The name of Andrei Rublev became the personification of ancient Russian art.
Andrey Rublev- perhaps the most famous artist of medieval Rus'. His name is still heard today, but we know very little about his life.
Where and when he was born is unknown. They call his birthplace Moscow (1360?), and his place of residence is the Trinity Monastery.
The first chronicle mention of the “monk Andrei Rublev” dates back to 1405: at that time he, together with Theophan the Greek and Prokhor from Gorodets, decorated the Annunciation Cathedral of the Moscow Kremlin with icons and frescoes. These frescoes have not survived.
Icon "Reverend Andrei Rublev"
Some information about him can be gleaned from chronicles. For example, the chronicle indicates that in 1408 he, together with Daniil Cherny, painted the Assumption Cathedral in Vladimir, the Church of the Holy Trinity in the Trinity Monastery. The frescoes have not survived. According to Epiphanius the Wise, Andrei Rublev painted this temple in the 1420s. After the death of Daniil 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 Rublev's documented works have not reached us, except for two icons from the Deesis and seven icons from the festive row in the iconostasis of the Kremlin Annunciation Cathedral; part of the frescoes of the Vladimir Assumption Cathedral; the famous Trinity icon from the Trinity Church of the monastery of the same name.
Miniatures and initials of the Khitrovo Gospel are also attributed to Rublev (early 15th century, Russian State Library, Moscow); Our Lady of Tenderness from the Assumption Cathedral of Vladimir (c. 1408-1409); Zvenigorod rite, from which three icons have survived: with Christ the Savior, Archangel Michael and 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 circle,” although there is no way to confirm their authorship.
Andrei Rublev died in the Andronikov Monastery on January 29, 1428 (?). The Andrei Rublev Museum has been operating here since 1959, where you can get acquainted with the art of his era.
At the Stoglavy Cathedral in 1551, Rublev’s iconography was recognized as a model. In the 20th century a lot of 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 A. Tarkovsky’s famous film “Andrei Rublev,” the image of this artist attracted close attention even from those people who were far from both faith and icon painting. In 1988, he was canonized by the Russian Orthodox Church as a saint.
The works of Andrei Rublev
Hall of Andrei Rublev in the Tretyakov Gallery
Second half of the 14th – beginning of the 15th centuries. were noted in Rus' 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 pinnacles of Russian and world culture. The greatest masters of ancient Russian painting, including Dionysius, were deeply influenced by his work.
Assumption Cathedral in Vladimir
The Assumption Cathedral in Vladimir is an outstanding monument of white stone architecture of pre-Mongol Rus' (1158).
At the beginning of the 15th century. Andrei Rublev and Daniil Cherny were invited to decorate the temple. From their paintings, individual images of the large composition of the “Last Judgment”, which occupied the entire western part of the temple, and fragmentary images in the altar part of the cathedral have been preserved. Most of the frescoes that have survived to this day were painted in the 19th century.
This is the only surviving fresco painted by Andrei Rublev. Mention of her is 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 his authorship.
The “Tenderness” icon 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 work, his authorship is undoubtedly. One of the famous Russian icons.
Andrey Rublev "Trinity". Wood, tempera. 142 x 114 cm. State Tretyakov Gallery (Moscow)
The icon depicts three angels. They sit at a table on which stands a bowl with the head of a calf. The figures of angels are arranged so that the lines of their figures form a kind of closed 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 gaze is directed to eternity.
In the background there is a house (the chambers of Abraham), a tree (the oak of Mamre) and a mountain (Mount Moriah).
Mamre oak (oak of Abraham)- the tree under which, according to the Bible, Abraham received God.
Mount Moriah (Temple Mount)- a rectangular square surrounded by high walls, towering above the rest of the Old City of Jerusalem at a height of 774 m above sea level.
The appearance of three angels to Abraham is a symbol of the consubstantial and trinitarian God (Holy Trinity). It was the Rublev icon that corresponded to these ideas. In an effort to reveal the dogmatic teaching about the Holy Trinity, Rublev minimized the details preceding the meal. The angels are talking, not eating, and in the icon all attention is focused on the silent communication of the three angels.
