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На снимке Центральный неф Владимирского собора в центре которого фигура Богородицы. Она легко и неторопливо идет навстречу зрителям. Царица Небесная несет грешному миру своего Сына. Ее большие, полные печали и любви карие глаза ласково смотрят на зрителя. Необыкновенно прекрасно ее бледное, озаренное внутренним светом лицо. Традиционный образ Богоматери получил под кистью Васнецова оригинальную и своеобразную трактовку. Этот образ с тех пор называют «Васнецовской Богоматерью».
На передньому плані, на двух ближніх пілонах арок, на стороні, що з боку центральної нави, напроти один одного, образи двух святых благовірних князів страстотерпців Бориса і Гліба - перші руські святі, які, виявивши істинно християнське смирення, не захотіли підняти руку на брата, навіть в ім'я порятунку свого власного життя, а вважали за краще прийняти мученицьку кончину.
- ліворуч, з боку бічної північної нави, святий великомученик Борис, за традицією зображений старшим. Він у княжому одязі та вінці, але очі його смиренно опущені. У правій руці у нього спис, у лівій – хрест.
- праворуч, з боку бічної південної нави, святий великомученик Гліб, молодший брат, також у княжому одязі. Його очі піднесені до неба. Правою рукою він осяює себе хресним знаменням, у лівій – хрест.
Образи Бориса і Гліба виконав В.М. Нестеров за ескізами В.М. Васнєцова.
Сам Виктор Михайлович считал эту работу главным делом всей своей жизни. «…Глаза всех фигур Васнецова — традиционные глаза византийской иконографии — преувеличенно большие, все одинакового разреза, одинакового цвета. Сплошная чернота окраски делает их бездонными и позволяет воображению населять их глубь всеми оттенками мистических чувствований», — замечает один из исследователей росписей собора.
По завершении работ Виктор Михайлович произнес сакраментальную фразу: «Я поставил свечку Богу».
Композиционная система оформления храма построена вокруг изображения на запрестольной стене абсиды Богоматери с Младенцем - работы Виктора Васнецова (1848 - 1926).
Согласно семейной легенде, Богоматерь с Младенцем Васнецов писал со своей жены и сына. «Меня сохранил Господь», — говорил глубоко верующий Художник, который не сомневался, что только вмешательство высших сил уберегло его от верной гибели, когда он сорвался с лесов во время работы под куполом храма.
Famous art-critic and archaeologist Adrian Prahov was crazy at turning the cathedral into the treasury of contemporary religious art. Almost none took his idea seriously. However, Prahov, using his Petersburg friends and comrades, managed to become the head of the decoration department of Saint Volodymyr Cathedral in 1885. He invited best specialists: Viktor Vasnetsov, Michael Nesterov, brothers Oleksandr and Pavlo Svedomski, Wilhelm Kotarbinsky, Michael Vrubel, Ukrainian artists Mykola Pymonenko and Sergiy Kostenko. And the impossible happened! Even though the constant shortage of money, blames in the fact that the artists are too brave in their works and very long period of the works (11 years!), Prahov’s intention came true. The painting of the cathedral owing to the talent of artists, enormous emotional tension and the true historical environment soon became a significant monument to religious art of the XIX century.
Cyril Church (Church of Saints Cyril and Athanasius of Alexandria) is one of the oldest churches in Kyiv, preserved from the times of Kievan Rus. Currently, it is not only a museum as part of the Sophia of Kiev National Reserve, but also a functioning temple. The paintings of the St. Cyril Church are of particular value - paintings from the 12th, 17th and 19th centuries have been preserved here.
In the 12th century, the interior was painted with frescoes, of which about 800 square meters have survived to this day. - this is a fifth of what once existed.
In the 18th century, after the abolition of the Kirillovsky Monastery, the walls of the temple were completely plastered and whitewashed.
