“Сosmic Liturgy” (Kandinsky & Stamatis in Dialogue), acrylic on canvas, 16x20 inch, Bishop Maxim, 2022
 
"Perennial Fayum Lady", acrylic on canvas, Bishop Maxim, 2022

The bejeweled Fayum woman is portrayed with elegance, sophistication, and sweet, refined features. The necklace is inset with precious stones; the hat and jewelry detail add an external element to her nobility.
 
"Christ the Merciful", acrylic on canvas, 14x18 inch, Bishop Maxim, 2022
 
"Light-Giving Revelation 2", acrylic on canvas, 18x24 inch, Bishop Maxim, 2022

METAPHYSICAL APPROACH. We can say that the megalopolis’ illumination comes from the illumination of the Spirit. And we have evidence that the great inventor had powerful metaphysical tendencies. The dove’s descent refers to the Holy Spirit, who leads to discoveries and theological surprises with His inspiration. And the reflections of the city in the waters balance the action of the painting from the left side with the surprise of electrification in a world dark before. In the middle of the painting, the author of the surprise of a new era for humanity.
PICTORIAL APPROACH. Having all the tools of Impressionism in his quiver, the painter convinces us that the depicted dove, a symbol of the Spirit, and the shining electrified city, express the significant change brought about by electricity in society, which is equivalent to a cultural revolution. The existential side of this miracle is painted in Tesla’s gaze, which takes on a metaphysical dimension. The inventor is depicted as knowing some great secret as if something has been revealed to him that the rest of us are unaware of. And the body language speaks of certainty, of a new reality—a photo transformation of people’s lives.
 
"Light-Giving Revelation", acrylic on canvas, 18x24 inch, Bishop Maxim, 2022

METAPHYSICAL APPROACH. We can say that the megalopolis’ illumination comes from the illumination of the Spirit. And we have evidence that the great inventor had powerful metaphysical tendencies. The dove’s descent refers to the Holy Spirit, who leads to discoveries and theological surprises with His inspiration. And the reflections of the city in the waters balance the action of the painting from the left side with the surprise of electrification in a world dark before. In the middle of the painting, the author of the surprise of a new era for humanity.
PICTORIAL APPROACH. Having all the tools of Impressionism in his quiver, the painter convinces us that the depicted dove, a symbol of the Spirit, and the shining electrified city, express the significant change brought about by electricity in society, which is equivalent to a cultural revolution. The existential side of this miracle is painted in Tesla’s gaze, which takes on a metaphysical dimension. The inventor is depicted as knowing some great secret as if something has been revealed to him that the rest of us are unaware of. And the body language speaks of certainty, of a new reality—a photo transformation of people’s lives.
 
"Argonaut California Gold Mine 1922", acrylic on canvas, Bishop Maxim, 2022

This moving painting presents two different worlds above the indifferent society where "life goes on" under the indifference of everyone who deals with indifference regarding the tragic event. Below is the world of the mine where we see workers performing various collaborations while they search for the lost persons in the treacherous darkness where we humans search to find coal, gold, or silver. At the same time, we know it is fate some will be lost in the earth's bowels.
 
"Argonaut Miner", acrylic on canvas, Bishop Maxim, 2022
 
"Ivan Karamazov: I Hasten to Give Back My Entrance Ticket", acrylic on canvas, 11x14 inch, Bishop Maxim, 2022

We observe a suit painted with “heavenly” colors that we cannot find in any clothing store. The jacket’s structure is warm, brownish-red, and the collar and shoulders come out of those lines, with a combination of greenish, yellowish, and azure-turquoise brush strokes, from which a miracle jacket is obtained! This miracle jacket allows a thin, noble neck and a face lit by direct light to be shown, with eyes that are “protruding” (ecstatic) because they see something we have not seen, and the character remains ecstatic and voiceless. This ecstatic figure is covered with hair with bluish strands, similar to the mustache and beard. But all this is similar to a decorative frame that frames the bright face of an ecstatic look.
 
