Andrey Rublev - biography and creativity. Trinity of Andrei Rublev, Archangel Michael, Savior in Strength. Icon painting trowel "Mother of God". Buy icons. Custom icons

Name: Andrey Rublev

Date of Birth: 1360 BC

Age: 68 years old

Activity: icon painter

Family status: was not married

Andrey Rublev: biography

For Russian people and world Orthodoxy, the icon painter Andrei Rublev has become a symbol of art and a kind of standard of the Russian people, the greatness of the Slavic spirit. The master's icons and frescoes breathe harmony with the universe, remind of the lost paradise, happiness and serenity.

Fans compare the work of the icon painter with poetry. It is just as solid, timeless and brilliant. Peering into the faces of the Rublev saints, you see self-sacrifice, beauty and greatness of man. Andrei Rublev understood the essence and spirit of faith in God, so the Russian Orthodox Church canonized the icon painter, numbered among the venerable saints.

Childhood and youth

The icon painter was born presumably in 1360 on the territory of the Moscow principality (other sources indicate Veliky Novgorod as the birthplace of Rublev). Information about the artist's childhood, youth and family is extremely scarce. Historians and art historians, starting from the surname Rublev, put forward the assumption that Andrey's ancestors on his father's side are artisans.

The name Andrei Rublev was given after the monastic tonsure in a male monastery on the left bank of the Yauza, familiar to us as Andronikov. The artist's worldly name is not known. The researchers agreed that Andrei Rublev's patronymic was Ivanovich: the signature “Andrei Ivanov, son of Rublev” was distinguished on the surviving icon of that time.

Iconography

The biography of the saint dates back to 1405 - this is the year of the first written mention of Andrei Rublev. The chronicle says that the monk Rublev, together with Theophanes the Greek and Prokhor the Elder, who arrived from Kafa, painted the walls of the Annunciation Cathedral in the Moscow Kremlin. Collaboration with the luminaries of icon painting was entrusted to the artist whose skill was not questioned. Art critics suggest that already in his youth, Andrei Rublev had experience in Slavic artistic icon painting.

Working in tandem with Theophanes, whose writing style is called pictorial cursive writing for precise and clear strokes, was an honor for the young master. The icons of the Greek amaze with their grandeur, the faces of the saints depicted by him are severe and brilliant in every stroke. But having adopted the best in technique, Andrei Rublev developed his own style of icon painting, in which there is no drama and severity of Theophanes the Greek. Rublev's icons are filled with tranquility, clarity and harmony. Art critics point to the artist's palette, as if inspired by a sunny summer day: here there are golden fields with cornflower-blue interspersing, a scarlet dawn and a turquoise river.

The painting of the Annunciation Cathedral has been lost, but seven icons have survived in the cathedral iconostasis, which are attributed to the brush of Andrei Rublev. It is believed that the artist painted the figures of the Apostle Peter and the Archangel Michael. His hand is recognized in the images of the martyrs Dmitry and George, as well as in icons dedicated to the main events of the Christian church. The work of Andrei Rublev is called the fresco "Transfiguration", where the "Rublev" palette is easily recognizable. The silhouette is inscribed in a circle, the apostles are located in a semicircle. Andrei Rublev considered the circle to be an ideal geometric figure, the circle is found in the works of the last decade.

At the beginning of the 15th century, Andrei Rublev, together with his colleague Daniil Cherny, painted the Assumption Cathedral near Zvenigorod. Probably, the icon painter received an invitation from his godson - Prince Yuri Zvenigorodsky. The surviving frescoes show Rublev's technique, but his brushes most likely belong only to images of Saints Florus and Laurus. The rest of the icons were painted by artisan artists, whose style was influenced by the work of Andrei Rublev. The icon painter's works include three frescoes of the Zvenigorod rank.

In the icon "Savior" a new tradition has found embodiment, which marked the golden age of the flourishing of the Russian art of icon painting. The early creations of Andrei Rublev include illustrations for the Gospel of Khitrov. The artist painted miniatures of the Evangelists and their symbols. Fascinating is the miniature of an angel - the symbol of the Evangelist Matthew. The "Rublevsky" circle is encountered again, in the center of which is a winged youth walking. The composition seems to be pushing for the idea of ​​returning all that exists to square one. The miniatures for the "Gospel of Khitrov" echo the Byzantine tradition, but the saints of Andrei Rublev differ from the images of the Greeks in a certain spiritual calmness, depth in spiritual life and detachment from the outside.

