's film At Home Among Strangers]] Anatoly Alekseyevich Solonitsyn (also 'Anatoli'; ; 30 August 1934, Bogorodsk – 11 June 1982, Moscow) was a Soviet actor.

Work

Solonitsyn is best known in the west for his roles in several of Andrei Tarkovsky's films, including Dr. Sartorius in Solaris (1972), the Writer in Stalker (1979), the physician in The Mirror (1975), and the title role in Andrei Rublev (1966). Indeed, it was Tarkovsky who "discovered" him. In his book Sculpting In Time, Tarkovsky calls him his "favorite" actor, and writes that Solonitsyn was intended to play the lead roles in each of his films Nostalghia (1983) and The Sacrifice (1986), but died before their production.

In the former Soviet Union he is also well known for his roles in Telokhranitel/The Bodyguard (1979), At Home among Strangers (1974) and many others.

In 1981, he won the Silver Bear for Best Actor at the 31st Berlin International Film Festival for his role in Aleksandr Zarkhi's film Twenty Six Days from the Life of Dostoyevsky.

Solonitsyn died from cancer in 1982, at the age of 47.

References

External links

Category:1934 births Category:1982 deaths Category:Russian film actors Category:Soviet actors Category:Cancer deaths in the Soviet Union Category:Deaths from lung cancer

Name	Andrei Tarkovsky
Birth name	Andrei Arsenyevich Tarkovsky
Birth date	April 04, 1932
Birth place	Zavrazhye, Soviet Union
Death date	December 29, 1986
Death place	Paris, France
Occupation	Film director
Years active	1958–86
Spouse	Irma Raush (1957–70)Larisa Kizilova (1970–86)

Andrei Arsenyevich Tarkovsky (; April 4, 1932 – December 29, 1986) was a Soviet and Russian filmmaker, writer, film editor, film theorist and opera director, widely regarded as one of the greatest and finest filmmakers of the 20th century.

Tarkovsky's films include Andrei Rublev, Solaris, The Mirror, and Stalker. He directed the first five of his seven feature films in the Soviet Union; his last two films were produced in Italy and Sweden, respectively. They are characterized by spirituality and metaphysical themes, long takes, lack of conventional dramatic structure and plot, and distinctively authored use of cinematography.

Notable film director Ingmar Bergman said of Tarkovsky:

Life

Childhood and early life

Tarkovsky was born in the village of Zavrazhye in Ivanovo Oblast, the son of poet and translator Arseny Alexandrovich Tarkovsky, native of Kirovohrad, Ukraine, and Maria Ivanova Vishnyakova, a graduate of the Maxim Gorky Literature Institute.

Tarkovsky spent his childhood in Yuryevets. He was described by childhood friends as active and popular, having many friends and being typically in the center of action. In 1937, his father left the family, subsequently volunteering for the army in 1941. Tarkovsky stayed with his mother, moving with her and his sister Marina to Moscow, where she worked as a proofreader at a printing press. In 1939, Tarkovsky enrolled at the Moscow School № 554. During the war, the three evacuated to Yuryevets, living with his maternal grandmother. In 1943, the family returned to Moscow. Tarkovsky continued his studies at his old school, where the poet Andrey Voznesensky was one of his classmates. He learned the piano at a music school and attended classes at an art school. The family lived on Shshipok Street in the Zamoskvorechye District in Moscow. From November 1947 to spring 1948, he was in a hospital with tuberculosis. Many themes of his childhood - the evacuation, his mother and her two children, the withdrawn father, the time in the hospital - feature prominently in his film The Mirror.

Following high school graduation, from 1951 to 1952, Tarkovsky studied Arabic at the Oriental Institute in Moscow, a branch of the Academy of Sciences of the USSR. Although he already spoke some Arabic and was a successful student in his first semesters, he did not finish his studies and dropped out to work as a prospector for the Academy of Science Institute for Non-Ferrous Metals and Gold. He participated in a year-long research expedition to the river Kureikye near Turukhansk in the Krasnoyarsk Province. During this time in the Taiga Tarkovsky decided to study film.

Film school student

]] Upon return from the research expedition in 1954, Tarkovsky applied at the State Institute of Cinematography (VGIK) and was admitted to the film-directing-program. He was in the same class as Irma Raush, whom he married in April 1957.

