The artistic gifts of Vassily Nesterenko are multifaceted and his creativity is vast - church murals and historic canvases, portraits of clergy and lyric female images, landscapes and still lifes, compositions painted in oils and water color, sheets of graphics executed in charcoal and pencil. He is equally accomplished in diminutive studies as he is in huge, multimetered canvases, laconic depictions of nature and complex compositions of philosophical imagery. His paintings reflect the many facets of our lives, delve deep into history, draw us to experience the tragedies of the past and the feats of our forebears, to partake of the prayerful service of the Church Fathers. The viewer is inspired by single creations of the master as well as by series of paintings and entire exhibitions united by the ideas of goodness, love and conciliation.
     Traveling through the pages of this album, we are reliving an entire lifetime along with the artist, one filled with impressions of the beauties of Nature in his native land, creative encounters with his contemporaries, and a multitude of journeys throughout the world. We can recall the glorious pages of history: the era of Peter the Great, with his triumphs and battles, be transported into the XIX century and visit the redoubt and bastions of the besieged Sevastopol, enter into Holy Places where for centuries ascetics of the Russian Church offered their prayers, and finally, find ourselves under the domes of the Cathedral of Christ the Saviour and see the murals and paintings relating the events of Gospel history.
     As we become acquainted with the artist's creations, we become submerged in the world of painting in which we can see both the exquisite iridescence of color and sophisticated combinations of related half-tones and splashes of vibrant hue executed by a confident brushstroke unafraid of the paint, accustomed to hitting the color and shade right on at first stroke. The richness of texture distinguishes most of the artist's work - this is both the smooth surface, achieved by hardly visible glazes, allowing modeling of the finest changes of form, as well as the expressive body of layering produced by a wide brush or pallet knife, capable of shading vital elements of the painting, and manifest and emphasize the tactile quality of the objects. There is great variety in the color range of the master's artwork - from the subdued and light to the bright and saturated. His creative arsenal contains practically all the technical means and practices developed by many generations of artists.
     For Vassily Nesterenko, there is no such thing as unapproachable subjects - he executes the miniature water color portrait, the monumental oil painting and the mural with equal success. When working on a landscape, the artists aims to relate the sensations that lie beyond the realm of painted imagery, for example, the scent of the autumnal forest, the rustle of the leaves, the weight of the wet snow, or roar of the sea. In creating the portrait, he penetrates into the very soul of the person, depicting its inner world, and not merely the outer likeness. The mood evoked by the painting immediately rouses a response from the viewer, making him experience the feelings and thoughts of the artist.
     The theme of Service to Mankind, a sincere desire to make the lives of his contemporaries better and more pure, to summon the viewer to look around and love the surrounding world penetrates the entire creativity of Vassily Nesterenko. The artist has dedicated his whole life to Art in the highest sense of the word, including professional dedication to his labor of love, selfless devotion to creative work and being true to ideals chosen once and for all.
     It can be said that the creativity of Vassily Nesterenko is encyclopedic in scope and diversity. The goal of this album is to attempt to gather the majority of the artist's work on the pages of a single publication and to arrange it in a way that will be most evocative of the significance of his creative quest.

     We shall try to follow the creative path of the artist, trace the phases of his creative formation and acquaint the reader with those who were his instructors, the environment in which he was raised, and circumstances that allowed him to rise to the professional heights of a master and to receive the deserved recognition.
     Vassily Igorevich Nesterenko was born in Ukraine in 1967. Childhood impressions were to remain an important source of inspiration in his subsequent creative destiny. The endless fields of Ukraine, huge poplars, shaped like pyramids, over the banks of the boundless Dnieper, weeping willows, bowed down over a quiet pond, and the striking vivid nature of the Crimea with its fantastically piled cliffs at the shores of the Black Sea - it is here that the artistic gift first began to stir, still timidly, but quite evidently. Observing the obvious artistic tendencies, his parents encouraged his pursuit of drawing.
     The rest of Vassily Nesterenko's life is associated with Moscow. When he was enrolled into the Moscow Middle Art School, he entered into eternal communion with art. Entrance exams for this school became the first trial for the young artist. Upon passing a fierce competition - fifteen people per place - he arrived in the world of professional art, the Alma Mater of many Russian painters and sculptors.
     Serious preparatory work preceding the exams took place in the State M.B.-Grekov Studio, in the workshop of the National Artist of Russia, laureate of government awards, N.S.Prissekin. At the time, the famous battle painter, author of many dioramas, was working on a monumental painting, 'The Battle of Kulikovo Field', honoring the first Russian victory against the Tartar yoke. Vassily, himself painting still-life studies in water-color at that time, dreamt of large canvases and gazed, like upon a miracle, as the canvas came alive with figures from beneath the master's hand, and it seemed that life was being created out of nothing.
     It was in an atmosphere of heightened interest of Soviet society in national culture that Vassily Nesterenko's creative development began. The young painter eagerly buried himself in books about the history of Russian and world art, and, together with his friends from the art school, was embarking on a personal discovery of the poetry of ancient churches and monasteries, marveling at the still lifes of Stozharov, paintings of Plastov and other classics of realistic art. Each school break was spent in the State Tretyakov gallery, studying the creations of Surikov, Repin, Levitan. Vassily could not tear himself away from the painting 'Christ's Advent Before the People' by Alexander Ivanov and was gradually bonding with the spiritual beauty of ancient Russian art. Several generations of artists have passed through the corridors of the legendary Art school on Lavrushensky Street. At that time many student works hung in its corridors, their craft not yielding to works of esteemed painters. This was a genuine school of art, one that cherished traditions of pre-revolutionary Russia, carried on with great care throughout the many decades by its teachers and students.
     One of the main traditions was a competitive spirit. They learned not only from their instructors, but from great Russian painters and their fellow students, vigilantly noting successful segments in a drawing, or an effectively rendered detail in a school assignment. It was considered shameful to present fewer works for review than one's group mates. What was honored was labor and craft, which did not come easily to anyone, but Vassily Nesterenko was always a leader, and was already noticed even in school, while still on a student level.
     The 'Drawing From Ancient Sculpture' belongs to this student period, executed in strokes in the watercolor technique. It is in this work that the hand of a future master is made apparent. Even then, Nesterenko took on tasks that went far beyond the demands of his teachers. Having completed the art courses of the school with great success, he was awarded a gold medal for general educational disciplines, which was a great rarity among artists.

Drawing from Ancient Sculpture
80 И 60 cm, water-color on paper. 1984

     The next trial was entering the V.I.Surikov Moscow State Art Institute. Nesterenko passed his entrance exams at the top of the class and was accepted as first in line to the Department of Painting in the summer of 1985. The life of the artist entered a new phase, close in complexity to the life of a true professional. A consistent adherant to realism, Vassily Nesterenko chose the most vibrant and dynamic creative workshop for his studies, the studio of T.T.Salakhov, National Artist of the USSR, an outstanding conteporary painter, academician and head of the Artist's Union of the USSR. Salakhov's studio included many adherants of abstract art, prominently visible against the background of other students, but, on the other hand, the best realists, as a rule, were graduates of this particular studio. Modern creative trends, with their acute dilemmas, diversity of styles and creative alliagences, made up the prevailing atmosphere of the studio. In a way, this was an example of the real artistic life into which each student was destined to be submerged upod graduating the Institute.
     Vassily Nesterenko strove to establish a leading position for himself among the students of the Surikov Institute, but in oder to be noticed there, it was necessary to develop a truy high level of craft and a major capacity for intensive work. A multitude of life size studies of the naked human form, prelinimary sketches and studies, female and male portraits in oil and charcoal were intertwined with compositional experimenaiton.
     At a certain point the artist felt the need to return to a study of the classics - this is where one can find true mastery of craft, this is where one can learn a sense of measure and rhythm, proportion and plansticity! Devoting great attention to the drawing as the basis of painting and composition, Vassily Nesterenko posed a complex challenge for himself - to attempt a life drawing from Michelangelo's 'David' sculpture in half life-size. There are very few known drawings of such size, and they were creaed, for the most part, back in the Imperial Academy of Arts. While working in the A.S.Pushkin State Museum of Fine Arts, Nesterenko strove to permeate himself with a Michelandgelo-esque power of form interpretation, to feel the harmony of proportion and the complex architectonics of this work of genius. Not a single drawing from plaster copies of the classics and not a single life drawing from naked models were able to impart so much to the artist as this one drawing. The two months spent at the Pushkin Museum turned out to be more useful than years of workshop study.

David
Drawing from Sculpture of Michelangelo
260 И 163 cm, charcoal on paper. 1989

     For Vassily, this was a first experiment in creative dialogue with a great maestro of the past. While drawing 'David', he, himself, discovered more about the life and creativity of Michelangelo than from all the literary sources, more, than, for example, from the 'Lives of the Artists' by Giorgio Vasari, or from the memoirs of Ascanio Condivi. It seemed to the artist that he, as a diligent student, is not only studying the art of a Titan of the Renaissance, but has been granted access to converse with him.
     While perfecting his drawing skills, Vassily Nesterenko strove to enrich his creative manner with painting techniques of the old masters. This was not taught, and there were very few who had knowledge of such obscure secrets. To unravel them, to understand and apply them in practice could only be achieved through copying classic examples. The small painting by Francesco Zurbaran, 'The Adolescense of the Madonna', in the Hermitage, attracted Vassily's attention by its inner power, expressive laconism of artistic language and that special spirituality which permeates the best works of the great Spanish artists. As he worked on a copy of this painting, the artist was becoming accomplished in the glazing technique, so necessary for multi-layered painting. Enriching his technical arsenal, Nesterenko continued to examine the compositional reasoning of the old masters, which was gradually being revealed during his work with originals.

