Andrei Rublev [SEP] canonization status
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Andrei Rublev


1551) promulgated Rublev's icon style as a model for church painting. Since 1959 the Andrei Rublev Museum at the Andronikov Monastery has displayed his and related art. The Russian Orthodox Church canonized Rublev as a saint in 1988, celebrating his feast day on 29 January and/or on 4 July. The liturgical calendar of the Episcopal Church in the United States of America remembers Rublev on January 29. In 1966, Andrei Tarkovsky made a film "Andrei Rublev", loosely based on the artist's life. This became the first (
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Trinity (Andrei Rublev)


of some "Trinity" icon which had been created by Andrei Rublev and which, in their opinion, corresponded with every church canon and could be taken as a model example. The next known source that mentions "The Trinity" is "The Legend of the Saint Icon Painters" () compiled at the end of 17th century—the beginning of the 18th century. It contains a lot of semi-legendary stories, including a mention that Nikon of Radonezh, the pupil of Sergius of Radonezh, asked Andrei Rublev "
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Omsk State Library


statues of the outstanding figures of Russia that personify a thousand-year history of the nation: the founder of Russian statehood Yaroslav the Wise, the leader spiritual renewal of Rus Sergius of Radonezh, the symbol of Old Russian art Andrei Rublev; outstanding representatives of Russian science, art, technological advances – N.M. Karamzin, M.V. Lomonosov, M.N. Glinka, K.E. Tsiolkovsky. The image of A.S. Pushkin, whose name the library bears, has become the central figure of this sculptural pantheon. The statues of Alexander Pushkin and Andrei Rublev were
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Andrei Rublev (film)


on "Andrei Rublev" centered on the sociopolitical and historical, and not the artistic aspects of the film. According to Tarkovsky, the original idea for a film about the life of Andrei Rublev was due to the film actor Vasily Livanov. Livanov proposed to write a screenplay together with Tarkovsky and Konchalovsky while they were strolling through a forest on the outskirts of Moscow. He also mentioned that he would love to play Andrei Rublev. Tarkovsky did not intend the film to be a historical or a biographical film about Andrei Rublev.
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Andrei Rublev (film)


Instead, he was motivated by the idea of showing the connection between a creative character's personality and the times through which he lives. He wanted to show an artist's maturing and the development of his talent. He chose Andrei Rublev for his importance in the history of Russian culture. Tarkovsky cast Anatoli Solonitsyn for the role of Andrei Rublev. At this time Solonitsyn was an unknown actor at a theater in Sverdlovsk. According to Tarkovsky everybody had a different image of the historical figure of Andrei Rublev, thus casting an unknown
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Andrei Rublev (film)


Andrei Rublev (Russian: Андрей Рублёв) is a 1969 Soviet biographical historical drama film directed by Andrei Tarkovsky and co-written with Andrei Konchalovsky. The film was remade and re-edited from the 1966 film titled "The Passion According to Andrei" by Tarkovsky which was censored during the first decade of the Brezhnev era in the Soviet Union. The film is loosely based on the life of Andrei Rublev, the 15th-century Russian icon painter. The film features Anatoly Solonitsyn, Nikolai Grinko, Ivan Lapikov, Nikolai Sergeyev
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Trinity (Andrei Rublev)


Church laws and regulations made by the Stoglavy Synod. Among other things, "The Book" stated the Synod's decisions that had been made about the iconography of the Holy Trinity, in particular the details that were considered canonically necessary for such icons, such as crosses and halos. ... the icon painter [has] to paint icons from the ancient examples, as did the Greek icon painters, and as did Rublev and other predecessors...() It's evident from this text that participants of the Stoglavy Synod were aware
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Andrei Tarkovsky


In 1965, he directed the film "Andrei Rublev" about the life of Andrei Rublev, the fifteenth-century Russian icon painter. "Andrei Rublev" was not, except for a single screening in Moscow in 1966, immediately released after completion due to problems with Soviet authorities. Tarkovsky had to cut the film several times, resulting in several different versions of varying lengths. The film was widely released in the Soviet Union in a cut version in 1971. He divorced his wife, Irma Raush, in June 1970.
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Andrey Rublev (tennis)


-6 6-4 4-6 1-6. Rublev opened 2019 by making the round of sixteen in Doha at a tournament in which he had been the runner-up in the previous year. This loss came at the hand of the fifth seeded Nikoloz Basilashvili who defeated Rublev 3-6, 4-6 in only 61 minutes. Next in the first Grand Slam tournament, the 2019 Australian Open, Rublev lost in four sets in the first round to American Mackenzie McDonald. Andrey Rublev is an offensive baseliner
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Andrei Rublev (film)


icon by Andrei Rublev being placed in the main character's room. It is next referenced by having a poster of the film being hung on a wall in "The Mirror", made in 1975. In 2010, "Andrei Rublev" was honored when it came equal second in a U.K. newspaper series of the "Greatest Films of All Time" as voted by critics from "The Guardian" and "The Observer". Also in 2010, the Toronto International Film Festival released its "Essential 100" list of films
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Old Katholikon of the Trinity Lavra


's history started with the construction of this cathedral. The ancient wall painting, created by the famous painters Andrei Rublev and Daniel Chorny in 1425—1427, is lost. The remaining paintings were created in 1635. They reproduces the ancient iconography of the original. The main treasure of the Cathedral is a five-tier iconostasis. Most of its icons were painted in the first third of the 15th century by Andrei Rublev and his colleagues. Both existing copies of Andrei Rublev's "Trinity" are kept in the iconostasis of the Cathedral
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Andrei Rublev (film)


, Nikolai Burlyayev and Tarkovsky's wife Irma Raush. Savva Yamshchikov, a famous Russian restorer and art historian, was a scientific consultant of the film. "Andrei Rublev" is set against the background of 15th-century Russia. Although the film is only loosely based on the life of Andrei Rublev, it seeks to depict a realistic portrait of medieval Russia. Tarkovsky sought to create a film that shows the artist as "a world-historic figure" and "Christianity as an axiom of Russia’s historical identity" during
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Andrei Rublev (film)