The early Khrushchev era offered unique opportunities for young film directors. Before 1953, annual film production was low and most films were directed by veteran directors. After 1953, more films were produced, many of them by young directors. The Khrushchev Thaw opened Soviet society and allowed, to some degree, Western literature, films and music. This allowed Tarkovsky to see films of the Italian neorealists, French New Wave, and of directors such as Kurosawa, Buñuel, Bergman, Bresson, Andrzej Wajda (whose film Ashes and Diamonds was a true experience for him) and Mizoguchi. Tarkovsky absorbed the idea of the auteur as a necessary condition for creativity.

Tarkovsky's teacher and mentor was Mikhail Romm, who taught many film students who would later become influential film directors. In 1956, Tarkovsky directed his first student short film, The Killers, from a short story of Ernest Hemingway. The short film There Will Be No Leave Today and the screenplay Concentrate followed in 1958 and 1959.

An important influence on Tarkovsky was the film director Grigori Chukhrai, who was teaching at the VGIK. Impressed by the talent of his student, Chukhrai offered Tarkovsky a position as assistant director for his film Clear Skies. Tarkovsky initially showed interest, but then decided to concentrate on his studies and his own projects.

In 1972, he completed Solaris, an adaptation of the novel Solaris by Stanisław Lem. He had worked on this together with screenwriter Fridrikh Gorenshtein, as early as 1968. The film was presented at the Cannes Film Festival and won the Grand Prix Spécial du Jury and the FIPRESCI prize and was nominated for the Palme d'Or. From 1973 to 1974, he shot the film The Mirror, a highly autobiographical film drawing on his childhood and incorporating some of his father's poems. Tarkovsky had worked on the screenplay for this film since 1967, under the consecutive titles Confession, White day and A white, white day. From the beginning the film was not well received by Soviet authorities due to its content and its perceived elitist nature. Russian authorities placed the film in the "third category" which meant severe limitations on its distribution, allowing it to be shown only in third class cinemas and workers' clubs. Few prints were made and the filmmakers received no returns. Third category films also placed the filmmakers in danger of being accused of wasting public funds, which could have serious effects on their future productivity. These difficulties are presumed to have made Tarkovsky play with the idea of going abroad and producing a film outside the Soviet film industry.

During 1975, Tarkovsky also worked on the screenplay Hoffmanniana, about the German writer and poet E. T. A. Hoffmann. In December 1976, he directed Hamlet, his only stage play, at the Lenkom Theatre in Moscow. The main role was played by Anatoly Solonitsyn, who also acted in several of Tarkovsky's films. At the end of 1978, he also wrote the screenplay Sardor together with the writer Aleksandr Misharin.

The last film Tarkovsky completed in the Soviet Union was Stalker, inspired by the novel Roadside Picnic by the brothers Arkady and Boris Strugatsky. Tarkovsky had met the brothers first in 1971 and was in contact with them until his death in 1986. Initially he wanted to shoot a film based on their novel Dead Mountaineer's Hotel and he developed a raw script. Influenced by a discussion with Arkady Strugatsky he changed his plan and began to work on the script based on Roadside picnic. Work on this film began in 1976. The production was mired in troubles; improper development of the negatives had ruined all the exterior shots. Tarkovsky's relationship with cinematographer Georgy Rerberg deteriorated to the point where Tarkovsky hired Alexander Knyazhinsky as a new first cinematographer. Furthermore, Tarkovsky suffered a heart attack in April 1978, resulting in further delay. The film was completed in 1979 and won the Prize of the Ecumenical Jury at the Cannes Film Festival.

In the same year Tarkovsky also began the production of the film The First Day (Russian: Первей День Pervyj Dyen′), based on a script by his friend and longterm collaborator Andrei Konchalovsky. The film was set in 18th century Russia during the reign of Peter the Great and starred Natalya Bondarchuk and Anatoli Papanov in the main roles. To get the project approved by Goskino, Tarkovsky submitted a script that was different from the original script, leaving out several scenes that were critical of the official atheism in the Soviet Union. After finishing shooting of roughly one half of the film, the project was stopped by Goskino, after it became apparent that the film differed from the script submitted to the censors. Tarkovsky was reportedly infuriated by this interruption and destroyed most of the film.

Film career outside the Soviet Union

in France.]] During the summer of 1979, Tarkovsky traveled to Italy, where he shot the documentary Voyage in Time, together with his longtime friend Tonino Guerra. Tarkovsky returned to Italy in 1980 for an extended trip during which he and Tonino Guerra completed the script for the film Nostalghia. During 1981 he traveled to the United Kingdom and Sweden. During his trip to Sweden he had considered defecting from the Soviet Union, but ultimately decided to return because of his wife and his son.