The second written mention of the master dates back to 1408. It talks about the beginning of the painting by Andrei Rublev and Daniel Cherny of the Vladimir Church. The masters painted the Assumption Cathedral, erected before the invasion of the Mongol horde. The frescoes of the Last Judgment Rublev and Cherny were placed in the western part of the temple, on its vaults. This master's work is the most famous of Vladimir's. The images are not scattered canvases, but a single whole. Most researchers agree that the master's brush belongs to the "Vladimirskaya Mother of God".

Prophet Daniel with an angel pointing to the fresco of the Last Judgment, the righteous led by the Apostle Peter to paradise, trumpeting angels - in the Apocalypse of Andrei Rublev there is no edification and the desire to scare the Byzantine icon painters. Rublevsky's Last Judgment is more merciful, it gives hope for deliverance. At the end of 1408, the Tatar horde of Khan Edigey moved to Russia. The army destroyed Serpukhov, Pereslavl, Nizhny Novgorod and Rostov, approached Moscow. The Trinity Monastery was destroyed, and in 1410 the Tatars attacked Vladimir, destroying the Assumption Cathedral.

The traces of the icon painter are lost; we have not heard of him for two decades. Perhaps, in these difficult times for Russia, Andrei Rublev escaped to the Andronikov monastery. The restoration of the Trinity-Sergius Monastery began in 1422. The third mention of the master belongs to this period. Above the tomb of St. Sergius of Radonezh, instead of a burnt wooden one, a temple of stone appeared. Hegumen Nikon invited Andrei Rublev to paint it. The master created an icon in the Trinity Cathedral, which art critics call a masterpiece and the pinnacle of Rublev's creative heritage.

The famous "Trinity" amazes with the perfection of the composition. And again Andrei Rublev resorts to the circle created by the figures of angels bowed over the bowl. Art critics agree that Andrei Rublev's brushes belong to the icons "Savior", "Apostle Paul" and "Archangel Michael" belonging to the "Zvenigorod rank". They are kept in the State Tretyakov Gallery. Other icons and frescoes that are attributed to Rublev, researchers call the works of the artel or Rublev's contemporaries who copy his style.

Personal life

In his youth, Andrei Rublev was ordained to the monastic rank. He gave up the desire to have a family and children. His whole life was devoted to serving God and creativity in the name of his glorification. There is no information about the artist's relatives. It is not known if he had brothers, sisters and nephews.

Death and memory

The icon painter died in the late autumn of 1428 from the plague epidemic raging in Moscow. Death overtook Andrei Rublev in the Andronikov Monastery, where in the spring, together with Daniil Cherny, he worked on the fourth work - the frescoes of the Savior Cathedral (they have not survived). Soon his faithful companion and friend followed the icon painter. According to legend, before his death, Andrei Rublev appeared to Daniil Cherny, "in joy calling him to paradise." Daniel found Andrey's appearance joyful and light.

The icon painter was buried near the bell tower of the Spassky Cathedral. In 1988, the artist was canonized and canonized, establishing 17 July as his day of remembrance. In the mid-1990s, archaeologists discovered the ancient throne of the Savior Cathedral, and next to it there are relics. They were attributed to the famous master, but the statement was soon recognized as erroneous.

Researchers call the generally accepted date of the artist's death erroneous, claiming that Andrei Rublev died at the end of January 1430. Architect P. D. Baranovsky insists on the date January 29, 1430. The architect assured that it was she who was carved on Rublev's tombstone before it was lost. On this site, the Andrei Rublev Museum of Old Russian Art was built, the founder of which is the architect Pyotr Baranovsky.

