Born in the famous Palekh in the family of a hereditary icon painter. The first teacher of painting for Korin was his father. Sent to Moscow to study painting, Pavel in 1911. helps the artist M.V. Nesterov in his work on the painting of the Cathedral of the Marfo-Mariinsky Convent. In 1912, he entered the Moscow School of Painting, Sculpture and Architecture (Dom Yushkov), from which he graduated in 1916. Among his mentors were K.A. Korovin and S.V. Malyutin, but Korin’s main teachers were A.A. Ivanov and M.V. Nesterov.

Pavel Korin lived in Moscow, often coming to his native Palekh.

Like his artistic predecessor A.A. Ivanov, in 1925. Pavel Korin finds his theme in his work. He dreamed of creating a large canvas, similar to Ivanovo's "The Appearance of Christ to the People."

Inspiration came to the artist during the funeral of Patriarch Tikhon in the Donskoy Monastery in 1925. Korin came up with the idea of ​​creating a multi-figure composition that embodies the image of the Russian Orthodox Church. For an Orthodox Russian person, these funerals, which took place with a large crowd of people, were tantamount to saying goodbye to the former Russia, doomed, but confident in its spiritual rebirth. Thousands of believers inspired the artist to "Requiem", a picture that would embody Holy Rus' in a period of tragic change. To create a large-scale canvas, Korin painted wonderful portraits over the next ten years (“Father and Son” 1930, “The Beggar” 1933, “Abbess” 1935 “Metropolitan” (future Patriarch Sergius), 1937. and etc.). In the course of this work, his original style of writing was formed.

In 1931, the writer M. Gorky visited the workshop of Korin ( Profitable house A.K. Echkina). Sketches produced on him strong impression. However, as if trying to protect the artist from possible repressions, Gorky suggested that he replace original name paintings on something else - '"Rus leaving".

At the invitation of M. Gorky, Pavel Korin, together with his brother Alexander, made a trip to Italy and other European countries. During this trip, the artist made a huge number of studies and sketches. Living with Gorky in Sorrento, the artist painted in 1932 the famous portrait of the writer.

In 1935-1937. the artist created a general sketch of his future grandiose canvas “Departing Rus'. Requiem". The sketch is full of symbols and full of energy. Before us is the Church, going into battle with the godless authorities and appealing not so much to church hierarchs as to God. A striking revelation is the future high spiritual destiny of the highest hierarchs of the church, guessed by the artist. Then, in 1935, already on the original sketch, we see, along with the Patriarch of Moscow and All Rus' Tikhon, Metropolitans Sergius and Alexy, who, respectively, in 1943 and 1944. was destined to become the next first hierarchs of the Orthodox Church. It is even more surprising that Hieromonk Pimen is depicted next to them, who became patriarch in 1971, but little known in 1935. And in the central images, and in the images of simple monarchs and believers, the unifying principle is faith and firmness of spirit, allowing you to visually be sure of the final victory of Light over Darkness, Good over Evil. However, increased pressure on Korin from the authorities forced him to suspend this work.

In 1939-1943. commissioned by the Committee for the Arts, Pavel Dmitrievich paints a series of portraits of figures Soviet culture(M.V. Nesterov, A.N. Tolstoy, V.I. Kachalov), ceremonial and at the same time sharply dramatic. Inspired by the struggle of the people and victory, the artist creates in the war and post-war years the triptych "Alexander Nevsky" (1942-1943) and the mosaic at the metro station "Komsomolskaya" ring (1953). IN post-war decades Korin completed the compositional sketch of the painting Departing Rus'. Requiem "(1959). In 1963 the artist was awarded the Lenin Prize.

In 1932 -1959. P.D. Korin led the restoration workshops of the Museum of Fine Arts. A.S. Pushkin. He collected a valuable collection of icons, exhibited together with the works of the artist himself in his Moscow House-Museum, which opened in 1971. Due to restoration work, the museum is currently closed. The artist supervised the restoration work of the masterpieces of the Dresden Art Gallery. He put in a lot of effort to save artistic heritage Russia. However, to finish the main work of his life - the painting “Rus' is leaving. Requiem "- he did not succeed.

Korin Pavel Dmitrievich Korin Pavel Dmitrievich

(1892-1967), painter, folk thin. USSR (1962), full member of the Academy of Arts of the USSR (1958). Thematic paintings(triptych "Alexander Nevsky", 1942-43) and portraits ("M. S. Saryan", 1956, "R. Guttuso", 1961) are characterized by spirituality and strong-willed composure of images, monumental rigor of composition and drawing. He also worked as a muralist (mosaics at the Komsomolskaya-Koltsevaya metro station in Moscow, 1951) and as an art restorer. State Prize USSR (1952), Lenin Prize (1963).

