Christian Art and Architecture in Russia Continued

1. Christian Art and Architecture in Russia Continued By: Tiffany, Azalia, Sam, and Jon

2. Selected Work Christ in Glory, Icon, 1470-99

3. Overview of Russian Icon Painting • An image of a religious figure that is intended for spiritual contemplation • Came to Russia through Byzantine artists • Typically painted on wood • Created to represent an essential spiritual force • Provide focus for religious worship • Iconostasis or “icon screens” were made for icon paintings in churches

4. Core representations to be create by and not by human hands • Expressions are usually blank or neutral • Use intense black lines rather than shading => Still appears flat • Naturalism is not their goal • Prefer to make them ideal because they are making icons of holy people

5. Christ in Glory

6. Visual Analysis • Portrays Jesus Christ • Sits in a carved throne • Left Hand- Holds an open book (New Testament) • Right Hand- 2 fingers extended (traditional sign of blessing or teaching) • Feet- crossed on a foot rest • Wears a drape over his body, allowing only his neck and feet to show

7. Wears a drape over his body, allowing only his neck and feet to show • Painted to seem three- dimensional • Lines instead of shading make it still look flat • Neutral expression and static figure • Eyes slightly focused up • Tied dark hair tied back loosely

8. Halo around his head draw attention to his face • Has light brown skin with darker facial hair • White is used to make light reflection on his face • Throne is tilted to the left= recession into space • Angels surround the throne (only face and wings are visible)

9. Top Left- Matthew: a man with wings= Christ's Earthly Nature • Top Right- John the Evangelist: eagle= Christ’s Divine Nature • Bottom Left- Mark: lion with wings • Bottom Right- Luke: an ox with wings • They all hold a book that show they are gospel writers

10. Materials and Techniques • Pigments are applied to a wood panel • Inorganic, mineral pigments because of their strong colors • Lapis azuli- vivid blue stones imported from Persia • Rarity of stone made the color expensive • Only used for important parts of icons • Mandorla: ancient symbol of 2 circles overlapping each other, creating an almond at the center (venn diagram)

11. Gold leaf • Tempera method- ground pigments suspended on egg yolk • Difficult due to paint drying fast, not getting the same shade in a color, and mistakes were not easily corrected • Oil paints- colors blend easily, paint lasted longer, and colors a opaque which allow it to be layered to make 3 dimensional effects

12. Artists did not look for fame and wealth for their work so they did not sign their work • Icon painter were expected to live a pious lifestyle • Only men were known to be iconic painters

13. Artistic Influences and Significance • From Byzantine art • Unique styles were developed • Many icon paintings were made fort eh orthodox churches which helped spread the religion • Recognized as national treasures today, even by non- believers • Same methods used in Icon painting now used in other types of paintings

14. St. Sophia Cathedral, Kiev, 1037-61 Hagia Sophia “Holy Wisdom” COOL POINTS: WHO CAN TELL ME THE ONE OBVIOUS PART OF THE EXTERIOR THAT WOULD NOT HAVE BEEN PART OF THE HAGIA SOPHIA WHEN IT WAS A CHURCH??? • Kiev was once the most important city for the KievanRus (unified medieval eastern Slavic state, defeated by Mongols) and a center of early Slavic Christianity. It is now the capital of Ukraine. • The entire cathedral, including the name, was heavily influenced by the Byzantine style. The Hagia Sophia is the famous Byzantine church (later mosque, now museum) in Constantinople (now Istanbul), that swayed Vladimir Sviatoslavichthe Great’s representativestoward theEasternOrthodox Church. Vladimir Christianized the KievanRus and brought the Eastern Orthodox traditionto Russia. • The cathedral was founded by Yaroslav the Wise------>(r. 1019-1054, who united Novgorod and Kiev) as a burial placefor Yaroslav and other Kievan leaders. • Yaroslav and his family are depicted in the interior. • Cathedral is based on a nine-aisle plan.

15. The rounded domes, called CUPOLAS, are distinctly Russian. Their inclusion in the church marks a departure from both the Byzantine style and classicizing architecture (which was popular later on in Western Europe and imperial St. Petersburg). “To classicize” is to imitate the classical styles of ancient Rome and Greece. LOOK FAMILIAR? --------------> • Cupolas have symbolic meanings. A large dome surrounded by 12 smaller domes could symbolize what in Christianity? (THAT’S RIGHT. JESUS AND THE APOSTLES) • In the interior, heavy piers both emphasize the height (or verticality) of the church and provide a huge amount of surface area for mosaics and frescoes. Both the interior and exterior frescoes have suffered, but the mosaics (restored recently) are in better condition and are excellent examples of Byzantine influence in Russia. • The Soviets secularized the church and turned it into a museum. Though some have tried to reverse the action and return St. Sophia to its role as a church, it remains a museum today.