Communist Party wrote in its review that "the film's ideological erroneousness is not open to doubt." "Andrei Rublev" was accused of being "anti-historical" in its failure to portray the context of its hero's life: the rapid development of large cities and the struggle against the Mongols. In February 1967, Tarkovsky and Alexei Romanov complained that the film was not yet approved for a wide release but refused to cut further scenes from the film. "Andrei Rublev" was invited to the Cannes Film Festival
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Andrei Rublev (film)


color TV. Another difference from the original version of the film was the inclusion of a short explanatory note at the beginning of the film, detailing the life of Andrei Rublev and the historical background. When the film was released in the U.S. and other countries in 1973, the distributor Columbia Pictures cut it by an additional 20 minutes, making the film an incoherent mess in the eyes of many critics and leading to unfavorable reviews. In the mid-1990s, Criterion Collection released the first-cut 205-minute version of "Andrei Rublev"
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Mirror (1975 film)


to finally title the film "Mirror". (The final film does indeed feature several mirrors with some scenes shot in reflection.) A poster of Tarkovsky's 1966 film "Andrei Rublev" is seen on a wall. "Mirror" thus forms the third part, together with Tarkovsky's previous film "Solaris" which was made in 1972 and which references Andrei Rublev by having an icon made by him being placed in the main character's room, in a series of three films by Tarkovsky referencing Andrei Rublev. Initially
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Andrei Rublev


Andrei Rublev (, also transliterated as "Andrey Rublyov"); Born in the 1360s, he died between 1427-1430 in Moscow and is considered to be one of the greatest medieval Russian painters of Orthodox icons and frescos. Little information survives about his life; even where he was born is unknown. He probably lived in the Trinity-St. Sergius Lavra, near Moscow, under Nikon of Radonezh, who became hegumen after the death of Sergii Radonezhsky in 1392. The first mention of Rublev is in 1405,
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Andrei Rublev (film)


, the film was shown on Soviet television in a 101-minute version that Tarkovsky did not authorize. Notable scenes that were cut from this version were the raid of the Tartars and the scene showing naked pagans. The epilogue showing details of Andrei Rublev's icons was in black and white as the Soviet Union had not yet fully transitioned to color TV. In 1987, when "Andrei Rublev" was once again shown on Soviet TV, the epilogue was once again in black and white, despite the Soviet Union having completely transitioned to
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Andrey Rublev (tennis)


the final. He won a bronze medal in singles and a silver in doubles at the 2014 Summer Youth Olympics in Nanjing. Rublev was born in Moscow to Andrey Rublev Sr., a former professional boxer turned restaurateur, and tennis coach Marina Marenko, who worked with tennis players such as Anna Kournikova. His coach, however, became Belarusian Sergey Tarasevich. His heroes include Roger Federer, Rafael Nadal, Grigor Dimitrov and Milos Raonic, whose matches Rublev regularly studies; for example, Raonic's serve, Nadal's foot play
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Andrey Rublev (tennis)


and physique, and Federer's fly play and forehand. Outside tennis, Rublev practices boxing and basketball, particularly interested in Mike Tyson. His favorite bands include Metallica, AC/DC and Nautilus Pompilius, and he likes action-packed films with fighting. Andrey Rublev debuted in Luxembourg at age 13, getting his first win in his second competition in Phoenix. In the following years, Rublev could climb the third rounds in singles and in December 2012 he won one of the top junior competitions, the Orange Bowl. Next
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1988 Local Council of the Russian Orthodox Church


the rite of canonization. Blessed Prince Dmitriy Donskoy was a local saint for centuries, some frescoes of the 16th century it was written in a nimbus - Cathedral approved what has long been the practice of the church. So with the other saints canonized by the council. Local veneration of St. Andrei Rublev, known since the late 15th century. St. Maximus the Greek was locally revered since the end of the 16th century. Glorification of Macarius of Moscow, and was partly a nod in the direction of Old Believers. Xenia of
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Andrei Rublev (film)


at first, but then accepts the offer on the condition that Theophanes will personally come to the Andronikov Monastery and invite Kirill to work with him in front of all the fraternity and Andrei Rublev, who according to Theophanes' comments has some fame as an icon painter in the outside world. A short while later at the Andronikov Monastery, a messenger arrives from Moscow to ask Andrei for his assistance in decorating the Annunciation Cathedral with Theophanes the Greek. Both Daniil and Kirill are agitated by the recognition that Andrei receives. Daniil refuses
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Andrei Rublev (film)


Prix. Nevertheless, it won the prize of the international film critics, FIPRESCI. In 1971 "Andrei Rublev" won the Critics Award of the French Syndicate of Cinema Critics, and in 1973 the Jussi Award for best foreign film. J. Hoberman, a film critic for "The Village Voice", summarized the early reception of the film in the film notes included in the Criterion DVD release of the film stating: "Two years later (in 1973), "Rublev" surface at the New York Film Festival,
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Trinity (Andrei Rublev)


The Trinity (, also called The Hospitality of Abraham) is an icon created by Russian painter Andrei Rublev in the 15th century. It is his most famous work and the most famous of all Russian icons, and it is regarded as one of the highest achievements of Russian art. Scholars believe that it is one of only two works of art (the other being the Dormition Cathedral frescoes in Vladimir) that can be attributed to Rublev with any sort of certainty. "The Trinity" depicts the three angels who visited Abraham
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Trinity (Andrei Rublev)


Christian Trinity, "one God in three persons" – the Father, the Son (Jesus Christ), and the Holy Spirit. Art critics believe that Andrei Rublev's icon was created in accordance with this concept. In his effort to uncover the doctrine of the Trinity, Rublev abandoned most of the traditional plot elements which were typically included in the paintings of the "Abraham and Sarah's Hospitality" story. He did not paint Abraham, Sarah, the scene of calf's slaughter, nor did he give any details
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Vladimir Plugin


