Nativity. The Patriarch hails the Sovereign in the Golden Chamber.
Buchholz Fedor (Theodor Alexander Ferdinand) Fedorovich (Gustavovich) (1857-1942).
Illustration for the Niva magazine. Engraved by Schübler
Christmas market.
Genrikh Matveevich Manizer. Canvas, oil.
Omsk regional museum fine arts them. M. A. Vrubel
Christmas market.
Buchkuri Alexander Alekseevich (1870 -1942). 1906
Preparatory drawing for the painting "Christmas Market". 1918
Kustodiev Boris Mikhailovich
Christmas market.
Boris Mikhailovich Kustodiev. 1918 Oil on canvas. 98x98.
Krasnodar Regional Art Museum them. F. Kovalenko, Krasnodar
Canvases on the theme of the festive provincial life are distinguished by a special, only for Kustodiev characteristic brightness, multicolor and vitality the smallest details. Folk holidays and festivities are reflected in many works of the artist different years. While still a student of the St. Petersburg Academy of Arts, Kustodiev thesis chose a picture on a similar plot. He traveled through the villages, painted sketches - portraits of peasants, landscape sketches, genre scenes. The Christmas Tree Market, a work created by the artist in 1918, also belongs to the same topic.
Singing the life and customs of the Russian provinces, Kustodiev miraculously combined painting with verbal and musical folklore- with a song and a fairy tale. An attentive, thoughtful viewer not only sees, but also "hears" the artist's work. Painted, most likely from memory, the picture does not have an exact geographical address - this is Rus' in general, and not the Astrakhan or Kostroma Christmas tree market. The action on the canvas takes place as if "in a certain kingdom, in a certain state." The spacious sky and the gilded domes of the church above the fussy anthill of people - who is there among this motley crowd! The real is wonderfully combined with the fantastic: a colorful fairy tale, full of vivid details, appears before us. And the artist, like a real storyteller, emphasized all the funny, toy that is in this simple story, hiding all the serious that can be hidden in it. The Christmas tree market is depicted by the artist as a festive spectacle. The space of the picture resembles a stage. The arrangement of the figures, at first glance, is given chaotically: the image can be continued both to the right and to the left. The openness of the composition, its peculiar fluidity further enhance this overall impression.
A large place is given to the landscape in this genre scene - church domes seem fabulous against the backdrop of a snowy sky, spruce trees are removed in elegant winter clothes - the main subject of bargaining at the fair. The artist made the brushstroke on the canvas easily, smoothly, even somehow delicately. Kustodiev attached great importance to line, drawing, and the play of color spots. Chiaroscuro in this case does not have of great importance, the light becomes very conditional. Local color spots form a harmonious decorative whole. The sky covered with clouds has no depth, the domes of the church are intense in color, due to which the difference in plans is reduced to almost nothing.
On the one hand, Kustodiev noticed and transferred to the canvas the true types of the Russian provinces, conveyed the real atmosphere of New Year's fuss, and on the other hand, the artist himself plays a festive performance, a costume performance with beautiful scenery. A joyful, incomparable feeling of fullness of life and movement permeates the canvas. Life in this work is visible everywhere: people are bustling, rejoicing and fussing, drawing their intricate patterns in the sky snowy winter, and all this action is wrapped in the fresh coniferous aroma of the beautiful spruce.
The world in the picture of Kustodiev is similar magic lantern with constantly changing pictures - you can endlessly watch its diverse, so simple, uncomplicated and at the same time complete deep meaning life. The blue and pale white colors of the picture pacify, delight, as if lulling, creating a gentle and poetic atmosphere of waiting for a miracle on the eve of the holiday - timeless, always modern. They remind us, always busy and in a hurry somewhere, that everything in this world is beautiful, that life is amazing just because it is life.
From the book: T. Kondratenko, Y. Solodovnikov "Krasnodar Regional Art Museum named after F.A. Kovalenko". White city, 2003.
Behind the trees
Return from the Christmas market.
MM. Germashev (Bubello). Postcard
Preparing for Christmas.
Sergei Vasilyevich Dosekin (1869-1916). 1896
Christmas tree.
Korin Alexey Mikhailovich.1910
Christmas tree.
Nikolai Ivanovich Feshin (1881-1955). 1917
Christmas tree.
Alexander Moravov. 1921
New Year's Eve meal.
Grand Duchess Olga Alexandrovna Romanova (sister of Emperor Nicholas II). 1935
Christmas day. In the monastery.
Ivan Silych Goryushkin-Sorokopudov. Illustration in the magazine "Niva"
Slavilshchiki-city.
Solomatkin Leonid Ivanovich 1867 Oil on canvas
Glorifiers.
Solomatkin Leonid Ivanovich 1868 Oil on canvas.
State Russian Museum
Slavilshchiki.
Solomatkin Leonid Ivanovich Canvas, oil.
State Vladimir-Suzdal Historical, Architectural and Art Museum-Reserve
Slavilshchiki.