Drapery Study Preliminary Sketch 29 И 41 cm, pencil on paper. 1988		Drapery 39 И 29 cm, pencil on paper. 1987		Drapery Preliminary Sketch 28 И 32 cm, pencil on paper. 1987

     The next copy bestowed a decisive influence on the creative manner of the painter, becoming a distinctive tuning fork in creation of original artwork. The 'Portrait of Marguerite of Lorraine' by A. Van Dyck, a jewel of our museum collections, is kept in the Archangelskoe Moscow Museum. A friendship with the museum helped Vassily obtain a separate workshop in the Yusupov palace, where he spent several months alone with Van Dyck's canvas. The executed copy exceeded all expectations by far - the artist was able to repeat the flight of the brush of the great Flemish master. Van Dyck's paintings are difficult to copy - this is the very pinnacle of portrait art of Western Europe. To replicate the specific technique of the XVII century in our times means not only to study the original, but to personally be transformed into a man of that epoch.
     The 'Portrait of Marguerite of Lorraine' was displayed at the Surikov Innstitute review together with the 'David' drawing. These two works did not leave anyone feeling indifferent, not the faculty, nor the students, securing Nesterenko's fame in the realm of drawing and painting. Everyone understood that before them was practically a fully formed master. But how many such masters have disappeared from the scene, having created nothing more than student works!

Portrait of  Marguerite of  Lorraine
Copy of A. Van Dyck Painting
250 И 147 cm, oil on canvas. 1989

     Vassily Nesterenko still had a few years of study at the Surikov Institute ahead of him, but he felt that the time for studying had past - it was necessary to find his own path in art, to announce himself to the art world. Nesterenko now becomes a regular participant in all statewide exhibitions in Moscow. The first successful experiments in landscape and portrait painting belong to this period. Some of his portraits find their way onto the pages of leading Soviet art publications.
     Raised in traditions of realism, Vassily Nesterenko was continually learning from his great predecessors, whose paintings graced the Tretyakov Gallery and the Russian Museum. Finding much to benefit his original creations in the works of Polenov, Serov, Nesterov, Vrubel, he also tried to compare his first successful works to compositional paintings of Brullov, Ivanov and Surikov, while being fully aware that he was at the very beginnings of his own creative way.

Naked Model
62 И 46 cm, sepia on paper. 1989

     Having begun to actively participate in the Moscow art scene, the artist felt a lack of information regarding contemporary art; he wished to become familiar with museum collections in the West. Were they so correct, these apologists of the avant-garde, insisting that art built on the foundations of classic principles has outlived itself, and the time has come for abstractions and installations? It is worthwhile to remember that this was still the era of the Soviet Union, and to travel abroad to study was quite difficult. But Vassily Nesterenko managed to visit Europe, become acquainted with the Dresden Gallery, the Orse Museum, the Louvre, and a number of modern museums. Impressionist art became a real discovery for Vassily. It cannot be said that he did not know of them - the Hermitage and the Pushkin Museum had very good collections of the Impressionists. However, it seemed that he had to see them in Paris in order to fully appreciate them. The very soul of the artist demanded that he not limit himself to academic skills, but to strive to depict the world in all of its diversity. Nesterenko cannot be considered to be a follower of the Impressionists, but he gained much by getting to love their artwork.

Grape Leaves
Preliminary Drawing
21 И 30 cm, pencil on paper. 1989

      The first real success for the artist was a personal exhibit in Japan in the beginning of 1991, timed to coincide with a visit to Japan by USSR President, M.S.Gorbachev. The Exhibition took place in Tokyo and a few other cities, where the artist saw a genuine interest of the Japanese viewer in realistic art, in his portraits, landscapes and still lifes produced during his student years. This portable exhibition in Japan was not only the first foreign showing, but also the first personal exhibit of Vassily Nesterenko. This success sprouted wings in the young artist.

Drapery Study
Preliminary Sketch
28 И 32 cm, sepia on paper. 1989

     In the summer of 1991 Vassily Nesterenko receives a surprising proposal to study in America. A Cultural Exchage Agreement, signed by Presidents Bush and Gorbachev, was desiged for hundreds of students, but there was only one single place for an artist. The leadership of the Surikov Institute, without hesitation, proposed Nesterenko's candidacy to the Ministry of Culture of the USSR. Vassily went to study in New York - the Mecca of modern art. Having become a student of the PRATT Institute, Vassily gets his own studio and the chance to make his acquaintance with the tumultuous life of New York City. Within a short time, Vassily Nesterenko becomes a marketable artist in America. He organized several personal exhibitions and participated in many group projects. His paintings were eagerly bought not only in New York, but in galleries of California, New Mexico and Colorado.

Portrait of a Woman
65 И 50 cm, sepia on paper. 1989

     Looking back, Vassily Nesterenko considers his stay in New York and the following years of active exhibition work throughout the United States as having considerably widened his outlook, infused his creativity with greater freedom, and, most importantly, confirmed his goal to continue his creative course along the lines of realistic, or figurative art, as it is called in America. There are enough people in the world who love art that is based on centuries-old traditions and who know how to appreciate genuine craftsmanship.
     Finding himself in a whirlpool of museums, theaters and galleries, the artist soon realized that what would truly interest this multifaceted world would be art which would carry a distinct seal of national character. This would explain, for example, the interest of the American public in the art of Mexican painters, and the same holds true for Japanese art. Russian art is no less distinguished in its individuality, and there is much that we can relate to the American and European audience. The artist believes that Russia, having conserved traditions of the old school, has yet to make its own contribution to contemporary art.

The Adolescense of the Madonna
Copy of F.Zurbaran Painting
70 И 31 cm, oil on canvas. 1989

     During his stay in America, Vassily Nesterenko created dozens of paintings: portraits, landscapes, still lifes, nudes. One of the first paintings was the 'Still-life with Attributes of Arts'. The subject, borrowed from Chardin and arranged according to all the rules of academic art, is filled with evidence of the contemporary. This is the work in which the type of still life painting that will later characterize the creativity of Nesterenko first took shape. Not limiting the imagery to objects alone, the artist introduces elements of interiors, landscapes and even human half-figures into the still life.
     'The Painter' is a particularly interesting painting, because it was created as a reply to some New York colleagues, who asked: 'Why don't you paint like us?'. Against a background of canvases with abstract paintings, wherein he reproduced the technique by which they were created - not a problem after Van Dyck and Zurbaran - in the foreground, Nesterenko depicted a life-size portrait figure of the American painter, author of the abstract art work, as if to reply to his opponents: 'And now, try to do it like me!'.

Portrait of a Man
65 И 50 cm, charcoal on paper. 1989

     In spite of the potential for success in America, the artist was haunted by the persistent thought that creating landscapes and portraits was not sufficient to finally get on his creative feet in the art world, and that it was necessary to create a large-scale composition. Nesterenko wanted to prove to everyone, first and foremost, to himself, that he can solve the super-difficult challenge of creating a multi-figured canvas on a historical theme.
     As a surprise to many, Vassily Nesterenko returns to Moscow and begins work on a multi-meter wide canvas entitled 'Triumph of the Russian Fleet'. The patriotic theme was not randomly chosen by the artist. The time when the painting was being created was also quite a difficult and complex period for Russia - these were times of political crisis. Many of the processes transpiring in Russia during the time were unacceptable to the artist who was raised on the foundation of love of his country's art and history. To a great degree, this painting symbolized his civic position. This is what accounted for the major key, somber rhythm and triumphant passion of the work of art he created.

Standard with Maps of the Four Seas 110 И 130 cm, charcoal on paper. 1993		Flag of Semyonovsky Regiment 140 И 110 cm, sepia on paper. 1993		Ship's Jack 28 И 32 cm, sanguine and charcoal on paper. 1993
Preliminary Drowings for the Painting 'Triumph of the Russian Fleet'

     The compositional design of the 'Triumph of the Russian Fleet' did not emerge spontaneously - it was preceded by long labors over sketches and meticulous research into the artifacts of Tsar Peter's epoch. The artist encountered the necessity of collecting various materials relating to the history of costume, weaponry, nautical equipment, as well as study of the portraits and engravings of the era. Work on studies and a preliminary sketch of the painting demanded mobilization of the entire range of experience acquired during his studies and independent creativity and all the impressions obtained in museums.
     Vassily Nesterenko was feeling the need to continue studying principles of composition from the old masters. During the time spent on preparatory work for the 'Triumph of the Russian Fleet' the artist embarked on a series of creative expeditions to Italy and France. In Venice, he was most attracted to the multi-figured compositions of Veronese and Tintoretto, Tiepolo and Titian, in Rome - frescoes of Michelangelo and Raphael. In Florence, the artist spent hours in front of the paintings of Botticelli. He already knew quite a bit about Florence while studying the history of art, but the renown city of the great artists truly conquered him: the Uffizi and Pitti Galleries, Palazzo Seniorii, Bargello, Santa Croce, Santa Maria del Fiore, the Ghiberti Doors and so much more! And, of course, the Gallery of the Academy with the all-so-familiar 'David' by Michelangelo.

