This scene represents the first moments of Mary’s life. Anna, the Virgin’s mother, reclines in a bed, reaching towards her newborn baby held in a cloth by  More »

This scene represents the first moments of Mary’s life. Anna, the Virgin’s mother, reclines in a bed, reaching towards her newborn baby held in a cloth by another woman. In the far right corner, father Joachim, stands behind his wife, hand resting upon hand as he gazes upon daughter. This moment is frequently referred to as the Immaculate Conception, the church doctrine that states Mary was born into the world free from sin. On the lower right side of the composition, a handmaid kneels at Anna’s feet, presenting her with a tray containing bread and water or olive oil. Above her, another woman holds out a sheet, preparing to wrap the baby Mary in another cloth. A book standing open upon a bedside table and a chair occupy the lower left side of the painting. This homely touch suggests that someone was sitting by Anna’s side, reading to her, perhaps from the Old Testament, during the long days and nights of her labor. Everything about this scene is touching and derived from a personal encounter with such an event. This is not a mythological nativity, but a very real pregnancy that is as human as it is divine. - (PF.5690)The Birth of the Mother of God - PF.5690Origin: Russia Circa: 18 th Century AD to 19 th Century ADDimensions: 12.375" (31.4cm) high Collection: Russian Icons Style: Russian Orthodox Medium: Oil on Wood Panel   « Less

This is a touching portrait of a mother and child. However, just in relation to the size of the figures, partly explained by their different ages, Mary is given much more  More »

This is a touching portrait of a mother and child. However, just in relation to the size of the figures, partly explained by their different ages, Mary is given much more prominence. The style is derived from earlier Byzantine mosaics and paintings, typical of Orthodox art. This influence is most evident in Mary's facial structure, including her linear nose, round geometric eyes, and arching brows, in the angular treatment of the infant Christ's drapery, and in the relative special isolation of the composition, void of any elaboration of environment or setting. Two miniature saints can be seen in the distance over the Virgin's right shoulder. Above all, this is an intimate scene between mother and child. We see our own selves in them. This work, like many icons, seeks to combine the familiar and the divine into one. This is both a mother and child, and Mary and Christ. They are both human, like us; yet holy, worthy of our adoration and veneration. - (PF.5692)The Mother of God of Kazan - PF.5692Origin: Russia Circa: 19 th Century ADDimensions: 17.375" (44.1cmhigh Collection:Russian Icons Style:Russian Orthodox Medium:Tempera on Wood   « Less

The focus of this icon has been divided among three holy figures. The composition if divided vertically into to plains. The upper half houses the images of Christ Pantocrator  More »

The focus of this icon has been divided among three holy figures. The composition if divided vertically into to plains. The upper half houses the images of Christ Pantocrator on the left and St. Nicholas Miracle Worker on the right. Mary Mother of God takes center stage on the lower half, with two sides panels filled by two unknown figures: an angel on the left and a saint on the right. The three figures equally share our attention; there is none more prominent or important than the other. Christ and St. Nicholas both gaze intently out at us. Each holds an open Bible in one hand and forms a sign of benediction with the other. Mary gazes sweetly at the angel to her left while the other saint reverently looks towards her, hands placed over his heart. Luminous gold leaf details have been added to the figures’ halos as well as to the borders that define each compartment. Together, these three holy personages represent the most influential sacred figures in the religious hierarchy of the Russian Orthodox Church. - (PF.5697)Tripartite Icon - PF.5697Origin: Russia Circa: 19 th Century ADDimensions: 14" (35.6cm) high Collection: Russian Icons Style: Russian Orthodox Medium: Oil on Wood Panel   « Less

The painting style of this icon is derived from earlier Byzantine paintings and mosaics. This influence is evident in the elongated facial structure of the Virgin. Hard lines  More »