KORIN Pavel Dmitrievich (1892-1967), Russian painter, People's Artist of the USSR (1962), full member of the USSR Academy of Arts (1958). Thematic paintings (triptych "Alexander Nevsky", 1942-43) and portraits ("M. S. Saryan", 1956, "R. Guttuso", 1961) are characterized by spirituality and strong-willed composure of images, monumental rigor of composition and drawing. Restorer. Lenin Prize (1963), State Prize of the USSR (1952).
* * *
KORIN Pavel Dmitrievich, Russian artist. connected classic themes Russian art with the tradition of Art Nouveau (cm. MODERN), becoming the largest representative national-romantic direction in the domestic fine arts of the mid-20th century.
Path to Requiem
The son of a peasant icon painter, he personally learned the skills of icon painting, which he later applied as a restorer. Studied at the Moscow School of Painting, Sculpture and Architecture (1912-16) under K. A. Korovin (cm. KOROVIN Konstantin Alekseevich) and S. V. Malyutin (cm. MALYUTIN Sergey Vasilievich); however, the legacy of A. A. Ivanov had a fundamental impact on the young artist (cm. IVANOV Alexander Andreevich), as well as religious themes by M. V. Nesterov (cm. NESTEROV Mikhail Vasilievich) with their monumental lyricism. He lived and worked in Moscow, often visiting his native Palekh (which he lovingly captured in the panoramic landscapes of the 1920s).
In the post-revolutionary years, he made several large copies of fragments of Ivanovo's "The Appearance of Christ to the People", thereby striving to find the way to his own picture, which, as he dreamed, would symbolically sum up Russian history. Korin's ambitious plan finally took shape on the day when he was present at the Donskoy Monastery at the funeral of Patriarch Tikhon (cm. TIKHON)(1925). In the crowd of thousands of believers, the artist saw, as it were, “all of Russia”, Nesterov’s “holy Rus'”, which came to say goodbye not only to its shepherd, but also to its historical past, ruthlessly rejected by the revolution. Here he makes the first sketches, finds the first types for the figures of the future picture action.
Initially, it was assumed that the environment of the "Requiem" (as Korin wanted to call his painting) would be an open landscape, a kind of valley of Jehoshaphat, where, according to biblical tradition, the peoples of the Earth would have to gather for the Last Judgment. Later, another scene is chosen: the interior of the Kremlin's Assumption Cathedral (cm. ASSUMPTION CATHEDRAL (in Moscow)) where the solemn service is taking place; all those present at it are united by a common sorrow for the catastrophe that has taken place, apocalyptic in its scale. Korin paints wonderful portraits of members of this pictorial cathedral unity: laity ("Father and Son", 1930; "The Beggar", 1933), priests, monks and nuns ("Schemnitsa", 1931; "Abbess", 1935; and others; almost everything is in the house-museum of Korin), including portraits of the future patriarchs Sergius and Pimen. These images, combining detached self-deepening with tragic heroism, are solved monumentally and powerfully, and Korin's brush turns out to be much sharper, harsher and more dramatic than Nesterov's brush.
Gorky and new "heroic portraits"
Of great importance in the fate of Korin was acquaintance with Gorky (cm. GORKY Maxim)(since 1931). The writer takes him under guardianship, giving him the opportunity to freely write “Rus' Leaving” (as Gorky suggested calling the picture), without fear of suspicion of “counter-revolutionary sentiments”, invites him to his villa in Sorrento, thereby giving the opportunity to visit Italy, get to know her classical art, which makes a tremendous impression on the artist. In Sorrento, Korin paints a portrait of Gorky (1932), adjoining the Requiem with its gloomy tragedy.
After the death of the writer, Korin was summoned to the NKVD, practically forbidding him to continue working on main picture life. Restoration works serve as a creative outlet for him (later, in particular, he supervises the restoration of paintings Dresden Gallery (cm. DRESDEN ART GALLERY)), as well as portraiture, now entirely secular. In 1939-43, commissioned by the Committee for the Arts, he painted a number of portraits famous figures Soviet culture (“M. V. Nesterov”, 1939; “A. N. Tolstoy”, 1940; “V. I. Kachalov”, 1940; all in the Tretyakov Gallery; etc.) - sharp expression, the power of color and compositional rhythms are sometimes combined here (as, for example, in the portrait of Tolstoy) with frank idealization.
From that time on, he also received monumental orders, however, works of this kind (sketches of the frieze "March to the Future" for the Palace of Soviets (cm. PALACE OF SOVIETS), 1941-47, Korin House Museum; mosaic and stained-glass windows at the Novoslobodskaya metro station, 1951; etc.) do not stand out above the average level of the official decorative art of those years. An exception is the mosaics at the Komsomolskaya metro station.
Military and post-war periods
Mosaics at the Komsomolskaya-Koltsevaya metro station (1953), dedicated to the military history of Russia, as well as others historical paintings 1940-60s (triptychs "Alexander Nevsky", 1942-43, Tretyakov Gallery; Flashes, 1966, not completed, Korin House Museum), constitute a special chapter in the master's work. The features of Art Nouveau, the specific “Northern Art Nouveau”, the radiance of sonorous color tones, the bewitching monumental rhythm are combined here into cycles of impressive national-romantic spectacles, expressing the best, the highest quality in terms of artistic performance, the properties of the “triumph style” with its pathos of military exploits.
After the war, Korin resumes work on the Requiem (having completed the compositional sketch of the canvas in 1959), still fruitfully acts as a portrait painter (S. T. Konenkov, 1947; M. S. Saryan, 1956; both in the Tretyakov Gallery ; and etc.). Already during his lifetime, a whole house-museum was formed in his workshop, including, in addition to his own works, a wonderful collection of icons and other works of Russian church art, which he collected throughout his life (the Korin House Museum was officially opened in 1971).