Triumph of the Russian Fleet
Preliminary Sketch
37 И 70 cm, water-color on paper. 1993

     Arriving once more in Paris, visiting the Louvre and Versailles, the artists studies the paintings of the French Romantics - Delacroix and Gericault and is enraptured by the great canvases of Jaques Louis David. Inspired by the art of the Renaissance and classicism, Vassily Nesterenko tirelessly paints real-life views of Paris, Florence and Venice.
     Italian impressions inspired paintings created at a latter period: 'Still-life with Nautical Instruments' and 'Pierro and Arlequin'. The latter work contains an attempt to reach a philosophic comprehension of the artist's own life. The gaze of Pierro speaks of the bitterness of disillusionment, of a passionate and sensitive relationship with creativity. The painterly means used in this work of art, the texture of the body, the rhythm of the color combinations speak of the attention paid by the artist to the experimentations of abstract artists. Nothing evades the visual field of Vassily Nesterenko, he tries to locate points of interest in contemporary art as well as in masterpieces of the old masters, to use the entire range of creative means for work on the great canvas awaiting him in his Moscow studio.
     Each time when he returned to Moscow after visiting the greatest museums of the world, Vassily Nesterenko inserted corrections and modifications into his studies for the 'Triumph of the Russian Fleet'. Soon the artist approached the stage of drawing life-sized figures directly on the canvas. Work on the preliminary drawing lasted eight months, and the painting process itself took just as long.

Triumph of the Russian Fleet
Under Painting
310 И 590 cm, oil on canvas. 1993

     The first viewers to see the painting beheld Peter the First, Emperor of All Russia in all his glory, standing in the uniform of Sautbenacht, which he wore when he commanded the four fleets. Lined up in two rows on Kronshtadt Bay, the Frigates and Ships of the Line of the Baltic Fleet are fading into the mist on the horizon. The festive garments of Peter's European emissaries and collaborators, the deep green and red hues of the Preobrazhensky Regiment dress coats, executed in dark silhouettes against a background of the golden embankment and white cannon smoke, the red-blue Ship's Jack and the Imperial Standard with maps of the Four Seas frame the figure of Peter the Great. Serenity and greatness fill his countenance, yet he nervously grips the hilt of his sword, firmly and resolutely looking directly at the viewer. We can almost hear the drum roll and cannon fire, can almost sense the salty breeze of the Baltic, as if we are attending this triumph of the great Emperor, his army and fleet, and testifying to our admiration of the genius of the Reformer-Tsar and the courage of his people.
     The 'Triumph of the Russian Fleet' is Nesterenko's graduate diploma work at the Surikov Moscow State Institute of Arts. With this monumental canvas he has completed his education. During the exhibit of this painting at the graduate evaluation ceremonies of the Institute it became clear that its artistic level far exceeds requirements of a diploma piece. The creation of the 'Triumph of the Russian Fleet' led to the triumph of its author. From this moment forth, the name of Vassily Nesterenko became famous in Russia. The presentation of the painting and its subsequent induction into the Central Museum of the Armed Forces only increased the significance of this voluminous work of art. The artist has presented himself to the entire nation as a master who possesses a wide arsenal of artistic techniques, one who is equally gifted in painting, drawing and composition.

Pierro and Arlequin
Under Painting Detail
235 И 170 cm, oil on canvas. 1995

     Only two years later, in 1996, the Russian Academy or Arts will propose a one-man show to Vassily Nesterenko in its exhibit halls. Such honor was not conferred upon all artists. The exhibit had a great success. Nesterenko's art work received recognition from elder colleagues, academicians, and earned approval of many experts and art lovers. This exhibition became a door into the greater art world for the young artist, and the beginning of serious recognition of his talent. Many paintings that were first presented at the exhibit are among the finest art work created by Vassily Nesterenko.
     A particularly memorable painting is 'Alone with Himself' - one of the most insightful portraits of the master. The painting depicts a monk of the Pskov Cave Monastery, deep in prayerful thought. The portrait is painted with such craftsmanship, that it seems that we are seeing a live person before us, rather than a flat canvas. The image of the praying monk who lives not by the vain interests of the world, but contemplates and laments about entirely different things - this is the first, and, possibly the most successful attempt at depicting a true hero of our times, the one upon whom our Russian land is sustained. The tranquil, humble image conceals an immense inner strength. The portrait poses questions which sometimes cannot be resolved even through multi-figured painting. It can be boldly put forth that 'Alone with Himself' is an example of spiritual art, something beyond a simple depiction of a person.
     The spirit of Christian Orthodoxy permeates the series of four paintings called 'The Seasons' - landscapes of Mount Athos and Jerusalem, painted during the first pilgrimage journeys of the artist.
     Nesterenko successfully tests himself as a master of the gala portrait. The monumental figure of the Patriarch of Jerusalem, Diodoros, is depicted in full vestments against a background of a bright sky, emphasizing the saturated coloring of the Patriarch's garments. The somber greatness of the head of the Jerusalem Church is emphasized by the dome of the Holy Sepulcher, which dominates the Holy City. The creative solution of this portrait is characterized by a vast freedom, which was already evident in the water-color study. The artist overcomes the conventions of artistic language, a certain flattening in interpretation of form, characteristic of his early works.

Portrait of Patriarch Diodoros of Jerusalem Preliminary Sketch 59 И 40 cm, water-color on paper. 1996		Portrait of Patriarch Diodoros of Jerusalem Under Painting 246 И 167 cm, oil on canvas. 1996

     A whole series of exhibits in Moscow, following the exhibition in the Academy of Arts, demonstrated a great interest of the public in the work of Nesterenko which, in turn, spurred the artist to actively pursue works in every genre of art. However, the historic theme was to remain one of the principal directions of his creativity. Over a few years the artist created a series of paintings dedicated to Russian military history: 'They shall envy Us in this Glory!', 'Father of the Country', 'Dreams about a Navy', 'The Hussar's Ballad', 'Our Glory - the Russian Empire!', 'Weapons of the Great Victory', 'Portrait of a Russian Officer'. Here one can witness evidence of the glorious victories at Gangute and Grengame, battles of Poltava and Borodino, the weaponry of the St. George medallists of the middle of the XIX century and the weapons of victory of the Great Patriotic War. The images of young men either in the uniforms of the Akhtyrsk Hussars of 1812, or the uniform of the contemporary ship's boy are called upon to show the continuity of historic and military traditions, and reflect the hopes and aspirations of the artist himself. Two children's portraits should be added to these works: 'The Future Captain' and 'The Young Commander', touchingly relating a distinctly non child-like interest of the young heroes in Russian military history.
     The painting 'Moscow greets the Heroes of Poltava', created in 1997, continues the Peter the Great theme. A cavalcade of horsemen is depicted so convincingly, that is seems that the author was a witness to the triumphal entry of Peter into Moscow after the victorious battle of Poltava against invading Swedes. The rhythm of galloping horses, trumpet fanfares lifted to the sky, raised drumsticks, all join the architectural rhythm of the Baroque Triumphal Arch, portrayed against the background of the ancient Moscow Kremlin. The entire painting is filled with movement, there is not a trace of the static elements in the first composition solutions of the artist.

Moscow greets the Heroes of Poltava
Preliminary Sketch
40 И 32 cm, water-color on paper. 1997

     Historic painting does not cease to excite Vassily Nesterenko. Another significant work in this area became the monumental canvas entitled 'Defend Sevastopol!'. The bold and unusual composition of the painting, its ensemble of images with dramatic portraiture characteristics, the restrained richness of the color palette - all speak of the matured mastery of the artist. The figures are not simply and accurately arranged, the movements of the personages are not only expressive - the painting shows an inner world of the heroes, their feelings and the struggle within their souls in the fateful, perhaps, the final moment of their lives.
     The painting 'Defend Sevastopol!' does not leave anyone feeling indifferent. Even if one does not know what transpired during the Crimean War, the theme of defending one's land, the theme of life and death can stir emotion in any person. But if we are to recall the circumstances which led to one of the bloodiest wars of the XIX century, if we compare the events of the Crimean War to the present, the painting assumes an entirely different tone. It is not so much a portrayal of events from Russian history - it is an appeal to contemporaries! The contradictions that placed Russia at the edge of catastrophe in the middle of the XIX century still remain, and, perhaps, have intensified. The theme of defense of borders, the fate of Sevastopol and other fore posts has not only not lost its significance, but today, especially, these questions have become particularly important for us. We should not forget that the Crimean, or Eastern, war began because of a religious conflict in Palestine. This is why our forbears called this war the 'Battle for the Lord's Cradle'. Just as in many other cases, Russia went forth to defend the humiliated and oppressed, and the danger that threatened Russia, itself, during those years is difficult to imagine today. Our knowledge of this war is quite lacking and biased, having been perverted by official Soviet historiography. In reality, Russia did not lose this Eastern war at all, although the amount of war dead sustained by our country was far greater than our losses as a result of the Napoleonic invasion. Forced to defend itself from a coalition of world powers - England, France, Turkey - on the Black, Baltic and White seas, in the Far East, the Caucasus, Moldavia, Valakhia and Crimea, the Russian Empire was in danger of losing almost half of its territories and find itself within the boundaries of pre-Peter the Great Rus'. More than a million lives - this was the monstrous toll of the Eastern War, forerunner of the wars of a new historical era. Thanks to the heroism of the soldiers and sailors that held Sevastopol, thanks to the valiant victories in the Caucasus, Russia, as a result of the war with virtually the entire world - a friendly United States was an exception - practically did not lose any of its territory. Parallels with World War Two emerge by themselves, and the Crimean War is seen to be an example for our contemporaries.

