Easter in paintings by Russian artists // Easter paintings in Russian art
Ivan Silych Goriushkin-Sorokopudov (1873-1954) - Easter Eve in the old days // Ivan Goriushkin-Sorokopudov - Easter Eve in the old days
Nikolai Koshelev - Children rolling Easter eggs, 1855 // Nikolai Koshelev - Children rolling Easter eggs, 1855
Ilya Repin - Procession in the Kursk province, 1883. Oil on canvas. 175x280cm. State Tretyakov Gallery // Ilya Repin — Religious procession in Kursk province, 1883. State Tretyakov Gallery, Moscow
Vasily Perov - Rural religious procession at Easter, 1861. Oil on canvas, 71.5×89. State Tretyakov Gallery// Vasiliy Perov — Religious procession in a village at Easter, 1861. State Tretyakov Gallery, Moscow
Konstantin Yuon - Easter Day, 1903 // Konstantin Yuon - Easter Day, 1903
Nicholas Roerich - Russian Easter, 1924. Tempera on canvas // Nicholas Roerich - Russian Easter, 1924. Tempera on canvas. Baroda Museum and Art Gallery, Vadodara, India
Stepan Federovich Kolesnikov (1879-1955) - Before the service // Stepan Kolesnikov - Before the service
Illarion Mikhailovich Pryanishnikov (1840-1894) - Easter, 1885 // Illarion Pryanishnikov - Easter, 1885
Illarion Pryanishnikov - Procession of the Cross, 1893. Russian Museum, St. Petersburg // Illarion Pryanishnikov (1840-1894) - Easter Procession, 1893. State Russian Museum, St. Petersburg, Russia
Germashev (Bubelo) Mikhail Markianovich (1867 - 1930) - Evening before Easter // Mikhail Germashev (Bubelo) - Easter Eve
Julia Kuzenkova - Easter, 2002 // Julia Kuzenkova - Easter, 2002
Boris Kustodiev - Easter rite (Christening), 1916 // Boris Kustodiev - Easter Greeting, 1916
Boris Kustodiev - Procession of the Cross, 1915. Oil on canvas. 20x28.5cm. Tretyakov Gallery, Moscow // Boris Kustodiev - Easter Procession, 1915. Oil on canvas, 20×28.5cm. Tretyakov Gallery, Moscow, Russia
Boris Kustodiev - Procession of the Cross, 1915 // Boris Kustodiev - Easter Procession, 1915
Faddey Antonovich Goretsky - Christening, 1850. State Russian Museum, St. Petersburg // Faddey Goretsky - Easter Greetings, 1850. State Russian Museum, Saint-Petersburg, Russia
Fedor Sychkov - Easter game of Heaps. Pre-revolutionary postcard// Fedot Sychkov — Playing kuchki (sand hills), 1904-1914
Pavel Ryzhenko - Easter, 1970 // Pavel Ryzhenko - Easter, 1970
Germashev (Bubelo) Mikhail Markianovich (Russia, 1867 - 1930) - Easter. Morning at the position // by Mikhail Germashev
Alexander Alekseevich Buchkuri (1870 - 1942) - Easter morning // Alexander Buchkuri - Easter Morning
Boris Kustodiev - Meeting (Easter day), 1917 // Boris Kustodiev - Meeting (Easter day), 1917
Miloradovich Sergei Dmitrievich (1851-1943) - Preparation for Easter, 1910 // Sergei Miloradovich - Preparation for Easter, 1910
Boris Kustodiev - Easter Eve // Boris Kustodiev - Easter Eve
Mikhail Markianovich Germashev (Bubelo) (1867-1930) // by Mikhail Germashev
Pavel Ryzhenkov (1970-2015) - Easter in Paris // Pavel Ryzhenkov - Easter in Paris
Viktor Kudrin (1925-1999) - Easter // Viktor Kudrin - Easter
Galina Tolova
Gospel stories in the mirror of art
You are forever new, century after century,
Year by year, moment by moment,
You stand up - an altar in front of a person,
O Bible! oh book of books!