encyclopedic Dictionary. 2009 .

See what "Korin Pavel Dmitrievich" is in other dictionaries:

Pavel Korin P.D. Korin, 1933 Birth name: Pavel Dmitrievich Korin Date of birth: (June 25 (July 7) 1892 Place of birth ... Wikipedia

Soviet painter, People's Artist of the USSR (1962), full member of the USSR Academy of Arts (1958). The son of a peasant icon painter. He studied at the Moscow School of Painting, Sculpture and Architecture (1912-16) under K. A. Korovin ... Great Soviet Encyclopedia

- (1892 1967), Soviet painter. People's Artist of the USSR (1962), full member of the USSR Academy of Arts (1958). He studied at MUZhVZ (1912 16) under K. A. Korovin and S. V. Malyutin, was influenced by M. V. Nesterov. Led the restoration workshop of the Pushkin Museum ... ... Art Encyclopedia

- (1892 1967) Russian painter, People's Artist of the USSR (1962), full member of the USSR Academy of Arts (1958). Thematic paintings (triptych Alexander Nevsky, 1942 43) and portraits (M. S. Saryan, 1956, R. Guttuso, 1961) are characterized by spirituality and ... ... Big Encyclopedic Dictionary

Genus. 1892, mind. 1967. Russian painter. Graduate of the Moscow School of Painting, Sculpture and Architecture (1916). Student of K. A. Korovin. Works: "Father and Son" (1930), "Portrait of M. Gorky" (1932), "Beggar" (1933), ... ... Big biographical encyclopedia

Wikipedia has articles about other people with this last name, see Korin. Pavel Korin Birth name: Pavel Dmitrievich Korin Date of birth: June 25 (July 7) 1892 (1892 07 07) ... Wikipedia

Korin, Pavel Dmitrievich- P.D. Korin. Alexander Nevskiy. The central part of the triptych. 1942 43. Tretyakov Gallery. KORIN Pavel Dmitrievich (1892-1967), Russian painter. Thematic paintings (Rus' is leaving, or Requiem, 1920-30s, not finished, ... ... Illustrated encyclopedic Dictionary

- (1892, Palekh 1967, Moscow), painter, People's Artist of the USSR (1962), full member (1958). From a family of hereditary Palekh icon painters; Brother. In 190811 he worked in the icon-painting chamber at Moscow. In 1911, an assistant at the murals ... ... Moscow (encyclopedia)

Exactly 100 years ago, Russia found a Patriarch. Artist Pavel Korin saw in the new Russian Church a sign of the approach of the Kingdom of Heaven

Once in 1931, the writer Maxim Gorky sat down with the artist Pavel Korin and said:

- You know what, write a portrait of me.

The artist replied that he had never painted a portrait, so he was afraid of wasting time. But in the end he agreed. This was the beginning of an amazing collaboration and friendship between the venerable writer and the then little-known artist, who would soon become famous as best portrait painter Soviet Union. The portrait of Prince Alexander Nevsky, familiar to everyone from school textbooks, the portrait of the “demon of war” Marshal Zhukov, portraits of artists Mikhail Nesterov and Kukryniksy, writer Alexei Tolstoy, academician Zelinsky, Sergei Konenkov and Vasily Kachalov - this is all Korin. But it all started with Gorky. However, it's not about that.

