"little secret" of Natalia Tsarkova. "Little Secret" by Natalia Tsarkova - Tips - LiveJournal Artist Tsarkov s and his paintings
#1-2 (19) February 2004Creation
POPE OF RUSSIAN WORK
Once upon a time, Russian artists were specially sent to Italy to learn from local masters. We can say that it was a government program that led to brilliant results. Russian painting has taken its rightful place in world art. A unique national school of classical and realistic painting has emerged, within which significant masters are still emerging. And now our painters also come to Italy, but not for experience, but for success.
Natalya Tsarkova, a young Russian artist, a graduate of I. Glazunov’s studio and the Surikov School, has lived and worked in Rome since 1994. When she first came to Italy to visit a friend, no one knew her name. Several paintings that she took with her quickly attracted the attention of Italians and were immediately sold to private collections. Soon orders for portraits began to appear from aristocrats, politicians, artists and simply wealthy Italians. But real fame and rise in career occurred after painting two portraits of Pope John Paul II, which the Vatican recognized as official images of the Roman Pontiff.
Tsarkova’s monumental painting “The Last Supper” became another notable milestone in her work. The picture amazes with its unexpected perspective and artistic solution to one of the most famous religious subjects. The Russian artist’s painting was given a special honor: its first showing took place in the refectory of Santa Maria Della Grazie in Milan next to the famous masterpiece “The Last Supper” by Leonardo Da Vinci.
By amazing coincidence, Natalia Tsarkova’s studio is located in one of the most “Russian” quarters of Rome, near Piazza Barberini. A stone's throw away is the house where Gogol lived and wrote Dead Souls. Opposite, across the road, near the “four fountains,” was the apartment of Karl Bryullov, who wrote “The Last Day of Pompeii” in Rome. Alexander Ivanov and Orest Kiprensky lived not far from Barberini.
The central place in the studio, completely hung with paintings, is given to “The Last Supper” - Natalya does not want to part with this work yet, despite numerous offers from private collectors and museums.The Vatican Museums have already had their eye on “The Supper.” But until I part with her, I can’t even imagine it. I consider its unique mission important: art diplomacy. Its opening was timed to coincide with the anniversary of the September 11 terrorist attacks. Soon the film should go to New York, and I really want to show it in Moscow, but for now the search for sponsors is underway. I was very impressed by a scene I once accidentally spied in a Roman church where my painting was “staying”: many Italians who went there were baptized before the “Last Supper.”
- What is the symbolism of this work, how did such unexpected decisions arise that created a special atmosphere of drama?
- In fact, I didn’t change anything in this well-known evangelical story, I just “went” from the other side. Jesus sits at the table opposite the apostles and looks half-turned directly at the viewer from behind. In the corner of the canvas, in the image of a maid, I depicted myself, looking through the slightly open door. This is also incompatible with the traditional canons of the “Supper,” but in this way I wanted to emphasize the connection with today. This is a view from the 3rd millennium.
The large white canvas lay in my studio for a whole year before the solution to the painting emerged. Ideas appeared spontaneously, like insights, during the work process. I redid many details several times. And in the role of the apostles, I decided to portray my Italian friends and acquaintances. For example, the person who posed for Christ for me is Count Pippi Morgia, a light designer by profession. It was he who recently created the lighting for the Roman Trevi Fountain and the dome of St. Peter's Basilica, and fifteen years ago he organized Russian tours of Italian singers, in particular Toto Cutugno.
- How did your work in Italy begin? Apparently, it was not easy to gain fame in a country that from time immemorial was famous for its great painters?
- Of course, there are still a lot of interesting and talented artists in Italy, just as there are many true connoisseurs of art. “This style of writing here has long since died,” a professor from the local art academy once told me. A portrait is a piece of the person depicted in it, and the desire to preserve it for posterity is quite understandable. But there are very few who would like to see themselves depicted in the style of Van Gogh, for example. Unlike fashionable trends in painting, which Italians are apparently already tired of, the classical style allows you to penetrate deeper into the character and create a “living” image. People who want to have a portrait of themselves or someone close to them on their wall at home want to be recognized.
- How do art experts define your writing style?