In the 60s of the 19th century, during renovation work, an ancient fresco was discovered under the plaster. And already in 1880-1884, under the leadership of art historian Adrian Prakhov, work began on clearing the ancient frescoes in the temple, and the lost fragments of ancient murals were updated using the technique of oil painting. To carry out the restoration work, Professor Prakhov involved about thirty students and teachers of the Kyiv drawing school of Nikolai Murashko, among whom are now classics of Ukrainian painting: Ivan Izhakevich, Ivan Seleznev, Sergei Kostenko, Nikolai Pymonenko and others, as well as ten students of the Imperial Academy of Arts, among whom there was Mikhail Vrubel, unknown to anyone at that time. He worked in Kyiv from May to November 1884, and painted the following images: “Archangel Gabriel” from the Annunciation scene, “The Entry of Christ into Jerusalem”, “The Descent of the Holy Spirit” (in the choir), “Angels with Labars”, half-figures of Christ, prophets Moses and Solomon.
«Кирилівська церква (церква Святих Кирила та Афанасія Олександрійських) - один із найдавніших храмів Києва, що зберігся з часів Київської Русі. Нині це не лише музей у складі Національного заповідника «Софія Київська», а й храм, що діє. Особливу цінність становлять розписи Кирилівської церкви - тут зберігся живопис XII, XVII, XIX століть.
У XII столітті інтер'єр розписали фресками, у тому числі до нашого часу збереглося близько 800 м.кв. — це п'ята частина від тих, що колись існували.
У XVIII столітті, після скасування Кирилівського монастиря, стіни храму повністю оштукатурили і забілили.
У 60-х роках XIX століття під час ремонтних робіт, під час перетирання стін, під шаром тиньку (розчин вапна змішаного з піском) було виявлено давню фреску.
Завдяки енергійному заступництву місцевого священика Петра Орловського варварське перетирання було зупинено і дорогоцінні склепіння були врятовані.
А вже у 1880-1884 роках під керівництвом мистецтвознавця Адріана Прахова у храмі розпочалися роботи з розчищення старовинних фресок, а загублені фрагменти стародавнього стінопису були оновлені у техніці олійного живопису. До проведення реставраційних робіт професор Прахов залучив близько тридцяти учнів та викладачів Київської малювальної школи Миколи Мурашка, серед яких нині класики українського живопису: Іван Іжакевич, Іван Селезньов, Сергій Костенко, Микола Пимоненко та інші, а також десять студентів Імператорської Академії мистецтв, серед яких був і нікому тоді невідомий Михайло Врубель. Він працював у Києві з травня по листопад 1884 року, і написав такі образи: «Архангел Гавриїл» зі сцени Благовіщення, «В'їзд Христа до Єрусалиму», «Сходження Святого Духа» (на хорах), «Ангели з лабарами», напівфігури Христа, пророків Мойсея та Соломона.»
/текст Росписи Кирилловской церкви (рос). Сайт Киев-фото/
In 1852, Metropolitan Philaret of Moscow suggested a large cathedral should be built in Kiev to commemorate the 900th anniversary of the baptism of Kievan Rus' by prince Vladimir I of Kiev (St. Volodymyr). People from all over the Russian Empire started donating to this cause, so that by 1859 the cathedral fund had amassed a huge sum of 100,000 rubles. The Kiev Pechersk Lavra (Monastery of the Caves) produced one million bricks and presented them to the cathedral as well. The design was executed in neo-Byzantine style initially by the architects I. Schtrom, P. Sparro, R. Bemhardt, K. Mayevsky, V. Nikolayev. The final version of the design belongs to Alexander Vikentievich Beretti. It is a traditional six-piered, three-apsed temple crowned by seven cupolas. The height to the cross of the main dome is 49 m (161 ft).