Pavel Korin

So, once Maxim Gorky, after another posing session, saw sketches piled up in a corner of the workshop - sketches of some grandiose canvas: a solemn religious procession of priests under the gloomy bulk of the Assumption Cathedral of the Moscow Kremlin - the domes sparkled furiously in the sun, and below the radiance from the embroidered gold of archbishop's robes.

- What is this? the writer asked.

“Requiem,” the artist answered not very confidently.

- No, my friend, the title should determine the content, but in this title I do not see this ...

The writer once again carefully looked at the sketches, thoughtfully shook his head: no, you can’t be so careless during the years of the Second Godless Five-Year Plan.

Pavel Korin. Fragment of a portrait of A.M. Gorky

“You see, it’s all gone from our lives. Departing nature - leaving people ... By the way, remember, Sergei Yesenin has such a wonderful poem "Rus' is Departing"?

And then he began to recite:

“I don’t blame those who leave in sadness,
Well, where are the old people
Chasing young men?
They are uncompressed rye in the vine
Left to rot and crumble…”

“Yes,” the writer summed up his reflections sharply. - I would call it: "Rus' is leaving."

- Thank you, Alexey Maksimovich, - Korin exclaimed with fervor, - I will certainly take your advice.

The support and patronage of the almighty "engineer of human souls" was then very necessary for him.

Pavel Korin in the studio next to the painting "Portrait of the artists Kukryniksy" (1958)

Each artist has his main canvas - his business card, his soul, crucified on a stretcher, his dream come true. For Korin, an imaginary picture became such a main canvas - the conceived “Requiem”, or “Leaving Rus'”, was never written, despite the fact that Pavel Dmitrievich worked on the composition of the picture for several decades, painted, made sketches of the interiors of the Assumption Cathedral of the Moscow Kremlin. According to his plan, it was supposed to be an epic canvas - 40 square meters, almost as many as the "Appearance of Christ to the People" by Alexander Ivanov.

Pavel Korin. Rus' leaving

But when the picture suddenly appeared before his mind's eye in all its details, when he suddenly understood with all clarity what exactly he wanted to draw, or rather, WHAT seemed to have appeared by itself from hundreds of sketches and drawings, his hands seemed paralyzed with fear.

And he never touched the huge primed canvas, which was made especially for Korin. For many years this gigantic canvas stood silently reproachfully in his studio.

But in art, many things do not depend at all on the will of the creator, or rather, those people whom the Creator instructs to create something for His needs. Since the Creator needs something, it will appear in any case, you don't even have to worry. And so Korin's unpainted canvas somehow still came to light - albeit in the form of sketches and many scattered sketches.

The Creator needed to send the Sign to His children.

Pavel Korin from the very early childhood promised to serve God, because he was born in July 1892 in the world-famous village of Palekh, Vladimir province, in a family of hereditary Russian icon painters. At the age of ten, Pavel, like his older brothers, was admitted to the icon-painting school of Palekh, then he and his brother Alexander went to work in Moscow, went to study at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ).

At the same time, he and his brother contracted to work in the artel of "bogomazov" K.P. Stepanov at the Donskoy Monastery, where Palekhians were willingly taken. So the Korin brothers got to the construction of churches for the Martha and Mary Convent in Moscow, which was created at the expense of Grand Duchess Elizabeth Feodorovna, the sister of Empress Alexandra Feodorovna. The best church painters of that time worked in the Marfo-Mariinsky Convent then: Viktor Vasnetsov, Vasily Polenov, Mikhail Nesterov. It was Mikhail who became Pavel Korin's friend and mentor for many years. Together with Nesterov, they painted the main dome of the Church of the Intercession of the Mother of God of the Marfo-Mariinsky Convent, and then Pavel Korin alone designed the under-dome space of the temple, the vaults of windows and doors.

Fresco by Mikhail Vasilievich Nesterov "Christ in the house of Martha and Mary" of the Intercession Church of the Marfo-Mariinsky Convent

By the way, in the monastery Pavel Korin found his future wife- a pupil of the monastery Praskovya Tikhonovna.

Then came the difficult and hungry revolutionary years. The Marfo-Mariinsky Convent was closed, Princess Elizaveta Feodorovna was arrested and executed. In order to somehow feed his family, Pavel Korin had to get a job in the anatomist of the 1st Moscow University: he sketched various organs of corpses, he also taught drawing techniques at the MUZhVZ (or rather, after the revolution, the school changed its name to the 2nd State Art Workshops).

