Vasily Surikov is the greatest Russian historical painter. History to Surikov is a drama, whose main characters are the people. His heroes are, therefore, bound by unity of action and community of destiny. “I cannot see individual historical figures acting without the people, without the crowd, I want them all out in the street”, he wrote. Surikov’s canvases are amazingly well organized despite the rare multiplicity and variety of types and the gamut of feelings expressed.
Such is The Boyarynia Morozova, a painting which displays fanaticism side by side with charm, fervent belief, with naive curiosity.
After the collector of Russian art Pavel Tretyakov bought both of Surikov's canvases (Menshikov in Berezovo
and Morning of the Strelets'execution), the artist had money to go abroad. He visited Germany, Italy, France, Austria, studying and admiring the rich collection and different schools of painting, drawing and painting his impressions. The interesting fact is that while getting foreign impressions, the artist thought out his next work from Russian history Boyarynia Morozova. On his return Surikov started the work on this canvas.
Czar Tzar Alexey Mikhailovich Romanov (1629-1676, tzar 1645-1676), father of Peter I the Great, started the reforms in Russia; one of them aimed to subordinate the church to the tzar. As a result the Russian Orthodox Church split into Nikonians (those who followed the new course, the name comes from the revolutionary patriarch Nikon) and old-believers (they were headed by Avvakum). Besides other changes, such as the revision of icons and holy books, there were changes in the divine service. Also crossing oneself with three fingers, instead of two, was introduced. (In the picture Boyarynya and her supporters are shown with two fingers up, which means they are old-belivers).
Feodosia Morozova, {(Sokovnina) - (1632-1675)}, old-believer, boyarynia. (boyarin for a man, boyarynia for a woman, denoted a person of the highest nobility in old Russia. They were all descendants of the Grand Dukes and princes of Russia. Their council, boyarskaya duma, was a powerful body in old Russia). Boyarynya Morozova had secret connections with Avvakum, helped his family, and incited people to rebellion. She and her sister were arrested in 1671. First, the tzar planned a public execution, but feared unrest and sent them out off Moscow. Boyarynia Morozova died in prison in Borovsk.
What attracts Surikov is not antiquity as such, not the exotic side of the past, but the invariable strength and steadfastness of the people’s spirit, of which his heroine is an embodiment.
The Boyarynia Morozova, only recently very close to the Tzar Alexey Mikhailovich, is driven, bound in chains, in a simple peasant sledge through a narrow Moscow street.
Condemned to a horrible death, she has been exposed to shame and abuse, but with a sweeping upward motion of the hand with two outstretched fingers – the sign of the schism – she asserts her intransigence. Her eyes, in the pale thin face, sparkle with impassioned fanaticism. Only the wretched yurodivy, who traditionally embodied in Old Russia the people’s conscience, responds openly to Morozova’s appeal by copying her gesture. The people in the crowd are afraid to sympathize openly with the dissenter, but a beggar-woman, on her knees, gives her blessing to the sufferer with a gesture, the heavy-hearted young woman bows to her, the thoughtful pilgrim looks at the boyarynia with compassion, - people of different ages and status are on Morozova’s side.
Surikov combines epic force with the finest lyricism in his art. With wonderful tact he conveys the complex interplay of passions and the emotive state of his numerous personages. The painting strikes one by the depth and convincing restoration of old Russian life, types and costumes, the dispersed light, of a frosty day surrounding the crowd. The boyarynia’s silhouette in her black clothes, bringing a tragic note to the composition, is one of the most dramatic images in Russian historical painting.
