Eduard Nikolayevich Ivanov began his career at an art studio of the town of Vyazma under the guidance of Sergey Vladimirovich Zhuravlyov, from whom he adopted a love for painting from life. Later he attended the Painting and Sculpture Departments at the Serov Leningrad Art School, where Vladimir Mikhailovich Sudakov became his mentor. Ivanov’s passion for printed graphics led him to the Moscow Institute of Printing Arts, where he received a degree as a book designer. The works of Eduard Nikolayevich, a graphic artist and watercolorist, are distinguished by expressiveness, precision of details and lack of vagueness. The choice of an unusual angle, restrained “northern” character and strict rhythm give individuality even to commonplace motifs in the artist’s work.
A large portion Eduard Ivanov’s artworks are dedicated to landscapes and architectural monuments of Veliky Novgorod; among the latter he painted the Church of the Exaltation of the Holy Cross of the Yuriev (St. George’s) Monastery.
In 1030, Prince Yaroslav the Wise, whose baptismal name was George, founded a monastery in honor of his heavenly patron. The monastery was first mentioned in the chronicle of 1119 in connection with the laying of the stone St. George’s Cathedral under Prince Mstislav the Great. Later, having married the daughter of the Novgorod posadnik, Prince Mstislav supported the monastery. His Christian name was Feodor.
In the 12th–13th centuries, the Yuriev Monastery was one of the richest; in 1770, due to the reform on secularization of church lands, it became very poor.
In the first half of the 19th century, through the efforts of Archimandrite Photius and with the help of Emperor Alexander I and Countess Anna Alekseyevna Orlova-Chesmenskaya, it flourished again. New churches, a bell tower, and monastic cells were erected on the territory of the monastery.
The second life of the Holy Cross Church in the northwest corner of the complex began in that period.
This church was constructed back in 1759–1763, it was a log octagon on a brick quadrangle base. It remained unconsecrated for a long time. During the fire of 1810, the wooden part of the church burned down.
In 1823, a new structure was erected in its place based on the project of the provincial architect Ivan Dmitrov. The gable roof of the old quadrangle was dismantled, a hip roof with four side slopes was built instead (with side slopes in the form of triangles). Blue domes decorated with gold stars were mounted on five large round drums.
Thus, the church, which has survived to the present day, combines elements of the 18th and 19th century construction: the walls of the main part, layout and ceilings of the underground rooms remained the same, while the second floor and new roofing appeared later.
In 1826, the church was consecrated.
A large portion Eduard Ivanov’s artworks are dedicated to landscapes and architectural monuments of Veliky Novgorod; among the latter he painted the Church of the Exaltation of the Holy Cross of the Yuriev (St. George’s) Monastery.
In 1030, Prince Yaroslav the Wise, whose baptismal name was George, founded a monastery in honor of his heavenly patron. The monastery was first mentioned in the chronicle of 1119 in connection with the laying of the stone St. George’s Cathedral under Prince Mstislav the Great. Later, having married the daughter of the Novgorod posadnik, Prince Mstislav supported the monastery. His Christian name was Feodor.
In the 12th–13th centuries, the Yuriev Monastery was one of the richest; in 1770, due to the reform on secularization of church lands, it became very poor.
In the first half of the 19th century, through the efforts of Archimandrite Photius and with the help of Emperor Alexander I and Countess Anna Alekseyevna Orlova-Chesmenskaya, it flourished again. New churches, a bell tower, and monastic cells were erected on the territory of the monastery.
The second life of the Holy Cross Church in the northwest corner of the complex began in that period.
This church was constructed back in 1759–1763, it was a log octagon on a brick quadrangle base. It remained unconsecrated for a long time. During the fire of 1810, the wooden part of the church burned down.
In 1823, a new structure was erected in its place based on the project of the provincial architect Ivan Dmitrov. The gable roof of the old quadrangle was dismantled, a hip roof with four side slopes was built instead (with side slopes in the form of triangles). Blue domes decorated with gold stars were mounted on five large round drums.
Thus, the church, which has survived to the present day, combines elements of the 18th and 19th century construction: the walls of the main part, layout and ceilings of the underground rooms remained the same, while the second floor and new roofing appeared later.
In 1826, the church was consecrated.