In the late 1940s, a reserve appeared in the Spaso-Andronikov Monastery. The great Rublev is also remembered in Vladimir: a monument to the icon painter stands at the entrance to the park named after A.S. Pushkin. A crater on Mercury was named in honor of the reverend saint, a series of commemorative coins and a postage stamp were issued. In 1966, at the Mosfilm studio, the director filmed the film Andrei Rublev. The original title of the painting - "The Passion for Andrew" - was abandoned. The film consists of eight short stories, in which the troubles of the Middle Ages are described through the eyes of the monk Andrei Rublev. The artist was played by actor Anatoly Solonitsyn.

Icons and frescoes

• Archangel Michael from the Deesis order, 1414
• Ascension of the Lord, 1408
• Apostle Paul from the Deesis order, 1410. State Tretyakov Gallery (State Tretyakov Gallery)
• Spas in forces, 1408
• Spas, 1410th
• Descent into Hell, 1408-1410. State Tretyakov Gallery
• Nativity. Cathedral of the Annunciation of the Moscow Kremlin
• Archangel Michael, 1408. A cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
• Archangel Gabriel, 1408. A cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
• Mother of God, 1408. A cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
• Gregory the Theologian, 1408. A cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
• John Chrysostom, 1408. A cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
• John the Theologian, 1408. A cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
• John the Baptist, 1408
• Andrew the First-Called, 1408. A cycle of icons of the Deesis tier of the iconostasis of the Assumption Cathedral in Vladimir
• Annunciation, 1405
• Transfiguration, first quarter of the 15th century. State Tretyakov Gallery
• Holy Trinity, 1410s. State Tretyakov Gallery

On July 17, the Orthodox Church honors the memory of the holy icon painter, the Monk Andrei Rublev. The uniqueness of his icons was appreciated in antiquity, and from the 16th century the famous Trinity began to serve as an official model for Russian icon painters. We suggest recalling 7 amazing faces of the artistic genius of Ancient Russia.

"The Last Judgment". Face of Christ

Thousands of people from all over the world come to Vladimir to visit the Assumption Cathedral and see the unforgettable frescoes created in 1408 by Daniil Cherny and Andrei Rublev. This painting is today the only monument of Rublev art confirmed in the chronicle sources. Made in the Byzantine tradition, the painting of the Second Coming of Christ has been rethought. The central figure of the composition is undoubtedly Christ, who seems to descend from heaven to the audience waiting for Him. He seems surprisingly close, his face is bright and gentle. He brings peace and salvation to people. The presence of each participant in the picture is justified and symbolic: the Angel, rolling the heavens, like a scroll, announces the approach of the Judgment; the prepared Throne with the instruments of the Passion reminds of the atoning sacrifice of the Savior; the figures of the ancestors symbolize the bonds of original sin. Under the figure of Christ is the Mother of God and the Forerunner, which remind the viewer of the incessant prayer of the patron saints of the human race. Their prayer seems to be continued by the faces of the apostles, who are benevolently and at the same time sternly looking at the viewer. This is almost the first time in Russian art that the idea of ​​a righteous and merciful Court was embodied in this picture in such a perfect artistic form.

"Trinity". Faces of Angels

By the time Rublev wrote the icon of the Old Testament Trinity (1411 or 1425-1427 (?)), There was a tradition of depicting this biblical episode, which is based on the legend of the hospitality of the forefather Abraham, who received and treated three pilgrims. The Rublevskaya icon has become a new look at a well-known plot. There are no traditional Abraham and Sarah on it, in the background their dwelling and the Mamre oak, under which the meal was served, remain almost invisible. Three Wanderer Angels appear before the viewer. They sit in calm silence around the table with refreshments. Everything here is aimed at creating unsurpassed drama and reflective contemplation. The Central Angel is identified with Christ, whose figure sets the circular rhythm of the entire composition: the silhouettes echo each other with sliding and falling lines of clothing, bowed heads, and directed gazes. Equivalent figures of Angels are in unity with each other and absolute harmony. The living specifics are replaced here by the sublime image of the pre-eternal counsel and predestination of Christ's sacrifice. You can see Rublev's Trinity in the Tretyakov Gallery.

