Simon Ushakov

Simon Ushakov (born 1626, Moscow, Russia—died June 25, 1686, Moscow) was an iconographer, portrait painter, builder of monuments, designer, cartographer, book illustrator, theoretician, and teacher who was the most distinguished Russian artist of the 17th century. He was for many years the head of the Imperial Icon Painting Workshop in the Kremlin Armory.

Ushakov lived during an era of great changes, and, like the masters of the Renaissance, he worked in a wide range of media. At the same time, he was representative of traditional Muscovite piety and an admirer of monasticism. One of the icons he painted was celebrated for its healing powers, and—according to the hagiography of Saint Hyllarion, who was related to Ushakov—miracles occurred in Ushakov’s Moscow home near the Church of the Trinity in Nikitniki.

Ushakov worked under the tsar’s patronage from an early age and at 22 became the head of the silver workshop of the Kremlin Armory, where he created ecclesiastic paraphernalia, furniture for the imperial household, and coins. He also drew maps and painted icons and frescos, and in 1664 he became head of the icon painting workshop. He was accorded nobility and riches (including an estate near Moscow).

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In addition to a multitude of frescoes for the churches of the Kremlin and palace buildings, icons for the imperial family, and portraits of them, Ushakov painted icons for his local church, the aforementioned Church of the Trinity in Nikitniki, throughout his life. He also worked at times for other churches, monasteries, and private patrons. In the spirit of the reforms of Patriarch Nikon, who strove to bring the Russian church in line with the traditions of Greek Orthodoxy, Ushakov in his icons chose to reflect the countenances of Greek icons, many of which had been brought from the Orthodox east, and of old Russian icons that had been painted in the Greek style. Ushakov believed, like many other icon painters, that the saints in icons should look revived and illuminated, and indeed, critics agree that he did manage to fill his icons with feeling and light. But he did this while uniting traditional Byzantine formulas (flattened figures in hieratic poses) with the chiaroscuro and perspective of Western painting, as was also done in the Greco-Italian iconography that Ushakov favoured. This style, however, ultimately worked counter to his intentions. By inspiring his icons with life and strength, Ushakov was unable to withstand the secularization of his iconography.