- Realism. Although I also heard that this style should have a name. This only proves once again that the traditions of the Italian classical school of painting have been lost. One of my friends, who studied at the art academy here, once told me about her impressions. Her desire to improve classical drawing techniques caused bewilderment among her teachers. They answered her: for us, your self-expression is more important and interesting, the rest, if you want, study it yourself later.
In our school it was the other way around: at first, they tried to lay the classical foundations of mastery for the beginning artist. By the way, we learned this from paintings, primarily from the great Italian artists of the Renaissance. Only after this did the artist set off on a “free flight”, and then the technique of writing allowed him to realize his plans much more fully. It’s like in music: without mastering musical notation, you can’t create anything, no matter how brilliant your ideas are.
In addition, in Russia, unlike Italy, they always began to teach painting from a very young age. For example, I picked up a brush when I was only five years old. Now, unfortunately, the Western model and the priority of self-expression over classical technology are becoming more and more established in our country.
- Your “calling card” is, first of all, portraits of the Pope. How did you work on an order from such a difficult client, and how did it happen that you, an artist from Russia, and an Orthodox Christian at that, were invited to become the official portrait painter of the Vatican?
- In the Vatican they learned about me from the “Maltese” - before that I painted portraits commissioned by the Order of Malta. It was difficult to refuse the offer to try to paint a portrait of the Pope. My Orthodox faith was not an obstacle for them, in any case, no one ever talked to me about it.
It was very interesting, although painstaking work. Instead of the usual two months, it lasted nine. First, the most suitable one was chosen from the sketches I presented, then there were numerous visits to papal private audiences. The fact is that the Pope’s status is prohibited from posing, and he had to take a lot of photographs and consult on the smallest details. One by one they brought me a staff, clothes, a ring... An interesting story came out with the Pope's ring. This thing is personal, each pontiff has his own, and with the change of Pope it is melted down each time. At my request, they brought me a ring to the studio. I examined it, redrew it for a long time, and then they called me and asked me to hurry up, saying that the Pope was waiting for it back, since it was needed for official ceremonies.
The director of the Vatican Museums saw the painting still unfinished and said: this will be the official portrait of the Pope. The award ceremony coincided with the celebration of the 80th birthday of John Paul II. This portrait was later printed on the official documents of the synod of the Roman Catholic Church and is now on permanent display in the museum of the Papal Lateran Palace.
By the way, the customers really liked my little secret, which you won’t immediately notice in the picture. On the Pope's shiny staff is a small reflection of the Madonna and Child. According to my idea, it symbolizes the patronage of the Virgin Mary, which is believed to have saved John Paul II during the assassination attempt.
- Do you often resort to such “tricks” in your paintings?
- It amuses me. My customers are also delighted, because their painting has a special secret that only they and I know about. Sometimes it’s my barely noticeable reflection in some piece of furniture, sometimes I’m visible in the background through an open window among passers-by on the street...
- After the portraits of the Pope, orders for portraits began to flow like a river, and they say that your work has already been scheduled for a year and a half to two years in advance.
- It's right. The other day, for example, Adriano Celentano’s wife, Claudia Mori, called and wanted to order a family portrait, but for now I was forced to refuse: there was a lot to do. Work is currently underway on the official portraits of the Grand Duke of Luxembourg and his family. Afterwards, I’ll probably work on a portrait of Italian President Ciampi; other orders are awaiting from Italy, America, Holland, Austria, Great Britain, and France.
- And yet, do you manage to write something for yourself, out of inspiration?
- When you work to order, you can’t do without inspiration, otherwise nothing will work out. Unfortunately, there is really no time left to work “for yourself”. It’s been two years now that I’ve been planning to paint a picture based on a well-known mythological subject - there’s no time. I’m afraid I won’t write it, because in this matter it is important to “seize the moment.” The muse is a capricious lady.
Dukes, lords and presidents line up for her portrait, and her paintings are exhibited along with Caravaggio, Raphael and Velazquez.
“It was at an exhibition of portraits of popes in Washington in 2005,” shares Moscow artist Natalya Tsarkova. — Over 500 works by authors from different eras were presented there, including Raphael, Velazquez and others. Nevertheless, a group of experts included my two portraits of John Paul I and John Paul II in the list of the five best things in the exhibition.”