Tarkovsky returned to Italy in 1982 to start shooting Nostalghia. He did not return to his home country. As Mosfilm withdrew from the project, he had to complete the film with financial support provided by the Italian RAI. Tarkovsky completed the film in 1983. Nostalghia was presented at the Cannes Film Festival and won the FIPRESCI prize and the Prize of the Ecumenical Jury. Tarkovsky also shared a special prize called Grand Prix du cinéma de creation with Robert Bresson. Soviet authorities prevented the film from winning the Palme d'Or, a fact that hardened Tarkovsky's resolve to never work in the Soviet Union again. In the same year, he also arranged the opera Boris Godunov at the Royal Opera House in London under the musical direction of Claudio Abbado.

He spent most of 1984 preparing the film The Sacrifice. At a press conference in Milan on July 10, 1984, he announced that he would never return to the Soviet Union and would remain in the West. At that time, his son Andrei Jr. was still in the Soviet Union and not allowed to leave the country.

During 1985, he shot the film The Sacrifice in Sweden. At the end of the year he was diagnosed with terminal lung cancer. In January 1986, he began treatment in Paris, and was joined there by his son, who was finally allowed to leave the Soviet Union. The Sacrifice was presented at the Cannes Film Festival and received the Grand Prix Spécial du Jury, the FIPRESCI prize and the Prize of the Ecumenical Jury. As Tarkovsky was unable to attend due to his illness, the prizes were collected by his son, Andrei Jr.

In Tarkovsky's last entry (December 15, 1986), he wrote: "But now I have no strength left - that is the problem". The diaries are sometimes also known as and were published posthumously in 1989 and in English in 1991.

Tarkovsky died in Paris on December 29, 1986. He was buried on January 3, 1987 in the Russian Cemetery in Sainte-Geneviève-des-Bois in France. The inscription on his grave stone, which was created by the Russian sculptor Ernst Neizvestny, reads: To the man who saw the Angel.

A controversy emerged in Russia in the early 1990s when it was alleged that Tarkovsky did not die of natural causes, but was assassinated by the KGB. Evidence for this hypothesis includes several testimonies by former KGB agents, who claim that Viktor Chebrikov gave the order to eradicate Tarkovsky to prevent what the Soviet government and the KGB saw as anti-Soviet propaganda by Tarkovsky. Other evidence includes several memos that surfaced after the 1991 coup and the claim by one of Tarkovsky's doctors that his cancer could not have developed from a natural cause.

As Tarkovsky, his wife Larisa Tarkovskaya and actor Anatoli Solonitsyn all died from the very same type of lung cancer, Vladimir Sharun, sound designer in Stalker, is convinced that they were all poisoned when shooting the film near a chemical plant.

Filmography

Tarkovsky is mainly known as a director of films. During his career he directed only seven feature films, and three short films during his time at the film school. He also wrote several screenplays, directed the play Hamlet for the stage in Moscow, the opera Boris Godunov in London, and directed a radio production of the short story Turnabout by William Faulkner. He also wrote Sculpting In Time, a book on film theory.

Tarkovsky's first feature film was Ivan's Childhood in 1962. He then directed in the Soviet Union Andrei Rublev in 1966, Solaris in 1972, The Mirror in 1975 and Stalker in 1979. The documentary Voyage in Time was produced in Italy in 1982, as was Nostalghia in 1983. His last film The Sacrifice was produced in Sweden in 1986. Tarkovsky was personally involved in writing the screenplays for all his films, sometimes with a co-writer. To Tarkovsky a director who realizes somebody else's screenplay without being involved in it becomes a mere illustrator, resulting in dead and monotonous films.

Awards

Numerous awards were bestowed on Tarkovsky throughout his lifetime. At the Venice Film Festival he was awarded the Golden Lion. At the Cannes Film Festival he won several times the FIPRESCI prize, the Prize of the Ecumenical Jury and the Grand Prix Spécial du Jury. He was also nominated for the Palme d'Or two times. In 1987, the British Academy of Film and Television Arts awarded the BAFTA Award for Best Foreign Language Film to The Sacrifice.

Under the influence of Glasnost and Perestroika, Tarkovsky was finally recognized in the Soviet Union in the fall of 1986, shortly before his death, by a retrospective of his films in Moscow. After his death, an entire issue of the film magazine Iskusstvo Kino was devoted to Tarkovsky. In their obituaries, the film committee of the Council of Ministers of the USSR and the Union of Soviet Film Makers expressed their sorrow that Tarkovsky had to spend the last years of his life in exile.

