Образок «Успение - Димитрий»

• Carving. 5,7 х 5 х 0,9
• The State Russian Museum
• ДРКам-45

Deesis

• Wood, pavoloka, gesso, tempera, metal.
• The State Russian Museum
• ДРЖ-2779

Миниатюра «Поклонение волхвов»

• 1340
• Tempera. 30,6 х 22,2
• The State Russian Museum
• Др.гр.-8

Христос Вседержитель

• Wood, gesso, tempera, . 33,5 × 23,3 × 1,5
• The State Russian Museum
• ДРЖ-1629

Воскресение (Сошествие во ад)

• Wood, tempera. 82,0 х 61,0 х 3,0
• The State Russian Museum
• ДРЖ-2124

Образка энколпия створка. Вход в Иерусалим

• Copper, casting. 6,4 х 5 х 0,5
• The State Russian Museum
• ДРМ-293

Преображение и Богоматерь Одигитрия

• Wood, gesso, silver, , , tempera, chasing, .
• The State Russian Museum
• ДРЖ-2728

Распятие

• Wood, gesso, tempera. 38,0 х 30,1 х 1,4
• The State Russian Museum
• ДРЖ-1084

Сошествие во Ад

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-2664

The Raising of Lazarus

• Late 14th - Early 15th century
• Wood, gesso, tempera. 53,5 х 44 х 4,5
• The State Russian Museum
• ДРЖ-1407

The Resurrection and Descent into Limbo

• Pskov
• Late 14th century
• Wood, tempera. 81,3 x 65 x 3
• The State Russian Museum
• ДРЖ-2120

The iconography of the scene is based on the apocryphal Gospel of St Nicodemus, liturgical texts, psalms, Old Testament prophecies, St Peter’s Epistles and patristic compositions. St Epiphanius of Constantia and St Eusebius of Alexandria’s Descent of Jesus Christ into Hell tell how Christ descended into the abyss after the Resurrection. He overthrew Satan and liberated the righteous, erasing the original sin of Adam and Eve with His blood.

The main idea of the Resurrection (Greek: Anastasis) is the celebration of Christ’s victory over hell and death. This concept is united in the icon with the theme of suffering and sorrow and trepidation before the inscrutable mystery of the Resurrection. The Resurrection of Christ was a particularly popular theme in the Pskov school of icon-painting, which developed its own unique version of the subject, quite unlike Byzantine or Old Russian iconography. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 44.

Богоматерь Одигитрия

• Wood, tempera. 32,4 х 26,7 х 2,6
• The State Russian Museum
• ДРЖ-2059

Успение Богоматери

• Wood, tempera. 59 × 46,5 × 4,5
• The State Russian Museum
• ДРЖ-1561

Плащаница «Христос во гробе»

• Taffeta, silk, . 68,5 х 114,5
• The State Russian Museum
• ДРТ-195

Спас Вседержитель («Ярое око») / Спас оплечный

• Wood, pavoloka, tempera, gesso.
• The State Russian Museum
• ДРЖ-1889

Успение Богоматери

• Wood, gesso, tempera. 58,8 х 45,4 х 2,5
• The State Russian Museum
• ДРЖ-2066

Крещение

• Wood, gesso, tempera. 124 x 93
• The State Russian Museum
• ДРЖ-2098

Сретение

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-2135

The Raising of Lazarus, The Old Testament Trinity, The Purification, STs. John the Theologian and Prochorus. Four-parts icon

• Novgorod
• About 1497
• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-2775

This icon comes from the Church of St. George in Novgorod. The composition unites four scenes linked to one another. “The Raising of Lazarus” is one of Christ miracles described in the New Testament. “Trinity” is the symbol of spiritual unity in the form of three angels. “The Purification” depicts the scene of the presentation of Christ when he was an infant in a church. St. John the Theologian is represented dictating his revelation to Prochorus. All the features of this icon are characteristic of the Novogorod iconography during the 15^th century, when it reached its pinnacle: the sense of proportion, the structured composition and the harmony of colours.

Воскрешение Лазаря

• Wood, pavoloka, gesso, tempera. 47,5 х 38,8 х 2,5
• The State Russian Museum
• ДРЖ-3069

Rublev Andrei

Leading Old Russian artist. Little authentic information on his biography exists. Lay brother of the St Sergius Monastery of the Trinity and then the Andronikov Monastery of the Saviour in Moscow. Helped Theophanes the Greek to paint the Cathedral of the Annunciation in the Moscow Kremlin (1405). Worked in Vladimir (1408). The famous Old Testament Trinity icon of the St Sergius Monastery of the Trinity is attributed to Rublev. Canonized by the Russian Orthodox Church (1988). Feast day 4/17 July.

Рождество Богоматери

• Wood, gesso, silver, tempera. 32 х 24 х 1,5
• The State Russian Museum
• ДРЖ-2131

Рождество Богоматери

• Wood, gesso, tempera, , , . 96,5 х 77 х 3
• The State Russian Museum
• ДРЖ-2070

Рождество Богоматери

• Wood, gesso, tempera. 61 х 52,7 х 2,3
• The State Russian Museum
• ДРЖ-1208

Рождество Богоматери, из праздничного чина

• Wood, pavoloka, gesso, tempera.
• The State Russian Museum
• ДРЖ-3173

Пелена. Рождество Богоматери

• Silk, , , , , .
• The State Russian Museum
• ДРТ-275

Рождество Богоматери

• Wood, tempera, , , , .
• The State Russian Museum
• ДРЖ-2316

Рождество Божией Матери

• 1755
• Canvas, oil. 56,5 х 77,5
• The State Russian Museum
• ЖБ-868

Рождество Богородицы

• 1823-1825
• Canvas, oil.
• The State Russian Museum
• Ж-11991

Рождество Богоматери. Рождество Христово. Рождество Иоанна Предтечи. Рождество Николая Чудотворца

• Wood, gesso, tempera. 25,2 х 21,1 х 2
• The State Russian Museum
• ДРЖ Б-659

Икона двусторонняя «Рождество Богоматери. Чудо Архангела Михаила о Флоре и Лавре»

• Wood, pavoloka, gesso, tempera. 74,0 х 65,0 х 3,5
• The State Russian Museum
• ДРЖ Б-994

Vishnyakov Ivan Yakovlevich

Painter, portraitist. Son of a mining master, who sent him to St Petersburg (1714). Apprentice of the Ministry of Construction (1727), painting master (1739), ensign (1742), captain (1742), collegiate assessor (1743), court councillor (i752).Headeda team of painters from the Ministry of Construction, decorated the Grand Palace in Peterhof, Summer Palace and Winter Palace in St Petersburg and palaces in Moscow and Kiev (from 1739). Painted icons for churches in St Petersburg. Restored icons and oil paintings.

Vighi, Antonio

Благовещение и Успение Богоматери

• Wood, pavoloka, gesso, fabric, tempera. 32,0 х 13,2 х 1,4
• The State Russian Museum
• ДРЖ-150

Благовещение

• Wood, pavoloka, gesso, tempera.
• The State Russian Museum
• ДРЖ-2891

Благовещение

• 1755–1756
• Canvas, oil. 31,5 х 69
• The State Russian Museum
• ЖБ-870

Благовещение

• Canvas, oil.
• The State Russian Museum
• ЖБ-713

Архангел Гавриил (из «Благовещения»)

• 1804–1809
• Oil.
• The State Russian Museum
• Ж-3178

Дева Мария (из «Благовещения»)

• 1804–1809
• Oil.
• The State Russian Museum
• Ж-3177

Благовещение

• Cardboard, oil. 35,5 х 28,5
• The State Russian Museum
• Ж-3174

Благовещение (Дева Мария и Архангел Гавриил)

• 1824–1825
• Wood, oil.
• The State Russian Museum
• Ж-3185-3186

Свидание девы Марии с Елизаветой

• 1823-1825
• Canvas, oil.
• The State Russian Museum
• Ж-11992

Архангел Гавриил (из «Благовещения»)

• 1830s
• Cardboard, oil.
• The State Russian Museum
• Ж-3327

Богоматерь (из «Благовещения»)

• 1830s
• Cardboard, oil.
• The State Russian Museum
• Ж-3326

Благовещение: Архангел Гавриил

• Paper, gouache, watercolours, graphite pencil.
• The State Russian Museum
• Р-40910

Благовещение: Дева Мария

• Paper, gouache, watercolours, graphite pencil.
• The State Russian Museum
• Р-40911

Благовещение: Архангел Гавриил

• 1899-1900
• Paper, gouache, watercolours, bronze, graphite pencil.
• The State Russian Museum
• Р-40886

Благовещение: Дева Мария

• 1899-1900
• Paper, gouache, graphite pencil.
• The State Russian Museum
• Р-40887

Благовещение

• 1916
• Canvas, tempera. 143 х 201,5
• The State Russian Museum
• Ж-8847

Belsky Ivan Ivanovich

Borovikovsky Vladimir Lukich

Painter, draughtsman, miniaturist, icon painter, portraitist. Born into a family of  low rank Cossacks. Studied painting under his father, the icon painter Luke Borovik, in Mirgorod. Listed "above the specified number" in the Mirgorod regiment where his father and relatives served (1774). Awarded the rank of  "comrade of  the colours" (1783), resigned with the rank of lieutenant. Moved to St Petersburg (1788) and studied under Dmitry Levitsky and Johann Baptiste I Lampi. Nominated to the Imperial Academy of  Arts (1794), academician of portrait painting (1795). Councillor of  the Imperial Academy of Arts (1802). Contributed to the iconostasis of the Kazan Cathedralin St Petersburg (1804). Mason and member of Ekaterina Tatarinova\'\'s  mystical sect. 