Solomatkin Leonid Ivanovich Canvas, oil.
Odessa Art Museum
Slavilshchiki.
Solomatkin Leonid Ivanovich 1872 Oil on canvas. 40.3?51.5.
Ulyanovsk Art Museum
City-Christoslavs.
Solomatkin Leonid Ivanovich (1837-1883). 1872 Oil on canvas.
Perm State Art Gallery
Solomatkin Leonid Ivanovich (1837 - 1883) attended classes Imperial Academy Arts and received a small silver medal for the paintings "The Name Day of the Deacon" (1862) and "The City Slavers" (1864), which V. V. Stasov welcomed as "a wonderful fresh offspring of the Fedotov school." The last plot was subsequently repeated several times, at least 18 author's replicas are known, although the first version has not been preserved. Art catalog
In the cellar holy week.
Solomatkin Leonid Ivanovich (1837-1883). 1878 Oil on canvas. 26.5x21.5.
Art Gallery Generations Fund of Khanty-Mansiysk autonomous region Ugra
Admission: 2003
In the painting "In the Cellar at Christmas Week" Solomatkin depicts his favorite characters - itinerant musicians. Is talent a burden or a gift, a blessing or a curse? Talent is destiny. Talent did not make the artist and his heroes happy, but they fulfill their mission with dignity. The musicians depicted in the picture have known better days. The cello played by the old man is a professional instrument that allows the musician to claim some kind of specialness, testifying to a certain level of life left in the past. The old man is accompanied by a boy who plays along with him on the pipe. Apparently, for the sake of this boy, carefully covered with a warm scarf, the old man has to wander with a heavy tool from the tavern to the tavern, earning a living. There is a Christmas tree decorated with toys in the room, and masks and masquerade costumes hang on a hanger, giving everything that happens a phantasmagoric shade. Art Gallery of the Generations Fund of Khanty-Mansi Autonomous Okrug of Yugra
Waits. (Children of the old village).
Fedot Vasilyevich Sychkov (1870 - 1958). 1935. Oil on canvas. 63x83 cm
Mordovian Republican Museum of Fine Arts named after S. D. Erzya
With a star
Reproduction from a painting by M. Germashev, published by the company "Richard", printed in the printing house of the partnership "R. Golike and A. Vilborg". Petrograd, 1916
Christmas card based on a drawing by Boris Zworykin
Carols in Little Russia.
Trutovsky Konstantin Alexandrovich (1826-1893). Not later than 1864
Russian painting
Carols.
Nikolai Kornilovich Pimenko. Deut. floor. 1880s. Canvas, oil. 170x130.
Donetsk Regional Art Museum
museum-painting.dp.ua
Holiday riding.
Buchkuri Alexander Alekseevich (1870 -1942). Canvas, oil.
Andrei Rublev.
"Nativity".
1405.
Annunciation Cathedral of the Moscow Kremlin.
Since ancient times, the celebration of Christmas in Rus' began on the night of December 25th. On the eve of the holiday, when the early winter sunset burned out in the frosty air and the pink light on the snows became colder and colder and somehow completely imperceptibly turned blue, people left the houses, leaving pre-holiday preparations and looked at the darkening sky, waiting for the first, Christmas star. . On this day, nothing was supposed to be eaten before the star, and in the evening the food was not very satisfying, but special and long-awaited - bread grains steamed in water with dried berries. It was called sochivom, and the whole day of the pre-festivity - Christmas Eve.
The night of Christmas was coming, time was receding, and in the celebration of its overcoming in snow-covered Rus', every person, old and young, was preparing to become a participant in the meeting on earth of a baby being born. That evening, the first Christmas carols began to sing along the rural and city streets. Their singing in ancient times was widespread throughout Rus'. From the 17th century, the first recordings of North Russian carols have come down, but the chants themselves date back to ancient times. Carols sing of the past as if it is happening today, on this night, and the singers themselves are witnesses and participants in the events. Russian children under moonlight On Christmas Eve, creaking frosty snow on the windowsills, they talked in carols with shepherds going to bow to the newborn Savior of the world.
Christmas was depicted by artists who lived at least 1100 years before Rublev. According to the historian Eusebius of Caesarea (III-IV centuries), no later than the 330s, on the orders of Emperor Constantine, the Church of the Nativity was built in Bethlehem, where, undoubtedly, there was an icon of this holiday. The oldest images Christmas celebrations have survived to this day on silver ampoules, into which oil consecrated in Palestine was poured. They belong to the 5th-7th centuries. For more than a millennium, this iconography took shape and developed before it acquired the form in which Rublev's predecessors painted it and he himself followed them.
Valery Sergeev. Rublev. ZhZL series No. 618.
"Nativity".
1745.
Hermitage, St. Petersburg.
As for the date of the advent, then everything is not so simple here either. If the supernova explosion - the "Star of Bethlehem" is not inserted into the Bible later, because it ignited and became visible in 1054 from the birth of Christ, then the masters of the world wrote an extra millennium into our heads. The Trent Church Cathedral in Constantinople (Constantinople) definitely added an extra millennium ...