Interior view of the cathedral
The colourful interior of the cathedral is particularly striking. Its mosaics were executed by masters from Venice. The frescoes were created under the guidance of Professor Adrian Prakhov by a group of famous painters: Wilhelm Kotarbiński, Mikhail Nesterov, Mykola Pymonenko, Pavel Svedomsky, Viktor Vasnetsov, Mikhail Vrubel, Viktor Zamyraylo (1868-1939), and others. The painting of the Holy Mother of God by Vasnetsov in the altar apse of the cathedral impresses by its austere beauty.[citation needed]
The entrance door is adorned with relief bronze sculptures of St. Olga (Princess Olga of Kiev) by sculptor Robert Bakh and St. Vladimir (sculptor H. Zaieman) against a blue background. The iconostasis is carved from the white marble brought from Carrara. The cathedral was completed in 1882, however, the paintings were fully completed only in 1896.[1]
In 1852, Metropolitan Philaret of Moscow suggested a large cathedral should be built in Kiev to commemorate the 900th anniversary of the baptism of Kievan Rus' by prince Vladimir I of Kiev (St. Volodymyr). People from all over the Russian Empire started donating to this cause, so that by 1859 the cathedral fund had amassed a huge sum of 100,000 rubles. The Kiev Pechersk Lavra (Monastery of the Caves) produced one million bricks and presented them to the cathedral as well. The design was executed in neo-Byzantine style initially by the architects I. Schtrom, P. Sparro, R. Bemhardt, K. Mayevsky, V. Nikolayev. The final version of the design belongs to Alexander Vikentievich Beretti. It is a traditional six-piered, three-apsed temple crowned by seven cupolas. The height to the cross of the main dome is 49 m (161 ft).
Interior view of the cathedral
The colourful interior of the cathedral is particularly striking. Its mosaics were executed by masters from Venice. The frescoes were created under the guidance of Professor Adrian Prakhov by a group of famous painters: Wilhelm Kotarbiński, Mikhail Nesterov, Mykola Pymonenko, Pavel Svedomsky, Viktor Vasnetsov, Mikhail Vrubel, Viktor Zamyraylo (1868-1939), and others. The painting of the Holy Mother of God by Vasnetsov in the altar apse of the cathedral impresses by its austere beauty.[citation needed]
The entrance door is adorned with relief bronze sculptures of St. Olga (Princess Olga of Kiev) by sculptor Robert Bakh and St. Vladimir (sculptor H. Zaieman) against a blue background. The iconostasis is carved from the white marble brought from Carrara. The cathedral was completed in 1882, however, the paintings were fully completed only in 1896.[1]
St Volodymyr's Cathedral converted to an anti-religious museum in the early 1920s
The cathedral risked damage during the Polish-Soviet War in 1920.[2] During the Soviet period, the cathedral narrowly escaped demolition, but not closure. Until the Second World War it served as a museum of religion and atheism. The relics of St Barbara, a martyr of the 3rd century AD, were transferred to St Volodymyr's from the St. Michael's Golden-Domed Monastery before it was destroyed by the Bolsheviks,[3] and have remained there since.
Copyright © 2009 - All rights reserved - Interior capture of the main dome and alter apse showing the overwhelming masterpiece artworks that adorn all the walls, vaulted ceilings, archways and columns within St. Vladimir's Cathedral.
Volodymyrsky Cathedral, (Vladimirsky Cathedral, or St. Vladimir's Cathedral) is a remarkable old Byzantine style cathedral in the center of Kyiv. It is one of the city's major landmarks and the mother cathedral of the Ukrainian Orthodox Church - Kyiv Patriarchy, one of two major Ukrainian Orthodox Churches.
In 1852, metropolitan Philaret of Moscow suggested a large cathedral should be built in Kyiv to commemorate the 900th anniversary of the baptism of Kyivan Rus by prince Vladimir (Volodymyr) the Great of Kiev (St. Vladimir). It was completed in total in 1889.
