Eduard Steinberg 2

Eduard Steinberg’s friend, the writer, director, critic and Orthodox philosopher Evgeny Schiffers who is barely known in the West, had in 1970 noted the deeply religious character of Steinberg’s art: this is not iconography, but art, close to the ‘catacomb art of the early Christians’. It was no accident that Schiffers equated Steinberg’s works with catacomb art, which used Biblical symbols (the lamb, the ark, the grapevine, fish, and so on). The great historian of icons and theologian Leonid Uspensky had written of the domestic and psychological content of early Christian art, which, he claimed, was not divorced from life, and spoke not only the language of the artist’s era but also linked itself to the modern. The same could be said of Steinberg.

Diptych: 'Spring Summer Autumn Winter' and 'Undertaker Vasya'. (1990). (© Tretyakov Gallery)

Diptych: ‘Spring Summer Autumn Winter’ and ‘Undertaker Vasya’. (1990). (© Tretyakov Gallery)

Composition.  (2006). (© Pushkin Museum).

Composition. (2006). (© Pushkin Museum).

Composition. (2009). (© State Hermitage Museum).

Composition. (2009). (© State Hermitage Museum).

From ‘Memoirs of Eduard Steinberg‘ on


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