16. Interior of Dome with Christ Pantocratorand Angels • JESUS: Christ Pantocratoris a mosaic located in the central dome. Jesus is depicted as an older man wearing a blue and gold robe with a full beard and a serious expression. The ring of gold around his head is a halo, signifying divinity. In his left hand Jesus holds a jeweled book (probably the Bible) while he gestures with his right hand (a symbol for teaching or blessing. Very, very common). The gold space around Jesus (which is not part of the halo) is abstract, with little sense of depth or reality. This, conceptually, is Heaven. The overall sense of the mosaic is stillness. Jesus will gaze down eternally at the viewer, offering not only his blessings, but his divine judgment. • ARCHANGELS: 4 archangels surround Jesus, also abstract and immobile. They stand out because they are wearing elaborate imperial Byzantine court clothing. Every archangel holds a standard that reads “Hagios” (“holy,” repeated three times). • APOSTLES and GOSPEL WRITERS: On the dome’s drum, each of the apostles are depicted individually. Below the drum (on the pendentives of the dome) are the writers of the gospels. • The figures are all arranged in HIERARCHICAL fashion. Jesus in Heaven (uppermost realm) and the gospel writers on the bottom (indicating Earth). All figures are abstract, emphasizing stillness over depth and motion.

17. Mosaics Influences and Significance • Valued by the ancients because they are very durable and remain vivid. • Byzantine artists were masters. • Mosaics are created from many small pieces of stone, glass, or tile, called tesserae, arranged in a pattern. • From afar, the pieces form a single picture. This may seem simple, but it requires great mathematical and artistic skills, especially when working with a curved surface. • Mosaic art reached its height in the 12th century, then declined with the rise of fresco and tempera painting. • When Christ Pantocrator was created, Byzantine masters traveled to and around Kiev to establish workshops. • It is one of the earliest surviving depictions of Christ Pantocrator on a monumental scale. • Like the Hagia Sophia, the St. Sophia Cathedral’s mosaic emphasizes abstracted space, immobility, two-dimensional figures, and gold. • The mosaic was produced less than 100 years after the widespread adoption of Christianity. • Christ Pantocrator, or Pantokrator (literally “Ruler of All” or “Almighty”), is the one of the most commonly represented images in Eastern Orthodoxy. It is usually located in the main cathedral and is roughly equal to the Catholic Christ in Majesty------> popularizedduring the medievalperiod. • The name refers to Christ as the Son of God judging humanity.

18. Art and Architecture of the Russian Empire By: Simone, Tiffany, Azalia, Sam, and Jon

19. Imperial Period in Review • Begins with Peter the Great Reign (1672-1725) Romanov Dynasty early 20th century • Imperial Period Look to the West for Inspiration • The Imperial Court becomes main patron of the Arts • Architecture POWER and AUTHORITY • Foreign West Art appreciation grew • Russian tradition overtaken by Western Influences • However, this was a time of great Artistic Output for Russia • St. Petersburg major city • Architecture Art = Masterpieces!

20. Muscovite Russia!! • Muscovite Russia started the late fifteenth century (1462) with Ivan III • All the Tsars ruled from Moscow • Ivan the Terrible patronized the Cathedral of St. Vasily the Blessed • Orthodox Church & State BBFs • Church was the patron! • ~Icon Paintings, Murals, Sacred Architecture Developed~ • 1st state sponsored Art school for icon paintings dif. Methods form • Maintained the Byzantine Tradition Art • Agricultural Society where Serfdom was alive and well

21. The Rise of the Romanovs and Peter the Great • Time of Troubles!!!! (1589-1613) • Revolt failed and In 1613,Nobles elected Michael Romanov *Ivan’s grandnephew,16 yrs old* brought peace (r.1613-1645) • Peter the Great (r. 1682-1725) established Russian Empire • Great Northern War (1700-1721) Baltic Sea Region, territory growth, and strong navy • Modernized :Western influences on everything • Art was secularized *Portraits popular* • St. Petersburg established in 1703- capital in 1712