Princess Elisveta Feodorovna

But, despite all the persecution, the artist remained faithful to Orthodoxy and deeply sympathized with all the events of the Russian Church of this period. Korin also deeply experienced the arrest of Patriarch Tikhon in May 1922 and the trial of the primate of the church. Like many hundreds of Muscovites, he considered it his duty to take the transfer to the patriarch, imprisoned in the former treasury chambers of the Donskoy Monastery. Korin also went to Donskoy, handed over a parcel with food and warm clothes sewn by former nuns of the Marfo-Mariinsky Convent, and in gratitude he received a photograph of the patriarch and an answer on a piece of paper: “I received it and thank you. Patr. Tikhon. Pavel Dmitrievich always kept this note, pasted to the back of the photograph, as a blessing.

Patriarch Tikhon

An even greater shock to the artist was made by the death of the patriarch in April 1925. Despite the unspoken prohibitions, crowds of people went to say goodbye to the patriarch at the Donskoy Monastery, where the coffin stood for several days. Korin was there all those days, and what he saw of the mass standing at the tomb of the patriarch made an unusually strong impression on him. I also remember the words of the sermon of Metropolitan Tryphon (Turkestanov):

- We must bear the cross, and I noticed that, as if in a reminder of this, sorrows befall us, sometimes expected, sometimes for the most part catastrophic as now...

In his diary, Pavel Korin wrote: “Donskoy Monastery. Funeral service for Patriarch Tikhon. There were a great many people. It was the evening before dusk, quiet and clear. The people stood with lit candles, crying, singing for the dead. An old scammer passed by. Rows of beggars stood around the fence. To one side sat a blind man and with him a boy of about thirteen, they sang some old verse. I remember the words: "We will raise our hearts to spears." It's a picture from Dante! This " Last Judgment» Michelangelo, Signorelli! Write it all down, don't let go. This is a requiem!”

The artist associated his idea with Berlioz's Requiem: “Remember the Day of Wrath, what greatness! This is how you would paint a picture. "The day of wrath, the day of judgment, which will turn the whole world to ashes." What music! This pathos and groan should be in my picture. Thunder, copper pipes and bass. This handwriting must be!”.

Thus arose the idea of ​​a picture perpetuating the images of the Russian clergy and believers, who, it seemed, would soon completely disappear in the new godless Russia.

Korin began to walk with notebook to services in Moscow churches, sketching the faces that especially interested him.

Soon he also met Metropolitan Tryphon, a former nobleman and former rector of the Moscow Epiphany Monastery, who voluntarily went as a regimental priest to the First world war, earning several combat wounds. In Moscow, he led a completely beggarly life. Agreeing to pose for a future picture, Vladyka Tryphon gave Korina letter of recommendation, in which he asked other bishops to help the artist. Moreover, many prominent priests agreed to pose for the painter only because Bishop Tryphon himself had posed for him before! Thanks to Vladyka's help, Korin was able to get acquainted with the secret monks from the dispersed Smolensk Zosima Hermitage of the Vladimir diocese, and with the nuns of the closed Ascension Monastery in the Moscow Kremlin, who were hiding from persecution.

Pavel Korin. Trifon (Turkestanov). (Fragment of the picture)

Maxim Gorky, who, on the advice of Mikhail Nesterov, ordered a huge portrait from a poor artist, two human heights, became an instrument of God's plan. He contributed to the fact that Pavel Dmitrievich was hired in the restoration workshops Pushkin Museum, he also arranged a trip for the Korin brothers to Europe and Italy to get acquainted with the masterpieces of world art.

But, most importantly, Gorky created all the conditions for the implementation of the large-scale plan of "Requiem".

First of all, he agreed that Korin could freely draw sketches in the Assumption Cathedral of the Moscow Kremlin, because in those years all the Kremlin churches were closed to the public.

Pavel Korin. Drawing in the Assumption Cathedral of the Kremlin

He also knocked out for the artist a new spacious workshop on Malaya Pirogovskaya Street, where a huge canvas for a painting could fit (the canvas itself was made by special order in Leningrad at Gorky's personal request).

But in 1936 Gorky died, and dark days came for Korin. A stream of accusations literally fell upon him that he "broke away from reality, did not participate in the development of proletarian art, went into depicting the reactionary environment."

Yesterday's friends scribbled denunciations on him to the NKVD: “P. Korin's preparation for the main picture is expressed in a hundred sketches, the models for which are terry fanatics preserved in Moscow, fragments of the clergy, aristocratic families, former merchants, etc. He claims, but very uncertainly, that he has collected this entire collection of obscurantists in order to show their doom. Meanwhile, judging by the sketches, he does not create any impression of doom. Masterfully drawn out fanatics and dark personalities clearly turn into heroes, Christian martyrs, persecuted but not surrendering champions of religion.