"Starets Joseph of Optina", acrylic on canvas, 12x16 inch, Bishop Maxim, 2022

The venerable father Joseph (Litovkin) of Optina was starets and hieroschemamonk among the group of monastics of Optina Monastery in the nineteenth century who were known as the Optina Elders. Elder Joseph is venerated on May 9 and with the Synaxis of the Optina Elders on October 11. In June 1861, Joseph was asked by the Superior of the skete, Fr. Paphnutius, to become the cell attendant of the Elder Ambrose, a position he would retain for the next fifty years. As Fr. Ambrose's cell attendant, he found time to read spiritual books, especially the Philokalia and the writings of the Fathers, finding in them spiritual wisdom that he shared with those who came to him for advice. Foreseeing that Fr. Joseph would serve as Elder after him, Fr. Ambrose blessed some people to start going to Fr. Joseph for their spiritual needs. The Russian novelist Fyodor Dostoevsky said that Saint Ambrose was the model for the character of Father Zossima in his novel "The Brothers Karamazov."
 
"The Gold Country Miner Coming Out of the Mine", acrylic on canvas, 16x20, Bishop Maxim, 2022

I admire the expression of the Californian red man, who is young, dynamic, and fighting with his destiny. The contrast between red and blue and the cave is impressive, while the colors of the colorful land are captivating. The much-loved Moon with the orange crescent is very original. This miner is the heart of the earth that beats deep within it and churns its blood; in terms of the earth, we call it "lava" (when it comes out as a volcano) and "magma" when it is hidden in the depths. - Stamatis Skliris
 
"Sergei Bulgakov", acrylic on canvas, 9x12 inch, Bishop Maxim, 2022
 
"A Portrait", acrylic on canvas panel, 9x12 inch, Bishop Maxim, 2022
 
"Majesty", acrylic on canvas, 28x22 inch, Bishop Maxim, 2022

With imaginative observation and creative freedom of expression in painting, the artist stands in earnest awe before the Queen, awaiting permission to speak, contemplating within: "I do not see in your person merely a woman of such longevity, rather one of a venerable multitude of years of devoted and steadfast service, who deserves our respect in not daring to touch sensitivity of Majesty within."

In the portrait, one can see the elements of an elusive royal persona, whose eyes reveal a sense of humor and joy. She possesses a silent firmness, a subtle authoritarianism, yet the caring guise of a likable grandmother. She ruled wisely and efficiently, commanding respect, without a demanding power complex.
 
"Praise Him, Sun and Moon... All You Shining Stars", acrylic on canvas, by Bishop Maxim, 2022
 
"Dostoevsky and the Symbol of The Crystal Palace", acrylic on canvas, by Bishop Maxim, 2022

In his Winter Notes on Summer Impressions, Dostoyevsky presented the Crystal Palace as a symbol of the controlling mechanism of utilitarian rationalism, a creation of Baal that would offer material abundance while demanding the sacrifice of spirit, autonomy, and authenticity. The painter sees this place as a cold, senseless emptiness of hell for many generations with the involuntary handicap of a loveless life. The other--although close to me--is my failure to live fully; he confirms my loneliness. Our emotions don't coincide, but our inner pain of traveling together without companionship is the same. Our nakedness reveals us as impersonal objects of pleasure, outside the bounds of relation, of mutual self-offering. The blindness in the eyes points to the deprivation of the vision of our real goal.
 
"Dostoevsky's White Nights (Beliye Nochi) in Sankt Petersburg", acrylic on canvas, by Bishop Maxim, 2022

Dostoevsky spent much of his life in St. Petersburg, which became the backdrop to his many novels. Like in his books so also in this painting, Dostoevsky's characters inhabit the streets of St. Petersburg and come to life. Here one can recognize the house of Raskolnikov and Sonya Marmeladova.

In the "White Nights," he conveys the experience of his hero, who walks in the streets of St. Petersburg during the so-called "White Nights." He loves the city at night and feels comfortable in it. He drew his emotions from people: if they were content, he was content; if they were disheartened, he was discouraged. As he walked, the houses would talk to him and tell him how they were being renovated, painted a new color, or torn down.
 
