1 Religious Icon, 19th C. Russian Icon of Sergey Kirillov's Reverend Sergius of Radonezh, with footnotes #49

Sergey Kirillov

Reverend Sergius of Radonezh, c. 1992

Oil on canvas

100x80

I have no further description, at this time

Saint Sergius of Radonezh, Russian Svyatoy Sergy Radonezhsky, original name Barfolomey Kirillovich, (born May 3, 1314, Rostov, Russia—died Sept. 25, 1392, Radonezh, near Moscow), Russian Orthodox monk whose spiritual doctrine and social programs made him one of Russia’s most respected spiritual leaders. His monastery of the Trinity became the Russian centre and symbol of religious renewal and national identity.

He was tonsured a monk in 1337 and later was ordained a priest. His chapel retreat in the forest of Radonezh became, by 1354, a spiritual centre traditionally known as the Sergian monastery of the Trinity (now Sergiyev Posad). The religious house contributed to Russia’s economic and cultural recovery by the establishment of monastic schools after the ravages of 13th-century Mongol invasions. It also served as a centre of missionary activities in northern Russia, establishing as many as 75 monasteries.

Sergius soon gained fame for his ascetic life, wonder-working, and compassion for the needy and backward, and he taught the peasants better methods for cultivating the soil. He also carried out several diplomatic missions designed to unite the scattered Russian principalities under the authority of Great Prince Dmitry Donskoy of Moscow, who, after Sergius’ exhortation, in 1380 led Russian forces in repelling the Tatars and Mongols at the Battle of Kulikovo, a plain south of Moscow by the Don River. As a consequence, Sergius was hailed as the saint protector of Russia. Although he left no writings, his teachings and monastic institutions inspired an oral tradition that exerted a principal influence on Russian spirituality. Hundreds of his disciples, beginning even during his lifetime, adopted the monastic way, founded new monasteries throughout the forests of northern Russia, and thus contributed to the colonization and development of the area. More on Saint Sergius of Radonezh

Sergei Alekseevich Kirillov (1960 in Moscow, Soviet Union) is a leading modern Russian artist, who is focusing on historical paintings. His subjects have included Dmitry Mikhailovich Bobrok,[1] Stepan Razin, Princess Olga, Ivan the Terrible, Saint Sergius of Radonezh, and Dmitry Donskoy.

In 1984 he graduated from The Surikov Art Institute in Moscow, from the studio of Professor Dmitry Konstantinovich Mochalsky. His graduate work was depicting Peter the Great. His paintings are now regularly published in history classroom books, monographs of The History of Russia, and historical belletristic literature. Since 1987, 24 exhibitions of his paintings have been held in Moscow and other cities in Russia.

His works are in the State Tretyakov Gallery, and the art museums of Pereslavl, Bryansk, Alexandrov, and other towns in Russia. More on Sergei Alekseevich Kirillov

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01 Religious Icon, Christ Pantocrator, with footnotes #41

Unknown artist

Christ Pantocrator

SILVER GOLD PLATED OKLAD

9 x 7,5 cm

Private collection

In Christian iconography, Christ Pantocrator is a specific depiction of Christ. Pantocrator or Pantokrator, usually translated as "Almighty" or "all-powerful", is derived from one of many names of God in Judaism.

The Pantokrator, largely an Eastern Orthodox or Eastern Catholic theological conception, is less common under that name in Western (Roman) Catholicism and largely unknown to most Protestants. In the West, the equivalent image in art is known as Christ in Majesty, which developed a rather different iconography. Christ Pantocrator has come to suggest Christ as a mild but stern, all-powerful judge of humanity. More on Christ Pantocrator

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01 Religious Icon, Simone Martini's Annunciation with St. Margaret and St. Ansanus, with footnotes #40

Simone Martini and Lippo Memmi

Annunciation with St. Margaret (Maxima) and St. Ansanus, c. 1333

Tempera and gold on panel

305 cm × 265 cm (120 in × 104 in)

Uffizi Gallery, Florence

The work is composed of a large central panel depicting the Annunciation, and two side panels with St. Ansanus (left), and female saint, generally identified with St. Maxima or St. Margaret, in the right, and four tondos in the cusps: Jeremiah, Ezechiel, Isiah and Daniel.

The Annunciation shows the archangel Gabriel entering the house of the Virgin Mary to tell her that she will soon bear the child Jesus, whose name means "savior". Gabriel holds an olive branch in his hand, a traditional symbol of peace, while pointing at the Holy Ghost's dove with the other. The dove is descending from heaven, from the center of the mandorla of eight angels above, about to enter the Virgin's right ear. In fact, along the path of the dove, viewers see Gabriel's utterance: ave gratia plena dominvs tecvm ("Hail, full of grace, the Lord is with thee."). 