Yegorov Alexei Yegorovich

Painter, draughtsman, engraver, iconographer. Author of pictures on historical themes and portraits. At the age of five was found in the Kalmyk steppe by Cossacks, and put into the Moscow foster home. Studied at the Imperial Academy of Arts (1782–1797). Awarded the title of artist and an Academy bursary (1797), taught drawing (1798). Fellow of the Imperial Academy of Arts in Italy (1803–1807). Appointed to the Imperial Academy of Arts (1800), academician (1807). Taught at the Imperial Academy of Arts from 1798, junior professor (1807), professor (1812), professor emeritus (1832). Expelled from the Academy at the express wish of Tsar Nicholas I (1840). Married Vera Martos, daughter of sculptor Ivan Martos.

Nesterov Mikhail Vasilyevich

Painter, portraitist, landscape artist, genre painter, author of memoirs and essays on artists. Studied at the Moscow School of Painting, Sculpture and Architecture (1877-81, 1884-86) and the Imperial Academy of Arts (1881-84). Full member of the Imperial Academy of Arts (1910). Member of the Society of Travelling Art Exhibitions (1896) and founding member of the Union of Russian Artists (1903). Contributed to the exhibitions of the Society of Travelling Art Exhibitions (1889-1901), World of Art (1899-1901), 36 Artists (1901-03), Union of Russian Artists (1922, 1923), All-Russian Exhibition in Nizhny Novgorod (1896), Exposition Universelle in Paris (1900), International Exhibitions in Munich (1898,1909) and Rome (1911), Die erste russische Kunstausstellung in Berlin (1922) and the Exhibition of Russian Art in New York (1924). Honoured Artist of the RUSSIAN SOVIET FEDERATED SOCIALIST REPUBLIC (1942). 

Воинов Святослав Владимирович

Миниатюра «Поклонение волхвов»

• 1340
• Tempera. 30,6 х 22,2
• The State Russian Museum
• Др.гр.-8

Резная икона «Богоматерь на троне и Кирилл Белозерский»

• Wood, carving, , silver, chasing, engraving.
• The State Russian Museum
• БК-3467/а,б

Рождество Христово

• Wood, tempera. 48,8 х 40,8
• The State Russian Museum
• ДРЖ-1416

Рождество Христово

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-1248

Рождество Христово

• Wood, tempera. 94,7 х 76,4 х 3
• The State Russian Museum
• ДРЖ-3170

Рождество Христово

• Wood, gesso, tempera. 179,8 х 155 х 4,5
• The State Russian Museum
• ДРЖ-2923

Рождество Христово

• Wood, tempera. 35,8 х 30 х 2,2
• The State Russian Museum
• ДРЖ-2757

Рождество Христово

• Wood, tempera, , , , .
• The State Russian Museum
• ДРЖ Б-40

Рождество Христово

• Wood, gesso, tempera. 31,5 х 25,8 х 2,3
• The State Russian Museum
• ДРЖ-1146

Собор Богородицы

• 1680–1690s
• Wood, , , pavoloka, tempera. 179 × 137 × 4
• The State Russian Museum
• ДРЖ-2890

Рождество Христово

• Wood, , , , gesso, tempera.
• The State Russian Museum
• ДРЖ-1962

Рождество Христово

• Wood, tempera.
• The State Russian Museum
• ДРЖ-2764

Образок-сердечко «Поклонение волхвов»

• Copper, , . 5 х 4 х 0,3
• The State Russian Museum
• ОНИ/Р-670

Рождество Христово

• Canvas, oil. 109 х 60
• The State Russian Museum
• ЖБ-2014

Рождество Христово

• Wood, tempera. 100 х 125 х 3,5
• The State Russian Museum
• ДРЖ Б-541

Богоматерь с Младенцем

• 1806–1809
• Oil. 168 х 85
• The State Russian Museum
• ЖБ-901

Богоматерь с Младенцем в сонме ангелов

• Wood, oil. 33,5 х 25
• The State Russian Museum
• Ж-3183

Богоматерь с Младенцем

• 1823
• Wood, oil. 35,5 х 25,5
• The State Russian Museum
• Ж-3176

Богоматерь с Младенцем в сонме ангелов

• 1823
• Wood, oil. 35 х 25,5
• The State Russian Museum
• ЖБ-400

Богоматерь в окружении ангелов

• 1824–1825
• Oil, wood. 227 х 70
• The State Russian Museum
• Ж-3192

Мастер Михаил

Строгановская школа

Markov Ivan

Kiprensky Orest Adamovich

Portraitist, history painter, draughtsman.

Illegitimate son of a serf woman, Anna Gavrilova, who gave him the name Kipreisky, later changed to Kiprensky. Grew up in the family of his foster father Adam Schwalde. Emancipated from serfdom and enrolled in the Imperial Academy of Arts (1788). Studied history painting under Grigory Ugryumov and Gabriele-Francois Doyen. Fellow of the Imperial Academy of Arts (1803-09). Worked in St Petersburg, Moscow and Tver. Academician of portrait painting (1812), councillor of the Imperial Academy of Arts (1815). Contributed to the exhibitions of the Imperial Academy of Arts. Lived in Italy (1816-23, 1828-36). Contributed to the Paris Salon (1822). Donated Self-Portrait (1820) to the Galleria degli Uffizi in Florence (1825). Appointed second-class professor of history and portrait painting with automatic member¬ship of the nobility (1831). Councillor of the Accademia di Belle Arti in Naples (1831). Buried at Sant\'\' Andrea delle Fratte in Rome. 

Сретение

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-2135

The Raising of Lazarus, The Old Testament Trinity, The Purification, STs. John the Theologian and Prochorus. Four-parts icon

• Novgorod
• About 1497
• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-2775

This icon comes from the Church of St. George in Novgorod. The composition unites four scenes linked to one another. “The Raising of Lazarus” is one of Christ miracles described in the New Testament. “Trinity” is the symbol of spiritual unity in the form of three angels. “The Purification” depicts the scene of the presentation of Christ when he was an infant in a church. St. John the Theologian is represented dictating his revelation to Prochorus. All the features of this icon are characteristic of the Novogorod iconography during the 15^th century, when it reached its pinnacle: the sense of proportion, the structured composition and the harmony of colours.

Сретение

• Wood, gesso, tempera. 103 x 81 x 3
• The State Russian Museum
• ДРЖ-2132

Образок. Сретение

• Silver, carving. 4 х 3,8 х 0,5
• The State Russian Museum
• ДРКам-44

Сретение, из праздничного чина

• Wood, gesso, tempera. 94,6 х 76,6 х 2,6
• The State Russian Museum
• ДРЖ-3164

Введение во храм. Рождество Христово

• Canvas, gesso, tempera. 31,4 х 26,5 х 1,4
• The State Russian Museum
• ДРЖ-375

Богоматерь с Младенцем и Иосиф

• Tempera, mixed media.
• The State Russian Museum
• ДРЖ-2653, ДРЖ-2655

Сретение

• Wood, gesso, tempera. 31,2 х 26,3 х 2,3
• The State Russian Museum
• ДРЖ-1151

Сретение

• Wood, gesso, silver, tempera. 34,0 х 28,0 х 2,4
• The State Russian Museum
• ДРЖ-3161

Сретение

• 1750
• Paper, .
• The State Russian Museum
• Гр.-42922

Сретение Господне

• Canvas, oil. 36,5 х 58,5
• The State Russian Museum
• ЖБ-823

Сретение

• 1755–1756
• Canvas, oil. 56,5 х 77,5
• The State Russian Museum
• ЖБ-864

Сретение

• Wood, gesso, silver, tempera, chasing, engraving, . 32,1 х 27,5 х 2,8
• The State Russian Museum
• ДРЖ Б-896

Сретение Господне

• Oil. 50,5 х 108
• The State Russian Museum
• Ж-5470

Сретение и Крещение

• 1815
• Tempera. 45 х 74 х 3,5
• The State Russian Museum
• ДРЖ Б-1290

Святое семейство. Богоматерь с младенцем

• 1823 - 1825
• Canvas, oil.
• The State Russian Museum
• Ж-11990

Сретение

• Wood, gesso, silver, tempera, engraving, . 30,8 х 27,5 х 3,0
• The State Russian Museum
• ДРЖ Б-567

Сретение с Ангелом-хранителем и Иоасафом

• Wood, gesso, silver, tempera, chasing, engraving. 32,7 х 27,5 х 3,8
• The State Russian Museum
• ДРЖ Б-966

Святое семейство

• 1858
• Canvas, oil. 61 х 43
• The State Russian Museum
• Ж-3492

Святое семейство

• 1858
• Canvas, oil. 101 х 95
• The State Russian Museum
• Ж-3546

Unknown engraver

Михайлов Д.

