Michaelmas

The story of Archangel Michael slaying the dragon has a long history and is an essential part of Christian traditions; but this heavenly archangel is also known in Judaism and Islam. The story itself has universal/cosmic as well as purely human implications: the defeat of evil, the human individuality overcoming the lower passions and instincts – there are many interpretations.

All of my paintings in this two-year group are in some way connected with Angelic beings; but the most important set of paintings (for me) are those constituting my Altar of Archangel Michael, namely, the paintings: "Behold, He comes" (2017), created using Joseph Haydn's monumental Missa in Angustiis (Mass for troubled times or Nelson Mass) and Schöpfungsmesse (Creation Mass); "Reason and Mercy" (2018), created using Haydn's Sinfonia Concertante, Symphony No. 103 and two earlier masses; "Michaelmas" (2017), created using religious vocal works by the little-known Ukrainian composer Maxym Berezovsky; "Allegory of Autumn", created using various lieder by Max Reger; and "Blessing", created using Anton Arensky's two piano trios.

The story of Archangel Michael slaying the dragon has a long history and is an essential part of Christian traditions; but this heavenly archangel is also known in Judaism and Islam. The story itself has universal/cosmic as well as purely human implications: the defeat of evil, the human individuality overcoming the lower passions and instincts – there are many interpretations.

All of my paintings in this two-year group are in some way connected with Angelic beings; but the most important set of paintings (for me) are those constituting my Altar of Archangel Michael, namely, the paintings: "Behold, He comes" (2017), created using Joseph Haydn's monumental Missa in Angustiis (Mass for troubled times or Nelson Mass) and Schöpfungsmesse (Creation Mass); "Reason and Mercy" (2018), created using Haydn's Sinfonia Concertante, Symphony No. 103 and two earlier masses; "Michaelmas" (2017), created ... read more