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57-Russian Icon
Saints John and Basil of Moscow
Circa1882
Oil on wood panel
12.25" x 10"
James and Tatiana Jackson Collection

aints John (left) and Basil (right) were given the distinction Khrista radiiurodivuiy (Russian) “Holy Fools for Christ’s Sake.” In icons, Holy Fools were depicted either with very simple clothing, or no clothing at all. The holy fools abandoned possessions, even the appearance of intelligence, all for Christ. The scriptural basis for their lives is I Corinthians 3:18, “Let no man deceive himself. If any among you seems to be wise in the world, let him become a fool, that he may be wise.” In this example John is shown on the left wearing tattered clothing, and holding a crutch in his left hand. On the right Basil is depicted partially clothed with hands to his chest. The background displays the Kremlin wall of Moscow. It is Basil for whom the famous Moscow Cathedral in Red Square, recognized by its multicolored swirled cupolas, is named. This icon exhibits no signs of traditional icon painting, either in medium (oil) or style (naturalistic). The reverse of this icon is inscribed “Abramtsevo 1898.” Abramtsevo, an artist colony close to the village of the same name near Moscow, is considered by most to be the birthplace of the Pan Slavic style. Founded on a country estate in 1875 by the wealthy industrialist and patron of the arts, Savva Mamontov, the colony included an amateur theater, carpentry workshop, ceramic studio, church, and painting studio. It was frequented by many of Russia’s great artists, including Victor Vasnetsov, Konstantin Stanislavsky, Vasily Polenov, Repin and Nesterov to name just a few. This example shows elements characteristic of the artist Nesterov.

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his icon is unique. It is the type of icon produced at the end of the century in the Tsar’s icon workshop. These icons are noted for their exceptional attention to detail. They are often referred to as “magnifying glass” icons, for to appreciate the minute detail one is almost required to use a magnifying glass. Each hair on each head of each figure is individually painted, often with a single-hair brush. The work is excruciating on the painter’s eyes. Consequently these icons took much longer to produce than others. This example depicts the Smolensk-Hodigitria Mother of God icon being supported by two angels at top center. Below are three saints: Samon, Guriy, and Aviv. On the left is Saint Samon. He holds a cross, a symbol of his martyrdom. In the center is Guriy depicted as an older man with a pointed beard. On the right is Aviv who is dressed like a Deacon and carries a censor. Samon and Guriy were martyred first, at Edessa in Syria. Later, Aviv, deacon at Edessa, was also martyred and was buried with Samon and Guriy (early 4th century). These three saints are often found together on icons. They were popular with married couples, because they were believed to watch over faithfulness in marriage. The left border depicts the Guardian Angel (top) and the Holy Martyr Claudius (bottom). The right border displays St. Nicholas (top), and “The Holy Righteous Glafira the Maiden” (bottom). To the side of the icon is its silver-gilt repoussé and chased riza. It is hallmarked Moscow and dated 1886, and with the mark of silversmith Ivan Gregorev.