Today, the Russian artist is one of the most sought-after portrait painters among European aristocrats, and the waiting list for her is scheduled for one or two years in advance. Her paintings are kept in private collections and exhibited at exhibitions in America, Europe and Russia. She sees her purpose in work and therefore refuses all marriage proposals: “If Bol gave me talent, then I need to give it to people to the last drop,” she explains.
The Russian artist was born in Moscow in 1967. She graduated from the Krasnopresnenskaya art school, then from the Moscow Academic Art Lyceum at the Surikov Institute, a strong classical school of painting. At the same time, Natalya entered the Academy of Ilya Glazunov, People's Artist of the USSR, who revived the traditions of high realism. In Glazunov's course, she was the only and best girl in the portrait class. “For me, Michelangelo, Bernini, Raphael and their masterpieces have always been an inspiring example.”
After training, Natalya Tsarkova went to Rome for two months, but still lives and works in the Italian capital. The departure had to be postponed. After the portrait of Prince Massimo Lancellotti, she received orders for portraits from reigning houses, statesmen, cardinals, and European nobility. Among them is Prince Ludovisi, who had five popes in his family, including Gregory XIII, who introduced the new Gregorian calendar. After the portrait of the Grand Master of the Order of Malta, Sir Andrew Burtis, Natalia Tsarkova was accepted as a Dame of the Military Order of Malta and noticed in the Vatican. “Rome did not let me go, and I think it was providence: I was destined to paint the pope,” says the artist herself.
Natalya Tsarkova painted official portraits of John Paul I, John Paul II, Benedict XVI, and is now working on a portrait of Pope Francis, becoming the only Russian official portraitist of popes. “Different religions have never stopped me from working,” says Natalya Tsarkova, “after all, we are united by faith in Christ.” According to the artist, this circumstance, on the contrary, serves as a connecting link between Catholics and Orthodox Christians.
Natalya speaks warmly about each dad. She prepared a special gift for Benedict XVI on his 85th birthday - a children's book "The Secret of the Little Pond" with a foreword by the Pope's personal secretary and illustrations in the style of medieval miniatures. According to the plot, one of the main characters in the book was the pontiff himself: in the morning he came to the pond in the gardens of Castel Gandolfo, prayed and fed the small red fish.
In 2002, the first showing of Natalia Tsarkova’s painting “The Last Supper” took place in Milan. It was exhibited in the refectory of the Dominican monastery of Santa Maria Della Grazie, which became an exciting and symbolic moment: the back wall of the refectory is decorated with a fresco by Leonardo da Vinci, which also depicts the scene of Christ's last supper.
Until now, “The Last Supper” was painted only by men, but this did not stop the Moscow artist. Moreover, she approached the composition of the painting differently, approaching it from the reverse side and depicting Christ in a half-turn, looking from the canvas directly at the people. Another unusual detail was the appearance of a female image - a curious female head peeks out from behind the curtain on the left - a self-portrait of Natalya. By the way, real people also posed for other characters: Christ - Count Pepi Morgia, St. Andrew the First-Called - lawyer Vittore Cordella, Philip - Count Dario del Bufalo, Thomas - Prince Nicolo Borghese, etc. The painting was personally blessed by Pope John Paul II, and Cardinal Giorgio Maria Meillet gave a speech where he traced the spiritual connection between the authors of various versions of the Last Supper, starting with Leonardo da Vinci and ending with the amazing Russian woman.
At the moment, Natalya Tsarkova continues to fulfill orders, and in the rare moments between them she works on the painting of St. George. She also dreams of painting a portrait of Patriarch Kirill and a painting based on a famous mythological subject, which she has not yet talked about.
Larisa Zelentsova
International Alliance of Strategic Projects BRICS
Natalya Tsarkova is that mysterious and little-known artist in her homeland, Russia, who found her place in the sun in sunny Rome; the first woman to receive the title of official portrait painter of the Pope. And if you consider that she is Orthodox, then the degree of respect shown by the Vatican to the Russian artist truly has no boundaries. The fact that she is not Catholic has never caused any problems. As the artist herself notes, she felt that through art she could become that link between Orthodoxy and Catholicism, which these two faiths have been lacking for so long.
