Defining Volotovo as a work of the Russian school we imply its affinity with what was created in later periods. Continue reading →

Now, when the valuable monument is irrevocably lost and the historians of art are faced with the task to preserve the memory of it for the future generations, it is especially important to define its place in the history of Russian and world art. Continue reading →

The examination and study of early Russian paintings are usually confined to an analysis of their iconographic peculiarities and pictorial techniques. Continue reading →

In our time we are used to looking at a picture without much regard for its position in space. An easel painting can easily change the place, its position is not an essential part of its entity. However, this approach to mural painting, especially in early Russian works, will not allow us to see its full and real significance. Continue reading →

Such monuments as the Volotovo frescoes cannot be understood apart from the iconographic tradition, which in the countries of the East, Rus in particular, was held sacred. Continue reading →

According to Novgorod chronicles, the Church of the Assumption was built in 1352 by Archbishop Moses in the monastery situated at Volotovo Polye, five verstas (about three miles) east of Novgorod. Continue reading →

We have no written sources which could tell us how the contemporaries of the Volotovo murals responded to painting. But, undoubtedly, there were people among them whose approach to it was very profound. Continue reading →