Ivanov Andrei Ivanovich

History painter, portraitist, draughtsman, iconpainter, lithographer, teacher. Studied at the Moscow Foundling Hospital (from 1778) and the Imperial Academy of Arts (from 1782). Awarded silver medals (1794, 1795) and first gold medal for Noah Offering a Sacrifice to God After Leaving the Ark (1797). Awarded first-class degree, fellowship and post of teacher of drawing at the Imperial Academy of Arts (1797). Nominated to the Imperial Academy of Arts (1800), academician of history painting for Adam and Eve Under a Tree After the Banishment from Paradise (1803). Assistant professor (1806), professor (1812), senior professor (1821). Member of the Free Society of Lovers of Writing, Science and Arts (1802).

Reutern, Gerhardt von (Evgraf Romanovich)

Painter, portraitist, genre artist, landscapist, author of history paintings. Studied at the St. Peter School in St. Petersburg. Joined a Hussar regiment (1811), fought in the war against Napoleon. Lost his right arm in the Battle of Leipzig (1813). Left the Russian Army to dedicate himself to painting (1819), worked with his left hand. Travelled across Italy and Germany, lived in Switzerland and studied in Düsseldorf. Nominated to the Imperial Academy of Arts (1835), later — academician. Painter to the Imperial family with the right to live abroad (1837). Settled in Frankfurt-am-Main (1844).

Шамшин Петр Михайлович

Крещение

• Wood, gesso, tempera. 124 x 93
• The State Russian Museum
• ДРЖ-2098

Крещение, из праздничного чина

• Wood, pavoloka, gesso, tempera. 103,0 х 81,5 х 2,5
• The State Russian Museum
• ДРЖ-1891

Крещение, из праздничного чина

• Wood, gesso, tempera. 95,0 х 76,2 х 3,0
• The State Russian Museum
• ДРЖ-3172

Пелена «Крещение Господне»

• 1580–1590s
• Pearls. 49 х 40
• The State Russian Museum
• ДРТ-37

Крещение (Богоявление)

• Wood, tempera. 35,6 х 30 х 2,4
• The State Russian Museum
• ДРЖ-1020

Воздух. Крещение

• Canvas, silk, , , , . 29,5 х 27,5
• The State Russian Museum
• ДРТ-116

Крещение

• 1650s
• Wood, , , , pavoloka, gesso, tempera, , silver, carving, engraving, , gilding. 40,4 × 31,2 × 3,5
• The State Russian Museum
• ДРЖ-266

Крещение

• Wood, gesso, tempera. 31,5 х 27,0 х 2,1
• The State Russian Museum
• ДРЖ-2251

Крещение

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-1198

Крещение

• Wood, tempera.
• The State Russian Museum
• ДРЖ-1512

Образок-сердечко «Крещение Христа. Бичевание Христа»

• Copper, , . 3,8 х 3,5 х 0,5
• The State Russian Museum
• ОНИ/Р-357

Крещение Господне

• 1808
• Canvas, oil. 204 х 138
• The State Russian Museum
• Ж-3332

Крещение Спасителя

• 1810–1811
• Oil. 50,5 х 109
• The State Russian Museum
• Ж-5471

Сретение и Крещение

• 1815
• Tempera. 45 х 74 х 3,5
• The State Russian Museum
• ДРЖ Б-1290

Явление Христа народу

• 1834
• Canvas, oil. 60,5 х 90,5
• The State Russian Museum
• Ж-5266

Christ’s Appearance to the People

• Begun in 1836 and completed after 1855
• Canvas, oil. 172 x 247
• The State Russian Museum
• Ж-5268

This work is a small version of Alexander Ivanov’s famous painting of the same name now in the Tretyakov Gallery. The study allowed the artist to experiment with a series of ideas and resolutions, before embarking on the final picture. There are, in fact, only minor differences between this work and the final version. Ivanov originally planned to paint a picture the same size as this study, though gradually arrived at more monumental forms in the course of work on the canvas.

This study illustrates the grandiose concept of Christ’s Appearance to the People and the artist’s attempt to convey the general meaning of the Gospels, employing a subject that unites prophecy and fulfillment and symbolises the birth of a new world. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 145.

Богоявление

• 1839
• Paper, . 36,2 х 24,3
• The State Russian Museum
• Гр.Луб.-2158

Голова Иоанна Крестителя

• 1840s
• Paper, oil. 64,2 х 58
• The State Russian Museum
• Ж-5284

Голова Иоанна Богослова

• 1840–1850s
• Graphite pencil. 30,1 х 44,5
• The State Russian Museum
• Р-13208

Крещение Христа

• Watercolours, white pigment, graphite pencil. 33,2 x 24,2
• The State Russian Museum
• Р-26239

ARMOURY CHAMBER, Moscow

Волков Роман Максимович

Ivanov Alexander Andreyevich

Painter, landscapist, history painter. Son of professor of history painting Andrei Ivanov. Studied under his father and Alexei Yegorov at the Imperial Academy of Arts. Awarded a gold medal (1827). Fellow of the Society for the Encouragement of Artists, lived in Italy (1830-58). Academician for Christ\'\'s Appearance to Mary Magdalene after the Resurrection (1835). Worked for over twenty years on Christ\'\'s Appearance to the Peofile, painting four-hundred studies. Pioneer of plein-air painting in Russia. 

Unknown painter

Gagarin Grigory Grigorievich

Страшный суд

• Wood, tempera. 110 х 88 х 2,5
• The State Russian Museum
• ДРЖ-1297

Проповедь Иисуса Христа на горе Елеонской о втором пришествии

• Oil. 47,5 х 63,5
• The State Russian Museum
• Ж-3854

Проповедь Христа на Геннисаретском озере

• 1852
• Canvas, oil. 58 х 76
• The State Russian Museum
• Ж-3607

Христос и самаритянка

• Canvas, oil. 44,5 х 54
• The State Russian Museum
• Ж-1458

Искушение Христа

• 1872
• paper mounted on cardboard, сharcoal , white pigment. 68,4 × 50,4
• The State Russian Museum
• Р-5959

Блудница перед Христом

• 1879
• Canvas, oil. 205 х 267
• The State Russian Museum
• Ж-2962

Христос и рыбаки

• 1884
• Paper, gouache, bronze. 35,5 х 25,3
• The State Russian Museum
• Рб-7336

Христос проповедующий

• 1884
• Paper, gouache, bronze. 35,5 х 25,3
• The State Russian Museum
• Рб-7343

Христос, искушаемый дьяволом

• 1884
• Paper, gouache, bronze. 35,5 х 25,3
• The State Russian Museum
• Рб-7337

Dreams (On the Hill)

• From the Life of Christ series
• 1890s–1900s
• Canvas, oil. 151 x 142
• The State Russian Museum
• Ж-9155

Vasily Polenov began work on the From the Life of Christ series in 1899, following his second trip to the Middle East, and completed the last work in 1908. The artist brought many painted studies back from his travels and exhibited fifty eight of them in St Petersburg in 1909 and sixty four in Moscow and other towns. He often turned to Joseph-Ernst Renan’s Vie de Jésus for inspiration and Renan’s image of the Saviour largely coincides with his own. Although Polenov conveys the environment surrounding Christ — clothes, temples, houses and roads — with historical accuracy, he makes no attempt to observe the canons of Christian iconography. The artist does, however, impart great significance to the surrounding landscape. It radiates tranquility and grandeur, lending a special meaning to the «eventless» subject. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 193.

“Get Thee Behind Me, Satan”

• Study for the painting of the same name (1901–1903, lost)
• 1895 (?)
• Canvas, oil. 46 x 62
• The State Russian Museum
• Ж-2779

Послание апостолов на проповедь

• Cardboard, oil. 88 х 54
• The State Russian Museum
• ЖБ-1009

За кого Меня почитают люди?

• 1900s
• Cardboard, watercolours. 20,8 х 31,3
• The State Russian Museum
• Р-6410

«Возвратился в Галилею в силе духа» (Христос на Генисаретском озере)

• Canvas, oil. 129 x 75,5
• The State Russian Museum
• Ж-9157

Чудесный улов рыбы

• 1988
• Paper, .
• The State Russian Museum
• С.Гр.-17608

Chernetsov Grigory Grigoryevich

Outstanding Russian artist, master of landscapes. Auditor at the Imperial Academy of Arts under Stepan Galaktionov (from 1821) and later in Maxim Vorobyov’s “views and landscapes class”, where Aivazovsky would later study.

Верещагин Василий Петрович

Surikov Vasily Ivanovich

Studied in Krasnoyarsk, at the School of Drawing, Society for the Encouragement of Artists (1869) and under Pavel Chistyakov at the Imperial Academy of Arts (1869-75). Member of the Society of Travelling Art Exhibitions (from 1881) and the Union of Russian Artists (from 1908). Full member of the Imperial Academy of Arts (1893), academician (1895). Visited Western Europe and Siberia. Lived in Moscow (from 1877). 