Defend Sevastopol!
Preliminary Sketch
44 И 75 cm, water-color on paper. 2004

Defend Sevastopol!
Preliminary Drawing
300 И 515 cm, charcoal on canvas. 2004

     It is this specific interpretation of the theme which became the basis for the creation of the painting 'Defend Sevastopol!'. And once again, Vassily Nesterenko is spending long hours in museums, archives and libraries, carefully studying historic materials. The most famous work dedicated to Sevastopol is the panorama by Franz Rubo, created for the 50th anniversary of the end of the defense of this fortress-city. Vassily Nesterenko decided to interpret his painting in an entirely different way from his predecessor's work. The Rubo shows us a huge panorama of the city, its bays and surroundings, it is possible to fully imagine the action of the battle and the placement of the troops during one of the stormings of Malakhov's hill.
     Nesterenko shows the defenders of the bastions themselves, the expressions of their faces, the emotions and passions burning in the heat of battle. A mortally wounded young officer, no more than a boy, is portrayed in the center of the scene in the arms of an toughened old soldier. It is difficult to describe the look of this soldier. It is a cold resolve to die, rather than retreat from the bastion, and a surprise that it is not he, who is dying, but this youth, whose life has barely begun, this is a feeling of tragedy, as yet unacknowledged, but already piercing the heart of the old veteran. Handsome is the face of the young officer, he has done his duty, he has given all he could - his life. The battle rages all around, the flag-bearer is screaming, the senior officer is yelling commands, the soldiers and sailors are shooting rifles and stutzers, a ship's cannon is just about to explode, but in all this noise of battle we only see and hear the sacred silence of death.
     The still unfinished canvas began to appear on the leading pages of top Russian newspapers and magazines. The presentation of the painting 'Defend Sevastopol!' took place in the State Historical Museum and became a special event in the cultural life of the nation's capital. The subsequent one-man exhibit in the Museum of Art in Sevastopol, dedicated to the 150th anniversary of the famous defense of the city, dramatically stirred the populace of the Crimea. That, toward which the artist strove in trying to speak in the language of history about current problems, turned out to be close to the hearts of the viewing public.

Judgment of the Fatherland is replaced with Mercy
Preliminary Work
110 И 80 cm, oil on canvas. 2006

     No less impressive is the portrait of 'The Undefeated'. This is a new look at World War II, the Great Patriotic War, and at attitudes toward the veterans living amongst us. Nesterenko chose a stern and descriptive language for the artistic execution of the portrait. The black color of the navy uniform against the desolate snowy landscape underscores the tense gaze of the old sailor, prepared to remain faithful to his ideals until the 'wooden pea-jacket' grave. His gaze literally 'pierces' the viewers, making them recall the faces of the defenders of Sevastopol.
     The 'Father Superior of the Russian Land' is a response to 850-year old events, when Rus' was under the yoke of the Tartar-Mongol horde. Sergius of Radonezh, one of the greatest of all Russian saints, who blessed prince Dimitry of the Don for the battle of Kulikovo Field, is depicted with his arms raised unto heaven, prayerfully beseeching the help of the Holy Mother of God and all the heavenly hosts on behalf of the much-tormented Russian land.

The Oath of Prince Pozharsky
Under Painting
280 И 195 cm, oil on canvas. 2006

     An interest in the 'Times of Troubles' can also be noted in the art work of Vassily Nesterenko. A small study dedicated to the theme of the liberation of Moscow from Polish occupation in 1612 is called 'Judgment of the Fatherland is replaced with Mercy'. These are words of St. Sergius of Radonezh, who appeared in a dream to Archbishop Arseny and confirmed the approaching end of the 'Times of Troubles'. 'The Oath of Prince Pozharsky' is a canvas that portrays the Zaraisk commander - saviour of his Fatherland, who has taken upon himself the cross of military leadership of the people's Militia. The mighty Prince, reminiscent of the legendary vitjazi-kinghts, is standing against the background of a banner with the image of the icon of Our Lady of Kazan, protector of Russia in all wars. Prince Dimitry Pozharsky is prayerfully promising to defend his country from enemies from within and without.
     The harsh 'Times of Troubles' began during the reign of Boris Godunov. The persona of this Tsar always attracted attention in both historical and artistic circles. Work on the painting 'Portrait of Vladimir Matorin in the Role of Boris Godunov' gave Vassily Nesterenko the chance to partake of a theme that was in many ways traditional in Russian art. The artist was inspired by the image that was being created on the stage of the Bolshoi Theater by a renown opera singer. Vladimir Matorin is a singer of the Chalyapin school. An unusual acting gift helps him interpret the true character of Tsar Boris. Nesterenko's painting is, without a doubt, the portrait of Matorin, but the artist was also able to portray the features of Godunov, himself, caught in a moment of terrifying pangs of conscience. The expressive background of this portrait reminds of the tortures of guilty conscience that torment the soul of the unfortunate Tsar.
     In his artwork, Vassily Nesterenko often addresses the theme of the actor and his theatrical role, when the character of the role is closely entwined with the personality of the performer, creator of the role on stage. 'Portrait of Vassily Lanovoy in the Role of Bernard Shaw' is another example of such a creation. The character in the play 'Dear Liar', played by Vassily Lanovoy, a favorite of Soviet and Russian audiences, on the stage of the Vakhtangov Theatre is portrayed during a tragic time in his life, when he receives news of the death of his beloved. The pale face, nervous hands of the hero of the portrait, the torn-up letters create a dramatic atmosphere which is underscored by a background of intense color and texture. The interpretation of the background becomes an important element for Vassily Nesterenko in his revelation of the image of the hero.
     It is the background that helps the artist create a truly theatrical painting, one which unites the architectural music of the famous city, the art of the masquerade and recollections of great artists of the past. We are speaking of the 'Venetian Carnival', a painting that depicts the famous theatrical personage, Svyatoslav Belza, in a masquerade costume. The portrait, designed with virtuosity and painted with abandon, creates the impression that the artist has no problem solving complex artistic challenges, yet this is an illusionary ease, because behind every detail, every color combination and movement of form is an almost mathematical calculation, allowing one to perceive the complex composition as one whole.

Venetian Carnival
Preliminary Sketch
23 И 16 cm, water-color on paper. 2005

     Portraits of cultural luminaries became a favorite theme in Vassily Nesterenko's art work. It is, therefore, important that we mention the first work of this series. This is a portrait of the famous Russian singer Irina Arkhipova. The legendary personality has every right to be called the Queen of Opera. The artist faced a most difficult task in portraying the multi-faceted personality of Irina Arkhipova and the significance of her creative contribution to Russian culture. The renown singer is depicted in a stage dress, with a music score in hand and one laying on top of the piano, which allows one to recognize her favorite compositions.
     Vassily Nesterenko works a great deal in the area of portrait art. He often succeeds in not only relating a likeness, but to also look inside the soul of the model, creating a whole composition, frequently going outside the bounds of a simple portrait. The image of Nil Stolobensky, a Russian saint of the XVI century, and the portrait of the Elder Monk Anthimos, who lived in our times and was just recently canonized, are portrait-paintings that can be included in this category.
     Female images attract particular attention. These portraits, created during various years, are united by an atmosphere of pure and sincere admiration for the beauty of the inner world of the portrait subjects. The artist always stresses the particular qualities of his models and finds new creative solutions for each subject. The 'Alyona' painting depicts a young girl with a huge bouquet of daisies flying in different directions. In this portrait one can sense the spirit of Russia, the fragrance of subtle wild flowers. The heroine of the painting 'Reminiscence of Summer', a young girl from the hinterlands of Kostroma, stands in a thin dress and rubber booties near a wicker fence overgrown with weeds, waiting for her intended. The early autumn season called 'Indian summer' precedes the Feast day of the Holy Virgin Protection, when it is customary to have weddings. The portraits 'Maiden Dreams' and 'Presentiment of Love' are dedicated to the waiting theme. These subtly colored portraits are saturated with tenderness and lyricism.
     A riot of colors from a southern park, red and pink petals of a flowering Sakura frame the figure of Olga, wife of Vassily Nesterenko, whose portrait is called 'Spring'. The painting 'Russian Madonna', depicting Olga with their son, Ivan, on her knee is arranged in a circle and is reminiscent of an Italian tondo of the Renaissance era. The artist loves to return to traditional subjects and motifs, but always portrays them in his own style. The heroine of the portrait has bowed down over her infant, surrounded by wild flowers and grasses, against a background of a Russian landscape. It is not enough to say that this work of art has been painted with love and inspiration - it is, in itself, a well-spring of love.
     The portrait of his mother, Galina Vassilievna Nesterenko holds a special place in the creative work of the artist. It was his mother who helped Vassily develop as a person and evolve into a true artist. She shared all his difficulties during his years of study, she always supported him in moments of adversity and creative disappointment, she was beside him at all exhibits and openings. To reach the best result in a portrait, artists try to find out as much as possible about their model, but in this case, Vassily Nesterenko says, he was confronted with a most complex problem of another kind - how can one encompass in a single portrait everything one feels and knows about the dearest person - mother? Judging by the response of many of his colleagues, the portrait was a success. The artist's mother looks at the viewer with a quiet and tender smile, her entire image exudes kindness and patience. Golden sunflowers, reminiscent of her native Ukraine, grace the background of the portrait.
     The landscape is often an important component in the portraits of Vassily Nesterenko, he frequently uses landscape elements in still lifes and historic paintings. An attraction to nature permeates the entire range of the painter's art work. He has created a significant number of landscape compositions: sketches from real life and large landscape paintings. As previously mentioned, Nesterenko began with studying the classics, and in his first landscapes he harkens back to the creations of his predecessors. Thus, in the 'Remembrance of Crimea' a taste for the works of Claude Lorraine is evident, as well as the style of landscape typical of the classical school. Paris studies and certain scenes of the South have been created under the influence of Impressionists. But soon Vassily Nesterenko feels his way toward his own expressive language.