V.Ya.Bryusov
Passion of Christ
Resurrection
Descent into the afterlife
The Passion of Christ as suffering, trials sent down to Jesus in earthly life, should have ended with his burial. However, the subsequent episodes (the Descent into Hell and the Resurrection from the Dead) are traditionally included by theologians in the passion cycle. Christianity interprets the Descent into Hell as both the limit of the Savior’s humiliation and the final stage of his redemptive mission, and the Resurrection as a victory over death.
“For Christ also, in order to bring us to God, suffered once for our sins, the righteous for the unjust, being put to death in the flesh, but made alive in the Spirit, by which He went and preached to the spirits in prison.”(Pet.3:19-20).
The Gospels do not describe the moment of the Resurrection itself, for it was hidden even from the guards guarding the tomb. That is why early Christian authors avoided this episode, limiting themselves to a symbolic reproduction of the cross with a triumphal wreath and the monogram “HR” enclosed in it. Later, an image of Christ rising from the tomb appears. One of the first examples of such an embodiment of the plot of the Resurrection is contained in the Ottonian Gospel (c. 1000), where Jesus is shown standing in a sarcophagus with a cross in his hand. For centuries, the image of Christ emerging from the tomb, demonstrating his physicality, was rare, but by the 13th-14th centuries it became common.
The Renaissance turned its gaze from heaven to the world below; its masters first of all sought to imitate nature. Oriented toward the earthly and human, they even perceived Christ through the prism of the history of his earthly life. Art includes a “humanized” image of Jesus (in his earthly form). This can be seen, for example, in “The Resurrection” by Piero della Francesca. The Italian painter is accurate in conveying known circumstances and everyday details: except for Christ ( central figure both semantically and compositionally) the guards are depicted, quietly sleeping and not noticing the great mystery of the resurrection of Jesus.
Piero della Francesca. Resurrection. XV century
The work of Piero della Francesca may seem like a realistic sketch, an example of the “everyday life” of a theological formula. The artist uses linear perspective: the vanishing point is covered by the main figure, but the size of the trees decreases in proportion to the distance into the depth of the picture. Meanwhile, upon careful examination, first of all, of the upper part of the picture (the figure of the Savior with a flag in the center, the contrast of dry and green trees in the background), its religious and symbolic content becomes obvious.
Another Renaissance artist, Raphael Santi, a master of precise, light drawing and balanced composition, in “The Resurrection of Christ” creates an almost decorative panel, where the figures of people and angels (their directed gestures) organize the rhythmic framing of the central figure.
Rafael Santi. Resurrection of Christ. XVI century
Picturesque effects arise from the combination of primary colors - blue, red and ocher. Raphael interprets biblical stories in a positive way. This picture gives the impression of clarity and calm, but its “ideal alignment,” brightness and brilliance give it a certain artificiality and deliberateness.
"The Risen Christ" by Matthias Grunewald is part of the famous Isenheim Altarpiece. The iconography of the painting is unusual: in contrast to the traditional depiction of the Resurrection as an already accomplished fact, the artist shows the process of the Resurrection itself in its expression and dynamics.
Matthias Grunewald. Risen Christ. XV - XVI centuries
In the image of Jesus, in snow-white robes and a bright glow against the background of the night sky, soaring above the open tomb, Grunewald conveys the swiftness and triumph of Christ conquering death. The guard soldiers are defeated and blinded by the unearthly light emanating from Jesus. Researchers have repeatedly drawn attention to the fact that the clothes of soldiers indicate their belonging to armies different states the era when the altar was created. This is how the artist modernizes biblical events, addressing his work to everyone who, standing in front of the altar, hopes to find faith and hope.
Late Renaissance art is characterized by subjectivity in the perception of the world and creative expression artist. Such a subjective-emotional beginning formed artistic style Spanish painter (Greek by origin Domenico Theotokopouli) - El Greco. His temperament, unbridled imagination, adjacent to analysis and calculation, are felt in all his works, including those related to religious themes. They are characterized by unexpected angles, deliberate distortion of proportions and scales, elongated figures, giving the image expressiveness and spiritual content.
