeated with light. Therefore, it is not at all surprising that Rublev's art is perceived as the ideal of church painting.
For the Russian people and world Orthodoxy, the icon painter Andrei Rublev has become a symbol of art and a kind of standard of the Russian people, the greatness of the Slavic spirit. The master's icons and frescoes breathe harmony with the universe, remind of the lost paradise, happiness and serenity.
Fans compare the work of the icon painter to poetry. It is just as solid, timeless and brilliant. Looking at the faces of the Rublev saints, you see self-sacrifice, beauty and greatness of man. Andrei Rublev understood the essence and spirit of faith in God, therefore the Russian Orthodox Church canonized the icon painter, numbered among the venerable saints.
Childhood and youth
The icon painter was born presumably in 1360 on the territory of the Moscow principality (other sources indicate Veliky Novgorod as the birthplace of Rublev). Information about the artist's childhood, youth and family is extremely scarce. Historians and art historians, starting from the surname Rublev, put forward the assumption that Andrey's ancestors on his father's side are artisans.
The name Andrei Rublev was given after the monastic tonsure in a men's monastery on the left bank of the Yauza, familiar to us as Andronikov. The artist's worldly name is not known. The researchers agreed that the patronymic of Andrei Rublev was Ivanovich: the signature “Andrei Ivanov, son of Rublev” was distinguished on the preserved icon of that time.
Iconography
The biography of the saint dates back to 1405 - this is the year of the first written mention of Andrei Rublev. The chronicle says that the monk Rublev, together with Theophanes the Greek and Prokhor the Elder who arrived from Kafa, painted the walls of the Annunciation Cathedral in the Moscow Kremlin. Collaboration with the luminaries of icon painting was trusted to the artist whose skill was not questioned. Art critics suggest that already in his youth, Andrei Rublev had experience in Slavic artistic icon painting.
Working in tandem with Feofan, whose writing style is called pictorial cursive writing for precise and clear strokes, was an honor for the young master. The icons of the Greek amaze with their grandeur, the faces of the saints depicted by him are severe and brilliant in every stroke. But having adopted the best in technique, Andrei Rublev developed his own style of icon painting, in which there is no drama and severity of Theophanes the Greek. Rublev's icons are filled with tranquility, clarity and harmony. Art critics point to the artist's palette, as if inspired by a summer sunny day: here there are golden fields with cornflower-blue interspersing, a scarlet dawn and a turquoise river.
The painting of the Annunciation Cathedral has been lost, but seven icons have been preserved in the cathedral iconostasis, which are attributed to the brush of Andrei Rublev. It is believed that the artist painted the figures of the Apostle Peter and the Archangel Michael. His hand is recognized in the images of the martyrs Dmitry and George, as well as in icons dedicated to the main events of the Christian church. The work of Andrei Rublev is called the fresco "Transfiguration", where the "Rublev" palette is easily recognizable. The silhouette is inscribed in a circle, the apostles are located in a semicircle. Andrei Rublev considered the circle to be an ideal geometric figure, the circle is found in the works of the last decade.
At the beginning of the 15th century, Andrei Rublev, together with his colleague Daniil Cherny, painted the Assumption Cathedral near Zvenigorod. Probably, the icon painter received an invitation from his godson - Prince Yuri Zvenigorodsky. The surviving frescoes show Rublev's technique, but his brushes most likely belong only to the images of Saints Florus and Laurus. The rest of the icons were painted by artisan artists, whose style was influenced by the work of Andrei Rublev. The icon painter's works include three frescoes of the "Zvenigorod rank".
A new tradition has found embodiment in the icon "Savior", which marked the golden age of the flourishing of the Russian art of icon painting. The early works of Andrei Rublev include illustrations for the "Gospel of Khitrov". The artist painted miniatures of the evangelists and their symbols. Fascinating is the miniature of an angel - the symbol of the Evangelist Matthew. The "Rublevsky" circle is encountered again, in the center of which is a winged youth walking. The composition seems to be pushing for the idea of \u200b\u200breturning all that exists to square one. The miniatures for the "Gospel of Khitrov" echo the Byzantine tradition, but the saints of Andrei Rublev differ from the images of the Greeks in a certain spiritual calmness, depth in spiritual life and detachment from the outside.
The second written mention of the master dates back to 1408. It talks about the beginning of the painting by Andrey Rublev and Daniel Cherny of the Vladimir Church. Masters painted the Assumption Cathedral, erected before the invasion of the Mongol horde. Frescoes of the Last Judgment Rublev and Cherny were placed in the western part of the temple, on its vaults. This master's work is the most famous of Vladimir's. The images are not scattered canvases, but a single whole. Most researchers agree that the master's brush belongs to the "Vladimirskaya Mother of God".