Sweets and Cracknels
Under Painting Detail
150 И 220 cm, oil on canvas. 1997

     Among the first landscape paintings that carry the mark of the artist's creative individuality is a canvas entitled 'Winter in Vladykino'. In this painting, the artist first posed a super-challenge for himself - to try to portray the movement of falling snowflakes together with the weight of wet snow already on the branches. This composition is characterized by a view projected through a large-scale foreground into a background of church architecture. This compositional method will subsequently be repeated often, for example, in 'The Seasons' series. Four paintings: 'Winter in the Holy Trinity St. Sergius Laura', 'Spring on Mount Athos', 'Summer in the Garden of Gethsemane' and 'Autumn in the Pskov Cave Monastery' - not only portray the times of the year, but are canvases of places revered by the Russian people. Their nature is united with their ancient architecture into a single entity, transporting the viewer into a different world, one which the artist experienced personally while visiting Orthodox Christian monasteries.
     Winterscapes of the master are varied and engaging. The 'Shrovetide', depicting the town near the St. Sergius Laura, is beautiful both in its images and composition, as it harmonizes with the major key of the festive week preceding Orthodox Great Lent. The 'Expectation of Spring' is filled with anticipation of approaching warmth and the end of the long Russian winter. Looking at the 'Spring Blossom' painting, the viewer plunges head-first into the scent of a May garden, drunk with the fragrance of blooming cherry blossoms. The 'Distances beyond the Oka River' canvas transports us atop of a high hill, from which endless vistas of central Russia unfold, the scent of fallen leaves fills the pure, transparent air, and in the stillness, only the rustle of the last few leaves can be heard on the branches of the birches.

Small Street in Ustiug
24 И 36 cm, water-color on paper. 1989

     'The Forsaken' is a painting that stands somewhat apart from the rest. The Tragedy of Russian villages, abandoned by the people, is revealed in the image of a dilapidated old house, standing alone at the edge of the village near an old birch tree. This is a very specific place - the village of Domnino, which once belonged to the Russian royal family. Yet how many such 'forsaken' villages can be found all throughout Russia! But Russian nature is beautiful even in this case. Any blade of grass, any leaf or flower holds within itself the image of its native land, and can be a source of inspiration for the artist. Such examples can be found in the paintings called 'Fly-agaric' and 'Golden Cover'. God's world is perfect in any manifestation. One can be enthralled by boundless distances, and one can look under one's feet and see a whole universe, covered with yellow-orange foliage, ferns and mushrooms.
     The image of the Russian Native Land is most fully and vividly reflected in the painting 'Oh, Russian Land!'. The huge sky seems to cloak a hill overgrown with wild flowers. The grazing cattle are perceived as ancient guardians of the cherished fields and meadows. The epic sound of the painting is echoed by its name, taken form the medieval epic poem 'Song of Prince Igor's Campaign'.
     At times the landscape can literally overwhelm with an unexpected lighting effect, or a suddenly revealed perspective. Unusual displays of nature that strongly affect people began to attract Vassily Nesterenko. A bloody-red ray of the setting sun, suddenly piercing the gray dusk air of the winter evening, in the painting 'Winter Crimson', brings something apocalyptic into the the ordinary Russian motif. A similar mood grips the viewer in the 'Frosty Sunset' painting.

Cloud over Domnino
40 И 30 cm, water-color on paper. 2004

     Afull moon, suddenly appearing in the night sky of a seascape, immediately transformed the scene with its orange glow in 'The Night Luminary'. The 'Enchanted Dream' is a hymn to ancient Cimmeria, heard by the artist in the sunlit reflections of the waves of the Koktebel shore. 'The Sea' is probably the most unusual landscape of Vassily Nesterenko in terms of composition. An enormous blue sea engulfs practically the entire surface of the painting, enticing the viewer far beyond the horizon, yet turning him right back to the shore, where it is foaming at the foot of the cliffs. One can gaze at this painting forever, just as one gazes out to the boundless sea, feeling that one is standing high over a rocky precipice in the salty sea breeze.
     City scenes occupy an important place among the landscapes of Vassily Nesterenko. The artist painted Venice and Florence, London and Paris, Cordoba and Seville, Granada and Toledo. The scenes of New York are also interesting in their compositional motifs. However, the views of his beloved Moscow are closest to the heart of the artist. The 'View of the Kremlin from the Old Square' is the image of both the new and ancient capital with its towers and churches, with its rooftops covered in snow, with Orthodox crosses. 'The Cathedral of Christ the Saviour' landscape is a painting-memoir of the recreations of the murals of the greatest Cathedral of the land.
     Work in the Cathedral of Christ the Saviour played a most important role in the creative fate of Vassily Nesterenko. The first sketches of the murals were created in 1995, the last icons and paintings were completed in 2002. This entire period was distinguished by a great interest of the artist in spiritual art. During the Soviet era, this genre had practically ceased to exist from the time of the passing away of the last representatives of the spiritual art form, such as Pavel Korin and Michael Nesterov. The resurrection of the Cathedral of Christ the Saviour and other holy sites on the cusp of the millennium became a powerful stimulant for a resurgence of spiritual art. While working on the murals of the Cathedral, Vassily Nesterenko was simultaneously creating paintings on spiritual, Orthodox Christian themes.
     A series of three paintings: 'Christmas', 'Easter', 'The Trinity' are dedicated to Christian holidays. The compositions of these paintings include elements of holiday decor, characteristic of each of these Great Feast Days, along with church interiors and exteriors. In the 'Easter' painting, an array of Easter Kulich bread, eggs and cheese cake brought by the parishioners is displayed on a special stand. The people have walked away from the stand in anticipation of the arrival of the priest, who will momentarily appear to bless these primary ingredients of the solemn Paschal feast with holy water. A ray of spring sunshine, falling on the mural depicting the Risen Christ, and the flickering lights of the candles create a sacred atmosphere of mystical depth, enveloping the unfathomable mystery of Christ's Resurrection.
     On the holiday of the Holy Trinity it is customary to decorate churches with birch tree branches and lay a carpet of fresh summer grass on the floor. These grasses, flowers and leaves, exuding the fresh fragrances of forests and meadows, create an unusual, yet solemn atmosphere during the service. In 'The Trinity' painting we see three sources of light affecting the lighting and coloring of the objects. This is the yellowish light from the lamp over the icon, the flickering lights of the candles and the bright ray of slanted sunlight, streaming down on the pylon of the legendary Rublev Trinity. But the viewer inadvertently begins to feel that the main source of light is the icon with the ancient image of the Old Testament Trinity.
     The 'Christmas' painting initiates the cycle of these three canvasses. The Birth of Christ signifies the beginning of a new era for humanity. They have all come to pass, the prophesies about the coming of the promised Messiah into the world - the Son of God is born in a manger in a cave of Bethlehem. The Infant Christ in the arms of the Virgin Mary illuminates the entire universe with His birth. The Betrothed Joseph and the shepherds are the first witnesses of this miracle. Such is the subject of the church mural the artist placed at the center of his 'Christmas' painting. This image, decorated with garlands of Christmas Tree branches, just as the small sculptures of cows and donkeys, are part of the creche, symbolizing the Lord's Manger in Bethlehem. The deep green color of the spruce branches sets off the light streaming from the Star of Bethlehem and the glow of the candles along each side of the creche.