El Greco's "Resurrection" is far from established ideas about church art. Spiritualism, craving for the unreal, for associative imagery are expressed in a special system artistic means, which the painter uses. Expression is born through the metaphorical transfer of space, movement, rhythm, color, lighting.
El Greco. Resurrection. XVII century
The vertical format stretches the image, distorts proportions, and exaggerates the shapes, which heightens the sense of tension and drama. In his depiction of Christ, El Greco is more restrained and gravitates towards a classical reproduction of anatomy human body, which is emphasized by color. Transparent cold color, contrasts of dark and light, chords of red, blue and yellow, restless reflexes - everything contributes to creating the impression of ghostliness and enthusiasm, dramatic unity and completeness.
In Russia, the iconographic canon (who, where, in what color, in what clothes and poses to depict) was relatively flexible, thanks to this, starting from the 17th century, Russian religious painting was influenced by the Western tradition. The subjective-personal approach undermined the traditional iconographic principles of perspective, depiction of faces, and color symbolism.
In the 19th century, tendencies of academicism and everyday naturalism coexisted in art, against which turn of the 19th century- The 20th century featured artists who gravitated towards stylization and convention. In modern art there is an obvious connection with traditional forms church art (fresco, mosaic), with ancient icon painting. Art Nouveau artists were stylistically independent of the subject of the image: they even passed sacred subjects through the prism of a secular worldview, which changed the mood of religious painting. The strict language of icon painting gave way to pictorial beauty, decorativeness, ornamentation and other “liberties”. The historian and writer P. Gnedich, evaluating the works of Viktor Vasnetsov, called them “the sum of painfully passionate religious fantasies of Christian artists of all times and peoples. Here are the great Italians, and the decadents, and Byzantium, and most importantly, our old Moscow icons.” Something similar could be said about the painting of Mikhail Nesterov, who worked together with Vasnetsov on the paintings of the Vladimir Cathedral in Kyiv. His style was formed under strong impact Russian icon painting school and at the same time - under the influence of European artistic innovations.
Nesterov’s “Resurrection” was executed in a manner unusual for religious painting. The artist embodies in his own way spiritual meaning Resurrection: the idea of the unimaginability of the event itself forces us to abandon the figures of guards and place a witness - an Angel - behind Christ's back.
Mikhail Nesterov. Resurrection. XX century
He shifts the horizon line, giving the figure of Jesus monumentality, and at the same time deprives it of the well-known pathos of triumph: erected upward right hand with a cross contrasts with the left one - limply lowered. Christ is surrounded by lilies, which traditionally personified purity and chastity, and for the Art Nouveau style they are a favorite flower, visually embodying an interest in linearity, and at the semantic level reflecting a craving for likeness, the desire to emphasize the endless diversity, movement, and self-renewal of life.
The decorative pattern on the wall also marks the image as belonging to Art Nouveau. The bluish-pearl coloring of the painting, the lilac glow and reflections emphasize the calm joy and thoughtful detachment from the passions of the world.
Contemporary artists (with the exception of those who remain faithful to the centuries-old tradition of church painting), familiar with the achievements of modernist and avant-garde art, often use special form representation of reality based on the replacement of the subject by its illusory image. However, the illusion does not hide the fact that it is an illusion (a dream, an idea, a dream, a ghost, etc.) and does not have truth. This is why a free and unbridled imagination comes to the fore.
Patrick Devonas. Allegory of the Resurrection of Christ in the 21st century.
The painting by American artist Patrick Devonas is called “Allegory of the Resurrection of Christ.” You can try to decipher some allegorical details and attributes, but this is unlikely to clarify much. The image created by the artist is ghostly, located between real world and the world of ideas, and therefore uncertain. Bible story- just the starting point for the free surreal fantasy to which the modern painter has the right.
An icon is a completely different matter: the difference between an icon and a painting is in the structure figurative language. An icon is a message, a sign, a means of transmitting divine revelation. The image of the Resurrection of Christ developed in Byzantium by the 6th century, in Western Europe The image of Christ emerging from the tomb appeared around the 11th century. This image came to Russia much later - from the 17th century and only became popular in the 19th century. Earlier (from the 11th century) in Orthodox iconography, due to the incomprehensibility of the mystery of the Resurrection for mortals, the replacement of this plot with another was cultivated: the Descent of the Lord into hell even before the Resurrection, its destruction and the removal of prophets and righteous people from there.