Vladimir Alexandrovich Plugin (; 30 July 1937 – 6 December 2003) was a Russian historian and art historian, a university professor. He worked in the fields of the history of Russia, source criticism, art history, social and political history, war history, history of the army and navy. He specialized in Old Russian Chronicles, Russian icons (specifically Andrei Rublev's). He penned Rublev's biography titled "The Master of the Holy Trinity: Andrei Rublev's Works and Days" (). Plugin studied at the
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Solaris (1972 film)


kneeling before his father and the father embracing him alludes to "The Return of the Prodigal Son" (1669) by Rembrandt. The references and allusions are Tarkovsky's efforts to give the young art of cinema historical perspective, to evoke the viewer's feeling that cinema is a mature art. The film references Tarkovsky's 1966 film "Andrei Rublev" by having an icon by Andrei Rublev being placed in Kelvin's room. It is the second of a series of three films referencing Rublev, the last being Tarkovsky's next
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Andrei Rublev (film)


Andrei sees Durochka, the boy, and the horse walk off across a muddy field in the distance. The "epilogue" is the only part of the film in colour and shows time-aged, but still vibrant, details of several of Andrei Rublev's actual icons. The icons are shown in the following order: "Enthroned Christ", "Twelve Apostles", "The Annunciation", "Twelve Apostles", "Jesus entering Jerusalem", "Birth of Christ", "Enthroned Christ", "
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Andrey Rublev (tennis)


Andrey Andreyevich Rublev (, ; born 20 October 1997) is a Russian professional tennis player. He, , reached a career-high singles ranking of No. 31. He has achieved victories over players including Dominic Thiem, David Ferrer, Grigor Dimitrov, Jo-Wilfried Tsonga, and David Goffin. He won the doubles title at the 2015 Kremlin Cup in Moscow with Dmitry Tursunov, and the singles title at the 2017 Croatia Open in Umag. Rublev won the 2014 French Open junior singles competition, defeating Jaume Munar in
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Andrei Rublev (film)


painter, Andrei Rublev. The contract was signed in 1962 and the first treatment was approved in December 1963. Tarkovsky and his co-screenwriter Andrei Konchalovsky worked for more than two years on the script, studying medieval writings and chronicles and books on medieval history and art. In April 1964 the script was approved and Tarkovsky began working on the film. At the same time the script was published in the influential film magazine "Iskusstvo Kino", and was widely discussed among historians, film critics and ordinary readers. The discussion
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Trinity (Andrei Rublev)


for the Lavra. Rublev was first called the author of a "Trinity" icon in the middle of the 16th-century text "The Book of One Hundred Chapters". Scholars can be quite certain that by the mid-16th century, Rublev was considered to be the author of an icon with such name. The Russian ethnographer Ivan Snegiryov made a suggestion that "The Trinity" kept in the Trinity Lavra of St. Sergius was in fact the icon of Rublev, who then was one of the few Russian icon painters known by
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Andrey Rublev (tennis)


being knocked down by Frenchmen and future winners Benjamin Bonzi / Quentin Halys. Shortly before Wimbledon, Rublev captured the cup at the Nike Junior International Roehampton in Roehampton, Great Britain. In the Wimbledon Championships, Rublev reached the third round before being beaten by 1842nd-ranked Dutch van Rijthoven in three tight sets. In doubles, Rublev and Kozlov lost to Brazilians Orlando Luz and Marcelo Zormann in three sets, attaining his first junior Grand Slam final in doubles. Rublev took a break before competing at the 2014 Summer Youth Olympics,
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The Sacrifice


", "Values", and "Art", to recognize the centennial of cinema. "The Sacrifice" was included under the first category, as well as Tarkovsky's "Andrei Rublev". However, critics have commented on "The Sacrifice"'s religious ambiguities. Dennis Lim points out that it is "not exactly a simple allegory of Christian atonement and self-sacrifice". Catholic film critic Steven Greydanus contrasts the film's "dialectic of Christian and pagan ideas" with "Andrei Rublev", writing that
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Andrei Rublev (film)


die, dissolve himself in his work, give himself entirely." The color sequence of Rublev's icons begins with showing only selected details, climaxing in Rublev's most famous icon, "The Trinity". One reason for including this color final was, according to Tarkovsky, to give the viewer some rest and to allow him to detach himself from Rublev's life and to reflect. The film finally ends with the image of horses at river in the rain. To Tarkovsky horses symbolized life, and including horses in the
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Trinity (Andrei Rublev)


become a source for a large number of copies. However it had a certain reputation due to the fact that it was believed to be the very icon from "The Book of One Hundred Chapters". As Andrei Rublev's name appeared in "The Book" as well, he was held in high regard among the Christian believers. A lot of different icons and frescoes were attributed to him, e.g. the frescoes in the Church of the Dormition in Gorodok. The cleaning of "The Trinity" could theoretically reveal a perfect
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Andrei Rublev


from the scene, and through a subtle use of composition and symbolism changed the subject to focus on the Mystery of the Trinity. In Rublev's art two traditions are combined: the highest asceticism and the classic harmony of Byzantine mannerism. The characters of his paintings are always peaceful and calm. After some time his art came to be perceived as the ideal of Eastern Church painting and of Orthodox iconography. Rublev died at Andronikov Monastery between 1427-1430. Rublev's work influenced many artists including Dionisy. The Stoglavi Sobor (
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Trinity (Andrei Rublev)


On 17 May 1945 "The Trinity" was returned to the Tretyakov Gallery. In May 2007 "The Trinity" was is taken out for the "Europe-Russia-Europe" exhibition, but a piece of the board was dislocated and had to be fixed and reinforced. Since 1997 the icon is moved every Pentecost from Andrei Rublev's room to the Tretyakov Gallery's church. It is placed under a special show-window with perfect temperature and humidity conditions. The first President of the Russian Federation Boris Yeltsin had an
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Andrei Rublev


and 1427. After Daniil's death, Andrei came to Moscow's Andronikov Monastery where he painted his last work, the frescoes of the Saviour Cathedral. He is also believed to have painted at least one of the miniatures in the Khitrovo Gospels. The only work authenticated as entirely his is the icon of the Trinity (c. 1410, currently in the Tretyakov Gallery, Moscow). It is based on an earlier icon known as the "Hospitality of Abraham" (illustrating ). Rublev removed the figures of Abraham and Sarah
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Andrei Rublev (film)


final scene (and in many other scenes in the film) meant that life was the source of all of Rublev's art. The first cut of the film was known as "The Passion According to Andrei" (, "Strasty po Andryeyo"), though this title was not used for the released version of the film. The first cut of the film was over 3 hours and 15 minutes in length prior to being edited down to its released length. The first cut was completed in July 1966. Goskino demanded
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Andronikov Monastery