Christmas Preliminary Sketch 28 И 20 cm, water-color on paper. 2004		Easter Preliminary Sketch 23 И 19 cm, water-color on paper. 2003

     Vasslily Nesterenko often opens his exhibitions with this particular painting, symbolizing the beginning of the Christian World and dedicated to one of the Greatest Church Feast Days. This album also begins with the 'Christmas' painting, which, in the opinion of the artist, should help the reader instantly feel the atmosphere of traditional spiritual and realistic art.
     Before beginning work on the murals of the Cathedral of Christ the Saviour, Nesterenko completed work on 'The Unexpected Joy' icon of the Mother of God and on the painting of 'The Crucifixion'. While still a student, the artist carefully studied paintings of the Crucifixion created by the great Spanish masters: Diego Velasquez, Francesco Zurbaran and Alonso Cano. And so, finally, Vassily Nesterenko felt that he can now undertake a work dedicated to the portrayal of the most terrifying event in human history. Vassily Nesterenko's painting, without a doubt, bears the imprint of a traditional approach to the solution of the Crucifixion theme, yet, on the other hand, his individuality is clearly apparent in the interpretation of this subject.
     The artist believes that paintings depicting Gospel events must have a contemporary look, to be closer to the public of our times. Each individual should be able to experience Gospel history in his soul. It is truly said, that we crucify the Saviour of the World with our sins. Work on 'The Crucifixion' painting coincided with the bombing of Serbia, and many of the first to view this work perceived an allusion to our contemporary era in the image of Jerusalem, depicted in the lower part of the canvas.
     'The Unexpected Joy' icon of the Mother of God is dedicated to the theme of sin and repentance. Having witnessed the results of his transgressions, the sinner depicted on the icon becomes sincerely penitent, by which he elicits the Unexpected Joy of the Holy Mother of God.
     These, and many other paintings were first presented at a one-man exhibit in the New Manezh Gallery in Moscow in the spring of 1999. This exhibition became the next landmark in the creative biography of the artist. But directly following the opening of the exhibit a new phase begins in the life of Nesterenko - the artist commences work on the murals of the Cathedral of Christ the Saviour.
     Vassily Nesterenko was to recreate four colossal murals. 'The Resurrection of Christ' and 'St. Mathew the Apostle and Evangelist ' are situated on the north-west pylon of the Cathedral. Both subjects are compositionally united into a single piece and together, their height is twenty three meters tall, which can be compared to an eight story building. Two other murals: 'The Epiphany' and 'The Entry Into Jerusalem' are situated on the semi-circular tympanums of the northern and western chapels. The length of each mural is greater than twelve meters. This monumental work was executed by the artist in record time - only in seven and a half months.
     In the XIX century it took ten years to create the paintings of the Cathedral of Christ the Saviour, the scaffolding had to be removed three times so that the artists could look from the floor below to see how their work was progressing, how the artistic subjects harmonize with one another and with the ornamentation. This time there was no such opportunity - the artists, sculptors and builders were rushing to complete everything for the 2000-year anniversary of the Nativity of Christ. Thus, work on the paintings demanded great effort. For Vassily Nesterenko, the challenge was further complicated by the fact that he had not one single subject to paint, but four, and that he worked without assistants. This was a unique situation during the entire course of the resurrection of the Cathedral. Aside from Nesterenko, no one was working alone on such subjects. As a rule, such work was done by teams of five to six, or even up to twelve artists at a time. A number of years went by since then, and now it is hard to imagine how Vassily could have withstood such a task - to work simultaneously on all four pieces, walking on the scaffolding from one part of the Cathedral to the other.

'The Unexpected Joy' Icon of the Mother of God
Study for the Icon in the Icon-Case
83 И 50 cm, water-color on paper. 1997

     The artists were constantly monitored by the Cathedral Decor Restoration Commission, which demanded strict adherence to religious canon and level of original artwork of the XIX century. The Commission included representatives of the Church, members of the Presidium of the Russian Academy of Arts, which, just as in the XIX century, was the curator of all of the art work of the Cathedral, restorers, technicians and architects. Opinions of the members of the Commission did not always coincide, and were not always in accord with those of the master artists who were working in extreme circumstances. The least bit carelessly spoken word could throw the artist into despair, and threaten the timely completion of the work. Aside from this, the painters were constantly hurried along by the architects and builders who were rushing to disassemble the scaffolding in order to be able to begin work on finishing the marble floors and other elements of the lower part of the Cathedral's decor. Many could not understand, that without adequate time, it was impossible to complete the compositions in work, to bring them into harmonious accord with neighboring murals and bring unity to the tonal intensity and color scheme.
     Vassily Nesterenko worked fourteen hours a day. Construction work inside the Cathedral went on without stopping. The clamor of the elevators, piercing sounds of the metal saws, grinding noises of nails being pulled out and other construction noise at first interfered with concentration, but in time, it became necessary to get used to it. All thoughts were on one thing only - the creative challenges in recreating the marvelous examples of spiritual art of the XIX century.

St. Mark the Apostle and Evangelist
Preliminary Sketch for the Mural Painting
in the Cathedral of Christ the Saviour
180 И 160 cm, oil on canvas. 1995

     The Cathedral of Christ the Saviour was originally constructed as a Commemoration of the Liberation of Russia from the Napoleonic invasion, it was consecrated in the name of The Birth of Christ, and was, for long time, a symbol of Russian Orthodox Christianity. The finest artists of the Imperial Academy of Arts created its artistic and sculptured decor. Practically all of the subject matter in the Cathedral of Christ the Saviour was often used in the creation of icons and murals in many other Russian churches. It would be difficult to overestimate its significance for the spiritual life of Russia. A tragic turn of historic events led to the barbaric destruction of the Cathedral of Christ the Saviour by the Soviet regime. No one believed that it could be ever resurrected - the history of the Cathedral, its incredible art work and sculpture became legend.
     And so, a new era arrived, and a decision was made to resurrect the Church that was a spiritual and historic Monument and Symbol. The Patriarch of Moscow and All of Russia, Alexis II, blessed the recreation of its inner decor in all the brilliance of its former splendor, with use of the original technologies and employment of analogous materials.

The Resurrection of Christ
Preliminary Work for the Northwestern Pilar Mural
of the Cathedral of Christ the Saviour
700 И 500 cm, charcoal on canvas. 1998

     Vassily Nesterenko was commissioned to recreate two murals of Heinrich Semiradsky, two murals of Efgraf Sorokin and, two years later, four icons of the Holy Virgin by Feodor Bronnikov and the Shroud for the main altar. For Nesterenko, who, from the days at his student's desk, was interested in the art of the Cathedral of Christ the Saviour, a long creative dialog had begun with the finest representatives of the Russian Academic School. This was not just a repeat of some previously existing paintings, but a true dialog with their creators. The quality of the reproductions made available to the artist was often so poor, that it was impossible to distinguish between male and female images in various groups of personages. The total lack of color, since the images were taken from black and white photocopies, and the blurry, fuzzy contours forced Vassily Nesterenko to creatively reconsider these works of art.

30 И 22 cm, pencil on paper. 1997		27 И 22 cm, pencil on paper. 1997		30 И 21 cm, pencil on paper. 1999
Preliminary Sketches for the Mural of the Main Dome Drum of the Cathedral of Christ the Saviour and for the Mural 'The Entry into Jerusalem' (on the right)

     While retaining the overall composition, the artist had to rediscover many artistic decisions. The murals that Nesterenko worked on bear the seal of his creative individuality, even though they were created on the basis of the works of Semiradsky and Sorokin. A multitude of detail, relationships within the composition, faces and hands of the personages, interpretation of the drapery, the color palette - all rightfully belong to Nesterenko. Taking into account the traditions of the XIX century, the artist signed his works, for example, on the western tympanum as: 'Composition by H.Semiradsky recreated by V.Nesterenko' - which relates to the creative dialogue between artists of different centuries and unite the author of the original creation with the author who has created a new work of art based on the surviving material and compositional design.
     Vassily Nesterenko began work on the walls of the Cathedral with 'The Epiphany' mural. A detailed charcoal drawing helped him in his subsequent work on the subject, allowing him to concentrate on the coloring and interpretation of the figures. This work is permeated with a mystical tone and portrays the moment when the One God in Three Persons appeared in all of His hypostases: in the form of Christ, accepting Baptism, in the form of the Holy Spirit, soaring in the form of a dove over the Saviour, and the voice of God the Father, proclaiming 'This is My Beloved Son, with Whom I am well pleased!'. It was very difficult to work on such a subject, but Vassily Nesterenko was able to create a truly spiritual work according to Orthodox canon.

The Epiphany
Mural on the Northern Timpanum of the Cathedral of Christ the Saviour.
Work in Progress. 1999

     Having just approached the painting stage on the mural 'The Epiphany', the artist began working on the preparatory sketch on the wall of 'The Entry into Jerusalem' mural. The imagery of the original scene was the least preserved of all - the blurry photocopy could not give Nesterenko anything more than a general idea of the composition, and therefore, the artist had the greatest freedom in creating this particular mural. In accordance with the methods of Semiradsky, Nesterenko made dynamic use of studies from real life. The artist often incorporated entire figures drawn from life. Vassily Nesterenko was able to achieve a unique creative blend, where in its coloring and tonal key, the mural 'The Entry into Jerusalem' is reminiscent of Semiradsky's work, but at the same time, it remains a great individual achievement by Nesterenko, both in the painting and in many elements of the composition.
     Continuing work on the two tympanums, the artist began to feel an inner trepidation when walking past his pylon. The colossal space on which he was to create the murals 'The Resurrection of Christ' and 'St. Matthew the Apostle and Evangelist', was overwhelming in size, it was being lost behind the forest of the scaffolding below, and was barely visible in the semidarkness up above. Nevertheless, the artist commenced working on the subject of the pylon, fulfilling the saying: 'the eyes are afraid, but the hands are doing'. It was at this point that the stress of the work reached its highest point for Vassily Nesterenko.