The prophet Daniel with an angel pointing to the fresco of the Last Judgment, the righteous led by the Apostle Peter to paradise, trumpeting angels - in the Apocalypse of Andrei Rublev there is no edification and the desire to frighten the Byzantine icon painters. Rublevsky Last Judgment is more merciful, it gives hope for deliverance. At the end of 1408, the Tatar horde of Khan Edigei moved to Russia. The army destroyed Serpukhov, Pereslavl, Nizhny Novgorod and Rostov, approached Moscow. The Trinity Monastery was destroyed, and in 1410 the Tatars attacked Vladimir, destroying the Assumption Cathedral.
The traces of the icon painter are lost; they have not heard about him for two decades. Perhaps, in these difficult times for Russia, Andrei Rublev fled to the Andronikov monastery. The restoration of the Trinity-Sergius Monastery began in 1422. The third mention of the master belongs to this period. Above the tomb of St. Sergius of Radonezh, instead of a burnt wooden one, a temple of stone appeared. Hegumen Nikon invited Andrei Rublev to paint it. The master created an icon in the Trinity Cathedral, which art critics call a masterpiece and the pinnacle of Rublev's creative heritage.
The famous "Trinity" amazes with the perfection of the composition. And again Andrei Rublev resorts to the circle created by the figures of angels bowed over the bowl. Art critics agree that Andrei Rublev's brushes belong to the icons "Savior", "Apostle Paul" and "Archangel Michael" belonging to the "Zvenigorod rank". They are kept in the State Tretyakov Gallery. Other icons and frescoes attributed to Rublev are called by researchers the works of the artel or Rublev's contemporaries who copy his style.
Personal life
In his youth, Andrei Rublev was ordained to the monastic rank. He gave up the desire to have a family and children. His whole life was devoted to serving God and creativity in the name of his glorification. There is no information about the artist's relatives. It is not known if he had brothers, sisters and nephews.
Death and memory
The icon painter died in the late autumn of 1428 from the plague epidemic raging in Moscow. Death overtook Andrei Rublev in the Andronikov Monastery, where in the spring he together with Daniil Cherny worked on the fourth work - the frescoes of the Savior Cathedral (they have not survived). Soon, his faithful companion and friend followed the icon painter. According to legend, before his death, Andrei Rublev appeared to Daniil Cherny, "in joy calling him to heaven." Daniel found Andrey's appearance joyful and light.
The icon painter was buried near the bell tower of the Spassky Cathedral. In 1988, the artist was canonized and canonized, establishing 17 July as his day of remembrance. In the mid-1990s, archaeologists discovered the ancient throne of the Savior Cathedral, and next to it the relics. They were attributed to the famous master, but they soon recognized the fallacy of the statement.
Researchers call the generally accepted date of the artist's death erroneous, claiming that Andrei Rublev died at the end of January 1430. The architect P. D. Baranovsky insists on the date January 29, 1430. The architect assured that it was she who was carved on Rublev's tombstone before it was lost. At this place, the Andrei Rublev Museum of Old Russian Art was built, the founder of which is the architect Pyotr Baranovsky.
In the late 1940s, a reserve appeared in the Spaso-Andronikov Monastery. The great Rublev is also remembered in Vladimir: a monument to the icon painter stands at the entrance to the park named after A.S. Pushkin. In honor of the reverend saint, a crater on Mercury was named, a series of commemorative coins and a postage stamp were issued. In 1966, at the Mosfilm studio, the director filmed the movie Andrei Rublev. The original title of the painting - "The Passion for Andrew" - was abandoned. The film consists of eight short stories, in which the troubles of the Middle Ages are described through the eyes of the monk Andrei Rublev. The artist was played by actor Anatoly Solonitsyn.
Icons and frescoes
- Archangel Michael from the Deesis order, 1414
- Ascension of the Lord, 1408
- Apostle Paul from the Deesis order, 1410s. State Tretyakov Gallery (State Tretyakov Gallery)
- Spas in forces, 1408
- Spas, 1410th
- Descent into Hell, 1408-1410. State Tretyakov Gallery
- Nativity. Cathedral of the Annunciation of the Moscow Kremlin
- Archangel Michael, 1408. A cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
- Archangel Gabriel, 1408. A cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
- Mother of God, 1408. A cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
- Gregory the Theologian, 1408. A cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
- John Chrysostom, 1408. A cycle of icons of the Deesis order of the iconostasis of the Assumption Cathedral in Vladimir
- John the Theologian, 1408. A cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
- John the Baptist, 1408
- Andrew the First-Called, 1408. A cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
- Annunciation, 1405
- Transfiguration, first quarter of the 15th century. State Tretyakov Gallery
- Holy Trinity, 1410s. State Tretyakov Gallery