Posthumously, he was awarded the Lenin Prize in 1990, one of the highest state honors in the Soviet Union. In 1989 the Andrei Tarkovsky Memorial Prize was established, with its first recipient being the Russian animator Yuriy Norshteyn. Since 1993, the Moscow International Film Festival awards the annual Andrei Tarkovsky Award. In 1996 the Andrei Tarkovsky Museum opened in Yuryevets, his childhood town. A minor planet, 3345 Tarkovskij, discovered by Soviet astronomer Lyudmila Georgievna Karachkina in 1982, has also been named after him.

Tarkovsky has been the subject of several documentaries. Most notable is the 1988 documentary Moscow Elegy, by Russian film director Alexander Sokurov. Sokurov's own work has been heavily influenced by Tarkovsky. The film consists mostly of narration over stock footage from Tarkovsky's films. Directed by Andrei Tarkovsky is 1988 documentary film by Michal Leszczylowski, an editor of the film The Sacrifice. Film director Chris Marker produced the television documentary One Day in the Life of Andrei Arsenevich as an homage to Andrei Tarkovsky in 2000.

Ingmar Bergman was quoted as saying: "Tarkovsky for me is the greatest [of us all], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream".

At the enterance to the Gerasimov Institute of Cinematography in Moscow, Russia there is a monument that includes statues of Tarkovsky, Gennady Shpalikov and Vasily Shukshin.

Influences

Tarkovsky became a film director during the mid and late 1950s, a period during which Soviet society opened to foreign films, literature and music. This allowed Tarkovsky to see films of European, American and Japanese directors, an experience which influenced his own film making. His teacher and mentor at the film school, Mikhail Romm, allowed his students considerable freedom and emphasized the independence of the film director.

Tarkovsky was, according to Shavkat Abdusalmov, a fellow student at the film school, fascinated by Japanese films. He was amazed by how every character on the screen is exceptional and how everyday events such as a Samurai cutting bread with his sword are elevated to something special and put into the limelight. Tarkovsky has also expressed interest in the art of Haiku and its ability to create "images in such a way that they mean nothing beyond themselves."

In 1972, Tarkovsky told film historian Leonid Kozlov his ten favorite films. The list includes: Diary of a Country Priest and Mouchette, by Robert Bresson; Winter Light, Wild Strawberries and Persona, by Ingmar Bergman; Nazarín, by Luis Buñuel; City Lights, by Charlie Chaplin; Ugetsu, by Kenji Mizoguchi; Seven Samurai, by Akira Kurosawa, and Woman in the Dunes, by Hiroshi Teshigahara. Among his favorite directors were Buñuel, Mizoguchi, Bergman, Bresson, Kurosawa, Michelangelo Antonioni, Jean Vigo, and Carl Theodor Dreyer.

With the exception of City Lights, the list does not contain any films of the early silent era. The reason is that Tarkovsky saw film as an art as only a relatively recent phenomenon, with the early film-making forming only a prelude. The list has also no films or directors from Tarkovsky's native Russia, although he rated Soviet directors such as Boris Barnet, Sergei Paradjanov and Alexander Dovzhenko highly.

Although strongly opposed to commercial cinema, in a famous exception Tarkovsky praised the blockbuster film The Terminator, saying its "vision of the future and the relation between man and its destiny is pushing the frontier of cinema as an art". He was critical of the "brutality and low acting skills", but nevertheless impressed by this film.

Water, clouds, and reflections were used by him for its surreal beauty and photogenic value, as well as its symbolism, such as waves or the form of brooks or running water.

Bells and candles are also frequent symbols. These are symbols of film, sight and sound, and Tarkovsky's film frequently has themes of self reflection.

Tarkovsky developed a theory of cinema that he called "sculpting in time". By this he meant that the unique characteristic of cinema as a medium was to take our experience of time and alter it. Unedited movie footage transcribes time in real time. By using long takes and few cuts in his films, he aimed to give the viewers a sense of time passing, time lost, and the relationship of one moment in time to another.

Up to, and including, his film The Mirror, Tarkovsky focused his cinematic works on exploring this theory. After The Mirror, he announced that he would focus his work on exploring the dramatic unities proposed by Aristotle: a concentrated action, happening in one place, within the span of a single day.

