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This marvelous Russian-style church was built on the spot where Emperor Alexander II was assassinated in March 1881.
The decision was taken to build a church on the spot where the Emperor was mortally wounded. The church was built between 1883 and 1907 and was officially called the Resurrection of Christ Church (a.k.a. The Church of Our Savior on Spilled Blood ). The construction of the church was almost entirely funded by the Imperial family and thousands of private donators. Both the interior and exterior of the church is decorated with incredibly detailed mosaics, designed and created by the most prominent Russian artists of the day (V.M. Vasnetsov, M.V. Nesterov and M.A. Vrubel). Interestingly, despite the church’s very obviously Russian aspect, its principle architect, A. Parland, was not even Russian by birth.
The church was closed for services in the 1930s, when the Bolsheviks went on an offensive against religion and destroyed churches all over the country. It remained closed and under restoration for over 30 years and was finally re-opened in 1997.
Church Of The Resurrection or Church of Our Savior on the Spilled Blood.
When I saw it it was still very much in the midst of its 30 year restoration.
St Petersburg, Russia
1991
This marvelous Russian-style church was built on the spot where Emperor Alexander II was assassinated in March 1881. After assuming power in 1855 in the wake of Russia’s disastrous defeat in the Crimean war against Britain, France and Turkey, Alexander II initiated a number of reforms. In 1861 he freed the Russian serfs (peasants, who were almost enslaved to their owners) from their ties to their masters and undertook a rigorous program of military, judicial and urban reforms, never before attempted in Russia. However, during the second half of his reign Alexander II grew wary of the dangers of his system of reforms, having only barely survived a series of attempts on his life, including an explosion in the Winter Palace and the derailment of a train. Alexander II was finally assassinated in 1881 by a group of revolutionaries, who threw a bomb at his royal carriage.
The decision was taken to build a church on the spot where the Emperor was mortally wounded. The church was built between 1883 and 1907 and was officially called the Resurrection of Christ Church (a.k.a. The Church of Our Savior on Spilled Blood ). The construction of the church was almost entirely funded by the Imperial family and thousands of private donators. Both the interior and exterior of the church is decorated with incredibly detailed mosaics, designed and created by the most prominent Russian artists of the day (V.M. Vasnetsov, M.V. Nesterov and M.A. Vrubel). Interestingly, despite the church’s very obviously Russian aspect, its principle architect, A. Parland, was not even Russian by birth.
The church was closed for services in the 1930s, when the Bolsheviks went on an offensive against religion and destroyed churches all over the country. It remained closed and under restoration for over 30 years and was finally re-opened in 1997 in all its dazzling former glory. The view of the church from Nevsky Prospect is absolutely breathtaking.
Inside the church there is almost 7,000 sq. meters of Italian marble and over 20 different Russian minerals, embellished with opulent mosaics based on paintings by Nikolai Bruni, Mikhail Nesterov, Viktor (Vassili) Vasnetsov, Andrei Ryabushkin and other religious artists of the late 19th century. Christ and the Apostles are portrayed within the cupola, whilst the walls and pillars are totally adorned with other Biblical scenes or images of saints. Mosaics fill the niches, crevices and cornices and no surface is left bare of embellishment.
View looking up to the Church of the Spilled Blood, St. Petersburgh with a blue sky and whispy white clouds
In 2006, an unusual fountain "Inspiration" (Vdohnoveniye) was erected to mark the 150th anniversary of the State Tretyakov Gallery in Lavrushinsky Lane. A basin constructed as brown plates is situated at the bottom of the "Inspiration" fountain. A blue tree washed by jets of water rises above it. Three large paintings lean upon this tree. The famous canvases were encrypted in each painting. Thus, the paintings reveal the works of Vasnetsov, Kuindzhi and Mashkov.
Apollin M. Vasnetsov Masterpiece from State Russian Museum in St. Petersburg and "The Karlsson", soviet cartoon!
The Voronezh Regional Art Museum named after I. N. Kramskoy is one of the largest cultural centers of Voronezh and the entire Chernozem region . The museum is located in a palace built in 1777-1779 in the Baroque style according to the design of the provincial architect N. N. Ievsky for the Voronezh governor, Lieutenant General I. A. Potapov . The building is an architectural monument of federal significance.
The museum collection contains over 22 thousand items. The museum presents a unique collection of works of Ancient Egypt, antiquity , Russian and Western European painting of the 18th-20th centuries, icons, graphics, decorative and applied arts, sculpture, paintings by famous fellow countrymen - I. N. Kramskoy , A. A. Buchkuri , E. A. Kiseleva , works by contemporary Voronezh artists. The museum has the largest exhibition hall in Voronezh, with an exhibition area of 1000 m².
