vrubel angel with censer and candle (sketch) 1887
Mikhail Vrubel – vrubel angel with censer and candle (sketch) 1887
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Painter: Mikhail Vrubel
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The work "Angel with Cadil and Candle" was done by Vrubel while he was near Kiev. He was at that time engaged in a watercolor painting of the Vladimirskiy Cathedral. Looking at the canvas, it becomes clear exactly how the painting was progressing. Initially the composition itself was conceived even before the instrument for its painting appeared in his hands. A characteristic feature and distinction of Vrubel was the fact that he was the only known painter who used docked strips of necessary length.
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Description of Mikhail Vrubel’s painting Angel with Cadilus and Candle
The work "Angel with Cadil and Candle" was done by Vrubel while he was near Kiev. He was at that time engaged in a watercolor painting of the Vladimirskiy Cathedral. Looking at the canvas, it becomes clear exactly how the painting was progressing.
Initially the composition itself was conceived even before the instrument for its painting appeared in his hands. A characteristic feature and distinction of Vrubel was the fact that he was the only known painter who used docked strips of necessary length. This was necessary because the idea did not withstand any frames and boundaries, and as much space required by the composition, so it eventually received.
The style in painting the angel is called academism. At the same time, Vrubel was not very well received at the time when he was painting the Vladimirskiy Cathedral. This is due to the fact that among the customers, and found no admirers of Vrubel’s direction of painting, which is dominated by monumental and decorative forms. Meanwhile, Vrubel was never an icon painter, and did not strive for it, he was more attributed to the mural painting.
As witnesses to the painting stated, despite the fact that it was quite voluminous, as, in principle, most of his works were never broken up into parts, but were executed completely and filled the entire space. Vrubel knew how to subdue space and this is reflected in his work. Because of the expressiveness of the silhouette of the angel, we can confidently say that the work has the features of a monumental work. This is also evidenced by the laconicism of forms with nothing personal and the generalization of the entire composition.
This work can be confidently attributed to the early Renaissance of Italy than to Russian or Byzantine images.
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The figure’s face is characterized by large, dark eyes directed downwards, conveying a sense of introspection or perhaps sorrow. The mouth is subtly downturned, contributing to this melancholic expression. Dark hair frames the face and falls forward, partially obscuring the forehead and adding to the overall impression of quiet contemplation.
In one hand, the figure holds aloft a lit candle, its flame providing a small but vital point of illumination against the surrounding darkness. The other hand grasps a censer, from which smoke or incense appears to be drifting downwards in delicate trails. These objects are not merely props; they carry symbolic weight, referencing ritualistic practices and spiritual devotion.
The background is indistinct, composed of muted blues and grays that create an atmosphere of mystery and depth. The lack of clear spatial cues reinforces the sense that the figure exists outside of a conventional setting, perhaps in a realm beyond earthly perception.
Subtly, theres a tension between the idealized beauty of the figure and the somber mood conveyed through its expression and posture. This juxtaposition hints at an underlying complexity – a potential struggle or internal conflict. The sketch-like quality of the work, with visible brushstrokes and areas of unfinished detail, contributes to this sense of vulnerability and immediacy. It suggests a moment captured in progress, a fleeting glimpse into a deeper emotional state. The overall effect is one of profound stillness and quiet reverence, tinged with an undercurrent of melancholy.