Above the angel symbolizing God the Father, Rublev placed the chambers of Abraham. The Mamvrian oak symbolizes the tree of life and recalls the death of the Savior on the cross and His resurrection (in the 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 from the late 14th century. It is called so by the name of its owner, boyar Bogdan Khitrovo. The manuscript was decorated with a precious frame and donated to the Trinity-Sergius Lavra, where it was kept in the altar until 1920. Currently, 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.
"Rublev's Angel"
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 studied and not published in its entirety.
This is the only one of the first high iconostasis of the early 15th century that has been preserved almost completely (only some of the icons have been lost).
Zvenigorod rank (c. 1396-1399)
“Zvenigorod rite” - three icons depicting the Savior, Archangel Michael and 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 given on the basis of high-tech comparisons with “Trinity”.
Nativity Cathedral in Savvino-Storozhevsky Monastery (frescoes)
Savvino-Storozhevsky Monastery (Zvenigorod)
Founded at the end of the 14th century.
Images of the hermits Paul of Thebes and Anthony the Great. Some scientists attribute the authorship of the frescoes to Andrei Rublev.
Icon “John the Baptist” (mid-15th century)
The icon comes from the Nikolsky Pesnoshsky Monastery near the city of Dmitrov. It belonged to the Deesis half-figure rank of the Zvenigorodsky type. Attributed to Andrei Rublev.
Icon “The Savior is in Power” (beginning of the 15th century)
Attributed to Andrei Rublev or the "Rublev circle".
Andronicus Gospel (Moscow, first quarter of the 15th century).
The miniature “Savior in Glory” was made by an artist from the Rublev circle. The manuscript does not contain direct dating, but its design is similar to such famous manuscripts as the Khitrovo Gospel.
Conclusion
Rublev's work is distinguished by two traditions: Byzantine harmony, sublime asceticism and the softness of style characteristic of Moscow painting of the 14th century. It is this softness, as well as concentrated contemplation, that distinguishes his works from other paintings of that time. Rublev's characters are most often depicted in a state of peaceful rest or prayerful state. 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 coloring - dim, calm; and in the roundness of figures; and in the harmony of lines, like a quiet melody. All of Andrei Rublev’s work is permeated with light. Therefore, it is not at all surprising that Rublev’s art is perceived as the ideal of church painting.
There are many icon painters in the calendar of the Russian Orthodox Church, but the most famous, of course, is Andrei Rublev. Probably everyone in our country knows this name, even not the most educated person, and outside Russia it is well known, especially after Tarkovsky’s film, but what do we know about the great icon painter? The famous historian of Christian art Irina YAZYKOVA talks about this.
Andrei Rublev paints the Spassky Cathedral of the Andronikov Monastery (miniature of the late 16th century)
Happy fate of Andrei Rublev
We can say that his fate was happy: he was famous already during his lifetime, chronicles and lives of saints mention him, princes and monasteries ordered icons for him, he worked in Moscow, Vladimir, Zvenigorod. He was not forgotten even after his death; Rublev’s glory as the first icon painter in Rus' was preserved for centuries. The Stoglavy Council (1551) recognized Rublev's work as a role model. Joseph Volotsky in his “Message to the Icon Painter” also cites the example of Andrei Rublev and his associates, who “zealously applied themselves to icon writing and cared so much about fasting and monastic life, as if they were vouchsafed Divine grace and thus prosper in Divine love, as never before.” to exercise about earthly things, but always raise the mind and thought to the immaterial light, as even on the very feast of the Holy Resurrection of Christ, sitting in the seats and having Divine and honorable icons in front of you and steadily looking at them, being filled with Divine joy and lordship. And not just on that day I do this, but also on other days, when I don’t devote myself to painting. For this reason, the Lord Christ glorified them at the final hour of death.”In the 17th century manuscript “The Tale of the Holy Icon Painters,” Andrei Rublev is called a holy ascetic and a seer of God. The Old Believers valued Rublev very much; collectors sought to acquire his works; in their eyes, he was the embodiment of canonical iconography and ancient piety. Thanks to this, even in the 19th century, when it would seem that icon painting was consigned to oblivion, the name of the ascetic icon painter was preserved as a standard of church art.