The central exhibit is the sarcophagus of the royal scribe Nesipaherentahat (10th century BC).
The Ramose stele, ushabti figurines , amulets, miniature figurines of gods - a set of exhibits from Deir el-Medina.
The museum's antique collection includes about 500 monuments of art from Ancient Greece, Ancient Rome, the Northern Black Sea region of the 8th century BC - 2nd century AD, amphoras, aryballos , vases, there is an authentic ancient Greek marble female torso (5th century BC), a collection of ancient Roman small sculpture and marble sculpture (including the head of Antinous ).
Museum hall
Icon " Archangel Gabriel " of the Deesis tier .
Portrait of Paul I by A.P. Antropov, 1765
Portrait of E. S. Chertkova by an unknown artist of the late 18th century (one of the first evidence of artistic creativity in Voronezh).
"The Environs of Rome" and "Waterfall in Tivoli" by F. M. Matveyev (1810).
Sculptural portrait of Alexander I (1802) by F. I. Shubin .
Study of a portrait of Alexandra Feodorovna by Karl Bryullov .
Portrait of Princess Gagarina by P.N. Orlov (1847).
“Portrait of S. D. Nechaev” (1830) and “Portrait of N. P. Panina” (1855) by V. A. Tropinin ,
“View of Naples” by S. F. Shchedrin (1820).
"Preparations for the Wedding" by A. E. Karneev (1858), "The Failed Courtship" by V. N. Bovin , "Sea View" by I. K. Aivazovsky (1867), "The Dardanelles" by A. P. Bogolyubov (1873), winter landscapes by A. I. Meshchersky and Yu. Yu. Klever .
A typical example of genre easel sculpture is “Farewell” by E. A. Lanceray (1878), “How beautiful, how fresh are the roses” by V. A. Beklemishev (1890s), a reduced copy of “Christ before the people’s judgment” by M. M. Antokolsky (1870s).
The Museum's double-height ceremonial hall houses an exhibition of Russian art from the late 19th and early 20th centuries, including Seated Woman by V. E. Borisov-Musatov (1899), Evening of the Princely Hunt and Morning of the Princely Hunt by N. K. Roerich (1901), Province by B. M. Kustodiev (1906), Flowers by K. A. Korovin (1917), Province by M. V. Dobuzhinsky (1912), Reading the Decree by A. M. Vasnetsov (1918), as well as works by Voronezh artists A. A. Buchkuri (Wedding Train (1912), Fair (1916), Self-portrait (1941)), E. A. Kiseleva (Marusya (1913), Portrait of Her Son (1925)), P. D. Shmarova (portrait of I. A. Domogarova (1907)).
The hall of Russian art of the 20th century presents “The Departing Province” by K. F. Yuon (1920s), “The Storm is Coming” by G. G. Nissky (1959).
A copy of the altarpiece "Adoration of the Magi" by Gentile da Fabriano (1423), "Madonna with the Sleeping Child" by Andrea del Piccinelli (circa 1515). The art of Italy of the 17th-18th centuries is represented by works "Peasant Meal" by J. F. Chipper , paintings "Hermits by the River" and "Hermits under a Tree" by A. Magnasco . Also on display are "Breakfast" by Pieter Claesz (1648), "Self-Portrait" by Samuel van Hoeckstraeten (late 1640s), a landscape by Jacob van Ruisdael (second half of the 17th century), "Portrait of an Old Man" by Franz Lenbach (19th century), "Defense of the Banner" by Aristide Croisy, "Battle" by Jacques Courtois (Bourguignon) (17th century). The exhibition presents the only work in Russia by Michael Ostendorfer, “Christ” (16th century).
The Voronezh Museum of Fine Arts was founded in 1933. The museum collection was based on the collection of the art department of the Voronezh Regional Museum of Local History and the collection of the Museum of Antiquities and Fine Arts of Voronezh University, opened in 1918 on the basis of the Imperial Yuryev University evacuated to Voronezh. Mikhail Pavlovich Kroshitsky became the director of the new museum. The first rector of Voronezh University V. E. Regel and the director of the university museum E. R. Felsberg did a great deal of work on the establishment of the museum .
The collection of ancient Egyptian art kept in the museum is the oldest in Russia. It was collected in Egypt in 1815 by the Dorpat traveller and orientalist Otto Friedrich von Richter and became an object of scientific interest for many Russian orientalists – B. A. Turaev , E. S. Bogoslovsky , O. D. Berlev , S. I. Khodzhash , V. V. Solkin.
