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tough days ahead. The manner in which Bishop Max- im has painted this girl acts like a halo, crowning her image with a sense of sanctity and resilience.
In “Dostoevsky in the Night,” the painting poi- gnantly suggests that even the Moon is a witness to human suffering. The theme of everything sliding towards nothingness, which we discussed earlier, finds resonance here. The artwork also explores a meteorological motif, where the Moon, portrayed as a celestial body, prompts us to envision the Earth as a larger sphere in contrast to the Moon’s smaller presence. On the canvas, Dostoevsky appears to be slipping, momentarily losing his sense of gravity, on the verge of falling. Yet, in this depiction, Dostoevsky is not depicted as agitated. The artist skillfully brings forth a light that is otherworldly and sanctifying, il- luminating Dostoevsky’s forehead, arches above the eyebrows, and cheeks. It’s as though the protagonist has reached a dead end, and after enduring the strain of this unredeemed moment, transcends and reflects upon it. His eyes seem to delve into the phil- osophical musings of why life, beauty, and joy are so often intertwined with pain and suffering. With the heart’s gentleness, the artist finally softens this vi- sion, rendering it truly unique and poignant.
Deep within the form of Maxim’s paintings lies a weariness of the conventional and the mundane, along with a yearning for something new, fresh, and more meaningful than the drabness of everyday life. While it’s challenging to grasp the full depth of his work, for now, we can appreciate its external form. There’s a reminder of the painter De Chirico in his work, with geometric shapes reminiscent of a rugby ball, angular, unwelcoming buildings as relics of a civilization that has failed us, statues in neglected
squares, and trains traversing the horizon, indiffer- ent to our existence. While this spirit is not the dom- inant force in Bishop Maxim’s artistic pursuits, it accentuates the uniqueness of his personal identity. It also helps to distinguish his work from that of oth- er artists, thus transcending any superficial similar- ities and preventing easy categorization.
Some portraits by Bishop Maxim, like “Elder Tik- hon,” exhibit subtle nuances and seamless transi- tions from warm to cool tones. This portrait commu- nicates powerfully through its posture: the subject’s raised, strong shoulders form a robust base for the bent head and face, reminiscent of an ascetic figure. It’s a portrayal that speaks to the spirit of a brave hero in Christian asceticism, capturing both physi- cal strength and spiritual intensity.
In all of his portraits, painter Bishop Maxim demonstrates a keen accuracy in positioning the bust. He skillfully balances the head on the shoul- ders, whether it is tilted or elevated, bringing a unique dynamism to each piece. This is particularly evident in his depictions of female characters, where he often introduces an element of scherzo, or playful movement. Despite these varying details, Maxim consistently maintains a robustness in the build and a harmonious relationship between the head and the body. The key to these portraits’ compelling nature lies in the eyes, where the true essence of each char- acter is subtly yet powerfully revealed.
The nuanced portrayal of characters from Dos- toyevsky’s works in Bishop Maxim’s recent paintings embodies a distinct spirit, setting them apart from his previous works and avoiding monotony. A key characteristic is the movement of the body and the dynamic nature of the drawing, where the line itself
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