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The way he portrays expressive characters in relative immobility skillfully reveals their internal dynamics, reminiscent of the characters in The Broth- ers Karamazov. Bishop Maxim perceives Fyodor Mik- hailovich Dostoyevsky’s work as akin to a submarine diving into the human soul’s abyss, capturing its lab- yrinthine landscapes to present them as a realistic depiction of a mysterious existence. Almost all his radiant figures emerge from a dark background, sym- bolizing existential night and void. His paintings em- ploy a technique of forming subjects through several layers of chromatic sequences, progressing from relatively dark to successively lighter layers. This method could be described as overpainting, con- trasting with the traditional approach of underpaint- ing to define composition. By focusing on painting light rather than shadow, the lines of the subject be- come visible from within. The warm, dark outlines of the figures blend seamlessly with the background. This technique culminates in the application 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 sen- timent: this man has weathered a storm, yet his eyes reflect a sweetness that seems to say, “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 nothingness.
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- tive icon, offering both a lesson and a sense of salva- 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 through work and hardship, now prepared to face
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