Mary, sitting on a throne, is portrayed at the moment that she is startled out of her reading, reacting with a graceful and composed reluctance, looking with surprise at the celestial messenger. Her dress has an arabesque-like pattern. More on this work

Simone Martini and Lippo Memmi

Detail; with St. Margaret (Maxima) and St. Ansanus

St. Maxima was a house servant and nanny to a family of imperial nobility in ancient Rome. She was given responsibility for caring for the family’s son, Ansanus, and she secretly baptized him as a child and raised him as a Christian.

When he was 19, Ansanus’ own father denounced him as a Christian during a persecution. Ansanus boldly admitted his faith, and both he and Maxima were beaten and scourged; Maxima died from these wounds. Ansanus survived, and escaped Rome and fled north. 

As he traveled, he told those he met the good news of Jesus Christ, and baptized so many people in the region near Siena that he became known as Ansanus the Baptizer. He was finally captured and beheaded by order of the emperor. More on St. Maxima and St. Ansanus

Simone Martini (c. 1284 – 1344) was an Italian painter born in Siena. He was a major figure in the development of early Italian painting and greatly influenced the development of the International Gothic style.

It is thought that Martini was a pupil of Duccio di Buoninsegna, the leading Sienese painter of his time. According to late Renaissance art biographer Giorgio Vasari, Simone was instead a pupil of Giotto di Bondone, with whom he went to Rome to paint at the Old St. Peter's Basilica, Giotto also executing a mosaic there. Martini's brother-in-law was the artist Lippo Memmi. Very little documentation of Simone's life survives, and many attributions are debated by art historians. According to E. H. Gombrich, he was a friend of Petrarch and had painted a portrait of Laura. More on Simone Martini

Lippo Memmi (c. 1291 – 1356) was an Italian painter from Siena. He was the foremost follower of Simone Martini, who was his brother-in-law.

Together with Martini, in 1333 he painted what is regarded as one of the masterworks of the International Gothic, the Annunciation with St. Margaret and St. Ansanus (above), probably mainly working on the two saints. He was one of the artists who worked at Orvieto Cathedral, for which he finished the Virgin of Mercy ("Madonna dei Raccomandati"). Later he followed Martini to the Papal court in Avignon, where he worked until the mid-14th century. After his return to Siena, Memmi continued to work until his death in 1356.

Memmi's famed artwork, La Madonna della Febbre was the first venerated image of the Blessed Virgin Mary granted with a Canonical coronation by a Pope on 27 May 1631. The image has long been since held miraculous and is enshrined at the Sacristy chapel of the Blessed Sacrament inside Saint Peter's Basilica in Rome. More on Lippo Memmi

 

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01 Religious Icon, SUNIL DAS' CHRIST, 2006, with footnotes #39

SUNIL DAS (1939 - 2015)

CHRIST, c. 2006

Acrylic on canvas

35.5 x 29.75 in   |  90 x 75.5 cm

Private collection

Estimate for $6,175-$7,410 in October 2022

Sunil Das was born in 1939 in Kolkata. He studied at the Government College of Arts and Craft, Calcutta. He also won the French Government Scholarship to study at the Ecole National des Beaux Arts in 1960. He has 50 solo shows to his credit. The artist has participated in several exhibitions in India and abroad. His works have been included in the Biennales of Paris, Dacca, and Tokyo.

He has served as Commissioner to the Sao Paulo Biennale and was member of the jury of the prix des étrangers’, Paris. Sunil Das received National Award (the Shiromani Kala Puraskar) in 1959. In fact, he has the distinction of being the only Indian artist to have won a National Award, while still an undergraduate at the Government College of Art and Craft, Kolkata. His works hold an important place in several collections in India as well as abroad.

Sunil is an artist who always had a great control over his lines. Even though today he is best known for his bulls, his faces as well as other animals and human forms are par excellence making him one of the most sought-after artists in his generation. He is regarded as one of India’s most important post-modernist painters who rose to prominence with his drawings of horses. More on Sunil Das

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01 Religious Icon, St. Cajetan, from Spanish Colonial Mexico, with footnotes #38

19th C. Mexican Spanish Colonial Painting

St. Cajetan

Painted on wood

33.3" L x 25.25" W (84.6 cm x 64.1 cm)

Private collection

Sold for $1,400 USD in September 2022

Spanish Colonial, Mexico, 19th century. A large Spanish Colonial painting on canvas depicting Saint Cajetan (San Cayetano). He wears the black robe of his order and a luxurious bejeweled chain thought to symbolize either his rejection of wealth since the Theatines took vows of poverty, his aristocratic upbringing as Count of Thiene, or his leadership of his order. The Crucifixion behind him refers to the mystical crucifixion he endured when Theatine brothers wanted to transport him from the hardwood floor that he slept upon to a proper bed. 