Several of Tarkovsky's films have color or black and white sequences, including for example Andrei Rublev which features an epilogue in color of religious icon paintings, as well as Solaris, The Mirror, and Stalker, which feature monochrome and sepia sequences while otherwise being in color. In 1966, in an interview conducted shortly after finishing Andrei Rublev, Tarkovsky dismissed color film as a "commercial gimmick" and cast doubt on the idea that contemporary films meaningfully use color. He claimed that in everyday life one does not consciously notice colors most of the time. Hence in film color should be used mainly to emphasize certain moments, but not all the time as this distracts the viewer. To him, films in color are like moving paintings or photographs, which are too beautiful to be a realistic depiction of life.

Vadim Yusov

Tarkovsky worked in close collaboration with cinematographer Vadim Yusov, and much of the visual style of Tarkovsky's films can be attributed to this collaboration. Tarkovsky would spend two days preparing for Yusov to film a single long take, and due to the preparation, usually only a single take was needed.

Sven Nykvist

In his last film, The Sacrifice, Tarkovsky worked with cinematographer Sven Nykvist, who had worked closely with director Ingmar Bergman on many of Bergman's films. Nykvist complained that Tarkovsky would frequently look through the camera and even direct actors through it.

Films about Tarkovsky

Ebbo Demant: Auf der Suche nach der verlorenen Zeit.Andrej Tarkowskijs Exil und Tod. Documentary. Germany, 1988.

One Day in the Life of Andrei Arsenevich : 1999 French documentary film directed by Chris Marker

Voyage in Time : documents the travels in Italy of Andrei Tarkovsky in preparation for the making of his film Nostalghia, Tonino Guerra, 1983.

References

Bibliography

External links

Andrei Tarkovsky at Senses of Cinema

Category:1932 births Category:1986 deaths Category:People from Yuryevets District Category:Burials at Sainte-Geneviève-des-Bois Russian Cemetery Category:Russian people of Polish descent Category:Ukrainian people of Polish descent Category:Russian people of Ukrainian descent * Category:BAFTA winners (people) Category:Russian actors Category:Russian Orthodox Christians Category:Soviet film directors Category:Russian film directors Category:Opera directors Category:Gerasimov Institute of Cinematography alumni Category:Deaths from lung cancer Category:Cancer deaths in France Category:Lenin Prize winners

Name	St. Andrei Rublev
Birth date	1360-1370
Death date	29 January 1427 or 1430
Feast day	29 January, 4 July
Venerated in	Eastern Orthodox ChurchAnglican Communion
Caption	Russian Icon of St. Andrei Rublev, holding one of his works
Death place	Andronikov Monastery, Moscow
Titles	Venerable Father (Prepodobne)
Canonized date	June, 1988
Canonized place	Trinity-St. Sergius Lavra
Canonized by	Holy Governing Synod of the Moscow Patriarchate
Attributes	Clothed as an Orthodox monk, often shown holding an icon

Andrei Rublev (Russian: Андре́й Рублёв, also transliterated Andrey Rublyov and other permutations, born in the 1360s, died 1427 or January 29, 1430) is considered to be the greatest medieval Russian painter of Orthodox icons and frescoes.

Biography

There is little information about his life. It is not known where he was born. Andrei Rublev probably lived in the Trinity-St. Sergius Lavra near Moscow under Nikon of Radonezh, who became hegumen after the death of Sergii Radonezhsky (1392).

The first mention of Rublev is in 1405 when he decorated icons and frescos for the Cathedral of the Annunciation of the Moscow Kremlin in company with Theophanes the Greek and Prokhor of Gorodets. His name was the last of the list of masters as the junior both by rank and by age. Theophanes was an important Byzantine master who moved to Russia, and is considered to have trained Rublev.

Chronicles tell us that in 1408 he painted (together with Daniil Cherni) the Assumption Cathedral in Vladimir and in 1425–1427 the Cathedral of St. Trinity in the Trinity-St. Sergius Lavra. After Daniil's death Andrei came to Moscow's Andronikov Monastery where he painted his last work, the frescoes of the Savior Cathedral.

He is also believed to have painted at least one of the miniatures in the Khitrovo Gospels.

.]]

The only work authenticated as entirely his is the icon of the Trinity, ca. 1410 (shown at left), currently in the Tretyakov Gallery, Moscow. It is based upon an earlier icon known as the "Hospitality of Abraham" (illustrating ). Rublev removed the figures of Abraham and Sarah from the scene, and through a subtle use of composition and symbolism changed the subject to focus on the Mystery of the Trinity.

