Our lady of the passion. The pushkin state museum of fine arts, moscow restoration: pre-museum. In 1981, it was restored again at the pushkin state museum of fine arts, restorer v. N. Zinoviev. State of preservation: the board is cut and added to at the top, bottom and left. The lower part of the image is lost, there is loss of gesso and paint, cracks, toning. The inscription is almost completely washed away, its remains are illegible. Size: 55 x 51 cm. Ж-4268 this iconographic type of the "passion" icon of the mother of god with angels holding the instruments of the passion and the child turned to them became widespread thanks to andreas ritsos, who used an iconographic version known since the 12th century, but rare for byzantine art. An icon of outstanding craftsmanship. The refined artistic language is based on the academic adherence to the late byzantine tradition. A rich arsenal of techniques is used: a fluid personal letter with blush, subtle calligraphic highlights, and structured cutting of garments. The style is noticeably italianized, which is reflected in the smoothness of surfaces, the rigid drawing, the elegance of poses, and the ringing cold coloring. The type of face with wide cheeks, the treatment of the arched eyebrows, eyes, and hands with long fingers are close to the images of andreas ritsos (d. Ca. 1492). The modeling of forms, elements of chiaroscuro, and geometric draperies also correspond to the artist’s individual style. Attribution by v. E. Markova (a. S. Pushkin state museum of fine arts, 1982): andreas ritsos, mid-16th century. An attempt to attribute the icon to the circle of andreas ritsos seems plausible. He created a series of famous "passionate" icons of the mother of god, which includes both signed works and those attributed to the master. Date: Late 15th century, Crete.
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