“Unknown Dostoevsky’s Character”, acrylic on canvas, by Bishop Maxim, 2022
 
“The Wedding That Didn't Happen—Myshkin and Nastasya”, acrylic on canvas, by Bishop Maxim (with the assistance of Savo Miljic), 2022
 
"Drunk the drug of forgetfulness-Jim Morrison", acrylic on canvas, by Bishop Maxim, 2022
 
"The Mystical Island and the Ship of Salvation", acrylic on canvas, by Bishop Maxim, 2022
 
"Jesus Christ" (à la Rublev 4), acrylic on canvas, by Bishop Maxim, 2022
 
"Saint Isaak Syrian and Dostoevsky", acrylic on canvas, by Bishop Maxim, 2022

St. Isaac the Syrian, a seventh-century monk mentioned by name several times in "The Brothers Karamazov"; to whose "Ascetical Discourses" Dostoevsky is said to have returned repeatedly; and who likely inspired many of the ideas expressed by Dostoevsky’s figure of Zosima. St. Isaac of Syria had a substantial and decisive influence on Dostoevsky’s thought, especially regarding the relationship between God and nature and its meaning for humanity. Dostoevsky’s heroes revere the earth, kiss it and water it with their tears, and admit to it its darkness, mystery, and holy integrity.
 
"Тhe miracle of eternal surprises bursts forth...", acrylic on canvas, by Bishop Maxim, 2022
 
"Amour Propre of Nastasya Filippovna", acrylic on canvas, by Bishop Maxim, 2022

Of the many characters we see in Dostoyevsky's novels, few of the principal characters are female. However, in one of his more famous novels, The Idiot, we find perhaps one of the strongest female characters of most nineteenth-century literature, if not of Europe, then at least of Russia. Nastassya is the most dramatic and complex character in the novel The Idiot. Defined by her sensual beauty and remarkable looks, she steers the course of this novel and the fate of Prince Myshkin and Rogozhin. Nastasya Filippovna, a proud, yet exploited woman, is by far one of Dostoyevsky's most intriguing characters. She has an instantaneous and dramatic effect on the characters surrounding her. The Idiot can understand Nastasya Filippovna's abrupt changes of mood, and perhaps we should not attempt to narrow the formula for her motivations.
 
"Annandale Golf Club in Pasadena", acrylic on canvas, by Bishop Maxim, 2022
 
"Sonya Marmeladova", acrylic on canvas, by Bishop Maxim, 2022
 
"Christ and the Grand Inquisitor", acrylic on canvas, by Bishop Maxim, 2022
 
"Canon Edward West", acrylic on canvas, by Bishop Maxim, 2022
 
"The Endless, Blue Circle with a Cross in It—Hieromonk Atanasije", acrylic on canvas, by Bishop Maxim, 2022
 
"Majestic Mountain", acrylic on canvas, by Bishop Maxim and Sava, 2022
 
"St. Nicholas" (à la Stamatis), acrylic on canvas, by Bishop Maxim, 2022
 
"Jesus Christ" (à la Rublev 3), acrylic on canvas, by Bishop Maxim, 2022
 
"Jesus Christ" (à la Rublev 2), acrylic on canvas, by Bishop Maxim, 2022
 
"Saint Peter", acrylic on canvas, by Bishop Maxim, 2022
 
"Njegos' Ultimate Dream", acrylic on canvas, by Bishop Maxim, 2022
 
"St. Basil of Ostrog", acrylic on canvas, by Bishop Maxim, 2022
 
"Isidora Sekulic", acrylic on canvas, by Bishop Maxim, 2022
 
"Great American Novelist - Mark Twain", acrylic on canvas, by Bishop Maxim, 2022
 
"The Sacred Pillars of Orthodoxy in the West", acrylic on canvas, by Bishop Maxim, 2022
 
“St. Nicholas”, acrylic on canvas, by Bishop Maxim, 2022
 
"The Last Look of Nastasya Filippovna", from Dostoevsky's The Idiot, acrylic on canvas, by Bishop Maxim, 2021
 
"The Last Look of Nastasya Filippovna", from Dostoevsky's The Idiot, acrylic on canvas, by Bishop Maxim, 2021