Vladimir Pyatibrat. "Deep Book".
Gandolfino da Roreto (Gandolfino d'Asti).
"The Nativity of Christ".
Late XV - early XVI centuries.
Hermitage, St. Petersburg.
When the time came to give birth - it was about midnight on Christmas Day - Mary got up and leaned against the pillar that was there. Joseph sat next to him, saddened, probably because he could not prepare everything necessary for the birth. He got up, took hay from the manger, placed it at the feet of the Virgin Mary and turned away. At that moment, the Son of God left the womb of the Mother without causing her any pain. So He ended up in the hay at the feet of His Mother. After washing Him, She wrapped Him in Her veil and laid Him in a manger.<…>the ox and the donkey bowed their heads over the manger in order to warm the Infant with their breath, as they understood that in such a cold, the barely sheltered Infant needed warmth. Mother, however, kneeling down, prayed and gave thanks to God: I thank You, Lord and Heavenly Father, for giving Me Your Son, and I pray to You, the Eternal God, and to You, the Son of the Living God and My Holy One.
Pseudo Bonaventure. "Reflections on the Life of Christ". About 1300.
"Nativity".
Icon "Christmas".
Mediterranean.
Second half of the 15th century.
Hermitage, St. Petersburg.
Icon "Christmas".
Russia.
XVI century.
Hermitage, St. Petersburg.
Icon "Christmas".
Russia.
End of the 17th century.
Hermitage, St. Petersburg.
Icon "Christmas" in a carved frame.
Palestine.
Between 1801-1860.
Hermitage, St. Petersburg.
Ilya Efimovich Repin.
"Nativity".
1890.
State Tretyakov Gallery, Moscow.
Birth of Jesus
In those days, a command went out from the Roman Caesar Augustus to make a census of all the earth.
And everyone went to sign up - each in his own city. Since Joseph was from the city of Bethlehem, he went there with Mary.
In Bethlehem, it was time for Mary to give birth. She swaddled the baby and put it in a feeder for cattle, in a manger, because there was no place for them and Joseph in the hotel.
And at this time, an angel appeared to the shepherds who guarded the cattle at night and said:
I proclaim to you great joy: in Bethlehem the Savior was born - Christ the Lord. You will find the baby in the manger.
The shepherds came running and found Mary, Joseph and the baby lying in the manger. Then the shepherds told everyone about the guidance and about the baby.
Eight days later they named the baby Jesus.
Then they carried it to Jerusalem to present the baby to God and to sacrifice two turtledoves or two pigeon chicks, as it is said in the laws of Moses.
There was then a man in Jerusalem by the name of Simeon. It was foretold to him that he would not die until he saw the Savior. Simeon came to the temple at the time when the parents brought Jesus there, took him in his arms and said:
Now you release your servant, Master, according to your word in peace, for I saw the Savior.
Joseph and Mary were very surprised at these words.
There was also Anna the prophetess, eighty-four years old. She did not leave the temple at all - she prayed to God day and night. She went up to the baby, and praised the Lord, and began to talk about him to everyone in Jerusalem.
Biblical legends. Derbent, Interexpress. 1992
"Nativity".
1503.
Uffizi Gallery, Florence.
Mathis Gotthart Grunewald.
"Nativity".
Insenheim altar.
THE STAR OF BETHLEhem REALLY FLASHED IN THE MIDDLE OF THE 12TH CENTURY. (ABSOLUTE ASTRONOMIC DATING OF THE LIFE OF CHRIST)
We will use the fundamental work of IS Shklovsky "Supernovae and related problems". In it, the third chapter is almost entirely devoted to the "star of 1054". The remnants of this outburst is the modern Crab Nebula in the constellation Taurus.
Let's say right away that the date "1054" is taken from old chronicles, in particular Chinese and Japanese. Which I. S. Shklovsky fully trusts. But we have no reason to do so. Moreover, it is not at all necessary to involve such dubious information. It turns out that this outbreak supernova can be DATED PURELY ASTRONOMICALLY, and with high accuracy. Which was done by American astronomers in the 20th century.
Reliable astronomical dating star of bethlehem is: 1140 plus or minus 20-30 years. That is, THE MIDDLE OF THE TWELVETH CENTURY.
APPENDIX ABOUT HALLEY'S COMET. Today it is known that the return period of Halley's comet is approximately 76 years ... Since the penultimate time Halley's comet appeared in 1910, it is easy to calculate that around 1910 - 760 = 1150 Halley's comet should also have appeared. Good or bad it was visible that year - we do not know. But if it really arose in the sky as spectacularly as in XVII-XX centuries(for example, as in 1910), then two bright phenomena could be observed in the sky for several years - a starburst around 1150 and Halley's comet around 1150. Which, of course, should have further strengthened the impression of people. Subsequently, the two phenomena could be confused, united. The Gospels say that the Star of Bethlehem MOVED, led the Magi. Which is reminiscent of the behavior of a comet: "And behold, the star which they saw in the east WALKED BEFORE THEM, AS IT FINALLY COME AND STOOD over the place where the Child was" (Matthew 2:9). On fig. 1.7 shows one of vintage images the Gospel Star of Bethlehem in the form of a "tailed star". This is how comets were previously depicted.