In the newspaper Izvestia in April 1937, two accusatory articles were published, where Korin was called a "reactionary": "in his workshop, the Trotskyist-fascist evil spirits created a laboratory of obscurantism."

It would seem that after such denunciations the fate of the artist was a foregone conclusion, but the Lord kept Korin. As a result, all the repressions were limited only to the fact that the Tretyakov Gallery removed from the permanent exhibition all of his paintings, which were declared “formalist daubs”.

He had to hide his inner world from those around you. Lighting a lamp at home in front of the icons he collected with great love and understanding of their spiritual and artistic value, acquaintances who knew that he was a believer, an Orthodox, church person, he said: “Light it up, sit opposite, and somehow it will become pleasant and easy on the soul. The light will sparkle with a kind of firefly, quietly and beautifully ... "

The attitude towards the artist changed only during the war, when in 1942 Pavel Dmitrievich, commissioned by the Committee for Arts of the USSR, created the triptych "Alexander Nevsky", where the holy Russian prince, chained from head to toe in steel armor, stood against the background of a banner with the face of Christ . Stalin was delighted - it was such an iron Russian giant without any "Vasnetsov" caftans and morocco boots that could break the back of the fascist beast.

Pavel Korin. Triptych "Alexander Nevsky"

Korin also led the restoration of paintings in the Dresden Gallery. In the destroyed Vladimir Cathedral in Kyiv, he restored the frescoes of Viktor Vasnetsov and Mikhail Nesterov, for which he was awarded the title of People's Artist of the USSR, he became a laureate of the Lenin and Stalin Prizes.

At the same time, he continued to work on his main idea. In 1948, he told about his plan to Patriarch Alexy (Simansky), who readily agreed to pose for the artist. Several sessions were held, but the patriarch was constantly distracted by vain business: someone called on the phone, it was necessary to solve some of the most urgent and urgent matters that had an important political connotation.

In the end, he and Alexy agreed that Korin and his wife would come to Odessa, where the patriarch would rest, and there it would be possible to continue work, combining it with a vacation at sea. But a sudden heart attack prevented Korin from carrying out his plan.

Alexy Simansky

IN last years neither recognition nor personal exhibitions Pavel Dmitrievich was no longer pleased: his relatives noted more than once that Korin often repeated bitterly that he had not fulfilled his destiny, had not finished his most important picture.

But the unexpected happened: the picture began to exist on its own. And not at all what the artist himself intended it to be.

Look closely at the sketch.

Pavel Korin. Rus' leaving

The red color of the liturgical vestments of Metropolitan Tryphon and the patriarchs standing behind him clearly tells us that this is a festive Easter service. You can even set the date with accuracy: it is May 5, 1918. It was on this day that Bishop Trifon Turkestanov of Dmitrov, vicar of the Moscow diocese, led the last Easter service in the Assumption Cathedral, which turned out to be the last service in the cathedral in general - after that, the Bolsheviks closed access to the temple for believers.

But the date here is very conditional. This Easter service is already taking place in a mystical and metaphysical space, because both living and resurrected patriarchs have gathered to glorify the risen Christ: St. Tikhon (Bellavin) and Sergius (Stragorodsky), metropolitans and bishops, priests and monks, who perished in the millstones of Stalin's Moloch.

Dormition Cathedral of the Kremlin

“Do not marvel at this: for the time is coming in which all who are in the tombs will hear the voice of the Son of God, and those who have done good will come out to the resurrection of life, and those who have done evil to the resurrection of judgment.”

It seems that people standing with their backs to the altar of the Assumption Cathedral are only waiting for the sign of the deacon to leave the church forever after the service is over. Huge chandeliers have been extinguished, scaffolding has already been installed in the cathedral, the Royal Doors have already been closed ...

But in fact, the artist depicted the very beginning of the Easter service - incense. Right now, Archdeacon Father Michael, raising his right hand with the censer, bows low and proclaims in a deep bass:

- Bless, lord, censer!

But at the same time, he does not address Metropolitan Tryphon, and his hand is extended not to the east, as usual, not to the altar and not to the serving Metropolitan Tryphon, but to the west.

Metropolitan Tryphon himself is also looking there, his only sighted eye wide open in surprise, and all the patriarchs, and all those standing in the temple. And it is impossible not to wonder, what did the metropolitan see SUCH?