, there were seventeen monks and one novice in the monastery. After the Russian Revolution of 1917, the Andronikov Monastery was closed. One of the first Cheka's penal colonies (mostly, for foreign nationals) was located within the walls of the monastery. In 1928, the Soviets destroyed the necropolis of the Andronikov Monastery, where Andrei Rublev and soldiers of the Great Northern War and the Patriotic War had been interred. In 1947, however, Andronikov Monastery was declared a national monument. In 1985, the Andrei Rublev Central
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Trinity (Andrei Rublev)


, which still stands today. It is believed that Nikon, who became the prior after the death of Sergius of Radonezh, sensed his forthcoming death, and invited Andrei Rublev and Daniel Chorny to finish the decoration of the recently build cathedral. The icon painters were supposed to make the frescos and create the many-tier iconostasis. But neither "Life of St. Sergius", the hagiographical account of his life, nor "Life of St. Nikon" mention "The Trinity" icon, it is only written the decoration of
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Trinity (Andrei Rublev)


transformation of said buildings and collections into museums". "The Trinity" ended up in the Zagorsk National Park & Museum of History and Arts. In 1929 the icon arrived to the Tretyakov Gallery in Moscow, while the copy made by Nikolai Baranov replaced the original in the iconostasis. The icon is kept in Andrei Rublev's room of the Tretyakov Gallery. It left the Gallery only twice. First it happened in 1941 during World War II evacuation. It was temporarily moved to the Novosibirsk Opera and Ballet Theatre in Novosibirsk.
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Andrei Tarkovsky


focus his work on exploring the dramatic unities proposed by Aristotle: a concentrated action, happening in one place, within the span of a single day. Several of Tarkovsky's films have color or black-and-white sequences. This first occurs in the otherwise monochrome "Andrei Rublev", which features a color epilogue of Rublev's authentic religious icon paintings. All of his films afterwards contain monochrome, and in "Stalker's" case sepia sequences, while otherwise being in color. In 1966, in an interview conducted
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Andrei Rublev (film)


influential personalities in support of the film's release, and Larisa Tarkovskaya even went with the film to Alexei Kosygin, then the Premier of the Soviet Union. Despite Tarkovsky's refusal to make further cuts, "Andrei Rublev" finally was released on December 24, 1971 in the 186-minute 1966 version. The film was released in 277 prints and sold 2.98 million tickets. When the film was released, Tarkovsky remarked in his diary that in the entire city not a single poster for the film could be seen but that all theaters
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Andrei Rublev (film)


Blu-ray version of the film was released in the United Kingdom using the 186-minute version preferred by Tarkovsky. In June 2018, Criterion announced that it would release both the first and final cut of the film on DVD and Blu-ray in September 2018. "Andrei Rublev" won several awards. In 1969, the film was screened at the Cannes Film Festival. Due to pressure by Soviet officials, the film could only be shown out of competition, and was thus not eligible for the Palme d'Or or the Grand
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Andrey Rublev (tennis)


Aktobe, respectively. In the latter he beat Belarusian Yaraslau Shyla to reach his second win. Rublev succeeded finals of the Czech Republic F1 Futures in doubles, partnering with Pole Andriej Kapaś, and continued his success in the Russia F3 Futures in Moscow, championing in the singles and running-up in the doubles competitions. In 2015, Rublev entered the first ATP tournament in Delray Beach, where he reached the second round. There he was knocked down by Steve Johnson in two straight sets. Rublev made his debut at the
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Andrey Rublev (tennis)


the 2017 ATP World Tour, reaching the 2nd Round of the Australian Open after qualification. On the way he beat 60th-ranked Yen-Hsun Lu, but then lost to Andy Murray. Rublev was successful in some Challenger tournaments. He reached the 2017 Open de Rennes Challenger final, losing there to Belarussian Uladzimir Ignatik. Again in Quimper, France, Rublev now reached the semifinals, losing to Peter Gojowczyk. Rublev also reached the semifinals in Irving, Texas. The Russian made some success on grass court tournaments. He
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Kasia Glowicka


John Cage’s birth, with 12 other composers who were asked, "to reflect on what Cage means in their creative life." Glowicka held an Artistic Residency at the Studio for Electro Instrumental Music (STEIM) in Amsterdam, composing and performing pieces that included traditional instruments, live video and electronics. In 2009 she presented the piece "Quasi Rublev", inspired by Andrei Tarkovsky's 1966 film "Andrei Rublev", with Goska Isphording playing harpsichord and Roos Theuws performing live visuals. Together with video artist Emmanuel Flores,
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Solaris (1972 film)


the Russian actor Anatoly Solonitsyn as Sartorius, the Ukrainian actor Nikolai Grinko as Kelvin's father, and Olga Barnet as Kelvin's mother. The director had already worked with Solonitsyn, who had played Andrei Rublev, and with Grinko, who appeared in "Andrei Rublev" and "Ivan's Childhood" (1962). Tarkovsky thought Solonitsyn and Grinko would need extra directorial assistance. After filming was almost completed, Tarkovsky rated actors and performances thus: Bondarchuk, Järvet, Solonitsyn, Banionis, Dvorzhetsky, and Grinko; he also
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Andrei Rublev (film)


all time, and has often been ranked highly in both the "Sight & Sound" critics' and directors' polls. "Andrei Rublev" is divided into eight episodes, with a prologue and an epilogue only loosely related to the main film. The main film charts the life of the great icon painter through seven episodes which either parallel his life or represent episodic transitions in his life. The background is 15th century Russia, a turbulent period characterized by fighting between rival princes and the Tatar invasions. The film's "
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Andrei Rublev (film)


was enthusiastic, and the film won the FIPRESCI prize. Soviet officials tried to prevent the official release of the film in France and other countries, but were not successful as the French distributor had legally acquired the rights in 1969. In the Soviet Union, influential admirers of Tarkovsky's work—including the film director Grigori Kozintsev, the composer Dmitri Shostakovich and Yevgeny Surkov, the editor of "Iskusstvo Kino"—began pressuring for the release of "Andrei Rublev". Tarkovsky and his second wife, Larisa Tarkovskaya, wrote letters to other
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Andrey Rublev (tennis)