Some differences in the interpretation of the final episodes of the Passion that exist in the Catholic and Orthodox traditions (for example, on the question of who was brought out of hell by Christ and whether the Descent completely abolished death) shaped different approaches to the embodiment of these scenes in fine art.
European artists more often depict Christ emerging from the tomb, Russians - Christ rising and soaring. Western tradition tends to emphasize the idea of suffering, seeing in the God-man, first of all, a person. The Eastern Christian branch, in passion and humiliation, emphasizes the triumph and greatness of Christ, in connection with which the canon of Passion Icons and their emotional component is formed. The Russian icon is solemn and restrained, festive and majestic.
Christ is presented surrounded by sacred radiance in the shape of an oval or circle, symbolizing his Glory and emphasizing his spirituality.
It is believed that the traditional Orthodox icon does not depict the moment of the Resurrection of Christ, while the inscription on some icons (for example, those presented above) says that before us is “The Resurrection of our Lord Jesus Christ.” The icon not only represents the scene of Christ’s descent from the tomb, but connects the Resurrection of Jesus with the idea of saving people. Crucified on Friday and resurrected on Sunday, Christ descends into hell on Saturday to save people. Christ, descending into hell, destroyed both it and death. In the Orthodox understanding, it destroyed completely (but the evil will of people revives them), and in the Western understanding, it caused damage, but did not destroy it. Orthodoxy emphasizes that Christ is not only the Risen One, but also the Resurretor.
That is why the theme of the Resurrection in Orthodoxy is closely connected with the theme of the descent into hell, and sometimes these themes are interpreted synonymously, and the Easter icon is considered to be the “Descent into Hell” icon.
In Europe, the plot of the descent into the underworld existed separately from the plot of the Resurrection. An example is the work of H. Serra and E. Bosch.
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| Jaime Serra. XIII century | Hieronymous Bosch. XV - XVI centuries |
Hell was represented in the form of a monster with an open mouth (J. Serra), where the Savior fearlessly steps or from where he leads people out, among whom Adam and Eve were most often depicted.
I. Bosch develops this theme in a unique way. The bizarre demonological imagery was fueled primarily by medieval allegory of the animal world, which embodied the idea of the materially base as a realm of the devil.
A comparison of European paintings with the canonical icon reveals differences both in concept and in its artistic embodiment. According to the Byzantine tradition, icon painters were strict in their approach to sacred images, therefore the icons, despite all their expressiveness, are less imaginative and more restrained. Usually located in the center of the composition, surrounded by radiance, Christ tramples on the hell he destroyed, reminiscent of a crack in the earth. The main figures compositionally form a tense and harmonious triangle, the number of secondary characters varies.
Undoubtedly, this story clearly testifies to the victory of Jesus over the darkness of sin and the abyss of despair. The Savior crushes the gates of hell and tramples on Satan, opening the way for people to Light and Truth. Descending - ascending; having risen, he resurrects. According to A. Kuraev, “the limiting point of the Divine descent turns out to be the initial support of human ascent. God became man so that man could become god.”
The iconography of the Resurrection continues to evolve today. Since the meaning of the Resurrection event itself is deep and unambiguously inexpressible, its variants artistic embodiment cannot be limited. The artist and writer E. Gorbunova-Lomax rightly noted: “Fidelity to the canon is the most essential characteristic of an icon. But this fidelity should be understood not as an eternal and universally binding quotation of the same once and for all established models, but as a loving and free adherence to tradition and its living continuation.”
Orthodoxy is the religion of Easter. It is important not only that God became incarnate, but also why. St. Irenaeus of Lyons said: “God became man so that man could become God.” This holiday indicates the height to which a person should strive. Russian iconography, and after it painting, emphasized the luminosity and transfiguration of Christ and his followers. In the Eastern Christian tradition, the theme of Easter is closely related to the plot of the Descent into Hell, from where Christ freed the righteous, which became another symbol of victory over death.
