Publication Date


Document Type


First Advisor

Liakos, Dimitri

Degree Name

M.A. (Master of Arts)

Legacy Department

Department of Art


Feofan; Grek; ca. 1330-ca. 1409; Christian art and symbolism--Soviet Union--History; Painting; Russian--History


Novgorodian art of the fourteenth century experienced the strong impact of the last phase of Byzantine art known as the Palaeologan renaissance. This is clearly reflected in the outstanding works of the highly talented Constantinopolitan artist Theophanes the Greek, who, most probably in the year 1370, left his great native city and emigrated to Russia. To his adopted country, Russia, he brought the latest innovations and the most current artistic ideas of the Palaeologan renaissance. In his adopted land Theophanes the Greek developed a rather unique and personal style; in reality it was in Russia that Theophanes' genius reached its highest artistic growth and development. A short time after his arrival in Russia, the highly gifted artist successfully assimilated vital indigenous elements and native artistic principles which he blended with Palaeologan innovations and with his own unusually individual style. The first chapter of my thesis will deal with the geographical area of Constantinople, the great cultural and artistic center of the Byzantine Empire, and will examine aspects of Constantinopolitan art as well as pertinent affinities with works of Theophanes the Greek produced in his new environment, away from his native city. The second chapter will deal with a different geographical area, that of Novgorod, the birthplace of an original, and most certainly, unique Russian style of religious painting. This chapter will also examine religious art produced by Theophanes the Greek during his stay at Novgorod where the great painter was able to absorb some principles of native Novgorodian art and consequently blend these with his own individual style. The third chapter will deal with the city of Moscow, where Theophanes the Greek painted three churches, and will investigate the attribution of some icon panels to Theophanes the Greek or his school. The final chapter will investigate the influence of the two Palaeologan phases, early and late, and the beneficial inspirations Theophanes the Greek experienced in the indigenous artistic elements and their subsequent assimilation, mergence, interfusion and absorption by Theophanes the Greek.


Bibliography: pages 65-70.


ix, 225 pages




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