Nieminen at Geneva Open, 17-year-old Rublev repeated Nadal's success in winning at least once on five ATP tournaments in one season as a teenager who is under 18 years old. Previously, Nadal could manage that in 2004. Rublev was called for the Davis Cup team in the 2015 Davis Cup Europea/Africa Zone Group I match against Spain, held in Vladivostok. After losing his first match against Tommy Robredo, Rublev rallied to win his second match against Pablo Andújar in sets in the decisive fifth rubber to complete a
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Andrei Rublev (film)


film was released in the Soviet Union. The film was further cut for commercial reasons upon its U.S. release through Columbia Pictures in 1973. As a result, several versions of the film exist. Although these issues with censorship obscured and truncated the film for many years following its release, the film was soon recognized by many western critics and film directors as a highly original and accomplished work. Even more since being restored to its original version, "Andrei Rublev" has come to be regarded as one of the greatest films of
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Andrei Rublev (film)


actor who would not remind viewers of other roles was his favoured approach. Solonitsyn, who had read the film script in the film magazine "Iskusstvo Kino", was very enthusiastic about the role, traveled to Moscow at his own expense to meet Tarkovsky and even declared that no one could play this role better than him. Tarkovsky felt the same, saying that "with Solonitsyn I simply got lucky". For the role of Andrei Rublev he required "a face with great expressive power in which one could see a demoniacal
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Andrei Rublev (film)


episode five, and Boriska's recollection of the bellfounding in episode seven. All in all, I have counted thirty-six shots which were completely deleted in the 185-minute version of Andrei Rublev, and about eighty-five which were considerably abbreviated, including nine very long takes which are split each into two or more parts. The total number of shots went from 403 to 390, with the average shot length dropping from 31" to 28". The only sequence which remained inviolable was the Epilogue in colour." Several
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Trinity (Andrei Rublev)


few known facts. Even the authorship of Rublev has been questioned. Various authors suggest different dates, such as 1408-1425, 1422-1423 or 1420-1427. The official version states 1411 or 1425-27. "The Trinity" is currently held in the Tretyakov Gallery in Moscow. "The Trinity" was painted on a vertically aligned board. It depicts three angels sitting at a table. On the table, there is a cup containing the head of a calf. In the background, Rublev painted a
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Andrei Rublev (film)


which disrupted shooting from November 1965 until April 1966. The film was shot on location, on the Nerl River and the historical places of Vladimir/Suzdal, Pskov, Izborsk and Pechory. Tarkovsky chose to shoot the main film in black and white and the epilogue, showing some of Rublev's icons, in color. In an interview he motivated his choice with the claim that in everyday life one does not consciously notice colors. Consequently, Rublev's life is in black and white, whereas his art is in color.
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Andrei Rublev (film)


were sold out. Despite the cuts having originated with Goskino's demands, Tarkovsky ultimately endorsed the 186-minute cut the film over the original 205-minute version: Nobody has ever cut anything from Andrei Rublev. Nobody except me. I made some cuts myself. In the first version the film was 3 hours 20 minutes long. In the second — 3 hours 15 minutes. I shortened the final version to 3 hours 6 minutes. I am convinced the latest version is the best, the most successful. And I only cut certain overly
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Andrey Rublev (tennis)


got into the quarterfinals of the Halle Open, losing there to his compatriot Karen Khachanov in a tight match. In the next tournament, the Wimbledon Championships, Rublev could reach the 2nd Round, losing there to Albert Ramos-Vinolas. Despite losing in the qualification round, Rublev as lucky loser reached his first ATP singles final at the Umag Open, beating in the quarterfinals defending champion Fabio Fognini. In the final he beat Paolo Lorenzi in straight sets to win his first ATP singles title. It was the seventh time that
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Andrey Rublev (tennis)


the Next Generation ATP Finals in Milan and made it into the finals, but lost to Hyeon Chung. Rublev commenced the 2018 season in Doha, where he went to the final, eventually losing in straight sets to Gaël Monfils. Next, the Russian reached the Round of 32 of the Australian Open, where he was seeded for the first time in a Grand Slam event at number 30, but lost to third seed Grigor Dimitrov in four sets. Rublev continued his run of good form by reaching back-to-back
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Andrey Rublev (tennis)


where he played in all three events as first-seeded. In singles, he lost to Kamil Majchrzak in three sets, but received a bronze medal for beating Jumpei Yamasaki. Partnering with fellow Karen Khachanov in doubles, Rublev reached the finals, where they again lost to Brazilians Luz and Zormann. He and his mixed partner Darya Kasatkina only reached the second round, where they were defeated by silver medalists Ye Qiuyu and Yamazaki. In April 2015, Rublev finished his junior career by winning the inaugural ITF Junior Masters in Chengdu
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Andrey Rublev (tennis)