Born in Moscow in 1967. She studied painting at the Krasnopresnenskaya Art School, then at the Moscow Art School at the Institute named after. Surikov. At the same time, she entered the newly opened Ilya Glazunov Academy. In Glazunov’s course, she was the only girl who was the best in the portrait class. Lives and works in Rome since 1994. When she first came to Italy to visit a friend, no one knew her name. Several paintings that she took with her quickly attracted the attention of Italians and were immediately sold to private collections. Soon orders for portraits began to appear from aristocrats, politicians, artists and simply wealthy Italians.
But real fame and a rise in his career occurred after painting two portraits of Pope John Paul II, which the Vatican recognized as official images of the Roman Pontiff. Thus, the Russian artist, Muscovite Natalya Tsarkova became the only one in the world of painting who managed to paint portraits of three popes: John Paul I (acceded to the throne in 1978 and died 33 days later), John Paul II and Benedict XVI. The artist is currently working on a portrait of Pope Francis.
By amazing coincidence, Natalia Tsarkova’s studio is located in one of the most “Russian” quarters of Rome, near Piazza Barberini. A stone's throw away is the house where Gogol lived and wrote Dead Souls. Opposite, across the road, near the “four fountains,” was the apartment of Karl Bryullov, who wrote “The Last Day of Pompeii” in Rome. Alexander Ivanov and Orest Kiprensky lived not far from Barberini.
The central place in her studio, completely hung with paintings, is given to "Last Supper"- Natalia does not want to part with this work yet, despite numerous offers from private collectors and museums. The monumental canvas, 220x150 cm, became another notable milestone in her work.
The picture amazes with its unexpected perspective and artistic solution to one of the most famous religious subjects. This painting by the Russian artist was given a special honor: its first official display took place in the refectory of Santa Maria Della Grazie in Milan next to the famous masterpiece “The Last Supper” by Leonardo da Vinci. Tsarkova’s painting was first shown before Easter in Rome, and Pope John Paul II himself blessed it as a message of peace. At a ceremony in Milan, together with the artist, the purple veil was torn from the canvas by the keeper of the archives and library of the Roman Catholic Church, Cardinal Giorgio Maria Meia, who had specially arrived from the Vatican, who then, in a lengthy speech, spoke very flatteringly about the merits of the painting and even traced the spiritual connection between the authors of the versions of “The Secret” supper" - from the great Leonardo to this miniature Russian woman Natalia Tsarkova.
In Italy this painting was called “The Last Supper of the Third Millennium.” On the fresco Leonardo da Vinci Christ looks at the bread; in other authors, at the sky. In Tsarkova’s painting, Christ has turned and looks at the world with a tragic gaze, with reproach and at the same time with love and understanding. Looks at each of us. In the soul.
In the corner of the canvas, in the image of a maid, she depicted herself looking through the ajar door. This is incompatible with the traditional canons of the “Supper,” but in this way the artist wanted to emphasize the connection with the present day. This is a view from the 3rd millennium.
Natalya decided to portray her Italian friends and acquaintances in the role of the apostles. For example, the person who posed for Christ for her is Count Pippi Morgia, a light designer by profession. It was he who created the lighting for the Roman Trevi Fountain and the dome of St. Peter's Basilica. “Judas” - Milanese fashion stylist Gilermo Mariotto; the brilliant Roman lawyer Vittore Cordella, whose noble profile and thick head of long graying hair represent St. Andrew the First-Called. Natalia wrote St. John from Count Andrea Marini, Philip from the professor of architecture Count Dario del Bufalo. And the models for the images of Simon, Thaddeus and Thomas were, respectively, the Grand Prior of the Order of Malta Franz von Lobstein, Count Romano del Forno and Prince Nicolo Borghese.
In 2008, on the occasion of the Canonization of Blessed Father Giacomo from Lebanon, the artist was commissioned to create his official multi-figure portrait. This painting was blessed by the Pope at the Vatican and placed in the Church of Santa Maria del Marse in Beirut, where the saint's relics are kept.