Аскназий Исаак Лейбович

Soloviev Mikhail Petrovich

Polenov Vasily Dmitriyevich

Painter, draughtsman, landscape painter, author of works on biblical subjects. Took lessons from Pavel Chistyakov (1859-61) and studied at the Imperial Academy of Arts (1863-67). Graduated from the legal faculty of the St Petersburg University (1871). Fellow of the Imperial Academy of Arts in Germany, Italy, France and Britain (1872-76). Academician (1876), professor of the Imperial Academy of Arts (1892). Member of the Abramtsevo circle (from 1873). Helped to found Sawa Mamontov\'\'\'\'s Russian Private Opera in Moscow (1884). Contributed to many exhibitions. Taught at the Moscow School of Painting, Sculpture and Architecture (1882-94). People\'\'\'\'s Artist of Russia (1926). Opened a museum at the Borok estate (now the Vasily Polenov Estate Museum). 

Repin Ilya Efimovich

Painter, draughtsman, watercolour painter, portraitist, history painter. Studied under local artists at the School of Military Topography in Chuguyev (1854-57), under Ivan Kramskoi at the School of Drawing, Society for the Encouragement of Artists (1863) and at the Imperial Academy of Arts (1864-71). Fellow of the Imperial Academy of Arts in Italy and France, lived mostly in Paris (1873-76). Academician (1876). Professor, full member of the Imperial Academy of Arts (1893). Member of the Society of Travelling Art Exhibitions (1878, exhibited from 1874). Headed a studio at the Higher School of Art, Imperial Academy of Arts (1894-1907) and taught at Princess Maria Tenisheva\'\'s school of art (1895-98). Lived in St Petersburg and Moscow, settled in Kuokkala (1900).

Шаховской Николай Павлович

Карасик Михаил Семенович

The Raising of Lazarus

• Late 14th - Early 15th century
• Wood, gesso, tempera. 53,5 х 44 х 4,5
• The State Russian Museum
• ДРЖ-1407

The Raising of Lazarus, The Old Testament Trinity, The Purification, STs. John the Theologian and Prochorus. Four-parts icon

• Novgorod
• About 1497
• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-2775

This icon comes from the Church of St. George in Novgorod. The composition unites four scenes linked to one another. “The Raising of Lazarus” is one of Christ miracles described in the New Testament. “Trinity” is the symbol of spiritual unity in the form of three angels. “The Purification” depicts the scene of the presentation of Christ when he was an infant in a church. St. John the Theologian is represented dictating his revelation to Prochorus. All the features of this icon are characteristic of the Novogorod iconography during the 15^th century, when it reached its pinnacle: the sense of proportion, the structured composition and the harmony of colours.

Воскрешение Лазаря

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-2723

Воскрешение Лазаря

• Wood, pavoloka, gesso, tempera. 47,5 х 38,8 х 2,5
• The State Russian Museum
• ДРЖ-3069

Воскрешение Лазаря

• Wood, gesso, tempera. 72,0 х 58,0 х 2,0
• The State Russian Museum
• ДРЖ-2784

Воскрешение Лазаря

• Wood, gesso, tempera. 56,0 х 42,8 х 3,1
• The State Russian Museum
• ДРЖ-1425

Воскрешение Лазаря

• Wood, gesso, tempera, chasing. 107,0 х 83,5 х 3,0
• The State Russian Museum
• ДРЖ-1359

Воскрешение Лазаря

• Wood, pavoloka, gesso, tempera. 95,0 х 75,0 х 2,4
• The State Russian Museum
• ДРЖ-3162

Воскрешение Лазаря

• Wood, tempera. 35,8 х 30,2 х 2,6
• The State Russian Museum
• ДРЖ-1012

Воскрешение Лазаря

• Wood, , gesso, tempera.
• The State Russian Museum
• ДРЖ-1525

The Miraculous Draught of Fish

• Canvas, oil.
• The State Russian Museum
• Ж- 4968

Anton Losenko studied under the French painter Jean II Restout in Paris, where he painted the picture in November 1762 (just after his departure from Russia). This is an authorized copy of Jean Jouvenet’s painting (Louvre, Paris, 1705). The miraculous draught of fish is an event described in the Old Testament, according to the Gospel of Luke. Jesus asked for letting down the nets for a catch, and there were such a large number of fish that James and John had to help the fishermen. This scene represents the banks of the Sea of Galilee, on which the people beheld the Lord’s miracle. Peter fell on his knees before Jesus as Andrew, James and John trawled the nets.

Оклад с иконы «Исцеление расслабленного»

• 1798
• Silver, chasing, engraving, niello, , gilding. 35,0 х 28,5
• The State Russian Museum
• Сер-569

Исцеление кровоточивой

• Wood, gesso, tempera, . 31,1 х 26,3 х 2,5
• The State Russian Museum
• ДРЖ Б-110

Исцеление расслабленного

• Paper, , watercolours, ink, nib, graphite pencil. 22,1 x 26,5
• The State Russian Museum
• Р-19752

Исцеление слепых

• Paper, , watercolours, ink, nib, graphite. 22,1 x 26,7
• The State Russian Museum
• Р-19751

Исцеление слепого. Чудо с рыбами

• 1860s
• Watercolours, graphite pencil, white pigment.
• The State Russian Museum
• Р-9227

The Raising of Jairus’s Daughter

• Initial study for the painting of the same name (1871, State Russian Museum)
• 1871
• Graphite pencil, white pigment. 30 x 55
• The State Russian Museum
• Р-7944

The sketch that convinced the Academy of Arts Council to allow Repin to execute the painting.

The Raising of Jairus’s Daughter

• 1871
• Canvas, oil. 229 х 382
• The State Russian Museum
• Ж-4050

The Raising of Jairus’s Daughter was given to final-year students of the Imperial Academy of Arts in 1871 and received the most lifelike and emotional incarnation in the work of Ilya Repin. The artist was at first not particularly inspired by the theme, until he associated it with the death of his sister. Tragedy and sorrow combine with lucidity and hope, enriching the painting with an atmosphere of agitation, expressed in the tense ring of the colours and the lighting contrasts. The image of Jesus Christ is interpreted in the finest traditions of classical art and evokes the sensation of the special significance of the event. Its prototype can be regarded as Alexander Ivanov’s Christ from Christ’s Appearance to the People, though Repin’s Christ is simpler and more human. The sorrowful and deferential hope of the girl’s parents is contrasted to Jesus’ austere solemnity. The painterly culture and spirituality of the young artist’s canvas rank it alongside the leading works of Russian art. The Raising of Jairus’s Daughter was awarded a major gold medal and was acquired by the Imperial Academy of Arts. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 187.

Нерукотворный образ

• 1872
• Canvas, oil. 54 × 86
• The State Russian Museum
• Ж-2767

The Sinner Woman

• 1873
• Canvas, oil. 250 x 499
• The State Russian Museum
• Ж-5674

Losenko Anton Pavlovich

History painter, portraitist, draughtsman. Studied at Ivan Argunov\'\'s studio (from 1753) and under Jean-Louis de Velly and Louis-Jean-Francois Lagrenee at the Imperial Academy of Arts (1758-60). Taught at the Imperial Academy of Arts. Adjunct (1762). Fellow of the Imperial Academy of Arts in France (1760-62, 1763-65), studied under Jean Restout and Joseph-Marie Vien. Awarded silver medals for drawings by the Academic des Beaux-Arts in Paris (1763, 1764,1765). Studied in Italy (1765-69). Nominated to the Imperial Academy of Arts (1769), academician and professor (1770). Head of the history painting class, director of the Imperial Academy of Arts (1772-73

Бейдеман Александр Егорович

Siemiradzki Henryk

Painter, author of pictures on historical and religious subjects, portraitist, landscape painter. Studied physics and mathematics at the Kharkiv University (until 1864) and art at the Imperial Academy of Arts (1864-70; occasional student). Contributed to exhibitions at the Imperial Academy of Arts (from 1867). Fellow of the Imperial Academy of Arts in Germany and Italy (1871-77). Academician (1873), professor (1877). Awarded the Grand Prix at the World Exhibition in Paris and the Legion d\'\'hon-neur  or The Luminaries of Christianity and La Femme ou la Coupe (1878). Councillor (1889) and full member of the Imperial Academy of Arts (1893). Member of the Academies of Arts of Berlin, Stockholm, Rome, Turin and Paris.