0–2 comeback for Russia against five-time champion Spain. This secured team Russia a place in the World Group Play-offs. Russia played in the World Group Play-offs last time in 2012, losing then to Brazil 0–5. He made his grandslam debut at 2015 US Open as qualifier. Rublev won his first ATP title at the 2015 Kremlin Cup in doubles, partnering with comeback Dmitry Tursunov. Rublev started the 2016 ATP World Tour at the Aircel Chennai Open, losing to Stan Wawrinka in the second round. He
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Andrey Rublev (tennis)


only reached first and second rounds of ATP 250 and Challenger tournaments. In March this poor performance led to his decidion to part ways with his coach Sergey Tarasevich. Immediately after that, on 6 March 2016 he made a turn by winning his first Challenger in singles, defeating Paul-Henri Mathieu in Quimper, France. As a result, Rublev jumped 47 positions from 208th to 161st ranking position, a new career-high. In April he joined 4Slam Academy in Barcelona, run by Galo Blanco. Rublev started well in
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Andrey Rublev (tennis)


a lucky loser would win a tournament, the last tennis player doing so at that time was Rajeev Ram in 2009 Hall of Fame Tennis Championships. Rublev went on to compete at the 2017 US Open as a direct entrant. He grabbed his first win against top 10 player, beating No.9 Grigor Dimitrov in straight sets and made through to the quarterfinals, beating David Goffin in the fourth round in straight sets. Rublev lost in straight sets to ATP world #1 and eventual champion Rafael Nadal in the quarterfinals. He qualified for
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Andrei Rublev (film)


pagans, who are conducting a torch lit ritual for Midsummer. Andrei is intrigued and excited by the behaviour of the pagans but is caught spying on a couple making love, is tied to the crossbeam of a hut in a mockery of Jesus' crucifixion and is threatened with drowning in the morning. A woman named Marfa (Nelly Snegina), dressed only in a fur coat approaches Andrei. After explaining that her people are persecuted for their beliefs she drops her coat, kisses Andrei and then unties him. Andrei runs away
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Andrei Rublev (film)


crowds who have come to watch the bell being raised up and he threatens to kill Andrei, whom he mistakes for the man who denounced him years earlier and therefore led to his arrest, torture and prison sentence. Kirill intervenes on behalf of the silent Andrei and later privately confesses that his sinful envy of Andrei's talent dissipated once he heard Andrei had abandoned painting and that it was he, Kirill, who had denounced the skomorokh. Kirill then criticises Andrei for allowing his God-given talent for painting to go to waste
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Trinity (Andrei Rublev)


on the meal. The angels were depicted as talking, not eating. "The gestures of angels, smooth and restrained, demonstrate the sublime nature of their conversation". The silent communion of the three angels is the centre of the composition. In Rublev's icon, the form that most clearly represents the idea of the consubstantiality of the Trinity's three hypostases is a circle. It is the foundation of the composition. At the same time, the angels are not inserted into the circle, but create it instead,
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Andrei Konchalovsky


Grand Duchy of Lithuania. He changed his first name to Andrei and took his maternal grandfather's surname (Konchalovsky) as his stage name. He is the brother of filmmaker Nikita Mikhalkov and the son of author Sergei Mikhalkov. He studied for ten years at the Moscow Conservatory, preparing for a pianist's career. In 1960, however, he met Andrei Tarkovsky and co-scripted his movie "Andrei Rublev" (1966). His first full-length feature, "The First Teacher" (1964), was
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Andrei Rublev (film)


, and is lost in the dense woods, scratching his face. The next morning Andrei returns to his group, including Daniil, and as they leave on their boats a group of soldiers appear on the riverbank chasing after several of the pagans including Marfa. Her partner is captured but she makes her naked escape by swimming into the river past Andrei's boat. He and his fellow monks look away in shame. Andrei and Daniil are working on the decoration of a church in Vladimir. Although they have been there for several
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Andrei Rublev (film)


to accompany Andrei and reproaches him for accepting Theophanes’ offer without considering his fellows, but soon repents of his temper and tearfully wishes Andrei well when the younger monk comes to say goodbye to his friend. Kirill is jealous of Andrei and in a fit of anger, decides to leave the monastery for the secular world, throwing accusations of greed in the face of his fellow monks, who also dismiss him. Kirill stumbles out of the monastery into the snowy countryside and is pursued by his dog, but Kirill savagely beats it
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Andrei Rublev (film)


how he can be a painter and maintain such views. This section contains a Passion Play, or a reenactment of Christ's Crucifixion, on a snow-covered hillside which plays out as Andrei recounts the story and expresses his belief that the men who crucified Jesus were obeying God's will and loved him. Camping for the night on a riverbank, Andrei and Foma are collecting firewood for their group when Andrei hears the distant sounds of celebration further upstream in the woods. Going to investigate he encounters a large group of naked
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Prokhor of Gorodets


Prokhor of Gorodets ("Прохор", "Прохор с Городца" in Russian) was a medieval Russian icon-painter, thought to have been the teacher of Andrei Rublev. Together with Rublev and Theophanes the Greek, Prokhor painted a number of frescos in the old Cathedral of the Annunciation in the Moscow Kremlin in 1405 (the cathedral was rebuilt in 1416). Russian historians attribute a number of icons in the iconostasis of this cathedral to Prokhor, including "Crucifixion", "Ascension" and "Assumption", which
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Andrei Rublev (film)


with his walking stick and leaves it for dead. Andrei leaves for Moscow with his young apprentice Foma (Mikhail Kononov). While walking in the woods, Andrei and Foma have a conversation about Foma's faults, especially lying. Foma confesses to taking honey from the bee garden, after Andrei notices his cassock is sticky, and smears mud on his face to soothe a bee sting. While Foma has talent as an artist, he is less concerned with the deeper meaning of his work and more concerned with practical aspects of
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Andrei Rublev (film)


and burn all the painted wooden altarpieces. Andrei saves Durochka from being raped by killing a Russian soldier with an axe. The Bishop's messenger is cruelly tortured to make him reveal the location of the city's gold, which he refuses to do. After being repeatedly burned, he has liquid metal from a melted crucifix poured into his mouth and is dragged away tied to a horse. In the aftermath only Andrei and Durochka are left alive in the church. Andrei imagines a conversation with the dead Theophanes the Greek, lamenting
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Trinity (Andrei Rublev)


at the Oak of Mamre (), but the painting is full of symbolism and is interpreted as an icon of the Holy Trinity. At the time of Rublev, the Holy Trinity was the embodiment of spiritual unity, peace, harmony, mutual love and humility. The icon was commissioned to honour Saint Sergius of Radonezh of the Trinity Lavra of St. Sergius, near Moscow, now in the town of Sergiyev Posad. Little is known about "The Trinity"'s history, and art historians make suggestions based on only the
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Trinity (Andrei Rublev)


and the mountain. The starting point of the divine administration is the creative Will of God, therefore Rublev places the Abraham's house above the corresponding angel's head. The Oak of Mamre can be interpreted as the tree of life, and it serves as a reminder of the Jesus's death on the cross and his subsequent resurrection, which opened the way to eternal life. The Oak is located in the centre, above the angel who symbolizes Jesus. Finally, the mountain is a symbol of the spiritual ascent, which
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Trinity (Andrei Rublev)


regardless of their religion. Outstanding works of art are supposed to be kept not inside churches for a narrow circle of parishioners to see, but in public museums." The icon eventually stayed in the museum. The present condition of "The Trinity" differs from its original condition. Changes were made to it at least as early as 1600, and most probably even earlier. The condition closest to the original one that the restorers managed to achieve was after the restoration of 1918. That restoration revealed most of Rublev's original
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Andrei Tarkovsky