The Entry into Jerusalem
Preliminary Sketch for the Mural in the Cathedral of Christ the Saviour
150 И 230 cm, oil on canvas. 1998

     The murals on the pylons were divided by the scaffolding into nine stories, which did not allow the artist to see the figure in its entirety and significantly complicated maintaining proper proportion. Here Vassily was helped by a full size study he had created a year earlier of the central portion of the 'The Resurrection of Christ' mural. In this huge graphic work, executed in charcoal, the artist had carefully traced the tonal and plastic solution of the main part of the mural. Even earlier, in 1995, Nesterenko created a painting of the same name, which was a project designed to recreate the northwestern pylon mural in color. These two canvases allowed the artist to successfully work on the pylon in spite of all the technical problems.
     The flatness of the wall where Nesterenko was working on the image St. Mathew the Apostle and Evangelist was almost entirely covered by metallic structures, channels and netting. But here, again, a preparatory full-scale study done before starting the mural painting came to the rescue. The artist had resolved all the challenges of plasticity and painting, which allowed him to concentrate on interpreting the image of the Evangelist, attaining the greatest possible expressiveness of his gaze, and, ultimately, to subdue the artistic solution of the mural to the revelation of the powerful image of the author of one of the four Gospels.
     The main achievement of Vassily Nesterenko in 'The Resurrection of Christ' mural became the portrayal of light emanating from the figure of Christ, descending into Hell to lead out Adam and Eve and the souls of the Old Testament Righteous, and from the Life-Giving Cross, shining above the figure of the Saviour. The mural 'The Resurrection of Christ' became the foremost creative work of the artist on the walls of the Cathedral of Christ the Saviour.

The Entry into Jerusalem
The Mural of the Western Timpanum of the Cathedral of Christ the Saviour.
Work in Progress. 1999

     But the work for the Cathedral did not stop here. At the request of the Cathedral Decor Restoration Commission, Nesterenko recreated a cycle of four icons of the Mother of God, once created by Bronnikov. The icons 'The Nativity of the Blessed Virgin Mary' and 'The Presentation of the Holy Virgin in the Temple' are situated on either side of the Main Altar, and the icons 'The Annunciation to the Blessed Virgin Mary' and 'The Dormition of Our Lady', in the western part of the Cathedral, opposite the Altar. The master devoted all of his artistic strength to the creation of what was to become a true masterpiece - the Holy Shroud for the communion table of the Main Altar. This icon became a gift of the artist to the Cathedral of Christ the Saviour.
     Another enormous project was a series of paintings on Gospel themes for the Patriarchal Refectory of the Cathedral. The 'Last Supper' canvas was created before beginning work on the murals and was given as a gift by the government of Moscow to the Cathedral of Christ the Saviour in 1998. Four additional multi-figured paintings from the earthly life of the Saviour were conceived and executed by the artist after completing work on the murals of the upper Church. On either side of the 'The Last Supper' are the 'The Marriage in Cana of Galilee' and the 'The Multiplication of the Loaves', dedicated to the portrayal of the miracles performed by Jesus Christ and symbolizing the transformation of bread and wine into the Flesh and Blood of the Lord during the Sacrament of the Eucharist. The Painting 'The Miraculous Catch of Fish' recalls another miracle of the Saviour, revealed on the shores of the Sea of Galilee. The painting 'Christ and the Samarian Woman' depicts a scene near Jacob's well, when Jesus reveals the mystery of his advent into the world, speaking of how and where God is to be worshipped and of the miracle of water that flows into eternal life.

The Last Supper
Preliminary Sketch
21 И 28 cm, water-color on paper. 1997

     These paintings were executed by a confident hand of a true master, one who had traveled far from academic performance to historic canvases and murals in the Cathedral of Christ the Saviour. Real life impressions from creative journeys throughout the Holy Land allowed Nesterenko to achieve veracity in the imagery of Cana and Jerusalem, the rocks on the shores of the Sea of Galilee and the lemon and grape leaves draped over the ancient well in Samaria. The images of Jesus Christ, the Mother of God and the Apostles travel with the viewer from one painting to the next. When one is in the Patriarchal Refectory, one is surrounded by scenes from Gospel history and becomes immersed in the atmosphere of the Holy Land.
     Paintings of the Gospel cycle became a great creative achievement for Vassily Nesterenko. These canvasses, presented at the artist's one-man exhibition in the Great Manezh and reproduced a number of times, earned the artist the well-deserved respect of a wide audience of art lovers.
     The list of works done by Vassily Nesterenko for the Cathedral of Christ the Saviour would not be complete without ten scenes of Orthodox Christian monasteries created for the Anteroom of the Church Council Hall. The murals depicting the most important monasteries in Russia are remarkable for their compositional variety. The artist emphasizes the most unique aspects characterizing each monastery. The architectural ensembles often create a single entity with their natural surroundings, and sound a different key within each of the changing seasons.

The Marriage in Cana of Galilee
Under Painting
300 И 400 cm, oil on canvas. 2001

     A considerable place in the creative biography of the artist belongs to the two-year work on the murals of the Cathedral of the Dormition in Dmitrov. The main Church, constructed according to the plans of Alevize Novy, architect of the Archangel Cathedral in the Moscow Kremlin, was expanded and decorated in the XIX century. At that time, many of the same masters who had worked on the Cathedral of Christ the Saviour also participated in creating the murals. Time had been merciful to this architectural treasure, but the artistic decor had severely suffered beneath layers of over painting and whitewashing of the Soviet era. A third of the murals was missing altogether. The Head of the Administration of the city and the Rural Dean of the churches of the Dmitrov district proposed to Vassily Nesterenko to assemble an artistic team capable of creating new murals which could compliment the surviving art work.
     After acquiring a staggering amount of experience in the Cathedral of Christ the Saviour, Nesterenko not only successfully managed the work of fine and ornamental artists, but personally created several murals in the Main Altar and the 'The Image of the Holy Trinity' in the Sergius Chapel of the Cathedral. While working in the Altar on the 'The Last Supper', 'The Prayer for Removing the Cup', 'Golgotha' and 'John the Baptist', the artist was forced to match up his work with the partially surviving neighboring murals, which were done in a more archaic style than even the Academic School of the XIX century.

Preliminary Sketch for the Murals of the St. Sergius Refectory Hall
of the Cathedral of Christ the Saviour
70 И 100 cm, water-color on paper. 2000

     Work on 'The Image of the Holy Trinity' mural allowed the artist freedom in selecting his style of painting. As a result, a work emerged that was to stand out among the many other church paintings created by Vassily Nesterenko. 'The Image of the Holy Trinity' is an example of a contemporary success in Russian Spiritual Art by the painter. The mural, executed on the vaulted ceiling in bright hues and sophisticated proportions with mystical faces of the angels evokes reflections on a celestial nether world, on the mysteries of Divine Creation.
     Although work on the murals of the Dmitrov Cathedral of the Dormition was not as intense as the one in the Cathedral of Christ the Saviour, thanks to smaller dimensions, there were particulars that considerably complicated the creative challenges. These were related to the need to insert newly created images into a previously established artistic decor.

Preliminary Sketch of the Mural Paintings for the Church
of the Nativity of Christ of the Pskov Cave Monastery
100 И 70 cm, water-color on paper. 2002

     The idea of creating a brand new church interior pervaded the artist's work on the Church of the Life-Giving Trinity in honor of the Millennium of Christianity in Russia. The image of the Holy Trinity, disclosed in various revelations, is thrice repeated in the semi-circular tympanums - this is the Epiphany, the Descent of the Holy Spirit and the Old Testament Trinity with accompanying Russian Saints, to whom the Image of the Holy Trinity was revealed. The portrayal of the Saviour, establishing the mystery of the Eucharist during the Last Supper, and the image of the Celestial Eucharist on the wall of the altar must be seen over a relatively low iconostasis.
     The entire perimeter of the church is covered with images of groups of Russian Saints from many lands lifting words of prayer up to the heavenly realm throughout the Millennial History of the Russian Church. These murals should symbolize the unity of contemporary faithful and ancient saints in a prayerful call to God.
     The artist devoted four years to the recreation of the artistic decor of the Dormition Church in Domnino, the hereditary estate of the Romanoff Boyars. The town of Domnino is located in the province of Kostroma. Once, the Elder of this town was the legendary hero, Ivan Sussanin, who gave his life to save the first Romanoff - nearby, the young Michael Romanoff, future founder of the dynasty, lay in hiding from the Polish regiments. The Church of Dormition was built on the spot where, according to legend, stood the house of Marfa, the nun who had been the mother of Michael Romanoff.