If you imagine yourself in the place of Metropolitan Tryphon and look in the same direction, then it is obvious that his gaze is turned to the image of the Savior on the fresco "The Last Judgment", which, according to tradition, is always placed on the western wall of every Orthodox church.

But there is no longer a fresco: both the walls of the temple and the Heavens themselves opened up in anticipation of the Second Coming.

It is from the Risen and Coming Christ that the protodeacon asks for blessings to judge the living and the dead, it is the Savior - the Living and Incarnate God - who is now the primate at this liturgy, anticipating the onset of the Last Judgment.

No, the Russian Church is not going anywhere. It is gathered here by Christ himself in anticipation of the imminent judgment, which he is preparing to accept calmly and with love for the Lord.

“And he said to me, These are they who came out of the great tribulation; they washed their clothes and made their clothes white with the blood of the Lamb. For this they are now before the throne of God and serve Him day and night in His temple, and He who sits on the throne will dwell in them ”(Revelation of St. John the Theologian).

The Last Judgment has already begun.

Masters history painting Lyakhova Kristina Alexandrovna

Pavel Dmitrievich Korin (1892–1967)

Pavel Dmitrievich Korin

Work on a large canvas "Requiem" Korin began in 1929. The artist wanted to depict a solemn service in the Assumption Cathedral of the Kremlin. Working on sketches, he created many expressive and truthful images of the old life, well known to him from early childhood. In 1931, A. M. Gorky saw the sketch for the Requiem. The writer understood the depth of Korin's intention, who was going to show the tragedy of the passing world, but the theme of the picture, and most importantly, its title, did not correspond to the spirit of the Stalin era. Gorky invited the painter to name his future painting "Departing Rus'".

Russian painter Pavel Dmitrievich Korin was born in Palekh, in a family of hereditary icon painters. From childhood, surrounded by the beauty of Russian nature, brought up in the atmosphere of an icon-painting workshop, the boy early began to see the world around him through the eyes of an artist.

At the age of 16, Pavel graduated from the Palekh icon-painting school, but the desire to improve the skill of the painter led him to Moscow, where in 1908 the young man entered the icon-painting chamber of the Donskoy Monastery. Here Korin was noticed by the artists K. P. Stepanov and M. V. Nesterov, who became his mentors.

Korina had a real, great friendship with Nesterov. On the recommendation of this well-known by that time master, in 1912 Pavel entered the Moscow School of Painting, Sculpture and Architecture in the studio of K. A. Korovin and S. V. Malyutin. During the years of his stay at the school, Korin paid much attention to field studies and sketches. The work of A. A. Ivanov, the author of the famous Appearance of Christ to the People, had a great influence on him. From fragments of this picture, the young artist made many copies. Like Ivanov, Korin carefully studied the work of the old Italian masters, spent hours drawing sitters and antique statues.

The idea of ​​​​creating the same grandiose canvas as Ivanovo's "The Appearance of Christ to the People" appeared with Korin back in 1925. Soon he began to write sketches for the planned composition. For the painting, the artist created many human types. Unfortunately, the canvas, which could have become a masterpiece of historical painting of the first half of the 20th century, was never completed. Many fragments written for the "Requiem" can be considered complete independent paintings.

One of the best sketches for "Departing Rus'" was the canvas "Father and Son" (1931, Tretyakov Gallery, Moscow). When creating it, Korin used the method of matching characters. Two are depicted on the canvas: a father, a tall, powerful old man with a gray beard, and a son, whose fragile figure and pensive face betray him as a man of a different time. The models for the heroes of the picture were the woodcarver, self-taught sculptor Sergei Mikhailovich Churakov, and his son, the famous restorer Stepan Churakov. Showing two artists, so similar and at the same time completely different, Korin presented not so much portraits of his contemporaries as images of talented folk types.

Thanks to A. M. Gorky, Korin was able to travel around Italy, where he saw with his own eyes the famous creations of the great Italians. Abroad, the artist began a portrait of Gorky (1932, Tretyakov Gallery, Moscow), completed already in Russia. The artist depicted a tall, thin figure of the writer on the shores of the Gulf of Naples. Gorky's expressively sad face. It is felt that this middle-aged, terminally ill person is disturbed by heavy thoughts. The master managed to capture the state of mind of the writer. Gorky liked his portrait, monumental and at the same time deeply psychological and sincere.

In Russia, Korin continued to work on Departing Russia. By 1932, there are drawings depicting the Cathedral Square of the Kremlin, a sketch with the interior of the Church of the Resurrection on Ostozhenka.