22. St. Petersburg • Located N. of Moscow around River Neva • Different from Muscovite Rulers • Peter set restrictions • Easier access to the West • Wanted structures made of stone and brick some wood painted over: Baroque style Petrine Baroque • Aleksandr Menshikov (1673-1729): Menshikov Palace • Notables: DomenicoTressini (1670-1734), Jean-Baptiste-Alexandre Le Bond (1679-1719) • The Twelve Colleges & Cathedral of Saints Peter and Paul

23. Elizabeth I and Catherine II • Palace Architecture *Previous Baroque on Steroids* • Wanted a Winter Palace designed by Francesco Rastrelli (1700-71) • Interior and Exterior Baroque and Rococo • Jordon Staircase still intact • Sophia Augusta Fredrica Catharine II (r. 1762-96) • Big Art Collector inspire Russian Artist • Francophile promoted French styles in Art&Arch. • 1757 Count Ivan Shuvalov founded 1st state sponsored art academy in his Palace • 1764: Renamed Imperial Academy of Arts in new building • Built by Jean-BaptisteVallin de la Moche, Prof., and Alexander F. Kokorinov • Neoclassical style prominent- Profs. all foreign born

24. Romanov Rule in the 19th Century • Alexander I (r.1801-25) continues building vision of Grandmother • Focus on Neoclassical Arch. Western Politics • Nicholas I (r. 1825-55) was choosy with his tastes • St. Petersburg’s Arch. developed mid-19th century Arch. no longer developed like in the days of Catharine the Great • Russian Artists communicate with the West • Realist Painting style (French) depicted Russian life in a new way

25. Anti-Imperialism and the Revolution • Public resent Imperial Rulers strong in 19th – early 20th centuries • Art&Arch. Symbols of Power and Wealth of Imperial Rulers • Nicholas II abdicates March 1917 (March 1918 killed along with his family) • Lenin (1870-1924) gains control of Revolution in October • The greater art works and architecture were maintained after the Revolution on 1917 • Many masterpieces were either stolen, sold, or destroyed • Turn away from Imperial Art new artistic styles

26. Palace Architecture in St. Petersburg Founded in 1703, St. Petersburg became the primary residence of the imperial family and partial residence of the Russian nobility. Famous for bringing dramatic social and cultural changes to Russia, Peter the Great designed palaces to reflect the more liberal court life of Western Europe. -For example: most palaces were built with many dining and reception rooms because they were integral to “liberal” Western-style court life. Although Peter eventually transformed St. Petersburg into a center of Russian opulence, his first residence there was only a log cabin. Later tsars preserved the cabin as a symbol of St. Petersburg’s humble roots. Because nobles were required to spend a part of every year in St. Petersburg, domestic architecture boomed. Architecture of the noble residences was very limited: Baroque style + made of stone. The carefully planned construction and stylistic restrictions makes St. Petersburg architecture very uniform. The Baroque style was a favorite of Peter the Great. It was later referred to as Petrine style. St. Petersburg was built quickly (almost completely from scratch) by forced labor. Stone was not readily available, so designers decorated the exterior of buildings to look like stone or brick. -Americans did this, too. In order to imitate British style homes (which were made from laid stone), architects manipulated wood to look like stone. This is called Federal style.

27. The Winter Palace • Although Peter the Great wanted St. Petersburg to imitate the palaces of the great Western European powers, he did not intend to create a palace to rival Louis XIV’s Versailles. Versailles was, however, a source of inspiration. • Constructing began on the first Winter Palace from 1711 to 1712, under architect DomenicoTrazzini • Peter the Great soon tired of the first Winter Palace and commissioned a second, designed by Georg Johann Mattarnovi in 1721 (where Peter died in 1725) • Updated (from 1754-62) to its current, colossal form during reign of Empress Elizabeth (r. 1741-62) who employed Francesco BartolomeoRastrelli (who also worked with Tsaritsa Anna before Elizabeth) • Elizabeth wanted a spectacular palace that would symbolize the growing power of the Russian empire, but the palace was a huge cost to most Russians, who were manipulated for their manual labor and tax payments. • Center of formal state functions. • Contains over 1,000 rooms. Most have changed over time, but many rooms are decorated in either the Rococo or Neoclassical styles. • Façade is approx. 250 meters long. Baroque in form, it has an overall sense of symmetry and rhythm of projections. • One side looks out on the Palace Square, the other side overlooks the River Neya • Official residence of the royal family for most of the time before the Russian Revolution became ultimate symbol of autocratic rule. • The present winter Palace is actuallythe 4th constructed.

