Alexey Glebovich Smirnov's "Divine Embrace" (1961) represents a bold convergence of religious iconography and avant-garde sensibilities in Soviet-era art. Created as a linoleum block, this work presents the Virgin Mary cradling both the Christ child and John the Baptist in a striking composition that challenges traditional iconographic representations. The inclusion of the distinctive Orthodox cross, with its characteristic three crossbars, firmly grounds the work within Russian Orthodox tradition, making its creation during a period of state-endorsed atheism particularly significant.
The composition centres on the commanding figure of the Virgin Mary, whose elongated Byzantine-style face and almond eyes dominate the upper portion of the block. The two smaller figures, Christ and John the Baptist, are nestled within her protective embrace, their adult-like faces creating an unsettling contrast with their diminutive bodies. The Orthodox cross on the right serves as both a compositional anchor and a potent symbol of Russian religious identity, its three horizontal bars representing the title board, Christ's outstretched arms, and the footrest respectively - a distinctly Orthodox interpretation that sets it apart from Western Christian imagery.
The copper-toned surface of the linoleum block is worked with remarkable technical precision, creating a rich interplay of positive and negative space. The angular, geometric treatment of the figures reflects both Byzantine influences and modernist aesthetics, while the deeply carved lines create dramatic shadows that enhance the work's emotional impact. This fusion of traditional Russian Orthodox imagery with avant-garde stylization exemplifies Smirnov's unique ability to bridge sacred and contemporary artistic languages.
Alexey Glebovich Smirnov (1937-2009) was a third-generation hereditary artist who studied at the Moscow State Academic Art Institute. His work, held in prestigious collections including the Tretyakov Gallery and the State Russian Museum, demonstrates his masterful navigation between traditional religious subjects and avant-garde expression. Smirnov's participation in numerous international exhibitions and his continued production of religious works, even during the Soviet era, established him as a significant figure in the second Russian avant-garde movement. His artistic legacy is marked by this ability to maintain creative independence while working within the constraints of Soviet society.