Preliminary Sketch for the Murals of the Main Altar
of the Dormition Cathedral in Dmitrov
100 И 100 cm, water-color on paper. 2002

     A classic example of Russian church architecture, the Church of Dormition has three chapels with unique icons of the Jaroslavl and Kostroma Schools. The old wall paintings, in the style of provincial Baroque, were also partially preserved.
     The integrated work on the project, under the overall direction of Vassily Nesterenko, resulted in the restoration of over one hundred icons, renovation of the murals and recreation of the iconostasis, with its unique carvings. New scenic murals and ornamental decor were also created. Vassily Nesterenko personally participated in painting several of the new murals of the Dormition Cathedral. This album contains a sketch for the mural 'Dormition of the Holy Mother of God', created by the artist for the niche in the outer section of the church. While spending time in the Russian heartland, the most picturesque 'Sussanin' locales, the artist painted a multitude of studies. The land of Kostroma became the inspiration for a series of paintings: 'Oh, Russian Land!', 'The Forsaken', 'The Outskirts', 'Reminiscence of Summer' and others.

Annunciation
Preliminary Sketch for the Mural
in the Dormition Cathedral in Dmitrov
20 И 12 cm, oil on paper. 2002

     Work on the interior of the Throne Hall of the Jerusalem Patriarchate left Vassily Nesterenko with some of his most memorable impressions. The artist received the commission from Patriarch Diodoros on the eve of the celebration of 2000 years of the Birth of Christ. The brief, in terms of time, yet extremely intense period of work by the creative team under the direction of Vassily Nesterenko was able to produce a sophisticated ornamental and pictorial decor. The artist, himself, executed the 'Image of the Holy Spirit' mural in the center apse of the Throne Hall.
     In the beginning of January, 2000, just before Christmas, all the Patriarchs and Presidents of the Orthodox Christian world met under the mural of Vassily Nesterenko. The painter, along with his artist colleagues, were granted a unique opportunity to participate in the solemn Jubilee services in the Church of the Holy Sepulcher in Jerusalem and the Church of the Lord's Manger in Bethlehem.
     The creation of the painting 'Christmas in Jerusalem', depicting a corner of the Russian Orthodox Cloister in the Garden of Gethsemane belongs to this same period. Created upon his return to Russia, the icon 'The Image of the Saviour in the Crown of Thorns' is dear to the artist because in its technique and painterly style it is close to the murals he created in the Cathedral of Christ the Saviour.

Preliminary Sketch for the Murals
of the Cupola, Tumpanums and Triangular Arches
of the Church of the Lifegiving Trinity
150 И 155 cm, water-color on paper. 2003

     In analyzing the art work of Vassily Nesterenko, it becomes apparent that church murals and the spiritual painting of the artist are closely related to his portrait and landscape painting, and are logically integrated within the greater context of his creativity. For example, the treatment of the rocky shore of the River Jordan in the 'The Epiphany' mural is reminiscent of some scenes of Mount Athos and the Crimea. The landscape aspect of the 'Christ and the Samarian Woman' is evocative of the work in 'Christmas in Jerusalem'. Many similarities can be found between the artist's seascape style and 'The Miraculous Catch of Fish' painting. A more apparent relationship can be traced between portraits of real persons and figures created in the murals and multi-figured canvases. The artist has filled his Gospel paintings with real-life people and has given them sharp, expressive portrait characteristics. Nesterenko finds a special solution for each subject, but he applies the same rules of composition to both his spiritual and historic art.

Preliminary Sketch for the Mural Paintings
of the Church of the Lifegiving Trinity
in honor of the Millennium of Christianity in Russia
195 И 165 cm, water-color on paper. 2003

     In spite of the multifaceted genres and multitude of subjects attracting the artist, his creativity is quite unified in its inner content. In anything he undertakes, he tries to penetrate into the essence of the creative challenge, finding a reflection of a higher beauty and harmony in female portraits and in images of the clergy, in monumental landscape works and in small studies, as, for example, in 'Path in the Rocks', or 'Road to the Peak'. Vassily Nesterenko does not lock himself into portraying similar motifs, does not limit himself by adhering to any particular genre. The soul of the artist seeks to encompass the entire surrounding world, to try to reflect, in his own language, all the beauty and harmony of mankind and nature, to be enthralled by the perfection of the Creator's universe. The art of Vassily Nesterenko calls upon people to strive for perfection according to each individual's manner. The artist believes that only goodness can be a source of true inspiration and an objective of applying creative abilities. This is immediately noticed by the viewer. The public, actually, is not easily fooled - an artist's creativity really reflects his thoughts and aspirations. In our age, when more and more often we see examples of rejection of spiritual values, Vassily Nesterenko has quite deliberately chosen his path of service to goodness and beauty. He beckons us to what is beautiful, showing positive examples from history and focusing our attention on the best of what surrounds us.

The Shroud of Christ
Preliminary Sketch for the Icon in the Cathedral of Christ the Saviour
23 И 10 cm, pencil on paper. 2002

     This can be best felt when the artist's creations, executed in various genres, are assembled together. Then, the overall impression of harmony, tranquility and peace mesmerizes the viewer. This is what happened during the first personal showing at the Academy of Arts, at the exhibitions at the New Manezh, and many other exhibit halls. This impact was repeated with particular force at the Great Manezh exhibition, when thousands of viewers became familiar with the full multifaceted range of the artist's creativity.
     The one-man exhibit of Vassily Nesterenko in the largest exhibit hall of Russia, the Great Manezh, took place in the beginning of 2004. Just a handful of artists were able to organize a personal showing in its space during the hall's entire history. But the colossal dimensions of the Great Manezh turned out to be fully appropriate for the scope of the artistic gifts of Vassily Nesterenko. In preparation for the exhibit, the artist created a number of new works which were to be viewed for the first time in this Hall. In terms of creative activity, the preparation time for Vassily Nesterenko in connection with this exhibit in the Great Manezh is comparable to the time he spent working in the Cathedral of Christ the Saviour. The exhibit elicited a huge response among a wide circle of Moscow art lovers.

Dormition of the Holy Mother of God
Preliminary Sketch for the Mural
in the Dormition Church in Domnino
100 И 56 cm, water-color on paper. 2003

     Half a year later, in the Kremlin, the President of the Russian Federation, V.V.Putin, bestowed upon V.l.Nesterenko the honorary title of 'National Artist of Russia'. One other important result of the exhibit was the desire of the government administration and general public to have the opportunity to become acquainted with the artist's work not only in Moscow, but in other cities throughout Russia.
     One-man exhibits of Vassily Nesterenko's work were organized in State Museums of Art in Orel, Orenburg, Lipetsk, Vologda, Dmitrov, Ryazan, Petrozavodsk, and also in cities of the near an distant abroad - in Kiev, Sevastopol, Minsk, Berlin, Nicosia, Peking and other cities. Many were so successful, that the artist was asked to considerably extend the duration of the exhibits to give a chance for a wider audience of art lovers to become acquainted with his art.

Image of the Holy Spirit Preliminary Sketch for the Mural in the Throne Hall of the Jerusalem Patriarchate 31 И 22 cm, water-color on paper. 2000		Orthodox Patriarchs in the Throne Hall of the Jerusalem Patriarchate Christmas 2000

     According to a decree of the Moscow government, a 'National Gallery of Vassily Nesterenko Paintings' was created in Russia's capital, for which a separate building was designated in the prestigious Old Arbat street. But exhibits remain the favorite venue for the artist to communicate with his public. The artist is often invited to organize presentation exhibits featuring a single work. For example, this is how the presentation of the portrait of Irina Arkhipova took place in the famous State Tretyakov Gallery, the painting 'Defend Sevastopol!', - in the State Historic Museum, the portrait of Vladimir Matorin - in the Council of Theatrical Artists, and the portrait of Vassily Lanovoy - in the Center for Artistic Leaders.
     The artist has created many new paintings for a second personal showing within the walls of the New Manezh - these are the 'Russian Madonna', 'Mother's Portrait', 'The Sea', 'Enchanted Dream', 'Presentiment of Love', 'Venetian Carnival' and others. Having been raised in the academic traditions of Russian fine art, being a member of the Russian Academy of Arts, Vassily Nesterenko felt a great responsibility in preparing for a second one-man exhibit in the halls of this exhibit gallery - one of the most renown old academies in the world. This took place in 2006, on the eve of the 250th Anniversary of the Academy of Arts and ten years after the artist's first memorable exhibit.

Press Conference before the Opening
of the Personal Exhibition in the New Manezh
January, 2006

     The paintings of Vassily Nesterenko are accessible to fine art specialists as well as to people far removed from artistic creativity. They speak of contemporary Russia, with its glorious past and rich traditions, they sing praises of the beauty of nature, they summon the viewer to turn to spiritual values. He can rightly be called a national artist.
     Having earned the respect of his colleagues and the love of his public, Vassily Nesterenko remains devoted to his favorite vocation. Fine Art is not simply work, it is a way of life for Vassily. To serve Russia with his talent, to benefit society with his creations - this is the true duty of an artist, as he understands it.
     Vassily Nesterenko continues to actively work in all genres of art, creating ever greater and newer challenges for his talents. His studio is filled with fresh, clean canvasses, his creative plans - with new subjects, and his dreams - with grand achievements.
 

Dimitry Shvidkovsky, 
Doctor of Art History, Professor,
Member of the Presidium of the Council for Culture and Art
under the President of the Russian Federation,
Vice-President of the Russian Academy of Arts 
 

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