28. The Hermitage and Catherine the Great • Catherine was highly interested in the Enlightenment and intended to use the Small Hermitage for holding philosophical salons and displaying/storing her huge art collection. By owning so much art, she solidified her reputation as a cosmopolitan and powerful world leader. • Catherine considered herself an “enlightened monarch” who pursued reform. She was influenced by Jean-Jacques Rousseau, who emphasized simplicity in life as a passage to greater truth. She built the Hermitage as a place of “retreat” into simpler life. • Was only “SIMPLE and RESTRAINED” when compared to the Winter Palace. The Hermitage was still opulent and extravagant, even when compared to residences of wealthy merchants. • The name Hermitage today refers to the enormous museum housing one of the world’s greatest art collections, but the original was only a small palace adjacent to the Winter Palace.Corinthian Capital: • Façade is harmonious with the much larger Winter Palace • Designed by YuryVelten and Jean-BaptisteVallin de la Mothe • Southern Pavilion:1765-66 (designed by Velten) • Northern Pavilion: 1767-1769 (designed by Vallin de le Mothe) • Form is CLASSICIZING • Imitates the Winter Palace’s strict symmetry, restraint, and use of columns (which creates a sense of rhythm) • Compact, strong sense of height • Tall windows and rounded arches on 1st and 2nd stories • Portico: 6 CORINTHIAN columns visually link the Hermitage and Winter Palace • Sparse decoration, structure remains visible • Hermitage and Winter Palace (and Versailles) all influenced by classical Greece and Roman architecture

29. Selected Work Monument to Peter The Great, St. Petersburg, Etienne-Maurice Falconet, Completed 1782

30. Patronage Monument to Peter the Great- The Bronze Horseman • Represents Peter the Great • Was commissioned by Catherine the Great • Installed in 1782 • Why? She was married into the family • Making connection shows desire for surpassing Peter • “Petro Primo Catherina Secunda MDCCLXXXII” (Latin for Catherine the second to Peter the first, 1782)

31. Location: Looks over River Neva • Importance: River shows growth of the city, Peter built his first home by the river’s bank, location is renovated later on and becomes a public square close to St. Isaac’s Cathedral, Winter Palace, and Hermitage • Square is supposed to represent the church and the state

32. Artist’s Biography • Catherine always looked for sculptors and architects from France • Etienne- Maurice Falconet (1716-1791) • First task in Russia • Born to a poor family in Paris • Received help from Jean Baptiste Lemoyne • Joins Academie des Beaux- Arts, 1757

33. 1757- serves as the director of sculpture at Sevres porcelain factory • Traveled to Russia in 1766 • Worked with pupil Anne-Marie Collot • She worked on Peter’s face • Became very well known in St. Petersburg • Has several exhibits at the Heritage Museum • 1778- Collot and Falconet went back to Paris • Collot marries Falconet's son, Pierre- Etienne: also an artist

34. Does not see the installation of the sculpture because he is no longer one of Catherine's favorites • Becomes successful academic sculptor • 1788- Director of the Academie de Beaux- Art • Wrote several texts on sculpture

35. The Bronze Horseman

36. Visual Analysis • Peter the Great on horseback • Even though the horse is on its hind legs, Peter remains calm • Right hand extended towards river • Has classical attire and laurel wreath on his head • Face is calm with idealized feature of Peter the Great

37. Sculpture is about 20 feet high • Cast bronze • Lost- Wax Casting Technique- laborious and expensive • Pedestal- carved from a red gigantic red granite boulder • 25ft tall • Boulder known as Thunder Stone • Locals believed it got its form after being struck by lightning • Creates illusion of Peter looking out of a cliff

38. Artistic Influences • Neither have armor= comes in peace not war • Influenced by Western art (leaders on horseback) • The sculpture of Marcus Aurelius • Both have an outstretched hand, which might be a symbol for a blessing or clemency

39. Equestrian Sculpture revived in European Renaissance • Form of classic art • Popular in France • Horse represents the state • Leader on its back controls the state • Horse on its hind legs represents the difficulty of the task

40. Contextual Analysis • Became known as the Bronze Horseman in the 19th Century • Alexander Pushkin refers to it as the Bronze Horseman in a poem he wrote • Poem is about the conflict between the power of the state and the needs of the people • Sculpture has a protective role over the city