The painting style of this icon is derived from earlier Byzantine paintings and mosaics. This influence is evident in the elongated facial structure of the Virgin. Hard lines define her features. Sinuous arches form her brown and flow into her thin, rigid nose. Her eyes are perfect ovals. Her image is not based in naturalistic reality but is the portrait of divinity. Forms are purposefully manipulated to appear unusual and expressive. The majority of the composition has been covered by silver washed oklad. A repoussé technique in high relief has been utilized to produce the folds and curves of the robes, as well as the effect of the bodies’ mass beneath. A decorative floral motif has been inscribed along the edges of Mary’s robes. The borders of the icon have been adorned by a series of winding leaves emerging from oyster shells that mark the corners, all depicted in a medium relief. Halos have been attached over the heads of the holy figures; the edges of the Virgin’s are perforated. Above all, this scene is an intimate moment between mother and child. - (PF.5699)The Mother of God Soothe My Sorrow - PF.5699 Origin: Russia Circa: 19th Century ADDimensions:11.5"(29.2cmhigh Collection: Russian Icons Style: Russian Orthodox Medium: Oklad/Paint on Wood   « Less

St. Nicholas, who lived in the 4th Century, is the patron saint of Russia, as well as children, scholars, virgins, sailors, and merchants. The accounts of his life are  More »

St. Nicholas, who lived in the 4th Century, is the patron saint of Russia, as well as children, scholars, virgins, sailors, and merchants. The accounts of his life are confused and historically unconfirmed. According to tradition, he was a native of Patara, formerly a city in the ancient district of Lycia, Asia Minor. Nicholas entered the nearby monastery of Sion and subsequently became archbishop of the metropolitan church in Myra, Lycia. At the end of the 11th century some Italian merchants transported his remains from Myra to Bari, Italy, where his tomb is now a shrine. Legend tells of his surreptitious gifts to the three daughters of a poor man, who, unable to give them dowries, was about to abandon them to prostitution. From this tale has grown the custom of secret gifts on the Eve of Saint Nicholas. Today, he is traditionally associated with modern Christmas celebrations. - (PF.5703)St. Nicholas the Miracle Worker - PF.5703Origin: Russia Circa: 18 th Century AD to 19 th Century ADDimensions: 11.5" (29.2cm) high Collection: Russian Icons Style: Russian Orthodox Medium: Oklad/Paint on Wood   « Less

This composition has been divided into seven panels: three on the top and bottom rows, and a continuous row in the center. The Mother of God is depicted on the top left  More »

This composition has been divided into seven panels: three on the top and bottom rows, and a continuous row in the center. The Mother of God is depicted on the top left followed by the Resurrection in the center and St. Nicholas on the right. The central panel is a frieze of six saints. The lower rung occupied by St. George Slaying the Dragon on the left, two female saints in the center, and a male saint on the right. An interwoven abstract band painted in red and green decorates the border. The deep red, green, and blue hues of the painting stands out against the luminous gold leaf background. Stylistically, much is derived from earlier Byzantine paintings and mosaics. This influence is evident in the elongation of the figures and the linear, angular treatment of the drapery, as well as the lack of an elaborated special setting aside from the solid gold plane symbolizing heaven. Above all, this icon was a sacred object of veneration, combining a variety of holy figures together in a cohesive composition in order to facilitate prayer. - (PF.5704)Septpartite Icon - PF.5704Origin: Russia Circa: 18 th Century ADto19th Century ADCollection: Russian Icons Style:Russian Orthodox Medium:Temperaon Wood   « Less

The oil painting of this icon is extremely realistic, unlike most Russian icons that relate to the Byzantine style. However, the head and hands of Christ appear to be  More »

The oil painting of this icon is extremely realistic, unlike most Russian icons that relate to the Byzantine style. However, the head and hands of Christ appear to be influenced more by Northern Renaissance artists such as Jan Van Eyck and Hans Memling. The majority of this extraordinary work is encased in a brass oklad. A repoussee technique in high relief has been utilized to produce the folds and curves of his drapery and the pages and text of the open Bible he holds. An interweaving floral motif decorates the outer border, including a line of Cyrillic text at the bottom center. To represent Christ’s halo, an additional engraved oklad with crystalline-shaped, tiered edges has been attached to the icon. The brass oklad not only imitates the elegance of gold, but also contrasts and emphasizes the softness of the painted flesh. Here, Christ raises his right hand in a sign of benediction while showing us the testament detailing his own divinity and humanity. We can identify with him, seeing his humanity portrayed in his large, sympathetic eyes. Like many icon paintings, this work attempts to combine the familiar and the divine into one. He is mortal, like us; yet holy, worthy of our adoration and veneration. - (PF.5735)Christ Pantocrator - PF.5735Origin: Russia Circa: 19 th Century ADDimensions: 10.5" (26.7cm) high Collection: Russian Icons Style: Russian Orthodox Medium: Oklad/Oil on Wood   « Less