Andrei Arsenyevich Tarkovsky (; 4 April 1932 – 29 December 1986) was a Russian filmmaker, writer, film editor, film theorist, theatre and opera director. His work is characterized by unconventionally long takes, sparse dramatic structure, poetic imagery, and spiritual and metaphysical themes. Tarkovsky's films include "Ivan's Childhood" (1962), "Andrei Rublev" (1966), "Solaris" (1972), "Mirror" (1975), and "Stalker" (1979). He directed the first five
71996
Andrei Tarkovsky


In the same year, he married Larissa Kizilova (née Egorkina), who had been a production assistant for the film "Andrei Rublev" (they had been living together since 1965). Their son, Andrei Andreyevich Tarkovsky, was born in the same year on 7 August. A version of the film was presented at the Cannes Film Festival in 1969 and won the FIPRESCI prize. In 1972, he completed "Solaris", an adaptation of the novel "Solaris" by Stanisław Lem. He had worked on this
72009
Trinity (Andrei Rublev)


the Cathedral in 1425-1427. This dating is based on the dates of the construction of both churches. Nevertheless, art critics, taking into the account the style of the icon, do not consider the matter resolved. Igor Grabar dated "The Trinity" 1408—1425, Yulia Lebedeva suggested 1422—1423, Valentina Antonova suggested 1420—1427. It is unknown if "The Trinity" was created during Rublev's peak of creativity in 1408—1420 or late in his life. The style analysis shows that it could be created around 1408, because it
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Trinity (Andrei Rublev)


Rublev. It continued to serve to those who studied this painter's style as one of his main works of art". Dmitry Aynalov, Nikolai Sychyov and then Nikolay Punin all compared "The Trinity" to the works of Giotto and Duccio. Viktor Lazarev compared it to the works of Piero della Francesca. However, they most likely intended to point out the high quality of the painting because none of them claimed that it was created under the influence of the Italians. Viktor Lazarev sums it up: "In the light
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Trinity (Andrei Rublev)


example of his style and help with the examination of the other icons that were attributed to him on the basis of legends or common belief. Invited by the prior of the Trinity Lavra in the spring of 1904, Vasily Guryanov took the icon out from the iconostasis, removed the riza and then cleaned it from the "renewals" and the drying oil. Ilya Ostroukhov recommended him for the job. He was helped by V. A. Tyulin and A. I. Izraztsov. After removing the riza, Guryanov did not find out Rublev's
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Trinity (Andrei Rublev)


painting, but discovered the results of all the "renewals". Rublev's art was underneath them. He wrote: "When the golden riza was removed from this icon, we saw a perfectly painted icon. The background and the margins were coloured brown, golden inscription were new. All angels' clothes were repainted in a lilac tone and whitewashed not with paint, but with gold; the table, the mountain and the house were repainted… There were only faces left on which it was possible to evaluate that this
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Andrei Rublev


when he decorated icons and frescos for the Cathedral of the Annunciation of the Moscow Kremlin, in company with Theophanes the Greek and Prokhor of Gorodets. His name was the last of the list of masters, as the junior both by rank and by age. Theophanes was an important Byzantine master, who moved to Russia and is considered to have trained Rublev. Chronicles tell us that together with Daniil Cherni he painted the Assumption Cathedral in Vladimir in 1408 as well as the Trinity Cathedral in the Trinity Lavra of St. Sergius between 1425
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Andrei Rublev (film)


cut another 20 minutes by its American distributor, Columbia Pictures. TIME (magazine) compared the movie unfavorably to "Dr. Zhivago"; those other New York reviewers who took note begged off explication, citing Rublev's apparent truncation." The film was ranked No. 87 in "Empire" magazine's "The 100 Best Films Of World Cinema" in 2010. The film is referenced in Tarkovsky's two films that followed this one. It is first referenced in "Solaris", made in 1972, by having an
775705
Irma Raush


Irma Yakovlevna Raush (; born 21 April 1938) is a Russian actress and the first wife of film director Andrei Tarkovsky. She is best known for her role as Durochka in "Andrei Rublev" and as Ivan's mother in "Ivan's Childhood". Irma Raush was born in Saratov on 21 April 1938 into a Volga German family. In 1954, she began to study at the State Institute of Cinematography (VGIK) under Mikhail Romm. She was in the same class as Andrei Tarkovsky, whom she married in April
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Andrei Rublev (film)


months the walls are still white and bare as Andrei is doubting himself. A messenger arrives with word from the furious Bishop to say they have until the Autumn to finish the job. On a nearby road in the middle of a field of flowers Andrei confides to Daniil that the task disgusts him and that he is unable to paint a subject such as the "Last Judgement" as he doesn't want to terrify people into submission. He comes to the conclusion that he has lost the ease of mind that an artist needs
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Andrei Rublev (film)


for his work. Foma, impatient and ambitious, resigns and leaves Andrei's group to take up the offer of painting a smaller, less prestigious church. Stone carvers and decorators of Andrei's party have also been working on the Grand Prince's mansion. The Prince wants the work to be done again more in line with his tastes but the workers already have another job, at the mansion of the Grand Prince's brother, and refuse. On a path through the woods soldiers accost the artisans on the orders of the
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Andrei Rublev (film)