In the 1920s, some works of art from central museums were transferred to Voronezh; in addition, there were contributions from voluntary donors and from private nationalized collections; church property was transferred, etc.
During the Great Patriotic War, part of the museum collection was lost, in particular, the collection of ancient Russian art, icons from northern schools and Stroganov workshops, works by N. Goncharova , V. Kandinsky , P. Konchalovsky , A. V. Kuprin , M. Larionov , K. Malevich , I. Mashkov , A. Rodchenko , O. Rozanova , N. Sinezubov and a collection of paintings from the 1920s and 1930s. However, most of the exhibits were saved thanks to evacuation to Omsk . In the post-war period, the lost collections were restored, with the artist Leonid Afanasyev taking part in the restoration .
In 2015, under the scientific supervision of the famous Russian Egyptologist V. V. Solkin, a new exhibition of Ancient Egyptian art was created in the museum, dedicated to the 200th anniversary of the collection of antiquities of Otto Friedrich von Richter, which is kept in the museum.
The Voronezh Regional Art Museum named after I. N. Kramskoy is one of the largest cultural centers of Voronezh and the entire Chernozem region . The museum is located in a palace built in 1777-1779 in the Baroque style according to the design of the provincial architect N. N. Ievsky for the Voronezh governor, Lieutenant General I. A. Potapov . The building is an architectural monument of federal significance.
The museum collection contains over 22 thousand items. The museum presents a unique collection of works of Ancient Egypt, antiquity , Russian and Western European painting of the 18th-20th centuries, icons, graphics, decorative and applied arts, sculpture, paintings by famous fellow countrymen - I. N. Kramskoy , A. A. Buchkuri , E. A. Kiseleva , works by contemporary Voronezh artists. The museum has the largest exhibition hall in Voronezh, with an exhibition area of 1000 m².
The central exhibit is the sarcophagus of the royal scribe Nesipaherentahat (10th century BC).
The Ramose stele, ushabti figurines , amulets, miniature figurines of gods - a set of exhibits from Deir el-Medina.
The museum's antique collection includes about 500 monuments of art from Ancient Greece, Ancient Rome, the Northern Black Sea region of the 8th century BC - 2nd century AD, amphoras, aryballos , vases, there is an authentic ancient Greek marble female torso (5th century BC), a collection of ancient Roman small sculpture and marble sculpture (including the head of Antinous ).
Museum hall
Icon " Archangel Gabriel " of the Deesis tier .
Portrait of Paul I by A.P. Antropov, 1765
Portrait of E. S. Chertkova by an unknown artist of the late 18th century (one of the first evidence of artistic creativity in Voronezh).
"The Environs of Rome" and "Waterfall in Tivoli" by F. M. Matveyev (1810).
Sculptural portrait of Alexander I (1802) by F. I. Shubin .
Study of a portrait of Alexandra Feodorovna by Karl Bryullov .
Portrait of Princess Gagarina by P.N. Orlov (1847).
“Portrait of S. D. Nechaev” (1830) and “Portrait of N. P. Panina” (1855) by V. A. Tropinin ,
“View of Naples” by S. F. Shchedrin (1820).
"Preparations for the Wedding" by A. E. Karneev (1858), "The Failed Courtship" by V. N. Bovin , "Sea View" by I. K. Aivazovsky (1867), "The Dardanelles" by A. P. Bogolyubov (1873), winter landscapes by A. I. Meshchersky and Yu. Yu. Klever .
A typical example of genre easel sculpture is “Farewell” by E. A. Lanceray (1878), “How beautiful, how fresh are the roses” by V. A. Beklemishev (1890s), a reduced copy of “Christ before the people’s judgment” by M. M. Antokolsky (1870s).
The Museum's double-height ceremonial hall houses an exhibition of Russian art from the late 19th and early 20th centuries, including Seated Woman by V. E. Borisov-Musatov (1899), Evening of the Princely Hunt and Morning of the Princely Hunt by N. K. Roerich (1901), Province by B. M. Kustodiev (1906), Flowers by K. A. Korovin (1917), Province by M. V. Dobuzhinsky (1912), Reading the Decree by A. M. Vasnetsov (1918), as well as works by Voronezh artists A. A. Buchkuri (Wedding Train (1912), Fair (1916), Self-portrait (1941)), E. A. Kiseleva (Marusya (1913), Portrait of Her Son (1925)), P. D. Shmarova (portrait of I. A. Domogarova (1907)).
The hall of Russian art of the 20th century presents “The Departing Province” by K. F. Yuon (1920s), “The Storm is Coming” by G. G. Nissky (1959).