An even more frank image of the Star of Bethlehem in the form of a comet can be seen in the painting by Giotto "The Adoration of the Magi" ...
Giotto di Bondone.
"Adoration of the Magi".
The tail of the star is stretched upwards to the left, which means that the artist most likely painted a comet and not, say, a star with a beam pointing to the baby Christ.
Albrecht Altdorfer.
"Holy Night (Nativity)".
It is curious that on medieval painting Albrecht Altdorfer's "Christmas" at the top left are the TWO HEAVENLY LIGHTS that marked Christmas. One of them is a huge star of Bethlehem in the form of a globular flash. And a little lower - a more elongated and swirling luminary, inside of which a small angel is depicted.
We also see a similar image of precisely two heavenly "flashes" that announced the birth of Christ on the famous medieval Paumgartner altar, created by Albrecht Dürer allegedly in the 16th century.
Albrecht Durer.
Paumgartner altar.
1503.
We see a ball flash of the Star of Bethlehem, and a little lower (as, by the way, in Altdorfer's picture) - an elongated swirling luminary with an angel inside. In both of these paintings, a pair of heavenly bodies is depicted in a bright yellow, golden color, immediately striking against the darker background of the rest of the landscape.
Thus, such medieval images convey to us, apparently, old tradition associate with Christmas both the flash of a star and the comet that appeared at that time.
Vasily Shebuev.
"Nativity".
Let us turn to the "Lutheran Chronograph" of the 17th century, which describes world history from the creation of the world to 1680. It refers, in particular, to the celebration of medieval Christian "Jubilees" celebrated in the Vatican in 1299-1550. Jubilees were established in memory of Christ, as they were celebrated on the days of the January kalends. Christmas was celebrated, close to the January calendars, and not another Christian holiday ...
The years of Jubilees were appointed by the Roman popes. According to the "Lutheran Chronograph", in 1390 "Jubilee after the birth of Christ" was appointed by Pope Urban IV as the THIRTY YEAR ANNIVERSARY of the Nativity of Christ. Then he became ten years old, and from 1450, by order of Pope Nicholas VI, - FIFTY YEARS.
Let's carry out a simple, but very interesting calculation. Let us note that if the Jubilee from the Nativity of Christ in 1390 was celebrated as THIRTY YEARS (that is, a multiple of 30 years), and in 1450 - as FIFTY YEARS (a multiple of 50 years), then by simple calculations we come to a complete list of possible - from the point of view medieval popes - the years of the Nativity of Christ. Namely: 1300, 1150, 1000, 850, 700, 550, 400, 250, 100 AD. and so on in steps of 150 years into the past (150 being the least common multiple of 30 and 50). It is striking that in the resulting list of dates there is no that "zero" year AD, where historians place the Nativity of Christ today. It turns out that the Roman popes, who organized the Jubilee, did not at all think that Christ was born at the beginning of our era, as the later chronologists of the 16th-17th centuries stated. The date of the Nativity of Christ was for the popes of the XIV century, obviously, some completely different.
Among the indicated dates, located quite rarely, we see a date that falls exactly in mid-twelfth century. This is 1150. WHAT AGAIN PERFECTLY AGREES WITH THE ASTRONOMICAL DATING OF THE STAR OF BETHLEHEM BY THE YEAR 1140 PLUS MINUS 10 YEARS.
G. V. Nosovsky, A. T. Fomenko. "King of the Slavs".
Giovanni Battista Ortolano.
"Christmas".
Giulio Pippi, nicknamed Giulio Romano.
"Christmas and the Adoration of the Shepherds".
1531-1534.
Domenico Beccafumi.
"Christmas".
Lorenzo Lotto.
"Nativity".
Master from Moulin.
"The Nativity of Christ and Cardinal Rolin".
Master of the Louvre Nativity.
"Christmas".
Piero della Francesca.
"Nativity".
Rogier van der Weyden.
Bladlen Altarpiece (Middelburg Altarpiece).
"Nativity".
"Christmas (Adoration of the Shepherds)".
First half of the 17th century.
1650?
Hermitage, St. Petersburg.
Federico Barocchi.
"Nativity".
Hans Baldung.
"Nativity".
El Greco.
"Nativity".
Elizaveta Merkuryevna Boehm (Endaurova).
"To the Feast of the Nativity of Christ!"
The Pushkin State Museum of Fine Arts has implemented another significant project. An exhibition was placed in the halls of the Moscow Museum, dedicated to creativity outstanding artist Michelangelo da Caravaggio. The exhibition is part of the Year of Italy in Russia.