Tsarkova is not just a portrait painter, she also paints the faces of saints. Among her famous works of this kind, a very significant place is occupied by portrait of the Italian missionary nun Beata Assunta Marchetti (Beata Assunta Marchetti, 1871-1948 ), who contributed to the founding of the organization of missionary sisters of St.. Carla Borromeo,carried out obedience in Brazil, was beatified in San-Paulo October 25, 2014. Her portrait hangs in the Cathedral of Sao Paulo (Catedral da Se) and is revered by Brazilians as an icon.
Natalya Tsarkova is a multidisciplinary and versatile artist. On the one hand, she paints portraits of popes and the faces of canonized saints, and on the other, portraits of top officials of the state, royal families and biblical subjects. Her paintings carry a special deep energy that does not leave indifferent any contemplator of her masterpieces, which are a vivid reflection and embodiment of the deep Russian soul, in an eternal search for self-expression and building bridges between the peoples of the world.
Little secret, 1995. Oil, Rome, artist’s collection
The title "Little Secret" indicates the mystery or mystery hidden in this painting. What is Natalia Tsarkova’s secret? In a clock symbolizing the transience of time?
In a chess game that personifies the struggle between light and darkness? In the figures of two characters of the Commedia dell'Arte, Pierrot and Pulcinella, or in a golden cage in which a beautiful bird is imprisoned?
The Ministry of Culture of the Russian Federation invited the artist Natalya Tsarkova to hold a personal exhibition at the State Historical Museum. The artist plans to implement this project soon.
Natalia Tsarkova is known as the only woman in the world who painted portraits of four Popes. She has been the official portrait painter of the Vatican since the late 1990s. Her works hang in Vatican palaces, churches and museums around the world.
At an exhibition of portraits of popes in Washington, organized in 2005, Tsarkova’s portraits were the only works by a living artist - other paintings were by Raphael, Caravaggio and Velazquez.
Natalia Tsarkova was born in Moscow in 1967.
She studied painting at the Krasnopresnenskaya art school, then at the Moscow secondary art school at the Institute. Surikov. At the same time, she entered the newly opened Ilya Glazunov Academy.
In Glazunov’s course, she was the only girl who was the best in the portrait class. It was thanks to Glazunov that she first came to Italy. And soon she returned there to organize an exhibition of her works in 1994.
The paintings were successfully sold. She decided to stay for several months, but received one order after another and postponed her departure. First she became a portrait painter for a number of aristocratic families, and then she was invited to work at the Vatican.
Her first work was a portrait of John Paul II.
This Pope, despite 21 years on the Holy See, has not yet had an official image. Later this portrait was printed on official documents of the synod of the Roman Catholic Church.
Tsarkova painted a total of three portraits of Pope Wojtyła. The first portrait is on display in the Vatican Museums, the second was commissioned by the John Paul II Cultural Center in Washington, and the third is in the Roman Basilica of Santa Maria del Popolo.
Portraits by Tsarkova are realistic, and their details indicate the works and personal characteristics of the heroes. In the portrait of Francis I, the pontiff is depicted with a wounded but already bandaged lamb in his hands - a symbol of mercy, in addition, this is a reference to the parable of the lost sheep.
On the left - "The Merciful Shepherd", 2013. Oil, artist's collection. On the right - "Saint John Paul II", Vatican Museum
A portrait of Benedict XVI is on display in the Vatican Museums. There are a lot of symbols in this portrait. First of all, this is the throne of Pope Leo XIII, on which Benedict XVI is depicted. The red color of the robe symbolizes faith and love, and the red folder with the pope's speech symbolizes dialogue as the only way to come to peace.
Natalia Tsarkova's studio is located in one of the most "Russian" quarters of Rome, near Piazza Barberini. A stone's throw away is the house where Gogol lived and wrote Dead Souls. Opposite, across the road, near the “four fountains,” was the apartment of Karl Bryullov, who wrote “The Last Day of Pompeii” in Rome.
Alexander Ivanov and Orest Kiprensky lived not far from Barberini. The central place in the studio, completely hung with paintings, is given to “The Last Supper”.
