The icon Museum of Recklinghausen, the most important Institution of its kind outside of the Orthodox Christian world, currently presents a precious gift. The düsseldorf-based retired judge of Pure Zerlin, today in Brühl alive, had since a young age, around 250 objects strong collection ostkirch of image taken of works together and you left the previous autumn in Recklinghausen. It is early icons painted in the period from the fifteenth to the seventeenth century in Byzantium, on the island of Crete, and especially in Russia. According to your inventory and restoration, you are to be admired until the end of August in the extensive reckling houses Kunsthalle.
Kerstin Holm.
editor in the features section.
F. A. Z.
The renovated, brightly lit high-rise bunker in the distance, rules effortlessly be observed, is, after all, what would of an icon exhibition to be expected. Even more impressed, as the rather small format of the image works, has placed the Museum’s Director and curator Lutz Rickelt on the first floor on a dark green back wall, develop your energy. This is particularly the case for small-scale Work such as the wonderful narrative of Russian-added icon to the seventeenth century, the pictures, as the Lord God is rising, literally, from the throne, in order to create the light, the stars, Flora, Fauna and the people, and on the seventh day in a kind of bed rest. Or the incredibly finely-drawn Russian icon of the last judgment, also of the seventeenth century, who the hell tortures explicitly as Dante describes. Crowned heads, and false prophets, you can see in Loderflammen braising, picture medallions to organize didactic and each of the vices is a physical Torture. There are also the fallen angels landed, their transformation is performed in the shadow of ghosts in their fall slot. But also, like a real angel catches a falling soul.
icons are a window into the next higher world. That’s why the Giorgio de Chirico is reminiscent ideal architecture is reproduced on the Russian Image of the Apostle Matthew from the sixteenth century, in the “reverse” perspective, the sides of the Building open to the room depth, as things open, revealed an active role of the viewer and the vanishing point behind him. The majestic bust of John the Baptist in the Golden sky room shows a winged, elongated shape with a subtle, abstracted trains. In a gold Cup of the “progenitor holding”, as in the case of the Orthodox, also known as the lamb of God boys ‘ the tiny Jesus, his message, and he ordeal anticipates. And the Moscow God’s fool Vasily (about 1469-1557), the self of the Tsar Ivan the Terrible feared as the “seer of the human heart, and thoughts”, stands in front of the stone city, naked, with a Golden Nimbus, and crossed dainty, long arms in front of his chest, but of course without the sex.
The Show is also a short course in visual theology. Among the beautiful, solemn icons, Marie copies of the strict type of the Hodegetria, or Guide, such as the mother of God of Smolensk, which is regarded as the patron Saint of Russia’s Western regions. Here is the Jesus boy raised upright in her Arm, the rights of blessing, a scroll in the Left. This type of image belongs to the mother of God of Kazan, which shows only the torso of Christ, and the head of Mary, accentuates the divine nature of Jesus. The archetype is to be found in Kazan, after Ivan the Terrible had conquered the city in 1552, and thus of the unbelievers “liberated”. That the son of God was also fully man, highlights the “tender” of the mother of God of Vladimir, the Savior clings lovingly to you. The tenderness between the copper-coloured figures, with their intricate moves is often on the icon of the sixteenth century, completely spirit. On the second floor, you can study also the construction of an iconostasis, which, from the early Christian choir barrier emerged, filling in Russian churches, the entire height and width of the altar area.