Descent into Hell
Descent into hell.
Sketch of the iconostasis of the Church of the Resurrection of Christ in St. Petersburg (Savior on Spilled Blood).
M. V. Nesterov. 1895
B. on paint, tempera, ink, bronze, sauce, graphite pencil. 40.4x51.2
Descent into hell.
Original for the mosaic of the iconostasis of the Church of the Resurrection of Christ.
M. V. Nesterov. 1897 Oil on canvas. 146.5x93.
Omsk Regional Museum fine arts them. M. A. Vrubel
Descent into hell.
V. M. Vasnetsov. 1896–1904 Watercolor.
Sketch of a mosaic for the St. George Church in Gus-Khrustalny.
, Moscow
Descent into hell.
V. M. Vasnetsov. 1896–1904 Canvas, oil.
Altarpiece in the right aisle of St. George's Church in Gus-Khrustalny.
The painting was shown in 2010 at an exhibition at the State Museum of the History of Religion, St. Petersburg
Descent into hell.
Nikolai Andreevich Koshelev. 1900 200x350.
Passion cycle of painting the church of the saint Alexander Nevsky,
Alexander's Metochion of the Imperial Orthodox Palestine Society, Jerusalem
Source: Wikipedia
Resurrection of Christ
Resurrection of Christ.
A. L. Shustov. 1810
Kazan Cathedral, St. Petersburg
Resurrection of Christ.
K. A. Steuben. 1843–1854 Canvas, oil.
Painting in the niche of the pylon of St. Isaac's Cathedral
Christ risen.
K. P. Bryullov. 1840s Canvas, oil. 177x89.
Sketch for the Cathedral of Christ the Savior in Moscow.
The plan was not realized.
Jesus Christ.
V.E Makovsky. 1893 Oil on canvas, 79x45.
, Saint Petersburg
Jesus Christ.
V.E Makovsky. 1894
Resurrection. Sketch
A. A. Ivanov
Resurrection of Christ.
Alexey Egorov. 1823–24 Blue paper, bistre, pen, graphite. 28.1 x 43.8.
Sketch for church headquarters Prussian king in Krakow
Resurrection of Christ.
Egorov A.E. Illustration for the magazine "Niva"
Resurrection of Christ.
Klavdiy Vasilievich Lebedev. 1901
Resurrection of Christ.
Bilibin I. Ya. Sketch of a fresco for the Church of the Assumption of the Virgin Mary in Olshany
Resurrection of Jesus Christ.
Valerian Stepanovich Kryukov (1838-1916)
Resurrection.
M. A. Vrubel. 1887 Paper, watercolor, graphite, pencil. 22.5x35.5.
Sketch of the unrealized painting of the Vladimir Cathedral in Kyiv.
Kyiv Museum of Russian Art
Resurrection. Triptych.
Sketch of the painting of the Vladimir Cathedral in Kyiv.
M. A. Vrubel. 1887
Resurrection.
Sketch of the painting of the altar wall of the northern aisle in the choir of the Vladimir Cathedral
M. V. Nesterov. 1890 Paper on cardboard, gouache, gold. 40.9x34
Resurrection.
M. V. Nesterov. 1890
Resurrection of the Lord.
Sketch of the altarpiece of the left chapel of the Vladimir Cathedral in Kyiv
M. V. Nesterov. Beginning 1890s. Canvas, oil. 88.5x110.5
State Russian Museum, St. Petersburg
Resurrection.
Nesterov Mikhail Vasilievich. 1890 Paper on cardboard, gouache, gold. 40 x 34.
Sketch of the painting of the altar wall of the northern aisle in the choir of the Vladimir Cathedral
State Tretyakov Gallery
http://www.art-catalog.ru/picture.php?id_picture=14961
Resurrection.
Nesterov Mikhail Vasilievich. 1891
Painting of the altar wall of the northern aisle in the choir of the Vladimir Cathedral
http://www.art-catalog.ru/picture.php?id_picture=15219
Resurrection.
M. V. Nesterov. 1890s. Paper, watercolor. 50.8x27.7
Resurrection of Christ.