Natalya wrote her version of "The Last Supper". Unlike traditional iconography, Jesus Christ is depicted half-turned, and his gaze is directed directly at the viewer.
He looks reproachfully, but at the same time with love. The Russian artist’s painting was given a special honor: its first showing took place in the refectory of Santa Maria delle Grazie in Milan next to the famous masterpiece “The Last Supper” by Leonardo Da Vinci.
The Last Supper, 2002. Oil, artist’s collection
Once upon a time, Russian artists were specially sent to Italy to learn from local masters, and this led to brilliant results. Russian painting has taken its rightful place in world art. A unique national school of classical and realistic painting emerged. And now painters from Russia also come to Italy, but not for experience, but for success.
It is interesting that Russian contemporary realist artists are in demand and successful in the world. According to the West, the classical art school, which implies work, study, and patience, has already been lost in Western Europe. There is not even a hint of the level that still exists in Russia.
And the European aristocracy prefers to have their images for posterity in a classic, recognizable manner.
Apparently, this is why there are many Russian names among contemporary court artists. You can name the St. Petersburg artist Ivan Slavinsky, who made a name for himself in France, and for 10 years worked under contracts with European galleries.
Georgy Shishkin is an artist of Monaco, the Prince of Monaco wrote about him: “I am glad that this artist of great talent chose the principality for his art.” The name of the Russian artist Sergei Pavlenko, a graduate of the St. Petersburg Art Academy, is known to the British for a very good reason - he is the author of the ceremonial portrait of Elizabeth II and other portraits of the royal family.
Tsarkova’s painting was first shown before Easter in Rome, and Pope John Paul II himself blessed it as a message of peace. At a ceremony in Milan, together with the artist, the purple veil was torn from the canvas by the keeper of the archives and library of the Roman Catholic Church, Cardinal Giorgio Maria Meia, who had specially arrived from the Vatican, who then, in a lengthy speech, spoke very flatteringly about the merits of the painting and even traced the spiritual connection between the authors of the versions of “The Secret” supper" - from the great Leonardo to this miniature Russian woman...
- Why exactly “The Last Supper” and September 11? - I asked Dr. Paolo Biscottini, director of the Milan Diocesan Museum.
Humanistic Western culture emerged from the European Renaissance, of which Leonardo was a shining star. It is this Western culture and its values that were challenged on September 11 last year. The fact that the picture was painted by a Russian artist is a certain encouraging sign of the indivisibility of the Christian world.
- Natasha, aren’t you worried, seeing such proximity: Leonardo and you?
Of course I'm timid. This is in no way a comparison with Leonardo, but only one stage of the painting’s journey. After Milan, it will be exhibited in Rome, in the church of Santa Maria delle Angeli e dei Martiri, designed by Michelangelo. Then he will go to Moscow for Easter and maybe to New York by September 11, 2003.
In Italy, my painting was called “The Last Supper of the Third Millennium.” Because it was only on September 11, 2001 that the third millennium began. Before this, everything in the world seemed to have already settled down, everyone had calmed down. But no. Again the terrible, new, unexpected is falling. New uncertainty about the future has emerged. In the fresco by Leonardo da Vinci, Christ looks at the bread, in other authors - at the sky. But then the New York tragedy happened, and the world changed. It was as if everyone had woken up. In my picture, Christ has turned and looks at the world with a tragic look, with reproach and at the same time with love and understanding. Looks at each of us. In the soul.
Until now, only male artists have painted The Last Supper. There were no women among the characters either. Apostles after all. A woman appeared on Tsarkova’s canvas. Far away, in the background, is a curious, rustic female head from behind the curtain: Natasha’s self-portrait.
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- What does this innovation mean?
It's like a look from the third millennium. Mine and my peers.
-Are you a religious person?
Yes, religious, but this is very relative. Firstly, because I lead a special life. This is a separate issue, complex and very personal. Secondly, the state of mind. You don't have to write only religious objects to belong to a religion.
Natasha invited the people who posed for her for “The Last Supper” to the presentation in Milan. The composition of the company reveals some of the secrets of the artist’s success.