It is the interior artwork in this capture that truly is the splendor of this ancient cathedral. Mosaics were executed by masters from Venice. Frescoes were created under the guidance of Professor A. Prakhov by a group of famous painters: S. Kostenko, V. Kotarbinsky, M. Nesterov, M. Pymonenko, P. Swedomsky, V. Vasnetsov, M. Vrubel, V. Zamyraylo, and others. The painting of the Holy Mother of God by Vasnetsov in the altar apse of the cathedral impresses by its austere beauty, being one of the world masterpieces of fine art. (Historical data courtesy of Wikipedia) Kyiv, Ukraine 2009
Certificate Of Authenticity of The Painting by Mykola Hlushchenko "Still life with a Glass Jar and a Bottle"
Paris 1920/30
Fauvism | Oil and Gouache on Paper | 11.69 x 16.53 inch
by Art Expert Dmytro Omelyanovich Gorbachev
08/08/2018 20:30:44
The Scan of the Original document
The Front View of the Document
To Bohdan Rodyuk Chekan, son of Olena Chekan
I witness that "Still life with a Glass Jar and a Bottle", 1920-30,
oil and gouache on paper, belongs to the brush of Mykola Hlushchenko and performed in Paris, where Glushchenko belonged to the Parisian group of Ukrainian artists.
The manner of execution - Fauvism. The work is signed by the artist himself. Expert Professor Dmytro Gorbachev, Kyiv, 08/08/2018, Sgd.
The Prophecy of Cubo-Futurism
June 6, 2008 ▪ Communicate: Olena Chekan
Aleksandra Ekster is one of Ukraine's top innovative artists. She painted abstract pieces. But instead of following the style of Wassily Kandinsky or Kazimir Malevich she created her own, Cubo-Futuristic version of abstract art.
Professor Dmytro Horbachov discovered Ukrainian avant-garde three times. First, for himself when he ran across rummaged pieces by "unknon painters" in the basements of the National Art Museum. Then, for Soviet dissidents and intellectuals, when he took them to those basements. Today, Mr. Horbachov is discovering them for Ukraine and the world. He is the most respected expert, author of monographs, curator and consultant in numerous exhibitions. He was not personally involved in the exhibition of Aleksandra Ekster's works opened in 2008. However, The Ukrainian Week asked him to share what he knows about the painter.
Actually, Ekster is one of Ukraine's most outstanding innovative artists. She painted abstract pieces. But instead of following the style of Wassily Kandinsky or Kazimir Malevich, she created her own Cubo-Futuristic version of abstract art. This was an easy task thanks to integration with Ukrainian folk art where the pulse of the ornament, rhytms, movement and nerve are key. This was the prophecy of everything that hapenned in the art of the 20th century...
Aleksandra was born in Bialystok, a city in Belarus, to the family of Belarusian father and Greek mother, both Orthodox. Ekster is the last name of her first husband. He was a well-known lawyer in Kyiv, and of German descent, hence Ekster. In 1918, he died of typhus. Her maiden surname was Hryhorovych. The stress in Ekster is actually on the first syllable, but the French put it on the last vowel so that's how it's pronounced today.
When she was two, her family moved to Smila, a town in Ukraine. Her father was a financier and found a job there. In a year, he got a job at a bank in Kyiv. When Asia got a bit older, she would say she's Kyiv native, so Western art experts thought that she was born in the city. Then, they saw Bialystok somewhere in her personal documents and started writing "Bialystok near Kyiv". Also, she said she was born in 1884. But the geeky archivists found out that she was actually born in 1882. We had long discussions about which year we should use and whether we should make her little lie known to the public. Eventually, we chose the academic approach even if it wasn't very humane towards her. That was our geeky insensitivity.