Преображение и Богоматерь Одигитрия

• Wood, gesso, silver, , , tempera, chasing, .
• The State Russian Museum
• ДРЖ-2728

Пелена «Преображение Господне и праздники»

• Taffeta, , .
• The State Russian Museum
• ДРТ-19

Преображение

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-1639

Преображение

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-1215

Преображение

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-2852

Преображение, с праздниками в 24 клеймах

• Wood, tempera. 133 х 102,3 х 3,6
• The State Russian Museum
• ДРЖ-1879

Богоматерь Знамение, Давид, Соломон, Вход в Иерусалим и Преображение

• Wood, gesso, tempera. 59,0 х 57,0 х 2,0
• The State Russian Museum
• ДРЖ-1563

Преображение

• Wood, gesso, silver, stones:, fabric, tempera, .
• The State Russian Museum
• ДРЖ-254

Преображение, из праздничного чина

• Wood, pavoloka, gesso, tempera. 94,5 х 75 х 2,5
• The State Russian Museum
• ДРЖ-3169

Преображение

• Wood, gesso, tempera. 34,2 х 29,0 х 2,2
• The State Russian Museum
• ДРЖ-1180

Икона двусторонняя Преображение и Благовещение

• Wood, gesso, tempera. 31,2 х 26,6 х 1,4
• The State Russian Museum
• ДРЖ-376

Крест поклонный. Распятие и Преображение

• Wood, gesso, tempera, carving. 26,2 х 12,4 х 2,1
• The State Russian Museum
• ДРЖ-241

Преображение

• Canvas, , , . 74,0 х 68,0
• The State Russian Museum
• ДРТ-380

Палица. Преображение. Зосима и Савватий Соловецкие

• 1658
• Taffeta, canvas, , , , pearls. 44,2 × 43
• The State Russian Museum
• ДРТ-94

Преображение

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-1107

Преображение

• Wood, gesso, tempera, canvas, silver.
• The State Russian Museum
• ДРЖ-951

Преображение

• Wood, tempera.
• The State Russian Museum
• ДРЖ-1400

Преображение Господне

• Silver.
• The State Russian Museum
• СерБ-181

Преображение

• Wood, carving, paintwork.
• The State Russian Museum
• ОНИ/Д-3063

Преображение, из праздничного чина

• Wood, gesso, pavoloka, tempera. 40,5 х 37,5 х 3,5
• The State Russian Museum
• ДРЖ Б-2002

Мастерская Анны Ивановны Строгановой

Образка энколпия створка. Вход в Иерусалим

• Copper, casting. 6,4 х 5 х 0,5
• The State Russian Museum
• ДРМ-293

Вход в Иерусалим

• Wood, gesso, tempera. 32,8 х 27,1 х 2,1
• The State Russian Museum
• ДРЖ-2329

Икона двусторонняя. Воскрешение Лазаря и Вход в Иерусалим

• Canvas, gesso, tempera. 17,0 х 15,1
• The State Russian Museum
• ДРЖ-169

Вход в Иерусалим

• Wood, tempera. 35,8 х 30,2 х 2,6
• The State Russian Museum
• ДРЖ-1014

Вход в Иерусалим

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-69

Вход в Иерусалим

• Wood, tempera, , , .
• The State Russian Museum
• ДРЖ-1627

Вход в Иерусалим

• Silver. 3,9 х 3,0 х 0,9
• The State Russian Museum
• ДРК-82

Вход в Иерусалим, Сретение

• Copper, casting, .
• The State Russian Museum
• ДРМ-302/а,б

Вход в Иерусалим

• Wood, tempera.
• The State Russian Museum
• ДРЖ-1398

Икона двусторонняя Вход в Иерусалим и Благовещение

• Canvas, gesso, tempera. 18,5 х 15,0
• The State Russian Museum
• ДРЖ Б-514

Вход в Иерусалим

• Paper, .
• The State Russian Museum
• Гр.-25427

Вход в Иерусалим

• Wood, gesso, tempera. 22,0 х 18,0 х 1,8
• The State Russian Museum
• ДРЖ Б-157

Образок "Вход в Иерусалим"

• Copper, enamel, casting. 6,1 х 5,2 х 0,6
• The State Russian Museum
• ОНИ/М-1259

Изгнание Христом торгующих из храма

• 1873
• Canvas, oil. 78,5 × 118
• The State Russian Museum
• Ж-2768

Вход Господень в Иерусалим

• 1899–1900
• Paper, gouache, graphite pencil.
• The State Russian Museum
• Р-40900

«Марфа приняла Его в дом свой»

• 1890–1900s
• Canvas mounted on cardboard, oil. 43,5 х 30
• The State Russian Museum
• Ж-2682

Вощанка М.

Палех, Владимирская губерния / Ивановская область

Омовение ног

• 1497
• Wood, tempera. 84,5 х 67,2 х 2,3
• The State Russian Museum
• ДРЖ-2364

Тайная вечеря

• 1497
• Wood, tempera. 83,5 х 62,5 х 2,5
• The State Russian Museum
• ДРЖ-2880

Дробница Тайная вечеря

• Silver, , painting.
• The State Russian Museum
• Гр.Б-3520

Тайная вечеря. Страстной чин

• Wood, gesso, tempera, , , .
• The State Russian Museum
• ДРЖ Б-105

Тайная вечеря

• Wood, velvet, . 37,5 х 30 х 1,9
• The State Russian Museum
• Рк-307

Тайная вечеря

• 1823–1824
• Sepia, bistre, nib, brush, graphite pencil. 18,7 х 34,4
• The State Russian Museum
• Р-26531

Омовение ног

• 1841–1843
• Watercolours, white pigment, ink, nib. 29,3 х 41,2
• The State Russian Museum
• Р-53199

Тайная вечеря

• Paper, watercolours, gouache, bronze, brush.
• The State Russian Museum
• Р-16500

Тайная вечеря

• Paper, watercolours, ink, nib, graphite pencil.
• The State Russian Museum
• Р-26242

Тайная вечеря

• Paper, , watercolours, ink, nib, graphite pencil.
• The State Russian Museum
• Р-19758

Тайная вечеря. Виньетки

• gouache, gold.
• The State Russian Museum
• Рб-7062

Тайная вечеря

• Sepia, graphite pencil, white pigment.
• The State Russian Museum
• Р-53012

The Last Supper

• 1863
• Canvas, oil. 283 x 382
• The State Russian Museum
• Ж-4141

Nikolai Ge breaks the traditional canons governing the representation of the Last Supper in his painting. He treats the event as a psychological drama, arising out of a conflict that has split a group of former confederates. The figurative resolution is based on the battle of light and dark, symbolizing truth and falsehood, concentrated in the figures of Jesus and Judas Iscariot. The poignant theme, innovative composition, broad manner of painting and courageous chiaroscuro contrasts caught the attention of contemporaries and evoked heated debate. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 187.

Тайная вечеря

• Paper, .
• The State Russian Museum
• Гр.Луб.-2371

Тайная вечеря. Положение во гроб

• Paper, .
• The State Russian Museum
• Гр.Луб.-2227

Тайная вечеря

• 1877–1878
• Canvas mounted on cardboard, oil. 45 х 46,6
• The State Russian Museum
• Ж-1344

Тайная вечеря

• Paper, .
• The State Russian Museum
• Гр.Луб.-2372

Тайная вечеря

• Paper.
• The State Russian Museum
• Гр.П.-789

Тайная вечеря. Предательство Иисуса Христа Иудою

• Paper, chromolithography.
• The State Russian Museum
• Гр.П.-889

Тайная вечеря

• 1918
• Canvas, oil. 102 х 109
• The State Russian Museum
• Ж-8843

Kholmogory

Bruni Fidelio (Fyodor Antonovich)

Painter, engraver, author of religious and history compositions, portraitist. Son of the painter and sculptor Antonio Baroffi-Bruni. Moved to Russia with his father (1807). Studied under Alexei Yegorov, Andrei Ivanov and Vasily Shebuyev at the Imperial Academy of Arts (from 1809). Graduated with a first-class degree (1818). Moved to Rome to con¬tinue his art education (1819). Returned to Russia and painted portraits and icons for churches and cathedrals in St Petersburg and environs (1835-38). Lived and worked in Rome (1838-43, 1843-45). Honorary member of the Academies of Art of Bologna and Milan, professor of the Florentine Academy of Arts and St Luke\'\'s Academy in Rome. Taught at the Imperial Academy of Arts (1836-38, 1846-71). Second-class professor (1836), first-class professor (1846), rector of painting and sculpture (1855-71). Curator of the Imperial Hermitage picture gallery (1849-64), headed the mosaic studio at the Imperial Academy of Arts (from 1866

Pleshanov, Pavel Fyodorovich

Painter, portraitist and creator of paintings on religious and historical subjects. Son of a merchant. Studied at the St Petersburg Commercial College and the Imperial Academy of Arts (under Fyodor Bruni). Awarded a minor gold medal and a title of the artist of the third degree (1854) for The Prophet Elisha Raising the Widow of Zarephath’s Son. Academician (1857) for Grand Prince Ivan the Terrible and Priest Sylvester. Professor (1869) for Murder of TsarevichDimitryinUglich. Executed paintings after his studies for the Cathedral of Christ the Saviour. Assistant of the head of the mosaic department at the Imperial Academy of Arts (from 1878).