The exposition includes 11 works by the master from the collections of Italy and the Vatican. The exhibition is small, but rare in its content. Among the works presented are such masterpieces European painting like the "Boy with a Basket of Fruit" from the Borghese Gallery, which almost never leaves the walls Vatican Palace"The Entombment", "The Supper at Emmaus" from Milan's Brera Gallery, "The Conversion of Saul" from the Church of Santa Maria del Popolo and other canvases.
The selection dedicated to Christmas includes the following pictures:
4. Giorgione. Adoration of the Magi.
5. Rogier van der Weyden. Adoration of the Magi.
6. Rembrandt, Harmens van Rijn. Escape to Egypt.
7. Hugo van der Goes. Christmas.
10. Mikhail Vasilievich Nesterov. Nativity.
12. Eugene Henri Paul Gauguin. Christmas.
Giorgio Vasari (1511- 1574) – italian painter, architect and writer.
Vladimir Lukich Borovikovsky(1757-1825) - Russian artist, portrait master.
Giorgio Barbarelli da Castelfranco, better known as Giorgione (1476/1477 – 1510)) - italian artist, representative Venetian school painting; one of the greatest masters of the High Renaissance.
Rogier van der Weyden(1399/1400 - 1464) - van Eyck's rival for the title of the most influential master of early Netherlandish painting.
Rembrandt Harmenszoon van Rijn (16-6-1669) - Dutch artist, draftsman and engraver, Great master chiaroscuro, the largest representative of the golden age of Dutch painting.
Hugo van der Goes(about 1420-25 - 1482) - Flemish painter. Albrecht Dürer considered him the largest representative early Netherlandish painting along with Jan van Eyck and Rogier van der Weyden.
Sandro Botticelli(1445-1510) - the nickname of the Florentine artist Alessandro di Mariano di Vanni Filipepi, who brought the art of the Quattrocento to the threshold of the High Renaissance.
Michelangelo Merisi de Caravaggio(1573-1610), Italian artist, reformer of European painting of the 17th century, one of the greatest masters of the Baroque. One of the first to use the style of writing "chiaroscuro" - a sharp opposition of light and shadow.
Mikhail Vasilievich Nesterov(1862-1942) - Russian and Soviet painter. Honored Artist of the RSFSR (1942). Laureate Stalin Prize first degree (1941).
Shebuev, Vasily Kozmich- (* April 2 (13), 1777 in Kronstadt - † June 16 (28), 1855, St. Petersburg) - Russian painter, actual state councilor, academician, honored rector of painting and sculpture of the Imperial Academy of Arts (1832), one of leading masters of late classicism and academism.
Eugene HenriPaul Gauguin (1848-1903) – french painter, ceramic sculptor and graphic artist. Along with Cezanne and Van Gogh, he was the largest representative of post-impressionism.
Andrey Rublev. Christmas
GLORIA
We hear baby talk, like singing
Those angels that suddenly, for the whole earth,
Through this night and starlight
They came to the desert shepherds.
We notice brotherly agreement
And the meek clarity of simple people,
Open to Heaven, angels and happiness,
What was born on the holy night for them.
We comprehend faith and patience
Magi who sought eternal depth,
And - again we hear singing in this world,
With which Heaven is full.
Oh Lord, Great, Beginningless,
Creator of all stars, blades of grass and people,
You console this sad world
By His immeasurable closeness!
You see the sorrow of the earth: all our inability
Look for you, love, accept, find;
And you leave this song in the middle of the world,
Like the fulfillment of every path.
Your star burns - holy humanity,
AND the world is coming to his love big;
And if anyone saw her, it means eternity
Stopped over his soul.
Archbishop John (Shakhovskoy)1960
Dream of Joseph. Alexander Andreevich Ivanov. 1850s
While they were there, the time came for her to give birth; And she gave birth to her firstborn Son, and swaddled Him, and laid Him in a manger, because there was no place for them in an inn. (Luke 2:6-7). Until the beginning of the 5th century, Christmas was celebrated at the same time as the feast of the Epiphany. Therefore, in painting, the plots of the birth itself and subsequent episodes were mixed, which, strictly speaking, are more related to Theophany - the worship of the Magi (kings), the worship of shepherds, which do not always include the image of the birth of Christ directly.
Nativity of Christ. Gagarin Grigory Grigorievich
The Nativity of Jesus Christ was like this: after the betrothal of His Mother Mary to Joseph, before they were combined, it turned out that She was pregnant with the Holy Spirit. Joseph her husband, being righteous and not wanting to publicize her, wanted to secretly let her go. But when he thought this, behold, the Angel of the Lord appeared to him in a dream and said: Joseph, son of David! do not be afraid to take Mary your wife, for what is born in her is from the Holy Spirit; she will give birth to a Son, and you will call his name Jesus, for he will save his people from their sins. And all this happened, so that what was spoken by the Lord through the prophet would come true, who says: behold, the Virgin in the womb will receive and give birth to a Son, and they will call His name Immanuel, which means: God is with us. Rising from sleep, Joseph did as the Angel of the Lord commanded him, and took his wife, and did not know Her, how at last She gave birth to her firstborn Son, and he called His name: Jesus. (Gospel of Matthew. Ch. 1, 18-25)
Gagarin Grigory Grigorievich Adoration of the Magi
Nativity of Christ (Adoration of the Shepherds).