P. D. Korin. "Alexander Nevskiy". middle part triptych "Alexander Nevsky", 1942, Tretyakov Gallery, Moscow

P. D. Korin. "Northern Ballad" Left side of the triptych "Alexander Nevsky", 1943, Tretyakov Gallery, Moscow

A year later, a fragment was created - "Hieromonk Hermogenes and Schema-Hegumen Mitrofan" (1933, Tretyakov Gallery, Moscow). Holding the cross firmly in his hand, a stern old man in a hood looks at the viewer. In his eyes - the firmness of faith. Next to him stands a short stocky monk with an uncovered head. Although his eyes are lowered to the ground, his face expresses complete detachment. Depicting specific people, the artist at the same time captured the image of a whole generation, gradually fading into the past.

Looking at the faces of the three women shown in the etude "Three" (1933-1935, Tretyakov Gallery, Moscow), the viewer feels the emotions that control the heroines of the painting "Departing Rus'". The central place in the composition is given to the old woman, bent by time. She leans heavily on a stick, but in her eyes there is an extraordinary authority and fortitude. To her right stands a middle-aged woman with a kind, calm face. In huge blue eyes and tightly compressed lips of their third, younger companion, one can feel a tragic, complex and contradictory attitude to the surrounding world.

Among the most successful etudes are psychological picture Schema-Hegumenya Famar (1935, Tretyakov Gallery, Moscow), also intended for Departing Rus'. Korin wrote to the schema abbess a few weeks before her death. figure and face old woman seem immobile, detached from the world. Only her eyes are alive, full of sadness and wisdom.

P. D. Korin. "An old story". The right part of the triptych "Alexander Nevsky", 1943, Tretyakov Gallery, Moscow

Continuing work on "Russia Leaving", in 1935 Korin was engaged in studies of the interiors of the Assumption Cathedral, where the artist was going to place the heroes of his painting. In 1939, commissioned by the Committee for Art Affairs, the painter began to paint portraits of his contemporaries - artists (artists L. M. Leonidov and V. I. Kachalov, pianist K. N. Igumnov, artist M. V. Nesterov, etc.).

During the years of the Great Patriotic War Korin turned to the images of the heroic past of Russia. In his Moscow workshop, he created mosaic panels for the Palace of Soviets, depicting great Russian generals and defenders on them. native land("Alexander Nevsky", "Dmitry Donskoy", "Alexander Suvorov", "Mikhail Kutuzov").

In 1942, at the request of the Committee for Arts, Korin began to work on the triptych "Alexander Nevsky" (1942, Tretyakov Gallery, Moscow). In the central part of the triptych, the artist depicted in full height figure of Alexander Nevsky. In the hands of the prince, dressed in the armor of a Russian warrior gleaming with metal, is a huge sword. Rising above the horizon, Alexander Nevsky obscures the gloomy sky, the city spread out on the river bank with white-stone temples. Above the head of the prince flutters a banner with the face of an angry Savior. Vertically elongated, laconic and strict composition has a monumental and majestic appearance.

P. D. Korin. Dmitry Donskoy. Sketch for a mosaic at the Komsomolskaya-Koltsevaya metro station, 1951

In 1943 the artist completed work on the triptych. In its left part, called the "Northern Ballad", a woman in a black headscarf and an elderly warrior are depicted. Right hand he leans on a sparkling sword, his left one stretched forward, as if protecting his companion and the city, the buildings of which are visible behind him. Slender trunks of trees growing on the shore emphasize the solemn grandeur of human figures.

The painting "An Old Tale", the right side of the triptych, is a three-figure composition. Striving for monumentality, the author gave it a few theatrical view. As in the other two parts, the human figures in the painting are located high above the horizon line. In the center of the composition is a small fragile old woman leaning on a stick. Delicate, painted with almost transparent strokes, the flowers surrounding the woman seem to repeat the wonderful patterns of her clothes. The artist depicted on his canvas the famous northern storyteller Krivopolenova. Next to her are the defenders of the Russian land - a tall, muscular young man and a mighty gray-bearded old man.

In the autumn of 1945, Korin began work on a portrait of G. K. Zhukov. The famous commander, dressed in a parade uniform, appears in the portrait as a stern, courageous man.

In the post-war years, the artist was engaged in mosaic panels for the newly built stations of the Moscow Metro. V. I. Lenin. Elegant and solemn compositions represent the military leaders of the past and modern commanders, as well as the final episodes of the war, where the main character is the victorious people.

During this period, Korin continued to work on portraits of his famous contemporaries, capturing on canvas the images of the sculptor S. T. Konenkov, artists M. S. Saryan, Kukryniksy.

Korin is also known as a talented restorer who brought back to life many beautiful masterpieces, including paintings from the Dresden Gallery.