Andrei Rublev was not forgotten in Soviet times, despite the godless and iconoclastic pathos of Soviet science, his name was a symbol of ancient Russian culture. By decision of UNESCO in 1960, a worldwide celebration of the 600th anniversary of Rublev was organized. A museum of ancient Russian culture named after Andrei Rublev was opened in Moscow. And his works, collected mainly in the Tretyakov Gallery, became the object of close attention of scientists.
Life collected bit by bit
Many books and articles have been written about the Rev. Andrei Rublev, his work has been thoroughly studied. But, if you think about it, what do we know about the life of the icon painter as a holy ascetic? Biographical information is extremely scarce; his life has to be collected literally bit by bit.He was born in the 1360s. It is difficult to determine more precisely the date of his birth. But the date of death is known: January 29, 1430. This date was established by the famous restorer P. D. Baranovsky based on a copy of the 18th century. from the inscription on the tombstone of the Spaso-Andronikov Monastery. The slab itself was lost in the 1930s, when the monastery cemetery was destroyed. It is known that Rublev died at an old age, he was about 70 years old, which means he was born between 1360 and 1370.
This was a terrible time: the Tatars ruled Rus', they ravaged cities, plundered churches and monasteries, and took people captive. At the same time, there was a constant internecine struggle between the princes, it was especially bloody between Moscow and Tver, which laid claim to the grand ducal label. Twice - in 1364 and 1366. - a plague swept through Moscow and Nizhny Novgorod. In 1365 Moscow burned, in 1368 it survived the invasion of the Lithuanian prince Olgerd, and in 1371 there was famine.
Among this chaos and turmoil, the future creator of images of heavenly harmony grew up and was educated. Unfortunately, we know nothing about his parents or the environment from which he came. True, his last name may suggest something. Firstly, in those days only noble people had surnames. Secondly, she can point to the hereditary craft that his father or a more distant ancestor was engaged in. Rublev most likely comes from the verb “to chop” or from “rubel”, which was the name of a long pole or roller, a tool for tanning leather.
Nothing is known about how early Andrei Rublev took up icon painting, where and with whom he studied. We know nothing about his early works either. The first mention of it is contained in the Chronicle of 1405, where it is reported that, by order of Grand Duke Vasily Dmitrievich, the Annunciation Cathedral of the Moscow Kremlin was painted by an artel headed by three masters: Theophanes the Greek, Prokhor the Elder of Gorodets and the monk Andrei Rublev. The fact that Rublev’s name is mentioned suggests that he was already a completely respected master. But his name comes third, which means Andrei was the youngest of the named icon painters.
Rublev was a monk, that is, a monk. And the name Andrei, apparently, is not a generic or baptismal name, but a monastic one. Most likely, he took monastic vows at the Trinity Monastery, under Nikon of Radonezh, the disciple and successor of St. Sergius of Radonezh. There are records of this in manuscripts from the 18th century. Perhaps he found Sergius himself, who died in 1392. Many of the master’s works will also be associated with the Trinity Monastery. In recent years, Andrei lived in the Spaso-Andronikov Monastery, also founded by a student of Sergius, Venerable. Andronik. In this monastery he ended his earthly journey.
The standard of church art
Andrei Rublev was involved in the circle of Rev. Sergius of Radonezh, the great teacher of monasticism, who played a huge role in the spiritual awakening of Rus'. Sergius or his students were able to convey to Andrei the experience of deep prayer and silence, that contemplative practice that is usually called hesychasm, and in Rus' was called “smart doing.” Hence the prayerful depth of Rublev’s icons, their deep theological meaning, their special heavenly beauty and harmony.The second time the name of Rublev is mentioned in the Chronicle under 1408 in connection with the painting of the Assumption Cathedral in Vladimir. He carried out this work together with the icon painter Daniil Cherny, who was called his “friend and fellow priest.” Daniel was also a monk, possibly Greek or Serbian, as evidenced by the nickname - Black. The chronicler calls him first, which means that Daniel was the eldest: by age or rank. The entire future fate of Andrei Rublev will be connected with this person, right up to his death.
