Specialists disagree about the extent of Feofan's influence on Russian painters. Indeed, it has been argued that the Greek's later works bore evidence of the influence of Russian artists, notably Andrei Rublev.39 We still know little for certain about Rublev, the only medieval icon-painter whose name is familiar outside Russia. The serious study of his life and work began only in the first decade of the twentieth century with the cleaning of his Trinity icon, which was a landmarkinthe 'rediscovery' oficons as works of art.40 Scholars disagree about Rublev's date and place of birth, his parentage and social status, and when and where he became a monk. The designation of 1960 as the six-hundredth anniversary of his birth had more to do with the Soviet promotion of Russian cultural heritage during the Cold War than with historical accuracy. Soviet historians labelled Rublev as a 'humanist', who succeeded 'in spite of the canons of the church' in producing painting that 'shines like a priceless gem in the treasure house of Russian and world art'.41 A copy of an inscription recording his death on 29 January 1430 was found among the papers of the eighteenth-century scholar G. F. Müller, but the original is lost.42 More recently, V G. Briusova has located Rublev's death 'around 1427'.43
Scholars rely on fragmentary references in chronicles and saints' lives, some contemporary, others not, to chart Rublev's activities, along with those of fellow painters such as Daniil Chernyi. A chronicle entry for 1395 mentions certain pupils (uchenitsy) of Feofan Grek working in the Moscow Kremlin, one of whom may have been Andrei.44 Rublev's earliest surviving work may well be frescos in the Dormition cathedral 'na Gorodke' in Zvenigorod (1401 to 1405).45 He is linked more reliably to Feofan in the year 1405, when it was recorded (probably after 1484) that the old Annunciation cathedral in the Moscow Kremlin was painted 'by Feofan the Greek icon-painter, the senior monk (starets) Prokhor from Gorodets and the monk (chernets) Andrei Rublev'.46 Icons from
40 Early studies include N. P. Likhachev, Manerapis'maAndreiaRubleva (St Petersburg: Tip. M. A. Aleksandrova, 1907) and N. I. Punin, Andrei Rublev (Petrograd: Apollon, 1916), 23.
41 See Lindsey Hughes, 'Inventing Andrei: Soviet and post-Soviet views of Andrei Rublev and his Trinity icon', Slavonica 9 (2003), no. 2, 83-90. Quotation from P. Sokolov-Skalia, 'Andrei Rublev', NaukaiReligiia9 (1960), 85-7. See also N. Kuz'min, 'Zhivopis' pereshag-nivshaia veka', Literaturnaia Gazeta, 15 Sept. 1960, 3.
42 G. I. Vzdornov, TroitsaAndreiaRubleva. Antologiia (Moscow: Iskusstvo, 1981), 7.
43 V G. Briusova, Andrei Rublev i moskovskaiashkola zhivopisi (Moscow: Veche, 1998), 130.
44 For a summary ofsources, see M. N. Tikhomirov, 'Andrei Rublev i ego epokha', Voprosy istorii 1 (1961), 3-15.
45 V A. Plugin, Master Sviatoi Troitsy: trudy i dni AndreiaRubleva (Moscow: 'Mosgorarkhiv', 2001), 508.
46 Tikhomirov 'Andrei Rublevi ego epokha', 6.
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