"Zvenigorod rank". Savior's face

In 1918, three Deesis icons were discovered in a wood shed near the Zvenigorod Assumption Cathedral "on Gorodok", which were attributed by I. Grabar on the basis of a stylistic analysis of Rublyov's brush. Later, researchers almost unanimously recognized Grabar's attribution, despite the fact that Rublev's authorship was never documented. The "Zvenigorod rank" includes three icons: "Savior", "Archangel Michael" and "Apostle Paul". The most perfect, undoubtedly, is the image of the Savior, whose calm, thoughtful and surprisingly benevolent gaze is directed at the viewer. Hope, the promise of closeness and heartfelt sympathy, along with a sublime, ideal beauty that is infinitely remote from the world of ordinary people - all this was perfectly embodied by the Russian icon painter.

"Zvenigorod rank". Face of Archangel Michael

The second icon of the "Zvenigorod rank" was the image of the Archangel Michael. His face, turned to the Savior, seems to echo him with pensive meekness and serenity of gaze. This image refers us to the Angels of the Holy Trinity, and not only by its humility, but also by its visual resemblance - a long, flexible, slightly elongated neck, a hat of thick curls, a bowed head. The third icon - "Apostle Paul" - is made in a manner different from the Rublev one, therefore, a number of researchers believe that this face would have been created by another master, for example, a long-term associate of Rublev - Daniel Cherny. You can see the icons of the Zvenigorod rank in the Tretyakov Gallery.

List of the icon of Our Lady of Vladimir. The face of the Virgin

Despite the obvious discovery of the features of the Rublevsky letter, the author of the icon could not have been Rublev himself, but someone from his closest circle. Grabar, on the other hand, unambiguously declares that the work was made by a great master: “Everything here is from Rublev - a cold bluish general tone, the nature of the picture, facial features, with a slight hump of the nose typical for Rublev, graceful hands, a beautiful silhouette of the entire composition, the rhythm of lines and harmony paints ". The traditional Byzantine prototype - the Mother of God, holding her Son on her right hand and gently bowing to Him - was implemented with some, most likely, intentional deviations. This is especially true of the figure of the Mother, since the Infant is reproduced exactly according to the Byzantine model. In the figure of the Mother of God, the anatomical correctness of the forms is violated, first of all, the bend of the neck, which allows the face of the Mother to be as close as possible to the face of Jesus. Their gazes meet. The hands of the Mother of God are amazingly painted, which are wide open in a prayer gesture. The Mother's face is covered with a maforium cloth, which, like a dome, extends over the Baby, protecting and soothing him. And, of course, Rublev's serenity, purity, absence of sorrow and suffering, fullness of silence, peace and a feeling of love in the face of the Mother of God are striking. You can see the icon in the exposition of the Vladimir-Suzdal Museum-Reserve.

Trinity iconostasis. The face of Dmitry Solunsky

The creation of the iconostasis of the Trinity Cathedral of the Trinity-Sergius Lavra is associated with the name of Rublev. The icon painter's brush is supposedly visible in the icons of the Archangel Gabriel, Dmitry Thessaloniki and the apostles Peter and Paul. The Trinity iconostasis is unique. It is the only architectural and picturesque temple ensemble that has been completely preserved to this day, created during the heyday of ancient Russian art. Who painted these icons - Andrei Rublev or Daniil Cherny - is still a mystery. In the course of the last restoration work, a firm belief was expressed only that among the icons there are undoubtedly those that belong to Rublev. When you look, for example, at the image of Dmitry Solunsky, I really want to believe that it was written by Rublev: the same head bowed in meek contemplation, the same graceful hands raised in prayer, the same hat of thick curly hair, the same wide-open and childishly naive eyes, the same meekness and serenity.

Gospel Khitrovo. The face of the evangelist Matthew

Another hypothetical monument of Rublevsky writing - miniatures of the altar Gospel of Khitrovo - stand out in the legacy of the icon painter. This unique example of a manuscript, which is now in the collection of the Russian State Library, was supposedly made in one of the best workshops of grand-ducal Moscow at the turn of the 14th-15th centuries. The text of the manuscript is accompanied by eight facial miniature illustrations depicting the evangelists and their symbols. The stylistics of the miniatures allows us to say that they were painted by Theophanes the Greek, Daniil Cherny and Andrei Rublev, while the names of the last two icon painters are most often mentioned. There is no consensus among scientists: for example, G. Vzdornov believes that they all belong to Cherny's brush, and O. Popova convincingly proves the opposite - they were all created by Rublev. The symbolic image of the Evangelist Matthew is most often attributed to Rublev. The slope of the neck, the outline of the head of fluffy hair, the type of face are very close to the Rublev images created by the master on the Vladimir frescoes. However, Angel's gaze is sharper. In clothes developing through the air with the Gospel in his hand, he swiftly moves towards the viewer, wanting to quickly convey the Word of God to him.
Despite the fact that it is often not possible to establish the exact authorship of the holy icon painter, our country has a grandiose heritage, including unsurpassed examples of ancient Russian culture.

