Alexey Glebovich Smirnov’s "Entry of the Lord into Jerusalem" (1960s) exemplifies his fusion of Byzantine influences, Russian iconography, and the avant-garde currents of Soviet art in the 1960s. This work bridges tradition with innovation, reflecting both his reverence for historical styles and his bold modern approach. The painting conveys the sacred moment of Christ’s entry into Jerusalem with a visual language that is both deeply spiritual and aesthetically avant-garde.
The composition is split into two distinct groups: the welcoming crowd on the right and Christ’s disciples on the left, creating a sense of narrative flow across the canvas. Smirnov employs sharp divisions and stylized figures to guide the viewer’s eye, emphasizing Christ’s central movement. His figures, drawn with elongated forms and large eyes, evoke the style of Byzantine icons, yet their exaggerated, mask-like expressions and frozen postures push the boundaries of this tradition. The grotesque effect of the faces, hovering between reverence and confusion, underscores the emotional weight of the moment.
Colour plays a vital role in amplifying the tension of the scene. The red donkey, with its exaggerated form, stands out dramatically against the muted greens and yellows of the background, drawing attention to the event’s significance. The vibrant reds, blues, and yellows evoke movement and energy, while the subdued background provides a somber contrast, reflecting the dual emotions of celebration and the anticipation of Christ’s coming suffering. Smirnov’s flattened perspective and abstracted forms are characteristic of the avant-garde, yet the overall impact remains deeply tied to religious iconography.
Alexey Glebovich Smirnov (1937-2009), was a third-generation hereditary artist and a notable figure of the Soviet Sixties generation. His career exemplified a complex interplay between artistic tradition and a conscious break from it, embracing the metaphysical dimensions of the second Soviet avant-garde. With a fascination for Byzantine art and Russian iconography, Smirnov’s work reflected a commitment to creative independence, marked by a nonconformity that was characterised more by principled indifference to Soviet authority than overt resistance. His graphic work, filled with dense compositions and grotesque imagery, reveals an apocalyptic inner world, where figures serve as material illustrating the relentless flow of consciousness rather than as focal points. While rooted in the themes of the 1960s, he continued to produce significant iconographic works for Orthodox churches and made notable contributions to literature, including plays and poetry. Smirnov’s art has been exhibited widely, including in venues like the Tretyakov Gallery and the State Russian Museum.