A copy of the altarpiece "Adoration of the Magi" by Gentile da Fabriano (1423), "Madonna with the Sleeping Child" by Andrea del Piccinelli (circa 1515). The art of Italy of the 17th-18th centuries is represented by works "Peasant Meal" by J. F. Chipper , paintings "Hermits by the River" and "Hermits under a Tree" by A. Magnasco . Also on display are "Breakfast" by Pieter Claesz (1648), "Self-Portrait" by Samuel van Hoeckstraeten (late 1640s), a landscape by Jacob van Ruisdael (second half of the 17th century), "Portrait of an Old Man" by Franz Lenbach (19th century), "Defense of the Banner" by Aristide Croisy, "Battle" by Jacques Courtois (Bourguignon) (17th century). The exhibition presents the only work in Russia by Michael Ostendorfer, “Christ” (16th century).
The Voronezh Museum of Fine Arts was founded in 1933. The museum collection was based on the collection of the art department of the Voronezh Regional Museum of Local History and the collection of the Museum of Antiquities and Fine Arts of Voronezh University, opened in 1918 on the basis of the Imperial Yuryev University evacuated to Voronezh. Mikhail Pavlovich Kroshitsky became the director of the new museum. The first rector of Voronezh University V. E. Regel and the director of the university museum E. R. Felsberg did a great deal of work on the establishment of the museum .
The collection of ancient Egyptian art kept in the museum is the oldest in Russia. It was collected in Egypt in 1815 by the Dorpat traveller and orientalist Otto Friedrich von Richter and became an object of scientific interest for many Russian orientalists – B. A. Turaev , E. S. Bogoslovsky , O. D. Berlev , S. I. Khodzhash , V. V. Solkin.
In the 1920s, some works of art from central museums were transferred to Voronezh; in addition, there were contributions from voluntary donors and from private nationalized collections; church property was transferred, etc.
During the Great Patriotic War, part of the museum collection was lost, in particular, the collection of ancient Russian art, icons from northern schools and Stroganov workshops, works by N. Goncharova , V. Kandinsky , P. Konchalovsky , A. V. Kuprin , M. Larionov , K. Malevich , I. Mashkov , A. Rodchenko , O. Rozanova , N. Sinezubov and a collection of paintings from the 1920s and 1930s. However, most of the exhibits were saved thanks to evacuation to Omsk . In the post-war period, the lost collections were restored, with the artist Leonid Afanasyev taking part in the restoration .
In 2015, under the scientific supervision of the famous Russian Egyptologist V. V. Solkin, a new exhibition of Ancient Egyptian art was created in the museum, dedicated to the 200th anniversary of the collection of antiquities of Otto Friedrich von Richter, which is kept in the museum.
La Chiesa del Salvatore o del Sangue Versato, completata solo nel 1907, fu costruita in memoria dell'imperatore Alessandro II, che fu vittima di un attentato perpetrato dal gruppo terroristico Volonta' del Popolo nel 1881.
La cattedrale fu progettata dall'architetto Alfred Parland in stile delle chiese Russe dei secoli XVI e XVII. La Chiesa della Resurrezione di Cristo (questo e' il suo nome ufficiale) doveva essere un luogo privato di cordoglio per la morte dello zar. Furono i bolscevichi ad aprire al pubblico le elaborate porte di questa chiesa incredibile, ma la struttura non era stata concepita per accogliere migliaia di persone, per cui gli interni cominciarono subito a risentirne.
Negli anni '30, in seguito alla decisione di Stalin di chiudere tutte le chiese, l'edificio venne adibito a magazzino degli articoli piu' svariati, dalle patate alle scenografie teatrali.
Nei primi anni '70, fu finalmente avviato un processo di restauro che pero' procedette a rilento in quanto il clima politico non era ancora sufficientemente aperto verso la religione; non a caso attualmente e' ricordata come la chiesa dei tempi lunghi; basti pensare che ci vollero ventiquattro anni per costruirla e ventisette per ristrutturarla.
Al suo interno ci sono circa 7000 mq. di mosaici di molteplici artisti russi come Vasnetsov, Nesterov, Ryabushkin, Belyaev e Kharlamov. (fonte: www.pietroburgo.eu)
From Wiki...
"Architecturally, the Cathedral differs from St. Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil.
The Church contains over 7500 square metres of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (and Russian, despite his name). Perhaps not surprisingly, the Church's construction ran well over budget, having been estimated at 3.6 million roubles but ending up costing over 4.6 million. The walls and ceilings inside the Church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture."