The painting depicts Nastasya’s death scene. Rogozhin stabbed her under the left breast, and there was no more than half a tablespoon of blood; the bleeding was internal. Without a doubt, Nastasya is the most dramatic and complex character in the novel The Idiot; she steers the course of this novel and the fate of Prince Myshkin and Rogozhin. No one in The Idiot can understand Nastasya Filippovna’s abrupt mood changes. Nastasya is highly emotional, full of guilt, and out for revenge. Prince Myshkin insists that Nastasya is not what she seems; she is more kind than her haughty demeanor indicates. One can see suffering beauty in her eyes. She sees an absurd morality play with good and evil on either side. So, not knowing what role she must play, she plunges into the comedy and turns the course of events upside down. Nastasya’s imminent death hovers ominously throughout the novel. What makes the scene horrible is not the murder but Myshkin’s comforting of Rogozhin. Myshkin’s goodness and compassion are more terrifying than Rogozhin’s murder of Nastasya. Dostoevsky shows us the ultimate in goodness, and it is paradoxical: Myshkin’s embracing the murderer, forgiving him as it were, weeping on his cheek as though in sorrow but also in relief that, at last, the fate of the three has unraveled itself.
 
"Jesus Christ" (à la Rublev), acrylic on canvas, by Bishop Maxim, 2022
 
"Sigmund Freud", acrylic on canvas, by Bishop Maxim, 2022
 
"Carl Jung", acrylic on canvas, by Bishop Maxim, 2022

Pipe-smoking founder of analytical psychology is depicted as he methodically analyzes a person's ego, personal unconscious, and collective unconscious.
 
"Grand Vožd Karageorge and Bishop Rade-Njegoš", acrylic on canvas, by Bishop Maxim, 2022
 
"Grand Vožd Karageorge and Bishop Rade-Njegoš", acrylic on canvas, 18x24, by Bishop Maxim, 2022

Ivo Andrić, the 1962 Yugoslav Nobel prize laureate, called the Montenegrin Bishop Rade-Njegoš (1830–1850) “the Jeremiah of Kosovo” who carried “the message of Obilić.” In his philosophical epic, The Mountain Wreath, Njegoš prophesied, “the name of Montenegro will be resurrected from the Kosovo graveyard.” “Praise to the ashes of Serbia’s father (Karageorge),” wrote the poet: “…Their crowns will shine again …The dawn is coming to our mountains!” The Kosovo tradition also deeply influenced the revolutionary youth in Bosnia. Gavrilo Princip knew Njegoš’s Mountain Wreath by heart. “There was not a single struggle of the people for liberation in which the heroes from the Kosovo battle were not present. The Montenegrins, fighting in their rocky mountains quenched their thirst from the Kosovo spring. Karageorge breathed the air from Kosovo” (Čedomilj Mijatović).
 
“Cosmic Music”, acrylic on canvas, by Bishop Maxim, 2017
 
"Grushenkа's Maid", acrylic on canvas, by Bishop Maxim, 2021.

I don't know how to portray a maid, a character who entered the paintings "like Pilate in the Faith". But the painter Maxim conveys her world not only with her clothes and characteristic scarf and simple work clothes but also with her eyes, mouth, and eyebrows. To understand a person's character, it is important to consider the eyes, together with the eyebrows and mouth. I don't know how the painter managed to crystallize in her eyes the expression of a girl who works, listens, works, and suffers in calm. The lips also contribute to that, as if asking the question: why am I enduring all this? The maid has a lay expression, but also a blessed expressive activity of the anatomical elements of the character. This picture is so convincing that we think that the girl seemed to have just finished cleaning with rags, put her hands on her hips, and walked toward us. From the painter's point of view, we ask how this painter bypasses the mere stylistic expression of the painted character and with free hands shows a wide forehead and eyes, and a strong neck which represents a girl who has matured and strengthened through work and suffering, so she is now ready to endure hard days. The way in which the painter painted this girl serves as a halo that crowns her character. (Fr Stamatis Skliris)
 
“Netochka Nezvanova 2", acrylic on canvas, by Bishop Maxim, 2022

This is a woman who, from an uninvited girl to high society, managed, despite obstacles, to become an artist. But how to show all this in a painting? The face and neck stand upright like a pillar holding the whole temple. The look of two strong eyes of a strong female idiosyncrasy is added to this factor of balance. The portraitist made his eyes beautiful and his eyes strong. Eyelids and eyelashes contribute to that, as well as lips that show a woman, on the one hand beautiful, but also strong, who won and proved herself despite the opposite reactions and jealousy of others. An aristocratic hat on her head introduces an imbalance towards the vertical axis and assures us that this woman fought and achieved through struggle.
 
