LCAR Home
Up
Drama
Music
Literature
Dance
Visual Arts
Artists-in-Residence
Dadian Gallery
Events
Contact Us

Dreaming of
Judgment Day:
The Paintings of
BORIS KOZLOV
1937-1999

August 22 through October 7, 2005

Widely considered to be among the most talented and idiosyncratic representatives of Russian painting throughout the 1960’s and well into the 90’s, the works of underground artists and master iconographer Boris Kozlov (1937-1999) continue to awe both Russian art enthusiasts and private collectors. His talent has attracted world-class curators from Moscow’s Tretriakov Gallery to St. Petersburg’s Russian Museum—to even the Kremlin—and continues to spiritually move those who have had the chance to view his very special canvases in person.

Born in Moscow, Kozlov supplemented his M.Sc. degree in Education with scholarly work concerning philosophy, world literature, poetry, fine arts, and music. Deeply influenced by his faith and by the grandeur of Russian architecture, his art has evolved itself from abstract expressionism to iconography—both forms equally suppressed by Soviet authorities. Labeled an ‘underground’ artist, he nevertheless traveled throughout the spiritual art centers of the Soviet Union, painting canvases and producing works that never could be publicly exhibited due to government policy. And yet he thrived, becoming a prominent leader of the non-Conformist movement. With the support of foreign diplomats, who championed his work, his paintings steadily left Russia to be displayed in private galleries and collections in the West. Not until the near-collapse of the USSR was his work openly presented in Russia for the first time after having been censored from any public display or mention for almost a quarter century.

Since then, beginning in the late 1980’s, Kozlov’s work has been rediscoverd and showcased worldwide. His paintings have been purchased by museums and patrons and shown in more than 40 countries. Forgotten, if not unknown, in most books documenting the history of Russia’s non-Conformists, Kozlov first exhibited his paintings in Moscow in 1963 and shortly thereafter was forced undergraound for outwardly spiritual themes, form, content, and context. With a background in abstract and figurative styles, merging with expressionism and surrealism, his body of work stands apart from all other contemporaries and friends, including Alexander Kharionov, Dmitir Plavinsky, and Oscar Rabine. Major influences on his technique and approach came forth from Byzantine icon masters, French impressionism (primarily Cézanne), and Russian modernists (most notably Kuzma Petrov-Vodkin and Pavel Kuznetsov). However, despite any influence, Kozlov’s method, aestheticism, and sensibilities are uniquely his own, and are overwhelmingly recognizable.

For the first time, following his untimely passing in 1999, this exhibit documents over 25 paintings, focusing on work of his later period. Among them, two stand out for their monumental and extraordinary culmination of Kozlov’s artistic legacy—throughout the course of their five and a half year creation, the artist himself had envisioned them his masterpieces. “Dreaming of Judgment Day” (1993-1996) is an accomplished and deeply-symbolic, 14-piece work showcasing both abstract theological themes and technical virtuosity. “The Last Supper II” (1991-1993) is a triptych of great complexity, illustrating the wonder of Kozlov’s limitless expression in relation to the profound message it delivers. Perhaps what makes Kozlov’s contribution to Russian art unsurpassed is his clear and simple vision in defining the infinite. His is a world of exaltation, atonement, forgiveness, mercy, benevolence, and ultimately redemption. To impart a sense of visual wonder in his work may have come naturally. However, to be defiant in the face of conformity; to artistically thrive in the wake of oppression; to actually see transcendence in his art; wins him and his master paintings a special place in Russia’s lost history.

Mark Kelner

Curator’s Statement

When Mark Kelner first approached me about showing the works of Russian artist Boris Kozlov, it was hard to know what to make of the strange, intricate, somehow child-like, yet very sophisticated images that showed up on my computer screen. While drawing on the visual language of traditional, Orthodox icons, their subtly shifting colors and densely complex patterns brought them squarely into the twentieth century. A closer look revealed small areas that referenced medieval, stained glass windows; others that suggested the fantastic creatures and landscapes of Hieronymus Bosch; and tiny lemons, cherries and hearts that might have been painted by Pop artist Peter Max. But it was only when I was able to see the works in person that I began to understand the deep spirituality that infuses them.

Boris Kozlov was a painter of religious themes in a time and place where such activity was deeply suspect. The leaders of Soviet Russia understood that art has the power to move people in unpredictable ways. Fearing that power, they restricted official approval to a severely limited range of styles and subject matter. Artists who did not conform found little support and few opportunities to exhibit. Some were even arrested as enemies of the State. Kozlov, like fellow dissident Alek Rapoport (whose Angel and Prophet hangs in Elderdice Hall) was known only to a select circle in Russia because he insisted on painting according to his own vision.

In this vision, a sad-eyed Jesus with flame-colored halo enters Jerusalem, greeted by dancing saints robed in jewel-like colors. In the Last Supper with Evangelists, lush bowls of fruit seem to float from hand to hand, as the faces of Jesus’ followers emerge from a dense swirl of pattern and color. Behind them, the ornate onion domes of Russian churches suggest the New Jerusalem, while their intersecting halos both reveal and conceal an image of crucifixion. And in Kozlov’s great, 14-panel work, Dreaming of Judgment Day, the image of Christ in majesty is surrounded by angels and prophets, depictions of the zodiac, and scenes from his life on earth, with the hands of the Almighty raised in blessing and the Holy Spirit hovering above an open book. Everywhere, patterns and colors swirl in a perfectly balanced, peaceful tension, suggesting that we are looking not with earthly eyes, but with our own vision attuned to the sights of heaven.

The paintings of Boris Kozlov have not been shown publicly in the United States since his death in 1999. It is a great pleasure to present them to the Wesley Theological Seminary community, and to the wider audience of those who may find in them a witness to the mystery and wonder of eternal life.

Deborah Sokolove, Curator, Dadian Gallery 
 

send comments or questions about the gallery to the curator at:
dsokolove@wesleysem.edu

the copyright of individual works of art belongs to the relevant artist
please do not copy or distribute