The Assumption Cathedral in Vladimir was considered the cathedral of the Russian Church, and its painting was a responsible matter. The cathedral was built in the 12th century, under Andrei Bogolyubsky, but its paintings were destroyed in 1238, during the Tatar-Mongol invasion. By order of Grand Duke Vasily Dmitrievich, the temple is being painted anew. An iconostasis was also erected and a copy of the ancient miraculous Vladimir Icon of the Mother of God was created. Both masters - Andrei and Daniel - act here not only as icon painters, but also as genuine theologians: the surviving composition “The Last Judgment” speaks of a deep mystical experience and a surprisingly bright understanding of eschatology, as the aspiration of the Church towards the coming Savior.
In the mid-1420s. Andrei Rublev and Daniil Cherny are supervising the work in the Trinity Cathedral of the Trinity-Sergius Monastery. The paintings of the temple have not reached us, but the iconostasis remains. For the same temple, Rev. Andrei paints his famous Trinity icon, in which the Trinitarian dogma finds its highest pictorial embodiment. According to the Chronicle, the image of the Trinity was commissioned by Nikon of Radonezh “in memory and praise of St. Sergius,” whose relics rest in the Trinity Church. This icon embodies the pure prayer of the monk Andrei, which was taught to him by his spiritual teacher, Sergius, who bequeathed “to conquer the hated discord of this world by looking at the Holy Trinity.” In the form of three angels, the Trinitarian God appears before us: Father, Son and Holy Spirit, and in their silent conversation the mystery of Christ’s sacrifice, offered for the salvation of mankind, is revealed. Truly, Andrei Rublev was a visionary of God: only a person who had repeatedly contemplated this mystery of Divine Triune Love in prayer could paint the image of the Trinity in this way.
Universal Master
Book miniatures are also attributed to the master. For example, sheets and screensavers of the “Gospel of Khitrovo”. Old Russian artists very often illuminated books. Copying and decorating books was one of the common monastic obediences. In general, the book culture of ancient Russian monasteries was extremely high, the reading range of the monks was very diverse. Andrei Rublev was also a bookish man, who read a lot and was very educated for those times. In any case, it is clear that the miniatures of the “Khitrovo Gospel” were made by a master who has a keen sense of beauty and a deep understanding of the meaning of what is depicted.Andrei Rublev was a universal master: he painted icons and frescoes, and was engaged in book miniatures. It is likely that, together with Metropolitan Cyprian and Theophan the Greek, he was involved in the development of the high Russian iconostasis, which, in line with Cyprian’s liturgical reform, was a harmonious, deeply thought-out theological system that created the image of the Heavenly Church.
The last years of Andrei Rublev's life were associated with the Spaso-Andronikov Monastery. Unfortunately, the paintings of the Spassky Cathedral made by him have not survived. But the life of the icon painter even in this monastery was feat and service, prayer and creativity, for this is how he always lived.
Rublev is a recognized icon painter, but, first of all, he was a monk, his life was completely devoted to serving the Church. His holiness was already obvious to his contemporaries. Immediately after his death, in the 15th century, local veneration of St. Andrew the icon-maker was established in the Trinity-Sergius and Spaso-Andronikov monasteries, of which he was a monk. The Rev. Andrei Rublev was canonized by the general church only in 1988. The Church celebrates his memory on July 17 (4).
Text: Irina YAZYKOVA
Andrei Rublev is a famous ancient Russian icon painter, famous for his paintings of the cathedrals of Moscow, Vladimir and the monastery in the Trinity-Sergius Lavra. Little biographical information about his life has been preserved; they are described in his biography, which we will present to you below. His most famous icon, kept in the Tretyakov Gallery, is “Trinity”.
Andrey Rublev: biography and creativity (briefly)
- 1360s - born in Radonezh into the family of a craftsman.
- 1405 - participates, together with other artists, in work on frescoes and icons of the Annunciation Cathedral (Moscow).
- 1408 - work in the Assumption Cathedral of Vladimir together with D. Cherny, already in these years he had his own style and taught students.
- 1420 - creation of the iconostasis of the Trinity Cathedral in Sergiev Posad, including the famous “Trinity”, considered a masterpiece of world icon painting.
- 1425 - participation in the construction and painting of the Andronikov Monastery (Moscow).
- 1428 - death from plague.