In Rublev's art, two traditions are combined: the highest asceticism and the classic harmony of Byzantine mannerism. The characters of his paintings are always peaceful and calm. After some time his art came to be perceived as the ideal of Church painting and of Orthodox iconography.

Andrei died at Andronikov Monastery on January 29, 1430 (this date is still questionable). His work has influenced many different artists including Dionisy. At the Stoglavi Sobor (1551) Rublev's icon style was announced as a model for church painting. He was canonized a saint in 1988 by the Russian Orthodox Church. The church celebrates his feast day on January 29 and July 4.

Andrei Rublev is honored with a feast day on the liturgical of the Episcopal Church in the United States of America on January 29.

Since 1959 the Andrei Rublev Museum has been open at the Andronnikov Monastery, displaying the art of his works and his epoch.

In 1966, Andrei Tarkovsky made his celebrated film, Andrei Rublev loosely based on the artist's life, which shows him as "a world-historic figure" and "Christianity as an axiom of Russia's historical identity" during a turbulent period in the history of Russia.

Selected works

See also

Andrei Rublev, a 1966 film by Andrei Tarkovsky loosely based on the painter's life.

Mikhail V. Alpatov, Andrey Rublev, Moscow: Iskusstvo, 1972.

Gabriel Bunge, The Rublev Trinity, transl. Andrew Louth, St. Vladimir's Seminary Press, Crestwood, New York, 2007.

Sergius Golubtsov, Voplosh’enie bogoslovskih idey v tvorchestve prepodobnogo Andreya Rubleva [The realization of theological ideas in creative works of Andrey Rublev]. Bogoslovskie trudy 22, 20–40, 1981.

Troitca Andreya Rubleva [The Trinity of Andrey Rublev], Gerold I. Vzdornov (ed.), Moscow: Iskusstvo 1989.

Viktor N. Lazarev, The Russian Icon: From Its Origins to the Sixteenth Century, Gerold I. Vzdornov (ed.). Collegeville, MN: Liturgical Press, 1997.

Priscilla Hunt, Andrei Rublev’s Old Testament Trinity Icon in Cultural Context, The Trinity-Sergius Lavr in Russian History and Culture: Readings in Russian Religious Culture, vol. 3, ed. Deacon Vladimir Tsurikov, (Jordanville, NY: Holy Trinity Seminary Press, 2006), 99-122.(See on-line at www.phslavic.com)

Priscilla Hunt, Andrei Rublev’s Old Testament Trinity Icon: Problems of Meaning, Intertextuality, and Transmission, Symposion: A Journal of Russian (Religious) Thought, ed. Roy Robson, 7-12 (2002–2007), 15-46 (See on-line at www.phslavic.com)

Konrad Onasch, Das Problem des Lichtes in der Ikonomalerei Andrej Rublevs. Zur 600–Jahrfeier des grossen russischen Malers, vol. 28. Berlin: Berliner byzantinische Arbeiten, 1962.

Konrad Onasch, Das Gedankenmodell des byzantisch–slawischen Kirchenbaus. In Tausend Jahre Christentum in Russland, Karl Christian Felmy et al. (eds.), 539–543. Go¨ ttingen: Vandenhoeck und Ruprecht, 1988.

Eugeny N. Trubetskoi, Russkaya ikonopis'. Umozrenie w kraskah. Wopros o smysle vizni w drewnerusskoj religioznoj viwopisi [Russian icon painting. Colourful contemplation. Question of the meaning of life in early Russian religious painting], Moscow: Beliy Gorod, 2003 [1916].

Georgij Yu. Somov, Semiotic systemity of visual artworks: Case study of The Holy Trinity by Rublev, Semiotica 166 (1/4), 1-79, 2007.

References

External links

Andrey Rublev Official Web Site

Rublev at the Russian Art Gallery

Selected works by Andrei Rublev: icons, frescoes and miniatures

"The Deesis painted by Andrey Rublev" from the Annunciation Church of the Moscow Kremlin - article by Dr. Oleg G. Uliyanov

Historical documentation on Andrei Rublev, compiled by Robert Bird

The Andrei Rublev Museum of Ancient Russian Art – Guide to visiting the museum

Venerable Andrew Rublev the Iconographer Orthodox icon and synaxarion

Gallery of Rublev's works

Category:14th-century births Category:15th-century deaths Category:Russian Christians Category:Russian saints Category:Eastern Orthodox icons Category:Medieval painters Category:Russian painters Category:Russian artists Category:Christian artists Category:Manuscript illuminators Category:Christian saints Category:15th-century Christian saints Category:Anglican saints