Vatican City - 20 July 2015 - Sofya Yunusova
Nearly every visitor to Italy visits, or dreams of visiting, Rome. Once there, it would be strange for the visitor not to make for the Vatican, the heart of the Roman Catholic Church, home of the Pope, a treasure chest of priceless masterpieces of painting, architecture and literature. The Vatican represents one of the absolute examples of world Heritage.
I recently had the pleasure and honour of meeting Natalia Tsarkova, the Holy See’s portrait painter, better known as the “official painter of the Popes”, whose work now hangs alongside that of prestigious artists of the past such as Raphael, Titian and Velázquez. Natalia Tsarkova has now painted the portraits of four Popes, which is a world record for one artist.
Natalia, you have painted a number of portraits of high-ranking clergy. How did you first make contact with the Holy See?
I came to Italy for an exhibition and should have stayed for just three months but then I found it impossible to leave Rome. At the time I had been engaged to paint portraits for certain noble families and I was invited to work in the Vatican. My first commission came in 1999, in the form of a portrait of John Paul II. Despite having been Pope for 21 years, he was without an official portrait. My work was received with great enthusiasm and did not only become the official portrait of the Pope, but was also placed in the documents of Synod instead of the official photo.
You have made three major portraits of St. John Paul II. The first is displayed in the Vatican Museum, the second in Washington (commissioned by the John Paul II Cultural Centre) and the third was a gift of Cardinal Stanislav Djivish in the Basilica of Santa Maria del Popolo, a church which houses masterpieces by Caravaggio, Bramante, Pinturicchio, Bernini, Raphael and Hannibal Carracci. Can you tell us something about how you work? Did you paint the Pope from live sittings or by using images?
Generally, before starting a portrait I take time studying the person in detail trying to get into their soul. For example, when I was working on the portrait of John Paul I, who was only Pope for thirty three days and who died before I even arrived in Italy, I found a documentary about his life and I listened to recordings of his voice. With John Paul II I was “luckier” as I was able to meet him in person and make sketches. I was also helped by reading some of his writings which I studied carefully. As far as existing images are concerned I don’t think there are any that resemble my canvas.
In addition to the three big portraits of John Paul II you also painted two other canvases, signed by the Pope, which are no less important and are now in private collections in Detroit, as well as your famous posthumous drawings made during the Pope’s lying in state in the Basilica of St. Peter’s. However there is an image of the Pope which is contained in the painting entitled “Synodus”. Can you tell us something about the circumstances that gave rise to this work?
In the year 2001 I became the first artist in history to be admitted to the General Assembly of the Synod of Bishops in order to depict this important historic event. Naturally nobody could have imagined that this Universal Synod was to be the last in a lifetime of Pope John Paul II.
All of your work has a deep symbolic meaning. In your recent portrait of Pope Francis he is depicted holding a lamb in his arms. What allegory is behind this representation?
The lamb is a symbol of Christ. It also refers to the parable of the lost sheep. The magnanimity and profound humanity of Pope Francis never cease to amaze me. It is for this reason that the lamb he holds is wounded but has received a dressing. It is in this way that I wanted to metaphorically represent the message of the mercy which seems to me to pervade every gesture and word of the Pope. I finished painting “The Merciful Shepherd” in 2013 and recently Pope Francis announced there would be special Jubilee: the Holy Year of Mercy… These signs of Divine Providence happen frequently to me.
Your painting could become a marvellous symbol of this Holy Year of Mercy… And what metaphors can we find in the portrait of Benedict XVI in the Vatican Museum?
There are numerous symbols. Above all the throne of Pope Leo XIII where Pope Benedict is seated appears to be animated under the gaze of the spectators. Above the head of the Pope there is a dove, symbol of the holy spirit which comes to life and lights up the world.
In consequence the angels are animated and contemplate the Pope with love and tenderness while the gaze of one of these divine messengers is turned towards us and is full of the same joy and tenderness. The red colour of the Cape symbolises faith and love and the red notebook containing Pope Benedict’s speech represents dialogue, which is the only way of achieving peace.
Making portraits of the Popes, and my work in general, is part of my Mission. So creating every new canvas I feel the immense responsibility that has been invested in me and I face this with joy and love. My portraits of John Paul II, Benedict XVI and Pope Francis have been seen and highly appreciated by the popes themselves. When I presented my portrait to Pope Benedict I discovered that the Pope was already familiar with my work and mentioned other works of mine which he defined as masterpieces.
Your painting “The Last Supper” has been recognized as a masterpiece and has travelled the world as a symbol of faith, hope and love. In contrast to traditional iconography Christ is depicted with his back to us, however his head is turned towards us and he observes the viewer. Can you talk to us about this unforgettable gaze?
It works on two levels, he is reprimanding us while at the same time his gaze is full of love. He looks directly into our soul and makes us reflect on our actions. This canvas has been given the name “The Last Supper for the third millennium” and on the first anniversary of the tragic events of 11 September 2001, it was put on display in the Church of Santa Maria delle Grazie in Milan next to Leonardo’s masterpiece. With my own “last supper” I would like to make my contribution towards peace, and make humanity happier, even if it is only for a moment.
After having worked for many years in the heart of the Catholic Church are you planning to produce portraits of clergy from the Orthodox church?
I should have begun the portrait of the patriarch of Moscow and of all the Rus’, Alexis II in December 2008. Our first meeting had been organised for the beginning of that month but on 5 December the Patriarch died. I have an excellent relationship with his successor Cyril, and during his official visit to Italy he greatly appreciated my works. I hope to be able to paint his portrait as soon as possible. As I am an Orthodox Christian this commission would have great personal value for me.
And can we admire your paintings even in Russia?
The Ministry of culture of the Russian Federation has recently proposed that I hold an exhibition at the State Museum of History in Moscow. It is a complex project and will need much time and dedication. I hope that everything goes well and that the exhibition be organised in the shortest possible space of time.
I too hope that everything can be organised so that the Russian public can admire these works by one of the most important contemporary artists.
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