Childhood, adolescence, monasticism
Andrei Rublev was born in the 60s of the 14th century; the exact place of birth is also unknown. According to some sources, he was born in the town of Radonezh, located next to the Trinity-Sergius Lavra, according to others - in Nizhny Novgorod. His father was a craftsman, as can be judged by his last name, because in those days a ruble was called a tool for working with leather. According to some sources, in his youth he became a novice of the Trinity-Sergius Monastery, and then a monk, receiving the name Andrei upon tonsure (his exact name is unknown).
The biography of icon painter Andrei Rublev originates within these walls, where he begins to learn the art of icon painting and studies the works on philosophy of Sergius of Radonezh, the founder of the monastery. There, visiting the monastery library, he carefully and with great zeal studies the works of the masters and artists of antiquity who painted icons.
The end of the 14th century became a difficult time for the Russian state: in 1364-1366 the plague raged in Moscow, and in 1365 there was a fire that destroyed almost the entire city. Then, in 1371, Moscow was besieged by Prince Olgerd, after which famine came to these lands.
The beginning of a creative journey
In the biography of Andrei Rublev, creativity and his first works as an artist are mentioned for the first time in 1405, when he, having moved to Moscow, together with Theophan the Greek, began painting the Annunciation Cathedral. The fate of the cathedral was tragic: 9 years later it was destroyed and then rebuilt several times. But some works were miraculously preserved: these are 2 tiers of the iconostasis, in which there are 7 icons made by Andrei Rublev, and 6 by Elder Prokhor of Gorodets, a famous master of icon painting of those times.
Already in these works, the hand of the master is noticeable, freer and lighter compared to Elder Prokhor, but already highly professional. This series of holiday icons is the first in Rus': “Annunciation”, “Nativity of Christ”, “Baptism”, “Transfiguration”, etc.
During these years, Rublev also painted an icon-copy of “The Mother of God of Vladimir” from a famous Byzantine image, as well as a drawing from the book “The Gospel of Khitrovo”, which received its name from the name of the boyar, in whose belongings it was found in the 17th century. According to art historians, this manuscript, which has no value, in those years could only have been created with the money of either the Metropolitan of Rus' or one of the great princes.
Murals of the Vladimir Assumption Cathedral
The following reliable facts from the biography of Andrei Rublev speak of his mention as an artist and occur in May 1408, when the Moscow prince ordered new frescoes to be painted on the site of the lost 12th-century paintings in the Assumption Cathedral in Vladimir. Andrei Rublev and Daniil Cherny came here at the invitation of the prince to do wall paintings, and Rublev was still working on several icons, including with his students. These works are now exhibited at the Tretyakov Gallery and the Russian Museum in St. Petersburg.
The frescoes on the western wall of the Vladimir Cathedral, which have survived to this day, are parts of the large composition “The Last Judgment”. It clearly identifies images belonging to the hand of A. Rublev, which have an unusual and strong emotional mood. In the figures of an angel with a trumpet, the Apostle Peter and the court scenes themselves, there are no emotions of fear of heavenly punishments, but an enlightened mood and the idea of forgiveness rise.
Icons in Zvenigorod
In 1918, in the town of Zvenigorod near Moscow, 3 icons dating back to 1410 were discovered in an old wooden barn. According to some sources, they were painted for the iconostasis of a local church, but according to the conclusion of modern researchers, none of the churches are suitable in size. Conventionally, they were called “Zvenigorod Chin”, “Apostle Michael”, “Savior”, “Apostle Paul”, and, undoubtedly, they can belong exclusively to the hand of A. Rublev.
These icons in the biography of Andrei Rublev became a new confirmation of his talent, capable of collecting into a single whole and subordinating lilac-pink-blue colors into complete harmony, which remained unique for several centuries. Bright moods as the completion of Rublev’s creative quest were embodied in the various images of these creations, in which the master of icon painting summarized various thoughts about the moral values of each person belonging to his contemporaries.
Art historians consider the “Savior” icon to be the most interesting, although it is very poorly preserved, but the face of Jesus Christ, endowed with Slavic features, is clearly visible. Christ looks attentively with a very calm, penetrating gaze. His whole appearance is filled with energy, attention and benevolence.
In the icon “Archangel Michael” the artist sang the lyrical reflections and thoughts of the poet. Although the angel is a heavenly and not a physical creature, Rublev embodied in him all the earthly beauty of man. The Apostle Paul is depicted by the icon painter as a philosopher-thinker, painted in a soft gray-lilac color scheme with blue tones.