At the Kyiv Art College she was taught by Mykola Pymonenko. In fact, he also taught Malevich and Bogomazov, although he personally wasn't a fan of avant-garde. But her favorite model was Petro Levchenko from Kharkiv school. He was a sophisticated expressionistic realist. One of her works, a very early one, was in that style. A still life that is close to an Easter one, an anticipation of holiday, so moving and fleeting... Then she left for Paris in 1907 but realized that the teaching there was similar to that in Kyiv and found it dissapointing. Serhiy Yastrebtsov, a Kyiv artist, introduced her to a great French poet, Guillaume Apollinaire, who then introduced her to Pablo Picasso. Ekster was so impressed by his works that she made dozens of photographs and brought them to Kyiv. Burliuk brothers, Oleksandr Bohomazov have never seen anything like this before, so they got carried away and began to follow the style. "Volodenka, do your best to picasso him," David, the older of the Burliuk brothers, would tell his younger brother Volodymyr when he was painting the portrait of Benedict Livshitz, a Jewish-Ukrainian poet and translator. Klyment Redko, a beginner painter from Kyiv-Pechersk Lavra, recollected wondering at Picasso's fragmented violins on the bank of the lake in Kytaivska desert. Everyone was thrilled at his inversions of plastics. In fact, if the Bolsheviks had not come to power, Kyiv-Pechersk Lavra would have been painted in Cubism. That was the tradition: when Baroque style was in, the artists there tried to stick to it, when Realism was in – they would stick to that one. It has some brilliant frescoes in Modernism, and was on the verge of getting frescoes in Cubism. At that point, thanks to Ekster, Kyiv had more Cubist artists than any other city could boast.
The Ekster-Rabinovich studio of decorative art was active in Kyiv in 1918-1919. Іsaak Rabinovich was her disciple, associate and a brilliant scenographer. She taught his students abstract art, avoiding typical academic practice of painting nude figures altogether. She didn't charge students, but everyone brought her whatever they could afford. Some would bring food – it was in the middle of the civil war. Once, a student, artist Weisblat, brought peas, but it was mixed with buckwheat and some other grains. They didn't hesitate to cook and eat it nevertheless. The students would make some money for the studio as well. For instance, whenever theater or dance performers came to the city (one of them was well-known choreographer Mikhail Mordkin who loved working with her), they always comissioned costumes and stage decorations to her. Ekster would distribute the work between the students.
She worked with children as well in the studio. Children and avant-garde artists had some things in common, she said: laconic style, free coloring, as well as saturated emotion and passion for life. She would first read a story to the children, then give them paper, scissors and paint and told them to cut, glue, color – whatever you do, don't paint a plot and don't restrain yourself. The outcome, she said, was amazing. The children would do things that made grown-up painters jealous.
Her many students included Serhiy Yutkevych, he would later become a film director. I once visited him in Moscow and said that Ekster was a Ukrainian painter. He replied that she was a European one. Eearlier, the stereotype was that something European could not be Ukrainian by default, and anything Ukrainian can't be European. This is wrong. Ekster created a link between Paris and Ukrainian rural background. She was active in a community that was working to revive Ukrainian crafts - embroidery, weaving and pottery. That placed her in the epicenter of Ukrainian nationalism (along with archeologist and ethnographer Mykola Biliashivsky, the family of Hudyma-Levkovych). Picasso was her friend in Paris. In Ukraine, she was friends with Hanna Sobachka, a village-based artist who later gained fame. Hanna embroidered patterns created by Ekster and got inspired by modernist movements through her. In fact, this was mutual artistic enrichment. Hanna borrowed from Aleksandra the dynamism of the futurist composition, while Aleksandra took the range of colors from Hanna and folk art in general. This fusion made Aleksandra Ekster an avant-garde Ukrainian painter. By the way, she arranged the first exhibition of Sobachko's work and delivered an amazing speech at it. She said that Sobachko was a great artist, a folk futurist. That is a rare phenomenon actually: before Hanna Sobachko, there had barely been folk futurists anywhere. Ekster discovered this. She helped many open their potential.
Aleksandra Ekster also reformed scenography. My guess is that scenography in Ukraine is still strong despite the many losses in previous times thanks to her. In 1920, Ukrainian scenography was among the best ones in the world, involving Constructivism, Cubism, Futurism... Ekster adored and understood the theater. She loved going to Mykola Sadovsky's theater to watch plays Martyn Borulia, Natalka Poltavka. Her crucial contribution to the theater reform was in that she introduced the use of the stage as a cube rather than as the vertical dimension of the floor alone (the latter was the common approach before her). She wondered why so much space was left unused and suggested that it should be played with; then she began to make platforms and staircases on stage, 3D constructions, and instantly that added a new feel to the theater.