"Metropolitan Anthony Bloom of Sourozh", acrylic on canvas, by Bishop Maxim, 2022

Metropolitan Anthony of Sourozh, who served as a bishop in London from 1957 to 2003, was best known as a writer and broadcaster on prayer and the Christian life. This remarkable, indeed saintly, bishop said: "We should try to live in such a way that if the Gospels were lost, they could be re-written by looking at us.” After reading classics, he went on to study physics, chemistry, and biology at the Sorbonne School of Science. In 1939 he was qualified as a physician. During the years the German army occupied France when he was a physician active in the Maquis, a section of the French resistance, he had the occasion to use his medical skills to save the life of a German soldier. In 1953 he was appointed hegoumen, in 1956 archimandrite, then in 1962 archbishop of the newly created Diocese of Sourozh, encompassing Britain and Ireland.
 
Full Moon Africa, acrylic on canvas, by Bishop Maxim, 2022
 
Blue Moon Africa, acrylic on canvas, by Bishop Maxim, 2022
 
"New Mexico Dream", acrylic on canvas, by Bishop Maxim, 2022
 
"Young Wakening Dostoevsky", detail, acrylic on canvas, by Bishop Maxim, 2022
 
"Young Wakening Dostoevsky", acrylic on canvas, by Bishop Maxim, 2022
 
"The Little Prince, No 5", acrylic on canvas, by Bishop Maxim, 2022
 
"Djurdjevi Stupovi" (Pillars of St George Monastery), acrylic on canvas, by Bishop Maxim, 2022
 
"Philosopher Christos Yannaras", acrylic on canvas, by Bishop Maxim, 2021
 
"St. Sava Cathedral in Belgrade", acrylic on canvas, by Bishop Maxim, 2020
 
"Bogorodica Molebnica", egg tempera on canvas, by Radmila Vasiljevic, 2022
 
"A Story of Sonya Marmeladova’s Love", acrylic on canvas, by Bishop Maxim, 2022

Π. Σταμάτης Σκλήρης

Πορτραίτο Σόνιας Μαρμελάντοβα, ηρωίδας Ντοστογιέφσκι, Bishop Maxim, 2022

Καλοχτισμένη η αρχιτεκτονική των αξόνων του όλου πίνακα. Το αριστερό μισό καταλαμβάνει η πρωταγωνίστρια και το άλλο μισό είναι το περιβάλλον της ιστορίας της, του αφηγήματος που μας ξεδιπλώνει.
 
“St. Porphyrios Greeting Us”, acrylic on canvas, by Radmila Vasiljevic, 2022
 
“Abraham Lincoln “, acrylic on canvas, by Bishop Maxim, 2022
 
"The Little Prince, No 4", acrylic on canvas, by Bishop Maxim, 2022
 
"Alexander Schmemann: Fr. Paschal Eucharist”, acrylic on canvas, by Bishop Maxim, 2022

At Pascha during the service before the closed doors of the chapel, everyone noticed how his face would entirely transfigure and be full of light.
Alexander Dmitrievich Schmemann (1921-1983) was an influential Orthodox priest, theologian, and author who had most of his career in the United States. Born in Estonia to émigrés from the Russian Revolution, he grew up primarily in France, where there was a large émigré community in Paris.
 