Murals of the Holy Trinity Cathedral
At this time, the Tatar Khan Edygei gathered an army and marched on Moscow, which he could not take. However, along the way, the Tatars set fire to many settlements and cities, and were unable to save the Trinity Monastery, where Abbot Nikon served during these years. In subsequent years, Nikon made every effort to restore the monastery, and in 1424 he took on the construction of a white stone church, to which D. Cherny and A. Rublev were invited to create paintings. All works in this temple are dated 1425-1427.
At the same time, the most famous icon in the biography of Andrei Rublev, “Trinity,” was painted. It was part of the iconostasis of the Trinity Cathedral in Sergiev Posad and is considered the most artistically perfect among the icon paintings of that time. The artist reflected in it the concept of the Orthodox religion about the trinity of God.
The history of the discovery of this icon is very interesting: for several centuries it was on public display, but it was not noticed. It so happened that in 1575, Tsar Ivan the Terrible ordered it to be covered with a frame of gold, and only faces, feet and hands were visible. Then, in 1600, Boris Godunov changed the salary to a new, even more luxurious one. During replacement, the icon was covered with drying oil for preservation, which made the colors brighter. Over time, the outer layer began to darken, soot from candles settled on it, and smoke from incense entered it. To make the icon look better, it was constantly renewed by applying layers of paint on top along the contours of the design, and then again covered with drying oil. Most likely, the icon would have perished over time if not for chance. At the beginning of the 20th century, restorers scraped off the upper layers with a scalpel, and the beautiful creation of the great icon painter was revealed to their eyes.
Among the frescoes of the Trinity Cathedral that have survived to this day, according to art historians, the hand of A. Rublev includes “Baptism”, “Archangel Michael” and “Apostle Paul”. In color and depth of content, in beauty and color scheme, they resemble the “Trinity”.
Last work
At the end of the 1420s, having completed work in the Cathedral of the Holy Trinity, the icon painter’s long-time friend and comrade-in-arms, Daniil Cherny, died and was buried here. After this, A. Rublev returned to Moscow to work on the paintings of the Spassky Cathedral in the Andronikov Monastery, which he managed to complete in 1428. According to some reports, he also took part in its construction. This work was the last in the biography of Andrei Rublev.
The famous painter died in 1428 in Moscow during a plague epidemic and was buried near the bell tower of the Andronikov Monastery. In 1988, the year of the millennium of the baptism of Rus', he was canonized by the Russian Orthodox Church.
Film about Andrei Rublev
There are still many black spots in the biography of Andrei Rublev. In fact, very little is known about him, except two mentions in historical sources. Researchers even date the painting of his famous Trinity icon to two different years: 1411 or 1425-1427.
One of the ways to tell the world about this talented person, about the era in which he lived, about his creative searches and development as an artist was a narrative film made in the 60s of the 20th century by the famous director A. Tarkovsky. In several short stories, the film paints pictures of medieval Rus', briefly tells about the biography of Andrei Rublev, about his worldviews and doubts, about his vow of silence, which he observed for 15 years, and other interesting facts from the life of the icon painter.
Andrei Rublev (1370-1428) is the most famous and revered icon painter of the Russian land. Canonized by the Orthodox Church in the rank of venerables.
Monasticism
The painter took monastic vows at the Andronikov monastery under the name Andrey. Rublev's creativity came from the ancient traditions of the Principality of Moscow, and he acquired artistic experience by following Slavic religious canons.
It cannot be called painting in the usual sense; from the very beginning, his work reflected a sacred theme. The artist's first works, which he wrote, were intended for the "Gospel of Khitrovo". These were miniatures that coincided in meaning with the content of the book.