He kneels in prayer and presents a lace scarf to the Virgin and Child; a ray of holy light runs from her hand to St. Cajetan; a ray of red blood runs from the Crucifixion to St. Cajetan. Jesus is above him and the Holy Spirit in the form of a white dove flies toward the Madonna. More on this icon

Gaetano dei Conti di Thiene (6 October 1480 – 7 August 1547), known as Saint Cajetan, was an Italian Catholic priest and religious reformer, co-founder of the Theatines. He is recognised as a saint in the Catholic Church, and his feast day is 7 August.

Cajetan was born in October 1480, the son of Gaspar, lord of Thiene, and Mary Porta, persons of the first rank among the nobility of the territory of Vicenza, in Veneto Region.

His father died when he was two years of age. Quiet and retiring by nature, he was predisposed to piety by his mother. Cajetan studied law in Padua, receiving his degree as doctor utriusque juris (i.e., in civil and canon law) at age 24. In 1506 he worked as a diplomat for Pope Julius II, with whom he helped reconcile the Republic of Venice. But he was not ordained a priest until the year 1516.

With the death of Pope Julius II in 1513, Cajetan withdrew from the papal court. Recalled to Vicenza by the death of his mother, he founded in 1522 a hospital for incurables there. By 1523 he had established a hospital in Venice, as well. His interests were as much or more devoted to spiritual healing than the physical kind, and he joined a confraternity in Rome called the "Oratory of Divine Love". He intended to form a group that would combine the spirit of monasticism with the exercises of the active ministry.

In 1533 he founded a house in Naples. The year 1540 found him in Venice again and from there he extended his work to Verona. He founded a bank to help the poor and offer an alternative to usurers. It later became the Banco di Napoli.

Cajetan died in Naples on 7 August 1547. His remains are in the church of San Paolo Maggiore in Naples; outside the church is Piazza San Gaetano, with a statue. More on Gaetano dei Conti di Thiene

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01 Religious Icon, Andrei Rublev's Trinity, with footnotes #37

Andrei Rublev  (–1430)

The Trinity, c. between 1408 and 1427

Rublev's famous icon showing the three Angels being hosted by Abraham at Mambré

Tempera on panel

height: 141.5 cm (55.7 in); width: 114 cm (44.8 in)

Tretyakov Gallery

The Trinity was painted on a vertically aligned board. It depicts three angels sitting at a table. On the table, there is a cup containing the head of a calf. In the background, Rublev painted a house (supposedly Abraham's house), a tree (the Oak of Mamre), and a mountain (Mount Moriah). The figures of angels are arranged so that the lines of their bodies form a full circle. The middle angel and the one on the left bless the cup with a hand gesture. There is no action or movement in the painting. The figures gaze into eternity in the state of motionless contemplation.

The icon is based on a story from the Book of Genesis called Abraham and Sarah's Hospitality or The Hospitality of Abraham. It says that the biblical Patriarch Abraham 'was sitting at the door of his tent in the heat of the day' by the Oak of Mamre and saw three men standing in front of him, who in the next chapter were revealed as angels. 'When he saw them, Abraham ran from the tent door to meet them and bowed himself to the earth.' Abraham ordered a servant-boy to prepare a choice calf, and set curds, milk and the calf before them, waiting on them, under a tree, as they ate. One of the angels told Abraham that Sarah would soon give birth to a son. More on The Trinity

Andrei Rublev was a Muscovite icon painter born in the 1360s who died between 1427 and 1430 in Moscow. He is considered to be one of the greatest medieval Russian painters of Orthodox Christian icons and frescos.

Little information survives about his life; even where he was born is unknown. The first mention of Rublev is in 1405, when he decorated icons and frescos for the Cathedral of the Annunciation of the Moscow Kremlin, in company with Theophanes the Greek and Prokhor of Gorodets. Theophanes was an important Byzantine master, who moved to Russia and is considered to have trained Rublev.

Chronicles tell us that together with Daniel Chorny he painted the Assumption Cathedral in Vladimir in 1408 as well as the Trinity Cathedral in the Trinity Lavra of St. Sergius between 1425 and 1427. After Daniel's death, Andrei came to Moscow's Andronikov Monastery where he painted his last work, the frescoes of the Saviour Cathedral. He is also believed to have painted at least one of the miniatures in the Khitrovo Gospels.