of the soldier's shining breastplate. The group taunt and play with her, but the soldier takes a liking to her, putting his horned helmet on her head and dressing her as a bride, finally deciding to take her away with him as his eighth, and only Russian, wife. Andrei attempts to stop her from leaving, but she is determined and rides away with the Tatars. Kirill talks to Andrei for the first time since they both left the monastery, and he assures him that Durochka won't be in
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Culture of ancient Rus


artist Feofan Grek and Russian icon-painter Andrei Rublev. Feofan's style is distinguished by its monochromatic palette and uncommon expressiveness of laconic blots and lines, which send a message of a complex symbolic implication, close to the then widely-spread doctrine of hesychasm, from Byzantium. The soft-colored icons of Rublev are closer to the late Byzantine painting style of the Balkan countries in the fifteenth century. The late fourteenth century was marked by one of the most important events in Russian history. In 1380, Dmitry Donskoy and
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Trinity (Andrei Rublev)


of recent analysis we can definitely state that Rublev was not familiar with the works of Italian art and therefore could not borrow anything from that. His main source was the Byzantine art of the Palaiologos era, in particular the paintings created in its capital, Constantinople. The elegance of his angels, the inclined heads motive, the rectangular shape of the meal were derived exactly from there". According to the Trinity Lavra of St. Sergius archives, the icon was kept in the Trinity Cathedral since 1575. It took the main place
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Andrei Rublev (film)


the job, like perfecting his azure, a colour which in painting was often considered unstable to mix. They encounter Theophanes in the forest, and the old master sends Foma away. As he leaves, the apprentice finds a dead swan and pokes at it with a stick. We cut to banks of a stream where Andrei and Theophanes are arguing about religion, while Foma cleans his master's paint brushes. Theophanes argues that the ignorance of the Russian people is due to stupidity, while Andrei says that he doesn't understand
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Andrei Rublev (film)


the loss of his work and the evil of mankind, while Durochka distractedly plaits the hair of a dead woman. Andrei decides to give up painting and takes a vow of silence to atone for killing another man. Andrei is once again at the Andronikov Monastery as famine and war grip the country. He no longer paints and never speaks, and keeps Durochka with him as a fellow companion in silence. Several refugees discuss the problems in their respective home towns, and one man talks in a broken voice of his escape from
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Andrei Rublev (film)


any danger, as harming a holy fool is considered bad luck, and she will be let go. Andrei continues his menial work of carrying large hot stones from a fire with tongs to heat water for the monastery, but drops the stone in the snow. Andrei's life turns around as he witnesses the casting of a bell for the Grand Prince. Boriska (Nikolai Burlyayev) is the young son of a bellmaker; all his family have died of a plague that has ravaged the area. He tells the Prince's
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Andrei Rublev (film)


reveals white-robed Durochka, leading a horse (preceded by a child, presumably hers) as she walks through the crowd. At the critical moment the bell rings perfectly, and she smiles. After the ceremony, Andrei finds Boriska collapsed on the ground, sobbing. He admits his father never told him the secret of casting a bell. Andrei comforts him, breaking his vow of silence and telling the boy that they should carry on their work together: “You’ll cast bells. I’ll paint icons.”
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Andrey Rublev (tennis)


, in spring of 2013, Rublev achieved the NWU PUKKE/RVTA Junior ITF 1 cup in Potchefstroom, South Africa. He successfully competed in following tournaments, especially on clay surface, including the Trofeo Bonfiglio in Milan, and became quarter-finalist at the 2014 Australian Open junior singles. At the doubles competition he paired with German Alexander Zverev, reaching the quarter-finals. The first notable win was at the 2014 French Open junior singles, crushing Munar Clar. There he reached the semifinals with partner Stefan Kozlov, before
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Andrey Rublev (tennis)


, China. In the final, the Russian beat Taylor Fritz in three sets. Rublev debuted at the Bulgaria F6 Futures, reaching the quarterfinals. He continued his career in Bulgaria, where he again reached the quarterfinals, but became runner-up in doubles. The 15-year-old finalised in Minsk, Belarus. After unsuccessful autumn games he received his first win at the USA F31 Futures in Bradenton, United States. In the new 2014 tour he started in Kazakhstan, reaching semifinal and final in the two Future events in
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Anatoly Solonitsyn


Anatoly Alekseyevich Solonitsyn (also 'Anatoli' or 'Anatoliy'; ; 30 August 1934 in Bogorodsk – 11 June 1982 in Moscow) was a Soviet actor. Solonitsyn is best known in the west for his roles in several of Andrei Tarkovsky's films, including Dr. Sartorius in "Solaris" (1972), the Writer in "Stalker" (1979), the physician in "Mirror" (1975), and the title role in "Andrei Rublev" (1966). Indeed, it was Tarkovsky who "
5734893
Art film


as "Viridiana" (1961) and "The Exterminating Angel" (1962). Russian director Andrei Tarkovsky's film "Andrei Rublev" (1966) is a portrait of the medieval Russian icon painter of the same name. The film is also about artistic freedom and the possibility and necessity of making art for, and in the face of, a repressive authority. A cut version of the film was shown at the 1969 Cannes Film Festival, where it won the FIPRESCI prize. At the end of the decade,
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Andrei Tarkovsky


Moscow, directed the opera "Boris Godunov" in London, and he directed a radio production of the short story "Turnabout" by William Faulkner. He also wrote "Sculpting in Time", a book on film theory. Tarkovsky's first feature film was "Ivan's Childhood" in 1962. He then directed "Andrei Rublev" in 1966, "Solaris" in 1972, "Mirror" in 1975 and "Stalker" in 1979. The documentary "Voyage in Time" was produced in Italy in 1982,
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War and Peace (film series)


Tikhonov for the best actress and actor of 1966, in recognition of their appearance in the picture. In the same year, "War and Peace" also received the Million Pearl Award of the Roei Association of Film Viewers in Japan. In 1967, the film was entered into the 1967 Cannes Film Festival, outside of the competition. It was sent there instead of Andrei Tarkovsky's "Andrei Rublev", which was invited by the festival's organizers but deemed inappropriate by the Soviet government. In the United States, it
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