Alexey Glebovich Smirnov's "Resurrection" (1961) is a complex linoleum block work that presents a radical reinterpretation of Orthodox iconography through a modernist lens. Created during a period of state-enforced atheism, this piece explores the metaphysical journey of Christ through a sophisticated temporal narrative that collapses multiple moments of existence into a single frame. The work's innovative approach to religious subject matter demonstrates Smirnov's ability to maintain spiritual artistic expression within the constraints of Soviet cultural policy.
The composition employs a revolutionary narrative structure, with Christ depicted simultaneously at different stages of earthly existence - from childhood through death to resurrection. The dominant Christ figure, bearing an Orthodox cross, stands in hieratic scale while smaller representations show him as a child, an adult, and finally as a skeleton - a profound meditation on the cycle of human existence. The sarcophagus scene in the upper right contains its own skeleton, creating a powerful double representation of death transcended. This multi-temporal approach to narrative transforms the traditional resurrection story into a more universal contemplation of mortality and transcendence.
Smirnov's masterful manipulation of the linoleum block medium creates stark contrasts between positive and negative space, with the copper-toned surface carved in bold, decisive lines. The varying depths of his cuts produce subtle gradations that enhance the work's spiritual atmosphere. The artist's distinctive style, characterised by elongated figures with Byzantine-influenced faces and geometric forms, creates a visual language that bridges Orthodox iconographic traditions with modernist aesthetics. The sequential representation of Christ's earthly journey through different life stages demonstrates Smirnov's innovative approach to religious narrative, breaking from traditional static iconographic representations.
Alexey Glebovich Smirnov (1937-2009) was a third-generation hereditary artist who studied at the Moscow State Academic Art Institute. His ability to maintain a religious artistic practice during the Soviet era, while simultaneously participating in the avant-garde movement, marks him as a unique figure in Soviet art history. This piece exemplifies his sophisticated synthesis of traditional Orthodox imagery with modern artistic sensibilities, demonstrating his skill at navigating between sacred traditions and contemporary artistic expression while exploring profound questions about human existence and divine transformation.