Andrei Rublev (1370-1428) is the most famous and respected icon painter of the Russian land. Canonized by the Orthodox Church as a saint.

Monasticism

The painter was tonsured at the Andronikov monastery under the name Andrei. Rublev's work proceeded from the ancient traditions of the Moscow principality, and he acquired artistic experience following the Slavic religious canons.

It cannot be called painting in the usual sense, his work from the very beginning reflected a sacred theme. The first works of the artist, which he wrote, were intended for the "Gospel of Khitrovo". These were miniatures that matched the meaning of the book.

The first masterpieces

In 1405, Rublev participated in the painting of the Annunciation Cathedral in the Moscow Kremlin, together with Theophanes the Greek, an experienced icon painter, who at that time already had such masterpieces as the Old Testament Trinity. Monk Andrei Rublev was admitted to such a responsible work, and even with such a famous artist, as thanks to his pronounced talent. In the very first months of the icon painters' work, the higher clergy of Moscow were convinced of the right choice - the paintings of Andrei Rublev fully corresponded to the high church standards of that time. After completing work on the frescoes of the Annunciation Cathedral, Rublev became a recognized master of Russian icon painting.

The second time Andrei Rublev's paintings are mentioned in the annals of 1408, they were murals in the Vladimir Cathedral of the Assumption. This time the artist worked together with the famous icon painter Daniil Cherny. By that time, Rublev had already formed his own style, truly Russian. The next joint work of the icon painter was the Cathedral of the Trinity-Sergius Lavra in Sergiev Posad.

"The Holy Trinity"

At the very beginning of the 15th century, Andrei Rublev created one of the main works of his entire life - an icon that is currently in the Tretyakov Gallery in Moscow. The artist endowed the traditional plot from the Bible with a special meaning, gave the image a barely noticeable plot content. In the center, the icon painter placed a bowl, and around - three angels sitting aloof. Holy spirits, servants of God are dressed in different ways. The angel in the middle is dressed in a red chiton with a yellow clave sewn on and covered with blue himation, behind it is a spreading tree, a symbol of belonging to the Supreme Creator. The Holy Spirit on the right, in clothes of smoky green tones, is in its hypostasis, behind it a rock rises. The angel on the left, in light purple capes, is located against the background of the house, he is the creator, the head of the house-building. Fatherly superiority is read in the look turned to the other two angels. The holy spirit in the middle and the angel on the right bowed their heads in his direction.

The unsurpassed world-class masterpiece created by the Russian icon painter Andrei Rublev is Trinity. Description of the painting, its history, information about where it was for six hundred years - all this is reflected in special editions dedicated to the great artist. The most reliable information can be found in the Tretyakov Gallery, which is located at the address: Moscow, Lavrushinsky Lane, 10.

List of works

The famous paintings of Andrei Rublev are about thirty icons painted by the artist at different times, which are in the Annunciation Cathedral of the Moscow Kremlin, the Cathedral of the Assumption in Vladimir, the Russian Museum of St. Petersburg, the Tretyakov Gallery. At one time, icon-painting images were found that corresponded to the style of the famous icon painter, but it was not possible to determine the full identity.

