Bogatyrev and Chernobrovin dynasties of nevyansk icon painters

Bogatyrev and Chernobrovin dynasties of nevyansk icon painters

The Miracle of demetrius of Thessalonika

Bogatyrev and Chernobrovin dynasties of nevyansk icon painters

In the second half of the 18th — first half of the 19th centuries Nevyansk was widely recognized as the most important icon painting centre in the Urals. Bogatyrevs, Chernobrovins, Zavertkins, Romanovs — these painters dynasties laid the foundation of Nevyansk school of icon-painting, as well as Gavryil (Grigory) Sergeyevich Koskin, Ivan and Fyodor Malyganov, Platon Sergeyevich Silchin and a number of other prominent masters. It was Nevyansk where icon-painters from Ekaterinburg, Nizhny Tagil, lltkinsk, Chi- omy Ystok and other industrial settlements of the Urals studied their art.

Bogatyrev and Chernobrovin dynasties of nevyansk icon painters

The crucifixion with below figures. Painting mid 19th century

Bogatyrev icon-painters dynasty had the longest and most fruitful Influence on Nevyansk school of icon painting – their creative activity period lasted from the late 1770s till the early 1860s. Members of Bogatyrevs family — Ivan Vasilyevich, Mikhail Ivanovich, Afanasy Ivanovich, Artemy Michailovich, YaWnf Afanasyevich and Gerasim Afanasyevich — represented the leading Nevyansk icon-painting workshop, orientated towards meeting the demands of the upper crust of local dissenters: religious communities’ superiors, wealthy merchants, factory- and gold-mine owners, who retained actual control over the Urals economics.
In spite of the fact that in the beginning of the 19th century there numbered up to ten icon-painting workshops in Nevyansk, the majority of painters were just imitating Bogatyrevs icons; it appears quite evident when looking at the Nevyansk icon-painters’ works of the 19th — early 20th centuries and first of all may be referred to multifigure compositions, whose authors by no means followed the manner of Bogatyrevs.
Bogatyrevs creative development started on the basis of the Volga Region artistic traditions founded by the Moscow Armoury masters in the middle of the 17th century. That’s why the icons of Bogatyrevs flourishing period (the first one-third of the 19th century) as for their colouring, linear design, composition and manner of drawing closely resemble the samples of the late 18th century Yaroslavl icon-painting school based on Zubov’s (17th century) tradition.

Bogatyrev and Chernobrovin dynasties of nevyansk icon painters

The four-part icon. Between 1814-1822. Bogatyrev’s workshop

The other important Nevyansk icon-painters dynasty contemporary with Bogatyrevs were Chernobrovins. In the 19th century this family included: Artemy Afanasyevich Chemobrovin and his grandson Yakov Timofeyevich; his cousins Yegor Fedotovich and Prochor Yakimovich; sons of the latter Ivan and Yegor; his nephew Matvey Yefimovich and his grand-nephews Yefim Fyodorovich and Andrei Fyodorovich.
Unlike Bogatyrevs, there was no common workshop for the whole Chernobrovins family. Its members lived and worked separately, uniting their efforts only when filling some large-scale order. Chernobrovins were in constant keen competition with Bogatyrevs, who used the advantages of their high rank in Nevyansk dissenters community for getting the most gainful contracts. That was the main reason why Chernobrovins in the 1830s turned to the Ecumenic Church. But working for Ecumenic and Orthodox communities, Chernobrovins were still keeping up the traditions and stylistic features of Nevyansk school.

Bogatyrev and Chernobrovin dynasties of nevyansk icon painters

The assumption, the exaltation of the holy cross. Between 1814-1822. Bogatyrev’s workshop

By the middle of the 19th century Chernobrovins firmly established themselves as one of the leading icon-painters dynasties in the Urals. Not without reason writer Mamin-Sibiriak noted that «Nevyansk icon-painters are known throughout the Urals namely as Bogatyrevs and Chernobrovins…» For more than half a century both dynasties were at the same time working in Nevyansk, constantly competing and keeping a sharp eye on rival’s activities as well as on works of numerous native and new-come icon-painters. Relying upon well-developed system of apprenticeship and continuity in artistic methods, Bogatyrevs and Chernobrovins with their authority and talent greatly contributed to the fact, that variuos outside influences just enriched but not impaired the traditions of Nevyansk icon-painting school — the one that succeeded in securing its distinct originality.

Bogatyrev and Chernobrovin dynasties of nevyansk icon painters

The resurrection – the descent into hell. The 1830s.