In the Garden of Gethsemane Nikolay Ge (1831-1894)
Nikolay Ge – In the Garden of Gethsemane
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Painter: Nikolay Ge
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Nikolai Ge does not deviate from the religious theme, and paints Christ in the Garden of Gethsemane. He did this work from 1869 to 1880. He is criticized and made to believe that he is untalented, but after a while the author remakes his canvas, and then the critics are silenced. This painting is recognized as one of the great artist’s masterpieces. It took several years of rethinking and studying his work to paint it.
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Description of the painting "Christ in the Garden of Gethsemane" by Nikolai Ge
Nikolai Ge does not deviate from the religious theme, and paints Christ in the Garden of Gethsemane. He did this work from 1869 to 1880. He is criticized and made to believe that he is untalented, but after a while the author remakes his canvas, and then the critics are silenced.
This painting is recognized as one of the great artist’s masterpieces. It took several years of rethinking and studying his work to paint it. There was a daily work on himself and the suppression of unflattering exclamations against the works of the author.
Ge N. N. shows the viewer Christ, who is ready to unfold his arms. There is very little left before his crucifixion, Jesus is tired and yet believes in the power of his supreme father. In the Garden of Gethsemane he is tormented by doubts and struggles with his fears. He knows his destiny, but it is quite difficult for him to accept it to the end.
The main technique of the artist is that he paints all of his paintings without sketches and outlines. Nikolai believes that it is necessary to write with the soul, and corrections and unnecessary sketches give rise to doubt and wrong perception of form.
He imagined in his mind what Jesus looked like in the last hours before the crucifixion. On the face of the savior we see anxiety, but not despair. The protagonist of the painting appeals to his creator for understanding and to receive him into his immeasurable embrace. He asks forgiveness for failing to guide people to the path of truth.
Christ is sure that the sacrifice will be in vain, only through pain and death does true faith emerge. Speaking to his father, the hero feels anxious excitement and frantic fatigue. His robes are as disheveled as the souls of great sinners. All alone in the dark forest, he turns upward and knows that there he is heard and forgiven.
This canvas will be exhibited in private shows for a long time. Good and bad things will be said about it. Ge Nikolai will realize that this is the real success.
COMMENTS: 2 Ответы
ГЕФСИМАНСКИЙ САД
Ночь сошла духовной духотою.
Сад столь тяжело благоухал,
Что как будто смертною средою
На мгновенье бытия предстал.
И Христа молитва пламенела
Нитями незримого огня.
А учеников сморило. Тело
Слабовато. Утомленье дня.
А Христос молился…даже камни
Тут слезами изойти должны
От густейшей, тяжкой, стародавней,
Общечеловеческой вины.
Факелы потом потьму разъяли,
И Иуда с римлянами шел.
Небеса, безмолвствуя, вбирали
Смрадного предательства глагол.
И Петра Иисус остановивши,
Молвил: Я сойду во гроб, и я
Из него восстану силой высшей,
Славой высшей – инобытия.
И ко мне на суд пойдут столетья
И все люди в надлежащий час. –
Ибо я не буду безответен
К сердцу сердца каждого из вас.
Пойте Господу песнь новую; хвала Ему в собрании святых.
Да веселится Израиль о Создателе своем; сыны Сиона да радуются о Царе своем.
да хвалят имя Его с ликами, на тимпане и гуслях да поют Ему,
ибо благоволит Господь к народу Своему, прославляет смиренных спасением.
Да торжествуют святые во славе, да радуются на ложах своих.
Да будут славословия Богу в устах их, и меч обоюдоострый в руке их,
для того, чтобы совершать мщение над народами, наказание над племенами,
заключать царей их в узы и вельмож их в оковы железные,
производить над ними суд писанный.
Честь сия – всем святым Его. Аллилуия.
Псалом 149.
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The surrounding environment is rendered with an emphasis on shadow and muted tones. The trees loom heavily, their branches intertwining to create a claustrophobic atmosphere. A pale luminescence emanates from behind the figure, hinting at a celestial presence or perhaps the dawn breaking, yet it does not dispel the pervasive darkness. This interplay of light and shadow serves to heighten the emotional intensity of the scene.
The artist’s use of brushwork is notable; visible strokes contribute to a sense of immediacy and raw emotion. The texture of the foliage appears almost tangible, while the figures face, though partially obscured by shadow, reveals an expression of deep internal conflict.
Subtly, the painting explores themes of sacrifice, despair, and spiritual struggle. The isolation of the central figure underscores his burden, suggesting a moment of profound decision or acceptance of an inevitable fate. The darkness enveloping him can be interpreted as symbolic of doubt, fear, or the weight of responsibility. The faint light in the background offers a glimmer of hope or divine intervention, but it is ultimately overshadowed by the prevailing sense of melancholy and foreboding. The composition evokes a feeling of quiet contemplation, inviting viewers to consider the complexities of human suffering and faith.