Кошелев Николай Андреевич 

Ge Nikolai Nikolaevich

Painter, draughtsman, history and religious painter, portraitist, landscapist. Studied mathematics at Kiev University (1847-48) and St Petersburg University (1848- 50). Studied under Pyotr Basin at the Imperial Academy of Arts (1850-57) and influenced by Karl Brullov and Alexander Ivanov. Fellow of the Imperial Academy of Arts in Rome and Florence (1857-63). Lived in Florence (until 1869). Professor (1863; resigned 1869). Founding member of the Society of Travelling Art Exhibitions (1871). Influenced by Leo Tolstoy (i88os). Lived in Kiev and St Petersburg, moved to Ivanovskoe in Chernihiv Province (1876). Contributed to the exhibitions of the Imperial Academy of Arts (from 1857), Society of Travelling Art Exhibitions (1871-94), Exposition Universelle in Paris (1867) and the International Exhibitions in Munich (1869) and London (1873). One-man show at the Imperial Academy of Arts (1870).

Мастерская И. А. Голышева

Мастерская А. А. Абрамова

Мастерская М. Т. Соловьева

Мастерская Е. И. Коноваловой

Спас Полунощный (Христос в темнице)

• Wood, carving, paintwork. 128 х 53 х 52
• The State Russian Museum
• ОНИ/Д-2315

Образок «Бичевание Христа»

• Copper, , . 9,7 х 7,7 х 1
• The State Russian Museum
• ОНИ/Р-362

Отречение апостола Петра

• Canvas, oil. 208 х 184
• The State Russian Museum
• Ж-80

Моление о Чаше

• Paper, nib, graphite pencil. 36,6 x 25
• The State Russian Museum
• Р-832

Моление о чаше

• 1839
• Paper, .
• The State Russian Museum
• Гр.-36811

Бичевание Христа

• 1843–1844
• Italian pencil. 33 х 24,3
• The State Russian Museum
• Р-2263

Бичевание Спасителя

• 1843–1848
• Cardboard, italian pencil. 382 х 280
• The State Russian Museum
• Р-39891

Отче мой ... да мимо идет от меня чаша сия (моление о чаше)

• 1847
• Paper, lithography.
• The State Russian Museum
• Гр.Дуб.-1295

Христос

• 1848
• Bust., marble. 51 х 43 х 35
• The State Russian Museum
• Ск-414

Христос в терновом венце

• Canvas, oil. 52 х 42
• The State Russian Museum
• ЖБ-875

Христос в терновом венце

• Copper, , . 14,5 х 11,5
• The State Russian Museum
• ОНИ/Р-355

Моление о чаше

• 1862
• Paper, .
• The State Russian Museum
• Гр.-4873

Моление о чаше

• Canvas, oil. 44,5 x 35,5
• The State Russian Museum
• Ж-1130

«Се Человек»

• 1871
• Canvas, oil. 353 х 265
• The State Russian Museum
• Ж-5735

Поясное изображение Христа с картины Ге «Моление о чаше»

• 1871
• Paper, etching.
• The State Russian Museum
• Гр.-5984

Голгофа, моление о чаше, буква «Р» комплекта

• Paper, gouache, bronze, ink. 15,7 x 11,9
• The State Russian Museum
• Рб-7321

"Радуйся, царь Иудейский!" (Хохот)

• Canvas, oil. 373 x 501
• The State Russian Museum
• Ж-5724

Christ and the Disciples Entering the Garden of Gethsemane

• 1889
• Canvas, oil. 142 x 192
• The State Russian Museum
• Ж-4145

Nikolai Ge painted mostly Gospel subjects in the final years of his career in art. His cycle of works dedicated to the life of Jesus Christ is one of the finest achievements of both his own life and the Russian Realist painting of the 1880s and early 1890s. Work on Christ and the Disciples Entering the Garden of Gethsemane coincided with a period of close contacts with Leo Tolstoy, who greatly influenced the artist’s own ethical viewpoints. Like Tolstoy, Ge presents himself and the viewer with a moral dilemma in this work. The unusual colour scheme is deliberately intended to bring out the emotional aspects of the theme the figures of Christ and the disciples are immersed in darkness and virtually indiscernible.

«Что есть истина? Христос и Пилат»

• 1890
• Paper, sepia. 34,1 х 25,9
• The State Russian Museum
• Р-13274

Голова Христа

• 1890 (?)
• Sauce. 50,7 х 34,7
• The State Russian Museum
• Р-57326

Козлов Гавриил Игнатьевич

Brullov (Bruleau) Karl Pavlovich

Painter, watercolourist, draughtsman, history painter, portraitist, genre painter, mural painter. Born into an artistic family. Studied under Anton Ivanov, Alexei Yegorov and Vasily Shebuyev at the Imperial Academy of Arts (1809-22), graduated with a first-class gold medal. Sent to Italy by the Society for the Encouragement of Arts (1822-35). Worked in Milan, Naples and Rome. Won fame in Europe as a portraitist and history painter for such works as The Last Day of Pompeii (1827-33, Russian Museum. St Petersburg)- Returned to Russia and lived in St Petersburg. Honorary freeman (1834), second-degree professor (1835) and first-degree professor (1846) of the Imperial Academy of Arts, where he taught history painting, enjoying the love and respect of his many students. Professor of the Accademia di Belle Arti in Florence. Contributed to exhibitions in Rome, Milan, Paris and St Petersburg. Went abroad on the advice of doctors (1849), settled in Italy (1850).

Петровский Алексей Гаврилович

Кружкин Сергей

Козлов Александр Алексеевич

Tolstoy Fyodor Petrovich

Тимм Василий Федорович (Георг Вильгельм)

Chistyakov Pavel Petrovich

Kramskoi Ivan Nikolaevich

Painter, draughtsman, engraver, portraitist, history painter. Worked as a retoucher with a travelling photographer (1853-57). Studied at the Imperial Academy of Arts (1857-63). Initiator of the rebellion of the fourteen (1863). Headed the St Petersburg Artel of Artists (1863-70). One of the founders and the ideological head of the Society of Travelling Art Exhibitions (1870-87). Academician (1869). Contributed to the exhibitions of the Imperial Academy of Arts, World Exhibition in Paris (1878) and the All-Russian Exhibition in Moscow (1882). Taught at the School of Drawing, Society for the Encouragement of Artists (1863- 69, with interval). Member of the Society for the Encouragement of Artists (1863-69, with intervals). 

Распятие

• Wood, gesso, tempera. 38,0 х 30,1 х 1,4
• The State Russian Museum
• ДРЖ-1084

Покровец. Распятие с предстоящими, апостолами и евангелистами

• Taffeta, . 51,5 х 53
• The State Russian Museum
• ДРТ-42

Распятие

• Wood, gesso, tempera. 76,0 х 53,5 х 2,8
• The State Russian Museum
• ДРЖ-1219

Положение во гроб – Оплакивание

• Wood, tempera. 83,9 х 67,8 х 3,2
• The State Russian Museum
• ДРЖ-2083

Крест

• Wood, carving, . 23,8 х 15,6 х 1,4
• The State Russian Museum
• ДРД-317

Распятие Господне

• Damask, . 45,5 х 47
• The State Russian Museum
• ДРТ-29

Плащаница «Положение во гроб»

• 1565
• Silk, canvas, , , , , . 166,0 х 258,0
• The State Russian Museum
• ДРТ-285

«Не рыдай Мене, Мати...», со Спасом Нерукотворным и святыми на полях: Григорием Богословом, мучеником Никитой, мученицами Маврой и Евпраксией

• Wood, tempera, , , .
• The State Russian Museum
• ДРЖ-1016

Крест напрестольный

• 1592
• Silver, forging, engraving, gilding. 18,8 х 9,3 х 2
• The State Russian Museum
• БК-2890

Плащаница «Положение во гроб»

• 1592
• Damask, . 183 х 261
• The State Russian Museum
• ДРТ-286

Положение во гроб. Плащаница

• 1592
• Damask, , , , . 137,5 × 185
• The State Russian Museum
• ДРТ-287

Снятие с креста. Положение во гроб

• Wood, tempera. 35,8 х 30,4 х 2,4
• The State Russian Museum
• ДРЖ-1062

Крест

• 1598
• Wood, carving, , . 26,2 х 18,7 х 1,9
• The State Russian Museum
• ДРД-312

Распятие

• Wood, tempera. 35,6 х 29,8 х 2,4
• The State Russian Museum
• ДРЖ-1031

Распятие с предстоящими

• Wood, , carving.
• The State Russian Museum
• ДРД-460

“Do Not Cry for Me, Mother”, Saviour Not-Made-By-Hands and Saints

• 17th century. Repainted in the 19th century
• Wood, tempera. 93 х 81 х 3
• The State Russian Museum
• ДРЖ-2073

Such compositions were popular in sixteenth and seventeenth century Russian art. The scene does not correspond to any canonical text. The dead figure of Christ indicates his real death, yet it is depicted vertically and is not nailed to the cross. A special feature of this particular work is the representation of the commissioner''''s patron saints at the edge of the central image. The unusually extended form of the large coffin also underlines the fact that this icon was commissioned in memory of the dead. The image of the Virgin Mary on the icon, in which she is not merely standing by the dead body of Christ, like in the scenes of The Crucifixion, but where she is embracing him, like in The Entombment, has a special significance. In Rus, icons with such an image were carried in a solemn procession, accompanied by the troparion "Behold, the Bridegroom Comes at Midnight", and each believer would kiss the icon. The Virgin Mary, as the embodiment of the Church, embraces Christ and merges with him, identifying with his sacrifice. The image of the Mother of God embracing her Son symbolises the love of the church and Christ. The bridegroom washes the bride in his blood and prepares her for the wedding feast of the Lamb. The sepulchre also symbolises the wedding bed of the King and the Queen and the wedding feast to which all believers are invited. The patron saints depicted above the tomb pray constantly to God for the souls of their protégés, becoming the eternal participants of the Eucharist of the Lord.