In 1918, Ekster convened the First Pan-Ukrainian Conference of Culture. Her speech there focused on scenography, proving that the team of play directors should include people responsible for the installation of light in addition to the director proper and the costume and stage director, since light was an integral component of the stage artistry. Before her, light had been thought of as light proper that made things visible. She made a point about introducing light scripts. Today, the world is using her approaches without realizing that Ekster was the pioneer. When asked then what would make Ukrainian theater flourish, Ekster said: "As much creativity as possible, and as little provincial feel as possible." She realized that Ukraine had a huge layer of provincialism. When I read all those records of things she said, I think that if only Petliura and Skoropadsky had reached an agreement back in the day for the sake of Ukraine, life here would be completely different today. Back then, Ukraine saw a huge rise of its culture...
She moved to Moscow in 1920 and worked at the Chamber Theater run by the Poltava-born Oleksandr Tairov. That was where Anatoliy Lunacharsky, the first Soviet People's Commisar of education and culture, also born in Poltava, noticed her. He was referred to as intelligentsia amongst Bolsheviks and a Bolshevik amongst intelligentsia. He knew contemporary culture well, unlike Vladimir Lenin who never went beyond Nekrasov's poems about "people's sorrows" while not even thinking of, say, Vladimir Mayakovski as a poet. "Lunacharski should be flogged for Futurism..." Lenin used to write. It was Lunacharski who offered Ekster to go to Venice and organize a bienniale there as a Soviet representative. That was in 1924. Later, she was asked to help organize a show in Paris in 1925. That's how she stayed there, doing artwork for books, interior designs, publishing bibliophile books, i.e. writing texts and doing artwork for them, as well as teaching at Fernand Léger's Academy of Modern Art. In fact, Léger would keep telling her when she first came to Paris, "how come you paint it this way, we are futurists so we should use monochrome, and you do it all so colorfully." Aleksandra tried to do monochrome, but whenever she came to Kyiv she headed straight to villages with all of their flamboyance, bloom and fragrances. That drove her to paint all these dimensions in colors. Léger reacted to this and started adding bright color in his work.
Aleksandra had many students from all over the world. One, Pavlo Chelishchev who once lived in Kyiv, wrote in his diary later: "Ekster is a brilliant teacher. The only thing that bothers my and other students is that she mentions Ukraine which nobody knows too often." Meanwhile, Ekster couldn't help it because she was drawn to Ukraine. Actress Alisa Koonen and her husband were friends with Ekster. Koonen used to say that both in Paris and in Moscow they were impressed by how Ekster managed to combine Ukrainian everyday life culture with European art: she had Georges Braque, Picasso and Léger hanging next to Ukrainian embroidered rushnyky, carpets and pottery. Even the food she ate and served was Ukrainian. Ekster brought Nastia, a woman helping her in the household, anywhere she went. Everyone remembered Nastia for her treats of varenyky in clay bowls, and borshch. Many French artists, including Picasso and Léger, learned to eat and make varenyky. According to Koonen, Nastia did not speak French but that did not bother her: she believed that Parisian traders knew Ukrainian. "I tell them and point at things, and they understand me!" she would say.
After the war, Ekster was already very ill and used some drugs because she felt very lonely. Her second husband, a Moscow-born actor Georgi Nekrasov, had died by then. Nastia had died before him. "How is Kyiv, how is Moscow?" Aleksandra would write to sculptor Vera Mukhina, her student and friend. Vera later recollected Ekster's comment on her Worker and the Kolhoz Woman sculpture: "No, this art is very rough, where is your Cubism, your Abstractionism, where are your notes from Paris?" Joseph Stalin was grateful to Mukhina for the Worker and the Kolhoz Woman sculpture and allowed her to go to Paris whenever she desired. She also had a bank account opened for her in Paris so she could help out Ekster financially.