Alexei & Polina, acrylic on canvas, by Bishop Maxim, 2021

“Every now and then I would glance at Polina Alexandrovna, but she paid me no attention; until eventually I became so irritated that I decided to play the boor…   Polina was not at all pleased with my questions; I could see that she was doing her best to irritate me with the brusquerie of her answers. But I took no notice of this… Again, therefore, I put to myself the question: ‘Do I, or do I not love her?’ and again I could return myself no answer or, rather, for the hundredth time I told myself that I detested her.”  Through The Gambler Dostoevsky rationalized his dependence on gambling. From that point on, the novel can be considered as some kind of self-condemnation and excuse.
 
"Kallistos Ware", acrylic on canvas, by Bishop Maxim, 2022

Peaceful look, without the need to control. As if experiencing the weight of the blessing given to him, the Bishop lifts the blessed weight of the Divine gift he has received and says: “For my yoke is easy, and my burden is light.”

Kallistos Ware is an English bishop and theologian of the Eastern Orthodox Church. Since 1982, he has held the titular bishopric of Diokleia in Phrygia, later made a titular metropolitan bishopric in 2007, under the Ecumenical Patriarchate of Constantinople. From 1966 to 2001, he was Spalding Lecturer of Eastern Orthodox Studies at the University of Oxford.
 
"Young Georges Florovsky from his hometown Odessa, through Paris to New York", acrylic on canvas, by Bishop Maxim, 2022

Young Florovsky is immersed in his thoughts, while on the horizon are discerned his hometown Odessa in flames of a then distant war, Paris and New York. Georges Florovsky was born on August 28, 1893, in Elisavetgrad (the city of Kirovograd in present-day southern Ukraine) and grew up in the cosmopolitan city-port of Odessa. He moved between different European centers-Sofia, Prague, Paris, and Belgrad. In 1925 he became a professor of patristics at the St. Serge Institute of Orthodox Theology in Paris. He spent his working life in Paris (1920–1949) and New York (1949–1979). With Sergei Bulgakov, Vladimir Lossky, Justin Popović, and Dumitru Stăniloae he was one of the more influential Eastern Orthodox Christian theologians of the mid-20th century.
 
"How on earth all this happened?—Alexandra and Aglaya Ivanovna", acrylic on canvas, by Bishop Maxim, 2022
 
"Madeleine Was Still an Enigma to Her", acrylic on canvas, by Bishop Maxim, 2022

"TWO GIRLS
A canvas that came out simply and gave the unpretentious sophistication of the sloppy young people with great success. Their expression and attitude are very natural and convincing. Clothes with SIMPLICITY express immobility and, at the same time, restrained movement.
I can not understand how this painting expresses a real relationship between the two friends while they have turned their backs. Their FRIENDSHIP is imprinted on the canvas with tremendous conviction." (Fr. Stamatis Skliris)
 
"Madeleine Was Still an Enigma to Her", detail, acrylic on canvas, by Bishop Maxim, 2022
 
"Madeleine Was Still an Enigma to Her", detail, acrylic on canvas, by Bishop Maxim, 2022
 
“Young Nicholai of Ohrid”, acrylic on canvas, by Bishop Maxim, 2022
 
"My Foundations Are in the Mountains" (Elder Vasileios of Iveron in Sedona, Arizona, 2012), acrylic on canvas, by Bishop Maxim, 2022

My foundations are in the mountains (Odysseus Elytis, Axion estin)

My foundations are in the mountains
and people carry the mountains on their shoulders
and memory is burning on top of them
like an unburnt bush.
 
Memory of my people your name is Pindos, your name is Athos.
 
“Shakespeare”, acrylic on canvas, by Bishop Maxim, 2022

A strong portrait, nice posture, especially the face, weighty, thinking, with a discrete smile. The paper he reads has tremendous success as a little crumpled, maybe a little stained. However, on paper, imprints of lived time, the portrait brings to life the inanimate time. The garment is as convincing as it is of its time. Тhe horizontal strokes of Shakespearean clothing point to a writer who meditates and walks, a little bent over and is the intellectual who writes the history of the spirit, and does not need uniforms, medals, and crowns. The background discreetly but expressively reveals the inner spiritual storms that Shakespeare lived while fighting with the spirits.
 