M. V. Nesterov. 1922 Wood, oil. 120x77
State Museum of the History of Religion
Resurrection.
Original for the mosaic of the southern icon case of the Church of the Resurrection of Christ
M. V. Nesterov. 1894 Oil on canvas. 142x79
State Museum of the History of Religion
Resurrection.
Mosaic of the southern icon case of the Church of the Resurrection of Christ.
M. V. Nesterov
http://www.art-catalog.ru/picture.php?id_picture=15088
Resurrection of Christ.
Based on the original by M. V. Nesterov
Mosaic of the Church of the Resurrection of Christ (Savior on Spilled Blood), St. Petersburg
Resurrection of Christ.
Nesterov Mikhail Vasilievich. 1895 Sketch of the mosaic of the northern facade of the Church of the Resurrection of Christ
Paper on cardboard, graphite pencil, watercolor, gouache, bronze. 37 x 63 cm
State Russian Museum
http://www.art-catalog.ru/picture.php?id_picture=15209
Resurrection of Christ.
Mosaic of the northern facade of the Church of the Resurrection of Christ.
Nesterov Mikhail Vasilievich (1862 - 1942)
http://www.art-catalog.ru/picture.php?id_picture=15210
Resurrection of Christ.
P. I. Bromirsky. 1918
Great Resurrection.
Wassily Kandinsky. 1911 Tempera, glaze, silver on glass, 24×24.
Impression VI (Sunday)
Wassily Kandinsky. 1911 Oil on canvas, 107×95.
Munich, Germany. City gallery in Lenbachhaus
Myrrh-Bearing Women at the Tomb
Myrrh-bearers.
Grigory Grigorievich Gagarin (1810-1893)
Myrrh-Bearing Women.
Maria Bashkirtseva. Sketch. 1884 Oil on canvas. 46x38.5.
Saratov Museum named after. Radishcheva
Heralds of the Resurrection.
Nikolai Nikolaevich Ge. 1867
Myrrh-Bearing Women at the Holy Sepulcher.
A.L. Vitberg. 1811 Oil on canvas.
From the collection State Museum history of religion
Myrrh-Bearing Women.
M. V. Nesterov. 1889 Oil on canvas. 73x38.
Sketch of the painting of the same name, later destroyed by the author
State Tretyakov Gallery
Inv. number: 27820
Receipt: Acquired. in 1947 with Elizarova
Myrrh-Bearing Women
M. V. Nesterov. Canvas, oil.
Sumsky Art Museum
Resurrection (Resurrection Morning). Triptych.
M.V. Nesterov 1908-1909 Paper, gouache. 49 x 55.
Sketch for the painting of the southern wall of the Church of the Intercession of the Virgin Mary
State Tretyakov Gallery
http://www.art-catalog.ru/picture.php?id_picture=15151
Resurrection.
M. Nesterov. 1910
Painting of the southern wall of the Church of the Intercession of the Virgin Mary of the Marfo-Mariinsky Monastery
Angel sitting on the coffin.
M. V. Nesterov. 1908
Fragment of the composition Resurrection in the Intercession Church of the Marfo-Mariinsky Convent in Moscow
Myrrh-bearing women at the Holy Sepulcher (Resurrection of Christ).
M. V. Nesterov. 1899-1900 Paper on cardboard, graphite pencil, gouache, bronze. 31x48.
Sketch of the painting of the southern wall of the church in the name of the blessed prince Alexander Nevsky
State Russian Museum
http://www.art-catalog.ru/picture.php?id_picture=15178
Angel rolls away the stone from the coffin
A. A. Ivanov. 1850s. 26x40.
State Tretyakov Gallery, Moscow
And behold, there was a great earthquake: for the Angel of the Lord, who came down from heaven, came and rolled away the stone from the door of the tomb, and sat on it. Gospel of Matthew
Appearance of Christ to Mary Magdalene.
A. E. Egorov. 1818
The appearance of Christ to Mary Magdalene after the Resurrection.
