This strategy allowed for a more private mode of worship and it was to be duly adopted by the Moscow School of Iconography - the school allowed for a general relaxation of the severe intensity of traditional iconographic painting thereby effecting a more worldly relationship between state and church. Hitherto, the convention of Byzantine iconography was for the subjects to engage the viewers' gaze directly whereas Rublev's subjects typically averted the direct gaze of the viewer. Rublev's icons possess a sense of realism that showed a level of sophistication that in some ways echoed the work of the Italian Naturalists.His icons and frescoes were formed of light and gentle color bringing a new harmony to the art of Russian Orthodox iconography. Whereas Byzantine painting had tended towards the sinful and cataclysmic, the "Rublev rival" (as some have called it) brought a new optimism and light to religious painting.
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