Shebuev Vasily Kozmich. 1847
Image for the Church of the Annunciation of the Horse Guards Regiment in St. Petersburg
Nativity.
Repin Ilya Efimovich. 1890
Appearance of an angel announcing the birth of Christ to the shepherds. Sketch.
Ivanov Alexander Andreevich. 1850s
State Tretyakov Gallery, Moscow
Doxology of the shepherds. Ivanov Alexander Andreevich. 1850
Appearance of an angel to the shepherds.
Petrovsky Petr Stepanovich (1814-1842). 1839 Oil on canvas. 213×161.
Cherepovets Museum Association
For this picture, a young artist - a student of Karl Bryullov - in 1839 received the first big gold medal Academy of Arts. The canvas was in the museum of the Imperial Academy of Arts until the moment of closing, then it was transferred to the Cherepovets Museum of Local Lore.
Nativity.
Vasnetsov Viktor Mikhailovich 1885-1896
Frescoes in the Vladimir Cathedral in Kyiv
Nativity.
Vishnyakov Ivan Yakovlevich and others, 1755
From the Trinity-Petrovsky Cathedral.
, Saint Petersburg
Christmas.
Borovikovsky Vladimir Lukich. 1790
Tver Regional Art Gallery
Nativity.
Borovikovsky Vladimir Lukich. Canvas, oil
Historical, architectural and art museum "New Jerusalem"
Nativity.
Sketch for the mural on the altar wall of the southern aisle in the choirs of Vladimir Cathedral.
Nesterov Mikhail Vasilievich 1890-1891
State Tretyakov Gallery
Magi. Sketch
Ryabushkin Andrey Petrovich. Paper, watercolor
Kostroma State United Art Museum
Lebedev Klavdy Vasilyevich (1852-1816)
Nativity of our Lord Jesus Christ.
Lebedev Klavdy Vasilievich
Angelic praise at the moment of the birth of the Savior.
Lebedev Klavdy Vasilievich
Adoration of the Magi.
Valerian Otmar. 1897
The original mosaic for the Church of the Savior on Spilled Blood
Appearance of an angel to the shepherds. Nativity. Candlemas.
Nativity.
Mosaic based on the original by I. F. Porfirov
Church of the Resurrection of Christ (Savior on Blood), St. Petersburg
Nativity of Christ and other sacred scenes from the life of Jesus Christ and the Mother of God. I. Ya. Bilibin.
Fresco sketch for the southern wall of the Church of the Assumption of the Virgin in Olshany
Christmas market.
Genrikh Matveevich Manizer.
Omsk Regional Museum of Fine Arts. M. A. Vrubel
Slavilshchiki-city.
Solomatkin Leonid Ivanovich 1867
State Russian Museum
Glorifiers.
Solomatkin Leonid Ivanovich 1868
State Russian Museum
Slavilshchiki.
Solomatkin Leonid Ivanovich
State Vladimir-Suzdal Historical, Architectural and Art Museum-Reserve
Slavilshchiki.
Solomatkin Leonid Ivanovich Canvas, oil.
Odessa Art Museum
Slavilshchiki.
Solomatkin Leonid Ivanovich 1872
Ulyanovsk Art Museum
City-Christoslavs.
Solomatkin Leonid Ivanovich 1872 Oil on canvas.
Perm State Art Gallery
Solomatkin Leonid Ivanovich (1837 - 1883) attended the classes of the Imperial Academy of Arts and received a small silver medal for the paintings "The Name Day of the Deacon" (1862) and "The City Slavers" (1864), which V. V. Stasov welcomed as "a wonderful fresh offspring of the Fedotov schools." Last story subsequently it was repeatedly repeated, at least 18 author's replicas are known, although the first version has not been preserved.
Waits. (Children of the old village).
F. V. Sychkov. 1935
Mordovian Republican Museum of Fine Arts named after S. D. Erzya
In the cellar during Holy Week.
Solomatkin Leonid Ivanovich (1837-1883). 1878 Oil on canvas. 26.5x21.5.