Let's list the paintings by Andrei Rublev with the names and indication of their location:

• "Transfiguration of the Lord" (81x61 cm). Festive rite in the iconostasis of the Annunciation Cathedral.
• "Annunciation" (81x61 cm). Festive rite in the iconostasis of the Kremlin Cathedral of the Annunciation.
• "Savior the Almighty" (158x106 cm). Tretyakov Gallery.
• (142x114 cm). Tretyakov Gallery.
• "Presentation of the Lord" (81x61 cm). Annunciation Cathedral, festive rite.
• (189x89 cm). Trinity Cathedral of the Zagorsk Monastery.
• "Dmitry Solunsky" (189x80 cm). Trinity Cathedral of the Sergiev Posad Lavra.
• "The Nativity of Christ" (81x62 cm). Cathedral of the Annunciation of the Moscow Kremlin.
• "Savior in Strength" (18x16 cm). Tretyakov Gallery.
• "Entrance to Jerusalem" (80x62 cm). Festive rite in the iconostasis of the Annunciation Cathedral.
• "Ascension of the Lord" (125x92 cm). Tretyakov Gallery.
• "Saint John the Baptist" (315x105 cm). Tretyakov Gallery.
• "St. Gregory the Theologian" (314x106 cm). Cathedral of the Assumption in Vladimir.
• "Descent into Hell" (124x94 cm). Tretyakov Gallery.

Andrei Rublev's paintings in the Russian Museum

The following icons are in St. Petersburg:

• "Archangel Gabriel" (317 x 128 cm);
• "Apostle Andrew the First-Called" (313x105 cm);
• "Annunciation" (125x94 cm);
• Prelate "(313x105 cm);
• "Archangel Michael" (314x128 cm).

In 2008, the Assumption Cathedral in Vladimir (1158) celebrated its 850th anniversary, and the wall paintings of the Cathedral of the Monks Andrei Rublev and Daniel the Black (1408) are 600 years old.
White-stone Assumption Cathedral of the XII century. in Vladimir - one of the oldest Russian churches, a witness to the most important historical events, the largest grand ducal necropolis, a repository of ancient paintings, the only temple that has preserved the frescoes of the icon painter Andrei Rublev.
Here is the bell tower of the cathedral under a gloomy autumn sky:

This is a general view of the cathedral in summer:

The cathedral is a complex of buildings of different times. It was originally built in 1158-1161 during the reign of Prince Andrei Bogolyubsky on the high bank of the Klyazma in the center of the city and was conceived not only as the main temple of the Vladimir-Suzdal principality, but also as the main temple of all Russia. The chronicler reports that “God brought masters from all lands to Vladimir,” including foreign masters of white-stone technology from the Romanesque West. This was a demonstration of the refusal of Kiev aid and artistic traditions. White stone for the construction of the cathedral was brought from the Volga Bulgaria. In 1161, the walls were painted with skillful Greek isographers. On September 21, 1164, the greatest shrine of Russia, the Miraculous Icon of the Mother of God, was transferred to the cathedral, for which it, in fact, was built. Since then, the image began to be called the Vladimir Icon of the Mother of God (Andrei Bogolyubsky loved to pray in front of it. Now this Byzantine icon is in the church at the Tretyakov Gallery). After a fire in 1185 under Prince Vsevolod III, the cathedral was reconstructed. As a result of the reconstruction, by the 13th century, the cathedral became vast, five-domed, with a gilded central and silvered side domes, and its top received two tiers of zakomar. Inside its walls, vaults and pylons are covered with fresco painting.
The Assumption Cathedral has preserved fragments of frescoes by unknown masters of the mid-12th century and the creation of the genius master of Old Russian painting Andrei Rublev, who worked on the painting of the cathedral in 1408. He also painted icons for the iconostasis. In the 18th century, the Rublev iconostasis was replaced by a splendid Baroque iconostasis.
Main altar:

Now many of Rublev's icons are in the Tretyakov Gallery, and the Vladimirskaya Mother of God, by his authorship, is in the Vladimir Museum-Reserve.

Rublev's frescoes in the cathedral are not completely preserved.
Of these, the most significant is the Last Judgment composition, where the traditionally formidable scene turned into a bright holiday of the triumph of Divine justice.
A small digression. I was very little familiar with Old Russian painting before coming to Vladimir. And suddenly I really liked her - the strict Byzantine canon, calm, serious faces with sad eyes - somehow everything turned out to be very close ..

