Cave Monastery near Nizhny Novgorod 1. 1871 Alexey Kondratievich Savrasov (1830-1897)
Alexey Kondratievich Savrasov – Cave Monastery near Nizhny Novgorod 1. 1871
Edit attribution
Download full size: 1000×782 px (0,1 Mb)
Painter: Alexey Kondratievich Savrasov
Album navigation:
Savrasov loved the Volga and its landscapes. At every free opportunity he tried to transfer all this beauty to the canvas. One of his largest paintings, which was devoted to the Volga landscapes, is "The Pechersky Monastery near Nizhny Novgorod". Today’s art historians unanimously say that this painting is a forerunner of landscapes dedicated to the Volga from Levitan’s brush. Looking into the picture, we see a view of a small town, most likely a provincial one.
ArtClub
Best Contemporary Atists
Description of Alexei Savrasov’s painting "The Pechersky Monastery near Nizhny Novgorod".
Savrasov loved the Volga and its landscapes. At every free opportunity he tried to transfer all this beauty to the canvas. One of his largest paintings, which was devoted to the Volga landscapes, is "The Pechersky Monastery near Nizhny Novgorod". Today’s art historians unanimously say that this painting is a forerunner of landscapes dedicated to the Volga from Levitan’s brush.
Looking into the picture, we see a view of a small town, most likely a provincial one. In front of it the water surface is spilling over. There are many white clouds in the sky, and the trees sway in the wind. In the distance you can see the roofs of houses. A white monastery can be seen on the horizon. Playing on the game of colors - in the distance the sky is much lighter, the artist managed to highlight the construction of the monastery, which is painted in light beige colors. The history of this monastery goes back to the 14th century. It is famous for housing the miraculous Kiev icon of the Mother of God, as well as a collection of rare manuscripts, old printed books and ancient monastery records. The monastery was moved to the place depicted by Savrasov in 1595 from the years that slid down into the Volga. In the original place the Pechersky Monastery stood since the beginning of the 14th century.
Initially, the first version of the already famous painting was finished by P.M. Tretyakov. Further it was finished by Savrasov himself. In 1871, he finished this version of the painting. Here the author managed to show his keen interest in ancient Russian architecture, as well as how he understood the picturesque beauty of nature.
You cannot comment Why?
Here we see a cluster of modest dwellings arranged haphazardly across a gentle slope. Their roofs are low-pitched, constructed from what appears to be wood or thatch, suggesting a rural and somewhat impoverished existence for the inhabitants. The buildings are tightly packed together, creating a visual impression of community and shared hardship. A few rudimentary fences and outbuildings punctuate the scene, reinforcing this sense of rustic simplicity.
The middle ground is characterized by a transition zone – a rise in terrain that separates the settlement from the distant monastery. This area is populated with sparse vegetation, including several bare trees whose branches reach towards the sky like skeletal fingers. The muted color palette here – browns and grays – contributes to an atmosphere of melancholy and quiet resignation.
In the background, a large religious edifice stands out against the horizon. Its central dome is clearly visible, suggesting a significant spiritual presence within this landscape. The structure appears isolated, perched on a rise overlooking the settlement below. This placement implies a hierarchical relationship between the secular and the sacred, with the monastery representing a higher moral or intellectual plane.
The artist employed a loose brushstroke throughout the painting, particularly noticeable in the rendering of the sky and water. These areas are not sharply defined but rather suggested through subtle gradations of color and tone. This technique lends an atmospheric quality to the scene, evoking a sense of vastness and timelessness. The light is diffused, lacking strong contrasts, which contributes to the overall somber mood.
Subtexts within this work seem to revolve around themes of faith, community, and the relationship between humanity and nature. The proximity of the settlement to the water suggests a dependence on natural resources for survival, while the presence of the monastery implies a search for spiritual solace or guidance in the face of hardship. The muted color palette and loose brushwork evoke a sense of quiet contemplation, inviting viewers to reflect upon the lives of those who inhabit this remote landscape. There is an underlying feeling of isolation – the settlement appears cut off from the wider world, both geographically and perhaps spiritually.