Art Gallery of the Generations Fund of the Khanty-Mansiysk Autonomous Okrug of Ugra
Admission: 2003
In the painting "In the Cellar at Christmas Week" Solomatkin depicts his favorite characters - itinerant musicians. Is talent a burden or a gift, a blessing or a curse? Talent is destiny. Talent did not make the artist and his heroes happy, but they fulfill their mission with dignity. The musicians depicted in the picture knew better days. The cello played by the old man is a professional instrument that allows the musician to claim some kind of specialness, testifying to a certain level of life left in the past. The old man is accompanied by a boy who plays along with him on the pipe. Apparently, for the sake of this boy, carefully covered with a warm scarf, the old man has to wander with a heavy tool from the tavern to the tavern, earning a living. There is a Christmas tree decorated with toys in the room, and masks and masquerade costumes hang on a hanger, giving everything that happens a phantasmagoric shade. Art Gallery of the Generations Fund of Khanty-Mansi Autonomous Okrug of Yugra
Carols in Little Russia.
Trutovsky Konstantin Alexandrovich (1826-1893). No later than 1864
Magi (wise men).
Pavel Nikolaevich Filonov. 1914 Watercolor, brown ink, ink, pen, brush on paper. 37×39.2 cm.
Adoration of the Magi.
Pavel Nikolaevich Filonov. 1913 Wood, pencil, gouache. 45.7×34.9.
Private collection
Initially, the work was with the artist's sister Evdokia Glebova.
October 17, 1990 was sold to an anonymous person at Sotheby's auction,
then November 29, 2006 for $ 1.5 million, sold again at Christie's auction.
Auction house Christie's
Adoration of the Magi.
Pavel Nikolaevich Filonov. 1913 Paper, gouache (tempera?), 35.5 × 45.5.
Private collection, Switzerland
The theme of Christmas for Christian art contains a mysterious paradox. As a rule, it is this event that we want not only to portray, but also to experience. Following the experience of St. Francis of Assisi in Greccio, we are building a Christmas manger, filling them with touching figurines of animals, shepherds and wise men, and on artistic images We tend to endure our expectations of spiritual joy and peace.
And at the same time, for art there is no topic more mysterious and inaccessible. To portray how “the Word became flesh” (John 1:14) is incredibly difficult not only for artists, but also for Evangelists. It is no coincidence that Mark begins the narrative immediately with the sermon of John and Baptism. And in Matthew, who described in such detail the relationship between Joseph and Mary before Christmas, Christmas itself modestly fits into subordinate clause at the end of the syntagma (“Rising from sleep, Joseph did as the Angel of the Lord commanded him, and took his wife. And he did not know Her, how at last She gave birth to Her firstborn Son, and he called His name: Jesus” (Matt. 1, 2425)). John rising up the highest level mystical interpretation of the Incarnation, does not say a word about the specific circumstances of the Nativity (which is hardly due to ignorance, since Mary lived in his house). And only Luke dares to report a number of important details, mentioning the historical circumstances of the appearance of the Holy Family in Bethlehem. But even he does not turn his tongue to delve into the essentially tragic details, as a result of which the Son of God found no other place than a barn and a feeder for cattle.
With such a modest textual material, it would seem incredibly difficult to create artistic tradition. But the "mustard seed" of the Gospel word has generated (and continues to generate) the richest material, both in the East and in the West.
In the history of Christian art, two approaches to the Christmas theme have developed:
– Universal approach Orthodox icons, symbolically representing several events in one pictorial field, and reflecting not only the text of the Gospel, but also the Christmas hymnography.
– The narrative approach of Western art, in which the main events of the Christmas cycle are self-sufficient and each of them becomes the plot of a single image. At the same time, Christmas itself in art Western Europe presented in two main iconographic traditions. One of them, the most popular, is illustrative. Understanding his work as an illustration to the text, the painter focuses on the figure of the reclining Mary, next to which is the figure of the Infant Jesus wrapped in shrouds in a manger. The main source of such an image is, of course, the Gospel of Luke. However, often the scene of the stable is depicted as a cave, which indicates the use of the description of the Nativity in the apocryphal Book of James. “ And he found a cave there and brought Her ... And a shining cloud appeared in the cave ... And then the cloud moved away from the cave, and such a light shone in the cave that they could not bear it, and a little while later the light disappeared and the Baby appeared, went out and took the chest Mother of His Mary". Let us add to this the image of an ox and a donkey known to us from childhood, taken from another apocrypha, “The Gospel of Pseudo-Matthew of the VIII century:” On the third day, Mary left the cave and entered the barn and put the Child in the manger, and the ox and the donkey bowed down to Him.” (ibid.).
The reference to the apocrypha is by no means caused only by the desire to expand the range of sources. The image of the cave introduces a very important symbolic subtext into the theme of Christmas, hinting at the future burial of the Savior after death on the cross (and the veils wrapping around the tiny body of the Infant become, accordingly, a reminder of the burial shroud). Thus, in the work, solving, it would seem, modest illustrative tasks, the “alpha and omega” of the earthly life of Jesus are immediately indicated.
The second iconographic type of Christmas in European art this image is adoration. His literary basis can be considered the text of the Revelations of St. Brigid of Sweden (1370), which appeared after her pilgrimage to the Holy Land.
