Memory of Stones
Nicolaï Greschny frescoes
The Occitania region has wall frescoes by Nicolaï Greschny, certainly the greatest fresco artist of the 20th century. Born in Tallin, Estonia in 1912, heir to a line of fresco artists and icon painters, he travels through Europe at the worst possible times, fleeing Nazism making its contribution to the resistance in all the countries crossed. In November 1942, the German invasion forced him to continue his journey to Albi, where he continued his theological studies.
In 1948, he settled permanently on the banks of the Tarn, in the town of Marsal à la Maurinié, he introduced the almost disappeared technique of "a fresco" painting.
His talents as a designer, his deep knowledge of religious texts make his work a marvelous "Holy History" in image by its colors and its style coming directly from the great Byzantine tradition, he left his mark on many villages with his artistic and spiritual imprint.
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In 1952 he produced the frescoes in the chapel of Treize Pierres in Villefranche de Rouergue in Aveyron. This chapel combines legendary world, archaeological site, Gothic style, classical style and Byzantine style frescoes.
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In 1953, in the "Rouerguate Sistine Chapel"; in the Church of Saint Victor and Melvieu in Aveyron, Nicolaï Greschny gives us his treasure, 25 neo-Byzantine frescoes covering the entire building. It is above all an explosion of colors, an invitation to share an art born of man inspired by the sacred.
Along the vaults, from the shade to the light, parade the highlights of "Holy History". They cover the walls to offer visitors the fruit of this history and lead them, to its conclusion, the meeting of the human and the divine.
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Nicolaï Greschny does not hesitate sometimes, to stage in his biblical frescoes, certain parishioners of his entourage in contemporary outfits.
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You just have to push the Louis XV style front door to access the astonishing Notre Dame de l'Assomption church in Alban with its resolutely modern architecture to discover the grandiose frescoes by Nicolas Greschny.
Entirely adorned, from the floor to the top of the vault, with icon paintings interpreting passages from the Bible, figures reciting the prayer to the Virgin in 21 languages and dialects adorn the beautiful vault of the church.
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10 years of work, a true work of art. It also houses a classified Romanesque cross, a 15th century gilded wood Virgin, a very beautiful finely carved portal.
Inside, a large fresco depicting an immense Christ in Majesty which dominates the gilded wooden altar.
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The first thing that we see in a church decorated by Nicolas Grèschny is Christ in Majesty, Christ Pantocrator, Christ in glory and almighty.
The latter is inscribed in a mandorla, form of a fine light which emphasizes its celestial glory.
John the Baptist living in the desert, is dressed in animal skin and the last prophet of the Old Testament, while Mary by her role as mother is at the origin of the New Testament, the Gospel. Christ making the link between the two.
This iconography is particularly present in Byzantine art. In Orthodox countries, Deisis is a Christian theme frequently represented in art. The Virgin and Saint John the Baptist are represented on either side of Christ and pray for the salvation of Christians.
Christ Pantocrator with on his right Marie the archangel Michael the apostle Peter and on his left John the Baptist, the archangel Gabriel and Saint Paul adorns the iconostasis.
Christian tradition often equates Jesus Christ with the alpha and omega (represented on the Fresco) of the name of the first and last letter of the classical Greek alphabet (Ionic) (α and ω). This symbolizes the eternity of Christ, who:
- is at the beginning of everything; one can think in particular of the first chapter of the Gospel according to Saint John,
- and is until the end of the world (see on this subject the Apocalypse according to the same Saint John).
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The small church of Notre Dame de Roussayrolles (13th century building) has housed frescoes by one of the great masters of the icon, Nicolai Greschny, since 1952. Here we find all the love of the artist of oriental tradition for Sacred Art.
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In 1956, Canon Puyau, parish priest of the church in Châtel-Guyon, entrusted Nicolaï Greschny with the decoration of the Saint-Anne church.
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He will achieve the artistic and technical feat of covering all the vaults of the church with frescoes (900m2), without a model and without a written project, during the winter (one of the coldest of the century!)
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Nicolaï Greschny considered that these frescoes were among the most successful because he had been able, without any constraint, to express himself fully in them.
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His work is immense: frescoes in more than 100 churches and chapels, numerous icons, chasubles, ...
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L’église de Notre-Dame de la Gardelle a été construite au XIVe ou XVe siècle dans un style gothique méridional. Abritée dans un cimetière de Villeneuve-sur-Vère, son principal attrait se situe dans ses fresques murales réalisées par Nicolaï Greschny.
A l’intérieur, en 1947 le curé de la paroisse demande au fresquiste Nicolaï Greschny, d’entièrement décorer la chapelle.
Les différentes scènes peintes présentent des étapes de la vie de Marie (Annonciation, Visitation, au pied de la croix…). D’autres concernent le passage de cette vie à la Vie éternelle : mort de Joseph, Dormition de Marie, fresque du Jugement dernier, parabole du Riche et du pauvre Lazare… Toutes dessinées dans un style néo-byzantin
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c'est en 1955 que Nicolaï Grechny realise les peintures de l'Église Notre Dame de Beaulieu à Briatexte et plus exactement dans le baptistère, sous le ministère de l’abbé Saysset, grand ami de Nicolaï.
En général, le baptistère se trouve dans une chapelle au fond de l’église, pour rappeler que l’on entre dans l’Église de Jésus-Christ en passant par le baptême. La cuve baptismale se trouve dans une sorte de piscine creusée pour rappeler que dans l’Église primitive le baptisé était immergé dans l’eau avec le Christ.
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D’un style néo-roman et néo-gothique, l’église Notre-Dame de l"Assomption à Salvagnac détient beaucoup d’œuvres contemporaines, outre, au fond de l’église, des trésors d’art sacré, véritable « musée » de différents joyaux récupérés dans les églises environnantes.
Les deux chapelles collatérales furent peintes par Nicolaï Greschny en 1950 :
celle de droite est dédiée à la Vierge Marie et celle de gauche, à saint Joseph. Dans la chapelle de gauche nous pouvons voir la représentation du village de Salvagnac et des habitants qu’aurait croisés Nicolaï Greschny.
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Construite en 1866 dans un style néo-gothique. L’église Notre-Dame de Fonlabour est situé sur la commune d’Albi, mais sert de lieu de culte à la commune du Séquestre qui en est dépourvue. Elle recèle de belles fresques (1970) du fresquiste Nicolaï Greschny. Il y est fait mémoire de sainte Carissime, ermite d’origine albigeoise (VIe ou VIIe siècle), qui vivait recluse près des berges du Tarn, sur la rive gauche.
