Page 6 - maxim art monograph

The way he portrays expressive characters in relative immobility skillfully reveals their internal dynamics, reminiscent of the characters in The Brothers Karamazov. Bishop Maxim perceives Fyodor Mikhailovich Dostoyevsky’s work as akin to a sub- marine diving into the human soul’s abyss, capturing its labyrinthine landscapes to present them as a real- istic depiction of a mysterious existence. Almost all his radiant figures emerge from a dark background, symbolizing existential night and void. His paintings employ a technique of forming subjects through sev- eral layers of chromatic sequences, progressing from relatively dark to successively lighter layers. This method could be described as overpainting, contrasting with the traditional approach of under- painting to define composition. By focusing on painting light rather than shadow, the lines of the subject become visible from within. The warm, dark outlines of the figures blend seamlessly with the background. This technique culminates in the appli- cation of final, bright accents.
Bishop Maxim’s method of engaging with Dosto- yevsky and his characters is unique. He begins by studying Dostoyevsky’s heroes, taking inspiration from the renowned portrait by the painter Perov, particularly focusing on the poignant expression in Dostoyevsky’s eyes. Bishop Maxim reinterprets these eyes, infusing them with a psychic fullness and ten- derness, almost as if bathing them in a gentle fra- grance. This results in a portrait that encapsulates the long-suffering yet blessed essence of Dostoevsky. Upon viewing this portrait, one is immediately drawn to the eyes and the “suffering” coat, evoking the sentiment: this man has weathered a storm, yet hiseyesreflectasweetnessthatseemstosay,“Thank
God, we are saved!” This portrayal of Dostoevsky is unique in its expression, a path that culminates in a joyful eulogy, celebrating the triumph over nothing- ness.
The eyes of the characters in Bishop Maxim’s works appear tearful and pained, as if gazing upon tortured souls. However, the illumination of the fig- ures, styled akin to Byzantine icons, along with other meticulous details, elevates Bishop Maxim’s artwork. His paintings are not only instructive but also re- demptive in nature. Each piece serves as a redemp- tiveicon,offeringbothalessonandasenseofsalva- tion through its profound visual narrative.
In another painting, Bishop Maxim brilliantly portrays the character of a maid, going beyond her clothes, characteristic scarf, and simple work attire. He captures her essence through the expressiveness of her eyes, mouth, and eyebrows. Understanding a person’s character is crucially linked to these facial features. I don’t know how the painter managed to crystallize in her eyes the life of a girl who works, lis- tens, strives, and endures with humility. .
The painting’s emotional resonance is further amplified by the lips, which seem to pose the poi- gnant question: why must I endure all this? While the maid’s expression is lay and unassuming, there is a blessed expressiveness in the anatomical elements of her character. The artwork is so lifelike and con- vincing that one could almost believe the girl has just finished cleaning, hands on her hips, now walking towards us. From a painting perspective, it’s intrigu- ing how Bishop Maxim, as an Orthodox painter, transcends mere stylistic representation. He por- trays a broad forehead and eyes, a strong neck, illus- trating a girl who has grown and strengthened
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