“When the time came for her to give birth, she took off her shoes and white cloak, took off her veil, and her golden hair fell on her shoulders. Then She prepared diapers and placed them next to Her. When everything was ready, She knelt down and began to pray. While She was praying like that, with her hands raised up, the Baby was suddenly born in such a bright radiance that it completely absorbed the faint light of Joseph's candle. (ibid.)
In the depiction of adoration, Mary and Joseph are shown kneeling with their hands folded in prayer and reverently contemplating the Infant, either in a manger or directly on the ground, on a bed of straw. As a rule, a huge role in the composition is played by the light emanating from His tiny figure. On rare occasions, there may be shepherds near the Holy Family. In addition to the text, this iconography also has an important liturgical source - the tradition of the Adoration of the Holy Gifts, which took shape in Catholic liturgy by the middle of the 14th century. Beginning in 1200, the rite of the Ascension of bread, which becomes the Body of Christ, appears in the Eucharistic Canon above the head of the priest so that those praying can contemplate Him in silence for several seconds (a little later, from the middle of the century, the rite of the Ascension of the Chalice is also practiced). The liturgical contemplation of the Holy Gifts becomes so important for church practice that, a century later, it turns into a separate service, during which the Body of Christ in a special tabernacle is placed on the altar for silent adoration. It was during this period (in the middle of the XIV century) that the first samples of the corresponding iconography of the Nativity appeared. And, perhaps, due to the close ties of this type with liturgical adoration in the paintings of the 15th century Dutch masters, next to Mary and Joseph, there may be a customer of the work, kneeling next to the Holy Family and praying to the Infant together with Mary and Joseph (as in the painting by Rogier Van der Weiden).
The contemplative moment can also penetrate the image-illustration. First of all, in a situation where the artist would like to focus on contemplation maternal love Mary. In a fresco by Giotto from the Scrovegni Chapel in Padua, Mary is depicted lying and bending over the Child. And although Giotto, as usual, does not depict the feelings of his heroes on their faces, there is so much warmth in the movement of Mary that it is easy for the viewer to understand and imagine the feelings that gripped Her.
One of the most amazing works in this regard is Correggio's painting "Holy Night", in which Mary shakes the Baby in her arms, not noticing everything that happens around Her - flying angels, Joseph. Artists depicting Mary in this way seem to break into great secret, about which the evangelists are reverently silent - into the intimate dialogue of the Mother and the Son, behind which lies the mystery of God's love for each of us.
Of the other Christmas events, of course, the adoration of the shepherds and the Adoration of the Magi become close in iconography. The worship of the shepherds is close to the depiction of adoration and, in accordance with the text of the Gospel of Luke, is often presented as a poetic night scene. In most cases, Mary herself shows the Child to the shepherds, and just as often angels appear in the composition. Their figures are located either in the upper part of the canvas (creating the illusion of open skies), or surround the manger with the Baby along with the shepherds. It is interesting that as we approached the Baroque era, the naturalistic roughness in the appearance of shepherds intensified: dark, as if “hardened” faces with deep wrinkles, large sinewy hands. But often the artists filled their peasant faces with light emanating from the figure of the Infant, and this always gave a special effect. On Rubens' study, kept in the Hermitage, you can see how the rudeness and harshness in the faces of the shepherds literally disappears before our eyes. And on the huge canvas of Caravaggio for cathedral in Messina, the appearance of the shepherds is somewhat softened, and the main emphasis is on the poverty and humility of Mary. She lies on the ground, holding the Baby in her arms, and Her bare feet- an iconographic sign of poverty, borrowed from a special type called Matia d'umiltà ("Mary the humble").
The most diverse images of the Adoration of the Magi. Often it was in this story that Mary was presented as artistic personification earthly Church and, contrary to plot logic, could be depicted sitting on a throne (as in the mosaic of Jacopo Torriti (XIII century) in the church of Santa Maria Maggiore in Rome). And even if there is no throne, and the action takes place in a stable, all the same, the image of Mary was given proper solemnity. In the painting by Albrecht Dürer, the barn looked more like colorful ancient ruins, which introduced into the image a hint of historical context events (the dominion of the Roman Empire, the census of Augustus, etc.).
A curious iconography developed in Florence during the period early renaissance. Beginning with the painter Gentile da Fabriano (first third of the 15th century), the Adoration of the Magi is a spectacular multi-figured scene in which, following the Magi, a huge procession of smartly dressed people dressed according to the contemporary artist’s fashion moves towards Mary and the Child. In the painting by Sandro Botticelli in the "retinue" of the Magi, it is easy to recognize the court environment Lorenzo Medici Magnificent.
And on the fresco by Benozzo Gozzoli in the Palazzo Medici Riccardi, the Magi are painted from famous historical persons. The youngest of them - from the then young Lorenzo the Magnificent, the older sorcerer - from Byzantine emperor John VIII Palaiologos, and quite elderly - from the Patriarch of Constantinople, who accompanied the emperor to the Ferrara-Florence Cathedral. gospel story in this way turned into a subtle allusion to the union of the Catholic and Orthodox churches concluded at this council.