The only work authenticated as entirely his is the icon of the Trinity (c. 1410, currently in the Tretyakov Gallery, Moscow). It is based on an earlier icon known as the "Hospitality of Abraham". Rublev removed the figures of Abraham and Sarah from the scene, and through a subtle use of composition and symbolism changed the subject to focus on the Mystery of the Trinity.

In Rublev's art two traditions are combined: the highest asceticism and the classic harmony of Byzantine mannerism. The characters of his paintings are always peaceful and calm. After some time his art came to be perceived as the ideal of Eastern Church painting and of Orthodox iconography. More on Andrei Rublev

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01 Religious Icon, The Ladder of Divine Ascent, with footnotes #38

Unknown artist

Ladder of Divine Ascent, c. 12th century

Saint Catherine Monastery

The Ladder of Divine Ascent or The Ladder of Paradise. A 12th-century icon described by John Climacus. Monastery of St Catherine, Mount Sinai. St John Climacus described the Christian life as a ladder with thirty rungs. The monks are tempted by demons and encouraged by angels, while Christ welcomes them at the summit. More on this work

The Ladder of Divine Ascent, or Ladder of Paradise, is an important ascetical treatise for monasticism in Eastern Christianity written by John Climacus in ca. AD 600 at the request of John, Abbot of Raithu, a monastery located on the shores of the Red Sea.

The Scala, which obtained an immense popularity and has made its author famous in the Church, is addressed to anchorites and cenobites and treats of the means by which the highest degree of religious perfection may be attained. Divided into thirty parts, or "steps", in memory of the thirty years of the life of Christ, the Divine model for the faithful Christian, it presents a picture of all the virtues and contains a great many parables and historical touches, drawn principally from the monastic life, and exhibiting the practical application of the precepts.

At the same time, as the work is mostly written in a concise, sententious form, with the aid of aphorisms, and as the reasonings are not sufficiently closely connected, it is at times somewhat obscure. This explains its having been the subject of various commentaries, even in very early times. The most ancient of the manuscripts containing the Scala is found in the Bibliothèque Nationale in Paris and was probably brought from Florence by Catherine de' Medici. In some of these manuscripts, the work bears the title of "Spiritual Tables" More on The Ladder of Divine Ascent

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01 Religious Icon, The Meister von Meßkirch's St. Benedict in Prayer, with footnotes #35

The Meister von Meßkirch

St. Benedict in Prayer

8"x12"

Private collection

The image shows St. Benedict praying in a cave on Mount Subasio which he fled to to escape the debauchery associated with higher education in Rome. He led a very austere life, is known for his power against demons, and is considered the Father of Western Monasticism. More on this icon

Saint Benedict founded twelve communities for monks at Subiaco, Lazio, Italy, before moving to Monte Cassino in the mountains of southern Italy. The Order of Saint Benedict is of later origin and, moreover, not an "order" as commonly understood but merely a confederation of autonomous congregations.

Benedict's main achievement, his "Rule of Saint Benedict", contains a set of rules for his monks to follow. Heavily influenced by the writings of John Cassian, it shows strong affinity with the Rule of the Master, but it also has a unique spirit of balance, moderation and reasonableness, which persuaded most Christian religious communities founded throughout the Middle Ages to adopt it. As a result, his Rule became one of the most influential religious rules in Western Christendom. For this reason, Giuseppe Carletti regarded Benedict as the founder of Western Christian monasticism. More on Saint Benedict

The Master of Meßkirch (active c. 1515 - 1540) was an anonymous German Renaissance painter.

The so-called Master of Meßkirch is named after the eleven altarpieces he painted for the St. Martin church in Meßkirch between 1536 and 1540. His birthplace and apprenticeship are unknown, but he may have studied under an artist from the circle of Albrecht Dürer, such as Hans von Kulmbach or Hans Leonhard Schäufelein. From the 1530s onwards his works seem to display familiarity with contemporary northern Italian painting. Hans Baldung Grien was also influential to his work.

Early on he worked for Count Eitel Friedrich III of Hohenzollern in Veringenstadt. Later he was called to Meßkirch to work for Count Gottfried Werner von Zimmern.