“Elder Sophrony”, acrylic on canvas, by Bishop Maxim, 2022
 
"Vladika of Herzegovina", acrylic on canvas, by Bishop Maxim, 2022

"Тhe painting of Bishop Athanasios of Herzegovina--like all the works of Bishop Maxim--is a completed work. He has succeeded the Elder’s indescribable dynamism and calm power, a challenging combination. It is a painting with complex risks, a piece with difficult keys." - Fr. Stamatis Skliris
 
“Marko Miljanov”, acrylic on canvas, by Bishop Maxim, 2022
 
"The Old Mostar Bridge and the Cathedral of Resurrection", acrylic on canvas, Bishop Maxim, 2022

A city with a pink sky is another approach as a naif, like a painting of a willingly childish soul. It has the features of Matisse with a balanced perspective. A very personal, authentic expression that approaches the world and the landscape with optimism. - Stamatis Skliris
 
"St. Sebastian of San Francisco and Jackson", detail, acrylic on canvas, by Bishop Maxim, 2022
 
"St. Sebastian of San Francisco and Jackson", acrylic on canvas, by Bishop Maxim, 2022
 
"Nastasia Filippovna 2", acrylic on canvas, by Bishop Maxim, 2022
 
"Father Dumitru: The Theologian of the Prisons", acrylic on canvas, by Bishop Maxim, 2021

Fr Dumitru “sits in silence, with no wish to speak” (Saint Silouan), recalling the joy of life in prison described by Elder Sofian Boghiu: “I can say that I had days, many days, in prison that were more joyful than outside, because joy comes from within, not from outside". He remembers entering his cell and seeing other inmates writing biblical verses from memory on their boot soles–verses which he as a professor of theology had not yet inscribed on the tablet of his heart; he longs for the unceasing prayer God granted him amidst the inhumane tortures and deprivations; he gazes upon God’s suffering people, wishing to console them through the living, grace-filled theology welling up in his heart, through the experience of Christ Whom he met within the four walls of a prison cell.
 
“Hortensia”, acrylic on canvas, by Bishop Maxim, 2022
 
“Hortensia”, acrylic on canvas, by Bishop Maxim, 2022
 
"Beethoven 2", acrylic on canvas, by Bishop Maxim, 2021
This is a surprising "Beethoven". Hair flies from the urge of inspiration. The eyes - the strongest point of the painting - are in ecstasy. The red cow also participates in ecstasy. A book, a keyboard, and a clock - everything floats, terrified by the invisible waves of fate. The presence of a floating clock is important, indicating the connection between the mystery of time and the mystery of music. Beethoven's wide gaze and the semicircular keyboard indicate the comprehensiveness, enormous energy, and great momentum which envelops the drama of existence, from the germ of the Big Bang to the future mystery (Eschaton).
 
"King Peter I of Serbia and Yugoslavia" No 6, acrylic on canvas, by Bishop Maxim, 2021
 
"King Peter I of Serbia and Yugoslavia" No 5, acrylic on canvas, by Bishop Maxim, 2021
 
Lemon and Pomegranate 2 (Still Life), acrylic on canvas, Bishop Maxim, 2021
 
“Melody of Waters”, acrylic on canvas, by father Stamatis and bishop Maxim, 2021
 
"Metropolitan John (Zizioulas)", acrylic on canvas, Bishop Maxim, 2021

INTERPRETATION OF THE PORTRAIT OF THE METROPOLITAN OF PERGAMON JOHN (ZIZIOULAS) by the hand of Bishop MAXIMOS (VASILJEVIC)

An invisible axis connects the gaze of the depicted Metropolitan with the spectator. This gaze looks at us seriously and thoughtfully, and together with the soft wrinkles of the forehead and the ambiguous lips, it is as if they immobilize time and look not exactly at us, but as if they are penetrating our being and exploring something deep and hidden. The painter succeeded with great simplicity in expressing something ontological: the question of the depicted about life and its meaning. The raised eyebrows of the portrait also contribute to this. After all, this very profound look is like wondering: do you really exist, spectator? Is this relationship real? In other words, they allow for hope to transpire in a relationship of the eyes that brings us into a real relationship. It is what we say in theological language: a true eschatological loving relationship of persons.