You cannot take pictures in the cathedral, so the photos are taken from the Internet.
So, "The Last Judgment". General view of the frescoes:

Apostles and Angels:

Christ in glory:

Apocalyptic beasts, not scary at all, rather funny:

"The bosom of Abraham" - Abraham, Isaac, Jacob in the "Paradise tabernacle" (postcard):

Andrei Rublev (+ c. 1430), icon painter, disciple of Theophanes the Greek, reverend.
At first he was a novice at the Monk Nikon of Radonezh, and then a monk at the Spaso-Andronikov Monastery in Moscow, where he died and was buried.
Locally revered as a saint since the 16th century, Andrei Rublev in our time has become one of the all-Russian saints: he was canonized by the Russian Orthodox Church in 1988.
Monument to Andrei Rublev not far from the cathedral (from the postcard):

And finally, a view of the cathedral at night:

The famous Russian painter Andrei Rublev died on October 17, 1428. In 1988 he was canonized as a saint by the Local Council of the Russian Orthodox Church. We decided to recall the most famous cathedrals painted by Andrei Rublev.

Cathedral of the Annunciation in the Moscow Kremlin

It is located on the Cathedral Square of the Moscow Kremlin. This is one of the oldest cathedrals in Moscow. It was founded at the end of the XIV century as the home church of a grand-ducal family. Andrei Rublev, together with Theophanes the Greek, painted icons for him in 1405. One of the most famous icons is kept here, which most experts attribute to Andrei Rublev "Annunciation". In Orthodoxy, the holiday of the Annunciation is celebrated on April 7. The icon is dedicated to one of the most important Christian holidays, which recalls the Good News brought by the Archangel Gabriel. The plot of the icon "Annunciation" is based on the central episode of the event - the dialogue between the Archangel Gabriel and the Virgin Mary. There is no crowding of figures in this icon; a golden background and bright red spots give the icon festiveness. Andrei Rublev's icon is full of hope, joy, love and philanthropy, deep inner strength and concentration, divine strength and solemnity. Andrei Rublev in his work often turned to the Byzantine and Greek styles of painting icons. In "Annunciation" he took only the best of these styles and created his own unique style, which will later be called the "Russian school of icon painting."

Assumption Cathedral in Vladimir

This is one of the few temples in which Andrei Rublev's frescoes have survived. In Vladimir Rublev worked together with the icon painter Daniel, who later became his best friend. What exactly was done by Rublev and Daniel is not known for certain. Andrei Rublev worked in this cathedral in 1408. He owns the painting of the northern and southern slopes of the central nave of the Assumption Cathedral "The Last Judgment", the frescoes on the vault of the central nave "The Angel Holding the Scroll", the painting of the zenith of the central nave arch "Symbols of the Four Kingdoms", the frescoes "Apostles with Angels", as well as frescoes of the Apostles Semyon, John, Matthew and Luke. At one time the cathedrals of Vladimir and Moscow were arguing about the ownership of the icon of Andrei Rublev "Our Lady of Vladimir". Now it is kept in the Andrei Rublev Central Museum of Old Russian Culture and Art. Luke was the first to paint this icon in 450. Then Prince Yuri Dolgoruky ordered a copy of this image for himself, but Andrei Rublev wrote his "Our Lady of Vladimir" from the first copy. This icon is one of the most famous works of Andrei Rublev.

Trinity Cathedral in the Trinity-Sergius Lavra

Andrei Rublev, together with Daniil Cherny and other masters, painted the Trinity Cathedral of the Trinity-Sergius Lavra in 1425-1427. Once kept here, Andrei Rublev's icon "The Life-Giving Trinity" attracted thousands of pilgrims from all over Russia. Now the famous "Trinity" can be viewed at the Tretyakov Gallery in Moscow. In the center of the icon are three angels, they are sitting at a table, and behind them there is a mountain, a tree and a house. The plot is taken from the Bible. Three angels mean the Holy Trinity: Father, Son and Holy Spirit. The bowl on the table is a symbol of wisdom and life. According to some versions, the icon depicts the Holy Grail. Jesus drank from it at the Last Supper, after which he was betrayed by the disciple Judas. The painting of the Trinity Cathedral has not survived, since in 1635, due to dilapidation, it was replaced with a new one. The complex preserved in the temple belongs to the Ruble era. After the completion of work in the Trinity Cathedral, Andrei Rublev and Daniel returned to Moscow to the Andronikov Monastery.