At a banquet over a glass of champagne, she introduced me to “Christ” - Count Pepi Morgia, architect, author of the project for the reconstruction of the dome of St. Peter’s Cathedral in Rome; with his friend “Judas” - the “cool” Milanese fashion stylist Gilermo Mariotto; with the brilliant Roman lawyer Vittore Cordella, whose noble profile and thick head of long graying hair represent St. Andrew the First-Called. Natasha wrote St. John from Count Andrea Marini, Philip from the professor of architecture Count Dario del Bufalo. And the models for the images of Simon, Thaddeus and Thomas were, respectively, the Grand Prior of the Order of Malta Franz von Lobstein, Count Romano del Forno and Prince Nicolo Borghese.
That is, the Italian and Catholic aristocracy, the people whom Natasha paints on orders. She included fragments of past or future portraits in her canvas. The desire of aristocrats to replenish family galleries not only with family photos, but also with solid portraits, similar to the original and carefully executed in a traditional manner, attracted them to the Russian artist. The aristocrats brought her to the Maltese, and after the portrait of the Grand Master of the Order of Malta, Sir Andrew Burtis, she was noticed in the Vatican and ordered a portrait of the pope.
- Perhaps the Pope is not an ordinary model?
He doesn't pose for artists at all. Even if I wanted to, church rules don’t allow it. I worked for nine months instead of the usual two. They brought me his photographs, staff, clothes, ring. Do you know that the ring, which must be kissed by all believers when meeting him, is individual and exists only during the lifetime of each specific pope? Then it is destroyed by fire and melted.
- And did dad like that first portrait?
Yes, and he granted me a private audience. I told you how I worked. He was touched by the fact that the portrait reflected secrets that not everyone would notice. The Madonna and Child is reflected in the staff. It is believed that Madonna saved the pope from death during an assassination attempt. He always keeps her image in front of him. The Vatican said that I guessed the “third secret of Fatima,” who predicted that Madonna would save the “man in white.”
- Russian people working in the West are forced to establish themselves, overcoming sometimes brutal competition. Does this problem exist for you?
Thank God there are enough artists, otherwise I would die from orders. There are millions of portraits of the Pope painted. The portrait of the pope itself is far from uncommon. But mine was commissioned by the Vatican because they saw my previous paintings, which they liked.
- Is it better to work here than in Russia?
I don’t know how artists work in Russia now. I just happen to be here and things are going well. I feel needed here. There are people who wait for my paintings and stand in line for years. As a rule, customers are from the aristocracy. What is aristocracy? These are people who follow family tradition and know the history of their family over the centuries. Among the clients there are representatives of families known from the 11th-13th centuries. I see a certain symbol in the fact that in “The Last Supper” I collected portraits of aristocrats. It is important for them to have their own artistic image for posterity. For the Italian, European and even American nobility, this is not vanity at all, but a matter of continuity. I painted a portrait of Prince Ludovisi. There were five popes from this family. Among them is Gregory XIII, who reformed the calendar in 1582 (this is when the Orthodox Church remained under the Julian Church).
- Who do you feel like - Italian, Russian, Orthodox, Catholic? Religions, unfortunately, often do not unite, but divide people.
Of course, Russian, Orthodox. But this does not mean - a stranger in this environment. For the first time, a Russian Orthodox artist, moreover, a female artist, is recognized as the official portrait painter of the pope. This is very useful, very necessary. This is a small step towards peace. Not towards reconciliation, but towards peace.
- I have no doubt about your personal qualities and charm. But, probably, the Russian school of painting that you brought also played a role?
Still would. It is most important. They have virtually no schools here. The art school in Western Europe is dead. There is not even a hint of the level that still exists in Russia. Our country is young compared to Italy. And that's okay. A dying European nation is kept alive by the foreigners who come here. It's the same with art. People have seen, experienced and live in the past. Russia survived an extra hundred years thanks to the Iron Curtain. Classical school implies work, study, patience. Qualities inherent in totalitarianism. And I am a Russian artist.
- Well, in this sense, we are threatened with the fate of Italy and falling behind China?
I graduated from art school in 1985. And then the decomposition began. In a hundred years, perhaps there will be no genre of painting at all.
On this optimistic note, we said goodbye to Natasha, for whose lifetime there will be enough aristocrats in Europe.