Swedish painter Anders Zorn became widely known primarily as a brilliant portrait artist. He traveled in Europe a great deal, and his oil portraits were a huge success in all of the countries there. Savva Mamontov, who is depicted in this painting, was a prominent industrialist and patron from Moscow. He actively supported different kinds of art and helped many artists, actors, and musicians. Mamontov donated huge amounts of money for the development of culture. His name is linked with the golden age of the Abramtsevo estate in the Moscow region. By the end of the 19th century, this estate had turned into a unique cultural center, where the most prominent Russian artists, such as Ilya Repin, Victor Vasnetsov, Valentin Serov, Konstantin Korovin, Mikhail Vrubel, and many others lived and worked.
In the portrait from Zorn’s brush, Mamontov impresses us with the power and energy radiating through his image. This work, which is painted in a free and masterful manner, precisely conveys the individuality of the model in all his psychological expressiveness, naturalness, and strength. The artist creates shape freely and dynamically with a wide brush stroke, giving the form a moldable expressiveness while working with an almost monochromatic color scheme. It is also important to note that before becoming a painter, Zorn studied sculpture for a while. The painting was ordered by the management of the Yaroslavl railways for the building of the Yaroslavsky railway terminal in Moscow.
Built in 1883-1907 to the design of Alfred Parland, on the site of the tragic attempt upon the life of Emperor Alexander II by terrorist I. Grinevitskij on 1 March 1881.
The masterpiece of art is the carpet-like mosaic decoration of the walls and vault executed to the design of Victor Vasnetsov, Mikhail Nesterov, Andrei Riabushkin and other.
The interior oil painting, in the style of old Byzantine painting or the painting from Mount Athos, was made by the painter Vasiliev, the iconostasis, carved in wood and gilded, was painted by Viktor Vasnetsov, after the model of the one in the Cathedral of the "St. Archangels" in the Kremlin.
In 1916, during the First World War, the church was closed, the objects of worship and the archive being evacuated to Iași, and from there to Saint Petersburg, where they were lost during the Russian Revolution.
After the war, services were resumed and celebrated in the Old Slavonic language, attracting not only Russians, but also Serbs and Bulgarians from Bucharest.
In 1935 the Russian Church was transferred under the authority of the Romanian state and made available to the professors and students of the University of Bucharest.
In 1947, it was transferred by the Soviet authorities back under the jurisdiction of the Patriarch of Moscow, it was repaired and its painting was restored.
It returned to the jurisdiction of the Romanian Orthodox Church in 1957.
It was reinforced after the 1977 earthquake, and the restoration of the painting began in 2000.
The church is built with massive walls (19 x 18 m), the entrance being made on the northwest corner, towards the street, so that the altar, semicircular, is oriented towards the east.
The nave is inscribed in a cross with equal arms, completed with compartments intended to increase the space or the necessary arrangements for worship, everything being expressed in the volumes of the facade.
It is covered by a raised central vault, over which rises the spire, which supports a bulbous dome, surrounded by four smaller towers located on the corners of the nave.
The entrance is marked by a body, strongly protruding, crowned by a tower finished in the form of a bulb, a seventh tower, of the same design, rising above the altar.
The spires, originally gilded, are now covered with painted sheet metal.
The facades, inspired by Russian and Georgian designs, are made of yellowish pink exposed brick and richly ornamented.
The interior was designed by some of the most celebrated Russian artists of those days — including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Wrubel. The walls and ceilings inside the Church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures.
Roof of the House on Chicken Legs. This old wooden building standing amid a forest reprents a fairy-tale house of an evil witch called Baba Yaga. It was designed by famous Russian painter Vasnetsov in 19th century.
by Vasnetsov, Viktor Mikhaylovich (1846-1926)
This slide was crafted from materials in public domain to create emotional impact during worship or as a teaching tool. Permission is granted for use in worship, teaching, wallpaper, etc for noncommercial purposes only when portraying Jesus Christ and Christianity in a positive, reverent way.
These slides are formatted to 1086x1260 and were designed to be used with white lettering. With Power Point, we use Arial Narrow (36 to 44 point) with shadow.
Stephen R. Dalrymple
Можайский район, Исток Москвы-реки
Исток Москвы реки на Минском шоссе 148км (в районе деревни Поповка) от Москвы у урочища Старьково.
Часовня Божией Матери "Живоносный источник" 2003 год. Архитектор Николай Васнецов.
The Source of the Moscow river on the Minsk highway 148км from Moscow in the natural boundary Starkovo.
Chapel of the Mother of God "the life-giving source" of the year 2003. Architect Nikolai Vasnetsov.
The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (born in St. Petersburg in 1842 in a Baltic-German Lutheran family).