Aleksandra Ekster is buried at Fontenay-aux-Roses in suburban Paris. There had once been a monument on the grave, but nobody paid for the grave so someone else was buried there 30 years later. All of Ekster's pieces were inherited by her French housekeeper. Gallerist Jean Chauvelin then bought them from her. He displayed them for the first time in 1968 and the works became a sensation instantly and have become more and more popular ever since. Everyone realized how great of an artist she was... Ekster's works are displayed in Ukraine as well – at the Theatre Museum, the National Art Museum, the Dnipropetrovsk Museum and in private collections.
Translated by © Anna Korbut
Copyright © Ukrainian Week LLC. All rights reserved.
St. Vladimir's Cathedral is a cathedral in the centre of Kiev. It is one of the city's major landmarks and the mother cathedral of the Ukrainian Orthodox Church - Kiev Patriarchy, one of two major Ukrainian Orthodox Churches.
In 1852, metropolitan Philaret of Moscow suggested a large cathedral should be built in Kiev to commemorate the 900th anniversary of the baptism of Kievan Rus by prince Vladimir (Volodymyr) the Great of Kiev (St. Vladimir). People from all over the Russian Empire started donating to this cause, so that by 1859 the cathedral fund had amassed a huge sum of 100,000 rubles. The Kiev Pechersk Lavra (Monastery of the Caves) produced one million bricks and presented them to the cathedral as well. The design was executed in delightful Byzantine style initially by the architects I. Schtrom, P. Sparro, R. Bemhardt, K. Mayevsky, V. Nikolayev. The final version of the design belongs to A. Beretti. It is a traditional six-piered, three-apsed temple crowned by seven cupolas. The height to the cross of the main dome is 49 meters.
It is the cathedral's colourful interior that particularly strikes the eye. Mosaics were executed by masters from Venice. Frescoes were created under the guidance of Professor A. Prakhov by a group of famous painters: S. Kostenko, V. Kotarbinsky, M. Nesterov, M. Pymonenko, P. Swedomsky, V. Vasnetsov, M. Vrubel, V. Zamyraylo, and others. The painting of the Holy Mother of God by Vasnetsov in the altar apse of the cathedral impresses by its austere beauty, being one of the world masterpieces of fine art.
Wikipedia
Copyright © 2009 - All rights reserved - Volodymyrsky Cathedral, (Vladimirsky Cathedral, or St. Vladimir's Cathedral) is a remarkable old Byzantine style cathedral in the center of Kyiv. It is one of the city's major landmarks and the mother cathedral of the Ukrainian Orthodox Church - Kyiv Patriarchy, one of two major Ukrainian Orthodox Churches.
In 1852, metropolitan Philaret of Moscow suggested a large cathedral should be built in Kyiv to commemorate the 900th anniversary of the baptism of Kyivan Rus by prince Vladimir (Volodymyr) the Great of Kiev (St. Vladimir). It was completed in total in 1889.
It is the cathedral's colorful interior that particularly strikes the eye. Mosaics were executed by masters from Venice. Frescoes were created under the guidance of Professor A. Prakhov by a group of famous painters: S. Kostenko, V. Kotarbinsky, M. Nesterov, M. Pymonenko, P. Swedomsky, V. Vasnetsov, M. Vrubel, V. Zamyraylo, and others. The painting of the Holy Mother of God by Vasnetsov in the altar apse of the cathedral impresses by its austere beauty, being one of the world masterpieces of fine art. (Historical data courtesy of Wikipedia) Kyiv, Ukraine 2009
Seeing-off reservists. A sketch for the picture of the same name, 1910
Oil on canvas. 44 x 62
Artist: Mykola Pymonenko
National Art Museum of Ukraine
Mykola Pymonenko (09 Mar 1852 - 26 Mar 1912) was a Ukrainian realist painter who lived and worked in Kyiv. He is best known for his urban and rural genre scenes of farmers, country folk and working-class people.
Postcrossing Round Robins
Museums And Galleries RR - Group 318 - Painting
#2 Nataliia Zadachyna @NatalkaZirka
Ukraine
Sent 26 June 2023 / Received 17 Aug 2023