Крест поклонный. Распятие и Преображение

• Wood, gesso, tempera, carving. 26,2 х 12,4 х 2,1
• The State Russian Museum
• ДРЖ-241

Распятие

• Wood, gesso, tempera. 76,0 х 57,3 х 2,5
• The State Russian Museum
• ДРЖ-1228

Крест напрестольный восьмиконечный «распятие»

• Wood, gesso, tempera. 31,7 х 14,1 х 1,8
• The State Russian Museum
• ДРЖ-161

Распятие

• Wood, gesso, tempera. 92,07 х 70,0 х 3,0
• The State Russian Museum
• ДРЖ-1783

Мастер Стефан Арефьев

Воскресение (Сошествие во ад)

• Wood, tempera. 82,0 х 61,0 х 3,0
• The State Russian Museum
• ДРЖ-2124

Сошествие во Ад

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-2664

The Resurrection and Descent into Limbo

• Pskov
• Late 14th century
• Wood, tempera. 81,3 x 65 x 3
• The State Russian Museum
• ДРЖ-2120

The iconography of the scene is based on the apocryphal Gospel of St Nicodemus, liturgical texts, psalms, Old Testament prophecies, St Peter’s Epistles and patristic compositions. St Epiphanius of Constantia and St Eusebius of Alexandria’s Descent of Jesus Christ into Hell tell how Christ descended into the abyss after the Resurrection. He overthrew Satan and liberated the righteous, erasing the original sin of Adam and Eve with His blood.

The main idea of the Resurrection (Greek: Anastasis) is the celebration of Christ’s victory over hell and death. This concept is united in the icon with the theme of suffering and sorrow and trepidation before the inscrutable mystery of the Resurrection. The Resurrection of Christ was a particularly popular theme in the Pskov school of icon-painting, which developed its own unique version of the subject, quite unlike Byzantine or Old Russian iconography. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 44.

Воскресение — сошествие во Ад, с избранными святыми

• Wood, pavoloka, gesso, tempera. 157,0 х 92,0 х 3,8
• The State Russian Museum
• ДРЖ-3140

Воскресение — сошествие во Ад

• Wood, gesso, tempera. 41,2 х 34,5 х 2,4
• The State Russian Museum
• ДРЖ-472

Сошествие во ад. Воскресение

• Wood, gesso, tempera. 120,0 х 89,0 х 2,5
• The State Russian Museum
• ДРЖ-1939

Сошествие во ад

• Wood, pavoloka, gesso, tempera.
• The State Russian Museum
• ДРЖ-3094

Сошествие во ад

• Wood, gesso, tempera. 35,4 x 29,7
• The State Russian Museum
• ДРЖ-1038

Сошествие во ад

• Wood, , , gesso, tempera.
• The State Russian Museum
• ДРЖ-3266

Сошествие во ад

• Wood, , , pavoloka, gesso, tempera.
• The State Russian Museum
• ДРЖ-1963

Воскресение Христово

• 1755-1756
• Canvas, oil.
• The State Russian Museum
• ЖБ-810

Воскресение Христа

• 1761
• Paper, watercolours, ink, nib. 46,9 x 34,7
• The State Russian Museum
• Р-3879

Воскресение Христово с двунадесятыми праздниками

• Wood, velvet, , engraving, . 51,6 х 59,9 х 4,8
• The State Russian Museum
• Рк-458

Образок «Воскресение Христово»

• Copper, enamel, casting. 6 х 5,4 х 0,4
• The State Russian Museum
• ОНИ/М-1663

Пластина «Воскресение Христово»

• Copper, , . 7,1 х 5,3
• The State Russian Museum
• ОНИ/Р-122

Воскресение Христово (девятичастная)

• Wood, mixed media, . 45,2 х 38 х 2,7
• The State Russian Museum
• ДРЖ Б-1406

Воскресение Христа

• 1823–1824
• Bistre, nib, graphite pencil. 28,1 х 43,8
• The State Russian Museum
• Р-26602

Воскресение Христа

• faience, painting over glaze.
• The State Russian Museum
• ФС-287

Дробница «Воскресение Христово»

• Silver, copper, , , , . 13,7 х 10
• The State Russian Museum
• ОНИ/Р-116

Christ’s Appearance to Mary Magdalene after the Resurrection

• 1835
• Canvas, oil. 242 x 321
• The State Russian Museum
• Ж-5263

Alexander Ivanov painted Christ’s Appearance to Mary Magdalene after the Resurrection in Italy as a progress report to his sponsors — the Society for the Encouragement of Artists in St Petersburg. The canvas was sent to the Russian capital in May 1836, and exhibited to great acclaim at the Imperial Academy of Arts. Ivanov was elected an academician and the Society for the Encouragement of Artists donated the painting to Tsar Nicholas I. Although Ivanov paints a canvas wholly in the traditions of academic art, the work is also enriched by the artist’s direct contacts in Italy with High Renaissance paintings. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 143.

Dionysius and Workshop

Dionysius

Circa 1440 - Before 1508

Old Russian painter of icons and frescoes. Headed a team of artists including two of his sons — Vladimir and Theodosius. Painted the frescoes and iconostasis of the Cathedral of the Dormition in the Moscow Kremlin (1481) and the Cathedral of the Nativity of the Blessed Virgin in the St Ferapont Monastery (1502-03). Created one of the recognised masterpieces of Old Russian icon-painting - The Crucifixion (1500).

Уланов Кирилл (Корнилий)

Fontebasso Francesco

Вознесение, из праздничного чина

• Wood, gesso, tempera. 55,5 х 43,5 х 2,6
• The State Russian Museum
• ДРЖ-1202

Вознесение Христа

• Canvas, silk, , , , , . 16,2 х 16,0
• The State Russian Museum
• ДРТ-119

Вознесение

• Wood, gesso, tempera. 109,0 х 79,0 х 4,0
• The State Russian Museum
• ДРЖ-1313

Вознесение Христово

• . 14,2 х 14,8
• The State Russian Museum
• ДРТ-124

Вознесение

• 1755-1756
• Canvas, oil.
• The State Russian Museum
• ЖБ-863

Вознесение Господне

• 1798
• Paper, .
• The State Russian Museum
• Гр.-43663

Вознесение Господне

• Paper, watercolours, gold, ink, nib. 17,3 x 25,2
• The State Russian Museum
• Р-19734

Образок «Вознесение»

• Carving. 10,8 х 7,3 х 3,2
• The State Russian Museum
• ДРКам-90

Образок «Вознесение»

• Copper, casting, . 6,3 х 5,4 х 0,4
• The State Russian Museum
• ДРМ-304

Вознесение Господне

• 1894
• Paper, chromolithography. 40,6 х 30,9
• The State Russian Museum
• Гр.П.-898

Вознесение Господне

• 1895
• paper mounted on cardboard, tempera, bronze paint, varnish. 51,7 х 39,4
• The State Russian Museum
• Р-40867

Вознесение Господне

• 1898 - 1899
• Paper, watercolours, gouache, graphite pencil.
• The State Russian Museum
• Р-40903

Сошествие Святого Духа

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-2081

Сошествие Святого Духа

• Wood, gesso, pavoloka, tempera. 94,3 х 73,8 х 2,5
• The State Russian Museum
• ДРЖ-3167

Сошествие Святого Духа. Три святых

• Canvas, gesso, tempera. 30,5 х 24,8
• The State Russian Museum
• ДРЖ-175

Троица и Сошествие Святого Духа

• Wood, gesso, tempera. 36,0 х 31,0 х 2,3
• The State Russian Museum
• ДРЖ-1076

Троица и Сошествие Святого Духа

• Wood, gesso, tempera. 75,0 х 107,5 х 2,5
• The State Russian Museum
• ДРЖ-862

Сошествие Святого Духа

• Wood, gesso, tempera. 111,0 х 85,5 х 2,3
• The State Russian Museum
• ДРЖ-1298

Сошествие Святого Духа

• Wood, gesso, tempera. 32,0 х 25,3 х 1,8
• The State Russian Museum
• ДРЖ-857

Сошествие Святого Духа на апостолов

• Paper, .
• The State Russian Museum
• Гр.-21841

Сошествие Святого Духа

• 1755-1756
• Canvas, oil.
• The State Russian Museum
• ЖБ-865

Сошествие Святого Духа

• 1883
• Paper, . 46 х 36,3
• The State Russian Museum
• Гр.Луб.-2238

Зубов Алексей Федорович

Образок «Успение - Димитрий»