The central image of the Crucifixion divides the composition into four smaller panels, each filled with a portrait of the Virgin. God supreme rules above from the heavens,  More »

The central image of the Crucifixion divides the composition into four smaller panels, each filled with a portrait of the Virgin. God supreme rules above from the heavens, seen in the upper center of the icon. Emerging from the clouds, he the world in his hand, creator and master of all. The depiction of the crucifixion is rather peaceful. The cross rises out of the ground, above the skull and crossbones, legendarily reputed to be those of Adam. Thus as Christ dies to atone for the sins of mankind, his blood flows down onto the remains of the first man, symbolically washing away the original sin. Four representations of Mary fill the remainder of the composition. She is crowned, the Queen of Heaven, in the upper left and as the Mother of God in the upper right. The two lower panels depict her as Mother of Joy for All Who Suffer, pierced by six white swords, on the left and as the Mother of God of Tenderness on the right. Mary also appears in the crucifixion to the left of the arm of the cross while St. John the Evangelist present at the right. Stylistically, much is derived from earlier Byzantine paintings and mosaics. This influence can be identified in the stiff linear folds of the figures drapers, and in the lack of an elaboration of space aside from the solid gold leaf background that symbolizes the luminosity of Heaven. Overall, this icon transports the viewer from the world of earthly suffering and sin, to the divine realm and eternal life of heaven. - (PF.5736The Crucifixion and Four Mother of God Scenes PF.5736 Origin: Russia Circa: 18 th Century AD to 19 th Century ADDimensions: 15" (38.1cm) high Collection: Russian Icons Style: Russian Orthodox Medium: Tempera on Wood   « Less

The naturalistic technique of painting in this icon is uncommon is Russian Orthodox art which mainly derives its influence from older Byzantine icons and mosaics. What is  More »

The naturalistic technique of painting in this icon is uncommon is Russian Orthodox art which mainly derives its influence from older Byzantine icons and mosaics. What is most impressive about this painting is the stunning beauty and warmth of the painted flesh, considering that the majority or the composition is covered in a gilded brass oklad. A repoussé technique in high relief has been utilized to achieve the folds and curves of the figures’ robes. The metal has also been engraved, depicting the floral patterns of the Virgin’s drapery. A motif in relief of intertwining flowers as well as geometric patterns fills the borders of the oklad. A separate piece of metal has been attached just above the holy figures’ heads to serve as their halos. Both mother and child gaze out at us. The infant Christ raises his hand in a sign of benediction. We are drawn to the natural warmth of the figures. Although divine in nature, they have been humanized so that we can identify with them. This icon serves to bring the viewer closer to God through the veneration of Christ and Mary, the Mother of God. - (PF.5784)The Mother of God of Kazan - PF.5784Origin: Russia Circa: 19 th Century ADDimensions: 12" (30.5cm) high Collection: Russian Icons Style: Russian Orthodox Medium: Oklad/Oil on Wood   « Less

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the  More »

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the iconoclastic controversy in the Orthodox Church called into question whether religious images were a legitimate practice or sacrilegious idolatry. Although the use of images was in the end permitted, a thorough distinction between profane art intended to depict reality and sacred art designed for spiritual contemplation was established. That difference is one of the reasons that the artistic style of icons can seem so invariant. Certain kinds of balance and harmony became established as reflections of divinity, and as such they invited careful reproduction and subtle refinement rather than striking novelty. Although this philosophy resulted in a comparatively slow evolution of style, icon painting evolved considerably over the centuries. Unlike the pictorial traditions of the west that aspire towards increased realism and naturalism, the essence of Russian icon painting is not about the representation of physical space or appearance. Icons are images intended to aid in contemplative prayer, and in that sense, are more concerned with conveying meditative harmony than with laying out a realistic scene. They were not painted to please the eye of the mind, but to inspire reflection and self-examination.The Mother of God - PF.5800Origin: Russia Circa: 18 th Century ADDimensions: 15.75" (40.0cm) high Collection: Russian Icons Style: Russian Orthodox Medium: Oklad/Oil on Wood   « Less