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Alexander Ivanov’s 19th-century vision of the Transfiguration flattens the scene yet draws heaven and earth together in a single moment of divine glory.
Alexander Andreyevich Ivanov (1806-1858), “The Transfiguration” (photo: Public Domain)
The Feast of the Transfiguration of the Lordon Aug. 6 is a major feast of both the Catholic and Orthodox Churches and has often been depicted by both in art. In the West, the Transfiguration has been shown in various artistic styles. In the East, it has primarily been represented by icons.
One exception is the 19th-century Russian neoclassicist painter, Alexander Andreyevich Ivanov (1806-1858). He appears to have returned to the theme of the Transfiguration (Преображение) several times. (Don’t confuse him with Andrey Ivanovich Ivanov, who also painted the Transfiguration but lived about a half-century earlier than Alexander Andreyevich Ivanov.)
The key distinguishing feature of Ivanov’s sketch is the painting’s single horizontal axis: Everybody is more or less on one horizontal level. Compare that to traditional Western renditions, where the Apostles (Peter, James, John) are usually horizontally below the event involving Jesus, Moses and Elijah that is taking place above them. A Russian commentator claims Ivanov did this to emphasize the synchronous nature of the event: Everybody — Jesus, his Apostles and his heavenly guests — are all participating in this same event at the same time. Although the Gospels speak of Jesus taking his Apostles up a high mountain (traditionally Tabor), Ivanov’s landscape does not suggest that. It is rather flat.
Still, Ivanov draws distinctions between them. The three apostles appear more substantial; Jesus, Moses and Elijah are more ethereal and transparent. Still, we would not want to impugn their true humanity: As we learn from the Gospels after Jesus’ Resurrection, the transfigured/resurrected body is the same, yet different.
Continued below.
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The Feast of the Transfiguration of the Lordon Aug. 6 is a major feast of both the Catholic and Orthodox Churches and has often been depicted by both in art. In the West, the Transfiguration has been shown in various artistic styles. In the East, it has primarily been represented by icons.
One exception is the 19th-century Russian neoclassicist painter, Alexander Andreyevich Ivanov (1806-1858). He appears to have returned to the theme of the Transfiguration (Преображение) several times. (Don’t confuse him with Andrey Ivanovich Ivanov, who also painted the Transfiguration but lived about a half-century earlier than Alexander Andreyevich Ivanov.)
The key distinguishing feature of Ivanov’s sketch is the painting’s single horizontal axis: Everybody is more or less on one horizontal level. Compare that to traditional Western renditions, where the Apostles (Peter, James, John) are usually horizontally below the event involving Jesus, Moses and Elijah that is taking place above them. A Russian commentator claims Ivanov did this to emphasize the synchronous nature of the event: Everybody — Jesus, his Apostles and his heavenly guests — are all participating in this same event at the same time. Although the Gospels speak of Jesus taking his Apostles up a high mountain (traditionally Tabor), Ivanov’s landscape does not suggest that. It is rather flat.
Still, Ivanov draws distinctions between them. The three apostles appear more substantial; Jesus, Moses and Elijah are more ethereal and transparent. Still, we would not want to impugn their true humanity: As we learn from the Gospels after Jesus’ Resurrection, the transfigured/resurrected body is the same, yet different.
Continued below.
Transfiguration Reimagined: A Flat Canvas That Reaches Heaven
Alexander Ivanov’s 19th-century vision of the Transfiguration flattens the scene yet draws heaven and earth together in a single moment of divine glory.
