In 1970’s artist Sergei Simakov took a great interest in impressionism and surrealism, in 1977 he became a member of an influential avant garde association Twenty Moscow Artists. At the same time, he created his first paintings on Christian subjects: in 1975 he painted Golgotha where he portrayed the deposition of Jesus from the cross. The naturalism and composition of the painting reminded of the West European tradition. In the Adoration of the Shepherds painted in 1981 Sergei Simakov portrayed in the surrealist manner the event that happened after the Nativity of Christ.
Adoration of the Shepherds
Creation period
1981
Dimensions
126x150 cm
Technique
Оil on canvas
Collection
Exhibition
0
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Simakov S.B.
Adoration of the Shepherds
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Sergei Simakov, Golgotha, 1975
Source: State Autonomous Institution of Culture of Yaroslavl Region, Uglich State Historical, Architectural and Art Museum
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According to the Gospels, Jesus was born in Bethlehem, a city on the west bank of the Jordan River — it is now located in the territory in dispute between Israel and Palestine. The shepherds were the first to visit the Child, according to the legend an angel gave them a message about the birth of Christ. Simakov interpreted the biblical subject in his own manner: in his painting the Nativity happened in northern lands covered by snow, Jesus was born not in a cave but in a poor village hut.
Next to the crib are figures of the shepherds who came to adore Jesus. On the right side of the painting is a ship with a lowered ladder. The ship, as though floating in the air, brought the eastern sages — the magi carrying gifs for Christ. The space of the painting is filled with images that are not characteristic of the icon painting tradition of portraying Nativity: near the front of the painting next to the church is Saint Martin cutting a piece of his warm cloak to give to a pauper. St. George the Victorious is painted to the left, closer to the corner.
The painting is also filled with other characters having to relation to its main subject. Many characters take no notice of the Nativity or saints and are busy with their chores: hurrying. However, in the center of the composition the artist portrayed a stooped person looking at the shepherds that are standing beside the hut. One of them is pointing to the shining Star of Bethlehem.
Next to the crib are figures of the shepherds who came to adore Jesus. On the right side of the painting is a ship with a lowered ladder. The ship, as though floating in the air, brought the eastern sages — the magi carrying gifs for Christ. The space of the painting is filled with images that are not characteristic of the icon painting tradition of portraying Nativity: near the front of the painting next to the church is Saint Martin cutting a piece of his warm cloak to give to a pauper. St. George the Victorious is painted to the left, closer to the corner.
The painting is also filled with other characters having to relation to its main subject. Many characters take no notice of the Nativity or saints and are busy with their chores: hurrying. However, in the center of the composition the artist portrayed a stooped person looking at the shepherds that are standing beside the hut. One of them is pointing to the shining Star of Bethlehem.
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Sergei Simakov, The Tree of Life, the left part of the tryptich The Morning of Slavs, 1984-85
Source: State Autonomous Institution of Culture of Yaroslavl Region, Uglich State Historical, Architectural and Art Museum
It is not the first time that Simakov combined Christian subjects with other motifs. For instance in the triptych The Morning of Slavs the artist used a complex system of pagan symbols from Slavic mythology combined with metaphoric portrayal of imminent change: Sergei Simakov devoted the paintings to the turning point preceding the baptism of Rus.
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Sergei Simakov, The Horse of Svyatovit, the central part of the tryptich The Morning of Slavs, 1984-85
Source: State Autonomous Institution of Culture of Yaroslavl Region, Uglich State Historical, Architectural and Art Museum
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In the icon painting tradition the Nativity of Christ was most often depicted without reference to a specific geographic location. On one of the oldest frescoes depicting the event — in the Greek monastery Hosios Loukas — the accent is placed on the divine nature of the Nativity of Christ, and on main saints.
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The Nativity of Christ painted in the XIII century by the outstanding Russian icon painter Andrei Rublev is filled with similar symbolism. Later in West European art the Nativity scene acquired psychological details: El Greco, for instance, painted it in a naturalistic manner.
Andrei Rublev, The Nativity of Christ, 1410’s
Source: wikipedia.org
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El Greco, The Nativity, 1612-1614
Source: wikipedia.org
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State Autonomous Institution of Culture of Yaroslavl Region, Uglich State Historical, Architectural and Art Museum
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Adoration of the Shepherds
Creation period
1981
Dimensions
126x150 cm
Technique
Оil on canvas
Collection
Exhibition
0
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