Description of the painting by Henry Semiradsky “Alexander Nevsky accepts papal legates”

Description of the painting by Henry Semiradsky “Alexander Nevsky accepts papal legates”

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The canvas represents the Russian period of the work of a famous artist. Before the murals of the choirs themselves began, Semiradsky worked out sketches for a long time to accurately reflect the plot from the life of St. Alexander Nevsky.

The artist will have to embody the personality of Nevsky and the wise ruler and a man with a huge soul, which allowed him to be counted among the saints.

Unfortunately, the painting was not preserved, and to judge a magnificent painting is possible only by sketches.

The painting "Alexander Nevsky accepts papal legates" is only a quarter of the whole picture. A feature of this work is considered the ingenious study of the smallest details.

The artist worked so meticulously on historical authenticity that those who came to the temple felt like witnesses of what was happening. Some argued that the painting thus lost its high spirit and did not belong to the walls of the temple. But the genius of the work did not allow either the clergy or strict critics to demand to sketch the painting.

A scene from the material world is depicted quite colorfully. And we are talking not only about the variety of colors and their shades, but also about the small details of the painting. The faces of Nevsky and one of the papal legates, which are located in the foreground, are clearly distinguishable, but the faces of the guards and the face of the saint, located in the background, are also clearly visible.

Semiradsky was also accused of infatuation with particulars, which would naturally distract from the holistic perception of the picture. The effect, however, turned out to be a little different. The picture was transformed into something large-scale in its significance, and not in size. This very incidentally emphasized the importance of this moment for the history of Russia.

In general, the painting is attributed to the monumental works of the artist, because of its obvious proximity to easel painting.

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