Throughout the master's career his figures had Manneristic proportions. While early on his colors were bright and iridescent, his coloration became calmer and more muted in his last years. More on The Master of Meßkirch

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01 Religious Icon, A Russian icon of the holy empress Saint Alexandra, with footnotes #35

Unknown iconographer

The Holy Empress Saint Alexandra

With gilded silver oklad, by Ovchinnikov, Moscow, c. 1883

20 1/2 x 10 1/2 in., 52 x 26.7 cm

Private collection

The Saint shown standing at full length, richly dressed in gem- and pearl-studded clothing and crown, and holding a cross, with Christ shown in the clouds above her

Saint Alexandra was the reputed wife of Emperor Diocletian, from 284 until his abdication in 305,  and secretly converted to Christianity. Jacobus de Voragine listing her name as “Alexandria” describes her as the wife of Dacian, the Roman Prefect who persecuted Saint Caprasius of Agen and Saint Maginus. While Saint George was being tortured, Alexandra went to the arena, bowed before him, and professed her faith openly. When she questioned whether she was worthy of paradise and martyrdom without being baptized, Saint George told her, “Do not fear, for your blood will baptize you.” She was denounced as a Christian and imprisoned on her husband's orders in Nicomedia, then sentenced to death.

Her husband was so outraged by her conversion that he is said to have uttered, “What! Even thou hast fallen under their spell!”. Alexandra quietly accepted her sentence and prayed as the guards walked her to the place of execution. She asked if she could rest for a moment. The guards allowed this. She rested by the place of Saint George's execution at Nicomedia's City Wall. More on St. Alexandra

Pavel Akimovich Ovchinnikov was the bondman of Prince Volkonsky. He showed talent for drawing while being a child. Being a teenager he was sent to Moscow for eight years as an apprentice in the workshop, manufacturing gold and silver items, which belonged to his brother A.A. Ovchinnikov. As a brilliant student, P. Ovchinnikov was manumitted. In 1850, he married. Taking 1000 rubles as his wife dowry he opened a workshop which later turned into one of the major jewellery factories in Moscow. More on Pavel Akimovich Ovchinnikov

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01 Religious Icon, A Russian icon of Christ Pantocrator, with footnotes #34

Unknown artist

Christ Pantocrator

Oil/tempera on panel, gilded silver, enamel

10 5/8 x 8 7/8 in., 27 x 23.5 cm

Private collection

In Christian iconography, Christ Pantocrator is a specific depiction of Christ. Pantocrator or Pantokrator, usually translated as "Almighty" or "all-powerful", is derived from one of many names of God in Judaism.

The Pantokrator, largely an Eastern Orthodox or Eastern Catholic theological conception, is less common under that name in Western (Roman) Catholicism and largely unknown to most Protestants. In the West, the equivalent image in art is known as Christ in Majesty, which developed a rather different iconography. Christ Pantocrator has come to suggest Christ as a mild but stern, all-powerful judge of humanity. More on Christ Pantocrator

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01 Religious Icon, A Russian icon of the Kazan Mother of God with gilded silver oklad, with footnotes #33

Unknown artist

Kazan Mother of God

Oil or tempera on panel, seed and artificial pearls, glass, silver

13 3/4 x 11 3/4 in., 34.8 x 29.7 cm

Private collection

Sold for 17,500 USD on April 2014

Our Lady of Kazan, also called Mother-of-God of Kazan, was a holy icon of the highest stature within the Russian Orthodox Church, representing the Virgin Mary as the protector and patroness of the city of Kazan, and a palladium of all of Russia and Rus', known as the Holy Protectress of Russia. As is the case for any holy entity under a Patriarchate in communion within the greater Eastern Orthodox Church, it is venerated by all Orthodox faithful.

According to legend, the icon was originally acquired from Constantinople, lost in 1438, and miraculously recovered in pristine state over 140 years later in 1579. Two major cathedrals, the Kazan Cathedral, Moscow, and the Kazan Cathedral, St. Petersburg, are consecrated to Our Lady of Kazan, and they display copies of the icon, as do numerous churches throughout the land. The original icon in Kazan was stolen, and probably destroyed, in 1904. More on Our Lady of Kazan

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01 Religious Icon, St. Luke presenting the Mother of God with the first icon, with footnotes #32

Unknown iconographer

St. Luke presenting the Mother of God with the first icon, circa 1800

Tempera on panel

15 1/2 x 13 3/4 in. (39.4 x 35 cm)

Private collection

The painted icon is covered with a metal cover, the borders with angels, set among floral garlands, raising up the image.

The Apostle Luke is mostly known as one of the four Evangelists. In fact, he told us more than the other three about our Lord’s childhood, as well as about His mother Mary.

It is a known fact that Saint Luke was also an artist. It is said, that he was the only person who painted a few images of the Theotokos while she was alive. This makes St Luke the first iconographer. However, some people believe that there is no proof that the icons in question have actually been painted by the Apostle.

The Bible doesn’t mention St Luke’s paintings. The only piece of information about Luke’s profession that the New Testament gives us is that the evangelist was a doctor. More on St. Luke presenting the Mother of God with the first icon

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.