First masterpieces
In 1405, Rublev participated in the painting of the Annunciation Cathedral of the Moscow Kremlin together with Theophan the Greek, an experienced icon painter, who at that time already had such masterpieces as Monk Andrei Rublev was admitted to such 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 highest clergy of Moscow were convinced of the right choice - Andrei Rublev’s paintings 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 paintings by Andrei Rublev are mentioned in the chronicle of 1408, these were paintings 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 life - an icon that is currently in the Tretyakov Gallery in Moscow. The artist endowed the traditional story from the Bible with a special meaning and gave the image a barely noticeable plot content. In the center, the icon painter placed a bowl, and around it there were three angels sitting detachedly. Holy spirits, servants of God, are dressed differently. The angel in the middle is dressed in a red chiton with a sewn yellow clave and covered with a blue himation, behind him is a spreading tree, a symbol of belonging to the Supreme Creator. The Holy Spirit on the right, dressed in smoky green tones, is in his incarnation, with a rock rising 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 house-building. In the gaze turned to the other two angels, one can read paternal superiority. The Holy Spirit in the middle and the angel sitting on the right bowed their heads towards him.
An unsurpassed world-class masterpiece created by the Russian icon painter Andrei Rublev is “Trinity”. The description of the painting, its history, information about where it was located for six hundred years - all this is reflected in special publications 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, building 10.
List of works
Famous paintings by Andrei Rublev are about thirty icons painted by the artist at different times, which are located in the Annunciation Cathedral of the Moscow Kremlin, the Cathedral of the Assumption in Vladimir, the Russian Museum of St. Petersburg, and the Tretyakov Gallery. At one time, iconographic images were found that corresponded to the painting style of the famous icon painter, but the complete identity could not be determined.
Let's list Andrei Rublev's paintings with names and locations:
- "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 Annunciation Cathedral.
- "Savior Almighty" (158x106 cm). Tretyakov Gallery.
- "Old Testament Trinity" (142x114 cm). Tretyakov Gallery.
- "The 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 is in power" (18x16 cm). Tretyakov Gallery.
- "Entrance to Jerusalem" (80x62 cm). Festive rite in the iconostasis of the Annunciation Cathedral.
- "The Ascension of the Lord" (125x92 cm). Tretyakov Gallery.
- "Saint John the Baptist" (315x105 cm). Tretyakov Gallery.
- "St. Gregory the Theologian" (314x106 cm). Cathedral of the Assumption in Vladimir.
- "Descent into Hell" (124x94 cm). Tretyakov Gallery.
Paintings by Andrei Rublev in the Russian Museum
The following icons are located in St. Petersburg:
- "Archangel Gabriel" (317 x 128 cm);
- "Apostle Andrew the First-Called" (313x105 cm);
- "Annunciation" (125x94 cm);
- Saint" (313x105 cm);
- "Archangel Michael" (314x128 cm).
The work of Andrei Rublev, an icon painter, master of monumental painting and book miniatures, who lived and worked at the turn of the 14th-15th centuries, can be called a phenomenon not only of Russian, but also of world painting. His sublime painting embodied the spiritual beauty of man and his moral strength, as it was understood in Rus' of those times.
Descent into Hell
The court, in the interpretation of A. Rublev, has hope for justice and mercy, and therefore the fresco radiates cheerfulness, joy and optimism. The figures of the apostles, saints and others are light and weightless, for they believe in the mercy of God and their salvation. Skillfully using color distribution, smooth lines and shapes, the artist literally brings to life the ancient biblical legend.
And she lives and serves people to this day. Indeed, in the works of this great master there is wisdom, spiritual purity, kindness and love. It is not the strict God-judge who looks from the icons, but the kind Heavenly Father (“Savior”), ready to forgive and console everything. By icons one can judge the spiritual ideal and morality of a person of the 14th century. Nowadays this is becoming more and more relevant.
His work was of great importance for the further flourishing of the Russian school of painting. The Rublev tradition significantly departed from the Byzantine one and gave rise to the introduction of the new and original (namely Russian) in art. Even during the life of the great icon painter, his works were highly valued and were recognized as miraculous.
Epiphany
They were considered a model for many painters, especially since this was decided by the Church and Zemsky Council in 1551 with the participation of Tsar Ivan the Terrible himself. After Rublev, the Trinity was already depicted exclusively in his style, which became a unique and recognized “canon”.
In Russian and world culture, icon painting has become an unsurpassed example of the embodiment of enormous artistic talent and no less impressive power of the human spirit.
Did you like it? Don't hide your joy from the world - share itThe innovation of Rublev’s work was succinctly and deeply defined by A. Kuraev, who once said that if before this icon painter the main thing in the icon was “Lord, have mercy,” then from Rublev the main thing in the icon becomes “Glory to you, Lord.”