• Carving. 5,7 х 5 х 0,9
• The State Russian Museum
• ДРКам-45

Успение Богоматери

• Wood, tempera. 59 × 46,5 × 4,5
• The State Russian Museum
• ДРЖ-1561

Успение Богоматери

• Wood, gesso, tempera. 58,8 х 45,4 х 2,5
• The State Russian Museum
• ДРЖ-2066

Пелена «Успение»

• Silk, , canvas, , , , .
• The State Russian Museum
• ДРТ-39

Успение Богоматери, с Иоанном Предтечей и архидиаконом Стефаном

• Wood, tempera. 48,2 х 37 х 2,2
• The State Russian Museum
• ДРЖ-2065

Пелена «Успение Богоматери со Спасом Нерукотворным и апостолами на кайме»

• Damask, . 82 х 140
• The State Russian Museum
• ДРТ-261

Успение Богоматери

• Wood, gesso, tempera. 30,2 х 24,6 х 2,0
• The State Russian Museum
• ДРЖ-1091

Благовещение и Успение Богоматери

• Wood, pavoloka, gesso, fabric, tempera. 32,0 х 13,2 х 1,4
• The State Russian Museum
• ДРЖ-150

Успение

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-3122

Набедренник «Успение Богоматери»

• Velvet, damask, silk, lace, gold, silver, , . 71,0 х 38,0
• The State Russian Museum
• ДРТ-97

Успение Богоматери

• Wood, , , , tempera. 93,5 х 70,0 х 3,5
• The State Russian Museum
• ДРЖ-2085

Успение Богоматери

• Bone, wood, carving. 59,0 х 39,4
• The State Russian Museum
• ДРК-114

Успение Богоматери

• 1552
• Gold, wood, silk, niello. 24,3 х 20,0
• The State Russian Museum
• БК-3116

Одна сторона хоругви «Успение Богоматери»

• Canvas, , , , . 50,0 х 55,0
• The State Russian Museum
• ДРТ-101

Успение Богоматери, из праздничного ряда

• Wood, , , , pavoloka, gesso, tempera.
• The State Russian Museum
• ДРЖ-3171

Иосиф Волоцкий; Успение Богородицы

• . 87,7 х 76,2
• The State Russian Museum
• ДРТ-113/а,б

Палица «Успение Богоматери»

• Velvet, , , , , . 41,8 х 41,4
• The State Russian Museum
• ДРТ-104

Успение

• Wood, gesso, silver, tempera, chasing, engraving, . 31,2 х 27,8 х 3,2
• The State Russian Museum
• ДРЖ Б-180

Успение Богоматери

• Wood, gesso, tempera. 71,5 х 57,5 х 3,5
• The State Russian Museum
• ДРЖ-1263

Успение Богоматери

• Wood, gesso, silver, fabric, tempera. 27,0 х 31,7 х 3,0
• The State Russian Museum
• ДРЖ-2572

Deesis

• Wood, pavoloka, gesso, tempera, metal.
• The State Russian Museum
• ДРЖ-2779

Спас Вседержитель («Ярое око») / Спас оплечный

• Wood, pavoloka, tempera, gesso.
• The State Russian Museum
• ДРЖ-1889

Господь Вседержитель (Спас в силах), из деисусного чина

• Wood, gesso, tempera.
• The State Russian Museum
• ДРЖ-1958

Царские врата с изображением Благовещения, Евхаристии и четырех евангелистов

• Wood, tempera.
• The State Russian Museum
• ДРЖ-2725 а, б

«Хвалите Господа с небес…»

• Wood, tempera. 40 × 31,7 × 2,3
• The State Russian Museum
• ДРЖ-2143

Спас в силах, из деисусного чина

• Wood, pavoloka, gesso, tempera. 152,4 х 116,8 х 3,3
• The State Russian Museum
• ДРЖ-1832

The Old Testament Trinity

• Novgorod
• Mid-16th century
• Wood, gesso, tempera. 149 х 113,5 х 3,2
• The State Russian Museum
• ДРЖ-2126

Christian theology interprets the meal of the three angels and the hospitality of Abraham as a prototype of the Last Supper and the establishment of the sacrament of the Eucharist. The episode is also regarded as proof of the Triune God. The positions of the angels on the icon, from left to right, follow the order of the Confession of Faith: «I believe in God the Father, the Son and the Holy Ghost.” The crossed halo above the central figure indicates Jesus Christ. The biblical narrative illustrated on the background of the icon is also filled with Christian symbolism. The edifices shading God the Father represent His wisdom and divine house-building. The oak above the head of Christ is also the Tree of Life and a symbol of His Resurrection. The hill above the Holy Ghost symbolises the transport of the spirit. The entire re presentation is subordinated to the circular composition, in correspondence with the theological essence of the Trinity, which has no beginning and no end. The composition also recalls the circular nature of the liturgical calendar, reiterated by the colour harmony of the icon, which forms a circular colour spectrum. The regulated composition, faithful drawing, symmetrical alternation of different paints, abundance of smooth round lines and the elevated and decorative flair of the rhythmic forms and colours lend the work an expressive and festive air. These artistic devices reflect the traditions of Novgorod icon-painting. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 52.

Богоматерь Знамение, Давид, Соломон, Вход в Иерусалим и Преображение

• Wood, gesso, tempera. 59,0 х 57,0 х 2,0
• The State Russian Museum
• ДРЖ-1563

Резная икона «Троица Ветхозаветная»

• Wood, carving, , , silver, engraving, . 20 х 13,5 х 1,5
• The State Russian Museum
• ДРД-12

Спас Вседержитель

• Wood, tempera, silver. 30,3 х 22,8 х 2,5
• The State Russian Museum
• ДРЖ-313

Спас Нерукотворный

• Wood, tempera. 188 × 116 × 3,5
• The State Russian Museum
• ДРЖ-1957

Спас Нерукотворный («Мокрая Брада»)

• Wood, tempera. 57 × 47 × 3
• The State Russian Museum
• ДРЖ-1391

Спас в силах

• Wood, tempera. 213 х 138 х 4
• The State Russian Museum
• ДРЖ-3176

Минея на декабрь

• 1565
• Wood, gesso, tempera. 55,5 х 45,5 х 2,3
• The State Russian Museum
• ДРЖ-1565

Господь Вседержитель («Спас в силах»)

• Wood, tempera. 139,5 × 105 × 3,5
• The State Russian Museum
• ДРЖ-1874

«Предста Царица»

• Wood, gesso, silver, pearls, canvas, tempera, , . 42,1 х 34 х 2,7
• The State Russian Museum
• ДРЖ-2060

Резная икона «Хвалите Господа»

• Bone, carving. 10,4 х 8 х 0,7
• The State Russian Museum
• ДРК-40

Деисус

• Wood, tempera, , , , .
• The State Russian Museum
• ДРЖ-2103

Христос Вседержитель

• Wood, , , pavoloka, gesso, tempera.
• The State Russian Museum
• ДРЖ-2051

Оклад на икону Симона Ушакова «Христос Вседержитель» («Господь Вседержитель»)

• Gold, , , , , , , pearls, chasing, casting, . 31,2 × 25,2
• The State Russian Museum
• БК-3113

Ushakov Simon (Pimen)

Synonymous with an important period in the history of Muscovite painting in the seventeenth century and the activities of the Armoury icon-painting workshop. Began working at the Armoury as a silversmith (1648). Following his appointment as royal icon-painter (1664), took over as head of the icon-painting section and remained there until his death (1686). An engraver and icon-painter, he also decorated the interiors of churches and created book miniatures. Painted parsuni (portraits) of Tsar Alexis Mikhailovich, decorated palace fittings, compiled an album entitled Alphabet of the Arts and wrote a treatise on icon-painting. First in the history of Russian icon-painting to employ such devices of West European art as volumetric modelling of form and perspective. 

Плащаница «Христос во гробе»

• Taffeta, silk, . 68,5 х 114,5
• The State Russian Museum
• ДРТ-195

Плащаница «Положение во гроб»

• 1565
• Silk, canvas, , , , , . 166,0 х 258,0
• The State Russian Museum
• ДРТ-285

Положение во гроб. Плащаница

• 1592
• Damask, , , , . 137,5 × 185
• The State Russian Museum
• ДРТ-287

Потир

• Wood, , .
• The State Russian Museum
• ДРД-393

Тарель для отправления проскомидии

• Silver, forging, carving, niello, gilding.
• The State Russian Museum
• БК-3009

Крест Напрестольный

• Silver, chasing, gilding, pearls, glass. 31,7 х 16,2
• The State Russian Museum
• БК-2877

Крест Напрестольный

• Silver, chasing, gilding, pearls. 32,3 х 16,6
• The State Russian Museum
• БК-2878

Крест напрестольный

• Wood, tempera, carving, painting. 19,7 х 9,7 х 2,5
• The State Russian Museum
• ДРД-316

Потир

• Wood, .
• The State Russian Museum
• ДРД-396, 398