A. A. Ivanov. 1835 242x321.
State Russian Museum, St. Petersburg
Mary stood at the tomb and cried. And when she cried, she leaned into the tomb and saw two Angels sitting in white robes, one at the head and the other at the feet, where the body of Jesus lay. And they say to her: wife! Why are you crying? He says to them: They have taken away my Lord, and I do not know where they have laid Him. Having said this, she turned back and saw Jesus standing; but did not recognize that it was Jesus. Jesus says to her: woman! Why are you crying? who are you looking for? She, thinking that it is the gardener, says to Him: Master! if you have brought Him out, tell me where you have laid Him, and I will take Him. Jesus says to her: Mary! She turned and said to Him: Rabbi! - which means: Teacher! Jesus says to her: Do not touch Me, for I have not yet ascended to My Father; But go to My brothers and say to them: I ascend to My Father and your Father, and to My God and your God. Mary Magdalene goes and tells her disciples that she saw the Lord and that He told her this. Gospel of John
The picture delighted the Academy. "What a style!" - the venerable Professor Egorov said in front of her. There was no need to say anything more, everyone stood in admiration. This was the only public success in Ivanov’s life, which brought him fame. He was awarded the title of academician, which opened up brilliant career opportunities. Neofit.ru
Risen Jesus and Mary Magdalene.
Klavdiy Vasilievich Lebedev.
Church and Archaeological Office of the MDA
Appearance of Christ to Mary after the Resurrection.
Mikhail Vasiliev (?). Second half XIX century. Oil on cardboard, 67.5x43.
State Russian Museum, St. Petersburg
After the Sabbath had passed, at dawn of the first day of the week, Mary Magdalene and the other Mary came to see the tomb. And behold, there was a great earthquake, for the Angel of the Lord, who came down from heaven, came and rolled away the stone from the door of the tomb and sat on it; his appearance was like lightning, and his clothes were white as snow; Frightened by him, those guarding them trembled and became as if they were dead; The angel, turning his speech to the women, said: Do not be afraid, for I know that you are looking for Jesus crucified; He is not here - He has risen, as He said. Come, see the place where the Lord lay, and go quickly, tell His disciples that He has risen from the dead and is going ahead of you to Galilee; you will see Him there. Here, I told you. And, hastily leaving the tomb, they ran with fear and great joy to tell His disciples. ( Mf. 28, 1–8)
And Mary stood at the tomb and cried. And when she cried, she leaned into the tomb and saw two Angels sitting in white robes, one at the head and the other at the feet, where the body of Jesus lay. And they say to her: wife! Why are you crying? He says to them: They have taken away my Lord, and I do not know where they have laid Him. Having said this, she turned back and saw Jesus standing; but did not recognize that it was Jesus. Jesus says to her: woman! Why are you crying? who are you looking for? She, thinking that it is the gardener, says to Him: Master! if you have brought Him out, tell me where you have laid Him, and I will take Him. Jesus says to her: Mary! She turned and said to Him: Rabbi! - which means: Teacher! Jesus says to her: Do not touch Me, for I have not yet ascended to My Father; But go to My brothers and say to them: I ascend to My Father and your Father, and to My God and your God. Mary Magdalene goes and tells her disciples that she has seen the Lord and What He told her this. ( In. 20, 11–18)
She went and told those who were with Him, weeping and weeping.
(Mk. 16, 10)
Messengers of resurrection. N. Ge. 1867 Tretyakov Gallery 
She announced joy to those who weep. V. Polenov. 1889–1909 Samara Regional Art Museum 
Resurrection of Christ. K. Steuben. 1843–1854 Saint Isaac's Cathedral, St. Petersburg 
Resurrection of Christ. V. Shebuev. 1841 State Russian Museum, St. Petersburg 
Descent into hell. N. Koshelev. 1900 
The appearance of Christ to Mary Magdalene after the resurrection. A. A. Ivanov. 1835 State Russian Museum, St. Petersburg 
Appearance of Christ to Mary Magdalene. A. Egorov. 1818 Tretyakov Gallery 
The angel rolls away the stone. A. A. Ivanov. 1850s Tretyakov Gallery 
Myrrh-Bearing Women. M. Bashkirtseva. 1884 
Myrrh-Bearing Women. N. Koshelev 
She stood at the coffin. V. Polenov. 1889–1909