Vasily Polenov – Christ and the Sinner
1888
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COMMENTS: 6 Ответы
Удивительная картина. В образе Христа больше от человека, чем от Бога, Он выглядит таким грустным и усталым... Но это придает ему еще большее величие.
This painting is not housed in any museum; rather, it is kept in the Polenov House-Museum, located in the Tula region. Yes, thats where the painting remains, as Polenov never finished it. He didnt have time to complete the work, even though he had dreamed of painting it since his youth. The painting itself is quite large and is stored on the second floor of his estate, which was converted into a house-museum during the Soviet era.
He left many things unfinished, although for this particular painting, he created numerous sketches and studies using both paints and pencils. He sought the perfect representation of this scene. Furthermore, Polenov traveled extensively throughout what is now Israel, discovering many interesting things that he sketched. As a result, he gathered enough material to begin working on the painting.
Its worth noting that Christ is depicted differently in this work. Polenov did not set out to portray a divine figure. Instead, the painting depicts more of a shepherd, a semi-pauperized man, rather than the Messiah everyone was expecting. He is shown surrounded by his disciples at the very moment when Pharisees brought a repentant woman, Mary Magdalene, to him. Remember this story? It was during this time that the Pharisees asked if this woman deserved to be stoned, and Jesus responded: Let the one among you who is without sin be the first to cast a stone at her. This response dampened the Pharisees fervor, forcing them to retreat. The painting depicts the scene just before all of this. Christ has only just seen the repentant woman; she has only just been brought before him. A crowd behind her is already ready to stone her, which was how adulteresses were dealt with. But he protected her; he prevented them from harming her. He responded in such a way that the Pharisees could not reply.
Despite its apparent completion, the work remained unfinished. Thats why it stayed in his house. He didnt have time to finish painting the landscape around the figures, nor did he complete the details of the figures themselves. Even Christs appearance is incomplete. Interestingly, if you look closely, Jesus stands out sharply from his disciples, despite being depicted alongside them. The disciples are almost as if in shadow. Similarly, two other figures stand out: a Pharisee and the repentant woman.
Polenov did exhibit the painting at the Wanderers Exhibition in 1887, but censorship prevented it from being shown publicly. Furthermore, one of the grand princes even stated that the painting was harmful to the people. The situation was resolved by Emperor Alexander III, who became acquainted with the work and allowed the painting to be exhibited. Moreover, he offered the artist money to purchase the painting itself. Polenov sold him a copy, while the original, as you know, remained...
Интересно, а что находится в Русском музее Санкт-Петербурга????
эта картина мне нравится. сюжет интересен, привлекает световая работа, постановка героев на полотне.
Вчера вернулась из Поленово. Вообще-то в доме художника черно-белый вариант картины, выполненный углем на холсте, а император купил картину в цвете. На деньги, вырученные от продажи картины художник и смог приобрести участок земли и построить дом.
Еще один вариант – в Иркутске.
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Here we see a group gathered around a seated figure, presumably the focal point of the event. He appears calm and composed, his posture relaxed as he listens to an older man who gestures emphatically towards him. This elder, clad in elaborate robes, seems to be delivering a condemnation or accusation. A cluster of men surrounds them, their expressions ranging from righteous indignation to curious observation. Their clothing is varied, indicating different social strata within the community.
To the right, another group stands observing the proceedings. They appear more agitated and confrontational, with some pointing accusingly at the seated figure. A donkey stands nearby, tethered loosely, adding a touch of rustic detail to the scene. The landscape visible beyond the courtyard walls suggests a broader settlement nestled within rolling hills.
The artist has employed a muted color palette, dominated by earth tones – ochres, browns, and creams – which contribute to the overall sense of solemnity and gravity. The use of chiaroscuro – the contrast between light and dark – heightens the dramatic tension and emphasizes the emotional weight of the moment.
Subtly embedded within this depiction are themes of judgment, mercy, and societal hypocrisy. The elder’s theatrical gesture suggests a performative aspect to his condemnation, while the seated figures serenity implies an acceptance or understanding that transcends the immediate accusations. The varied reactions of the crowd hint at the complexities of human nature – the interplay between righteous anger, moral curiosity, and social pressure. The presence of the donkey, often symbolic of humility and burden-bearing, may allude to the suffering inherent in acts of compassion or forgiveness. Ultimately, the painting invites contemplation on the nature of sin, redemption, and the role of judgment within a community.