Here Bishop Maxim surpassed himself and reached the ideal of the orthodox iconographer. And we are left with the right to ask ourselves: could Maxim get there if his long patient and obedient apprenticeship in Metropolitan of Pergamon hadn’t preceded?

In Athens on the 24th of November 2021.
Fr. Stamatis Skliris
 
"Mexican Lady", acrylic on canvas, Bishop Maxim, 2021
 
"Abstract Painting with a Horse", acrylic on canvas, Bishop Maxim, 2021

Night, with a moon and a silent starry sky above the landscape of rocks and a lake. Suddenly, a raging white horse in a dream jumps and sweetens the lonely desert landscape. The silent and peaceful presence of the night and of the lake converse with the dynamic relationship between animal and nature. The scene is pervaded by a sense of loneliness, quiet peace and of man’s awe before the indeterminism of nature. Abstract painting changes the way we look at the world around us. Rather than presenting a strict likeness abstract art focuses on achieving an effect. The shapes and colors of the various natural elements are used to form a rhythm of the composition.
 
"St. Sebastian of Jackson and San Francisco", acrylic on canvas, Bishop Maxim, 2021
 
"Marija Receives the Light", acrylic on canvas, Bishop Maxim, 2018

Marija comes for the vigil on the Holy Saturday night outside the temple with wakeful and vigilant face and candles (its flame burning brightly) in her hands to celebrate Christ’s resurrection. “Come, receive the light!” is exclaimed three times as a promise that no matter how dark our world gets, the light will never be overtaken. After Holy Friday, she is transported to the moment “very early in the morning” when the light of the Resurrection is just beginning to dawn. A gladness of soul is a record of the Eucharistic experience.
 
"King Peter I of Serbia and Yugoslavia, No 4", acrylic on canvas, Bishop Maxim, 2021
 
"The Little Prince, No 3", acrylic on canvas, Bishop Maxim, 2021
 
"The Little Prince, No 2", acrylic on canvas, Bishop Maxim, 2021
 
"St. Porphyrius the Kafsokalyvite", acrylic on canvas, by Bishop Maxim, 2021
 
"Pittsburgh Downtown Plaque", acrylic on canvas, by Bishop Maxim, 2021
 
"African Child", acrylic on canvas, by Bishop Maxim, 2021

Among the traditional characteristics of African children are (a) the early maturity in self-discipline, (b) the aspiration for education, (c) respect for traditional values, (d) early search for identity, and (e) a wholesome spirit of cooperation and dependence on one another.

In his “Four Studies of the Head of a Black Man” Peter Paul Rubens explored a variety of facial expressions and poses of a black person. Using a single dim source of light, he created strong contrasts of brightness and shadow on the man's skin, varying these along with the different expressions.
 
"Young King Alexander I of Before All", acrylic on canvas, by Bishop Maxim, 2021
 
"King Peter I of Yugoslavia After All", acrylic on canvas, by Bishop Maxim, 2021
 
"St John the Baptist", acrylic on canvas, by Bishop Maxim, 2021
Inspiration: Rodin, Norton Simon Museum and Fr. Stamatis Skliris: http://holyicon.org/images/01/expressionism/292.jpg
 
Theotokos (unfinished), acrylic on wooden board, by Bishop Maxim, 2021
 
"The Angel of the Lord", acrylic on canvas, 2021
 
"Tale of Dreams That Never Die", acrylic on canvas, 2021

Existence created by light and love. A character staring at a scene with a vague outcome. Plasticity achieved by applying thick brush strokes. In this two-tone canvas a being emerges with the call of love (red) and shedding of light (white).
 
"Like a Horse Prepared for Battle", acrylic on canvas, 2021

The expression and body language of this swift horse with lightning-fast reflexes, communicates the wonder caused by viewer’s sudden presence. Physically refined, it is shown as jumping for joy (horse can jump 8 ft 1.25 or 2.47 m). This wonder horse, having high energy, is very powerful due to its strong muscles and leg structure. The author “immortalies” this waltzing horse on the very crust of the earth which hides a fiery maze beneath.
 
Dostoevsky 4, acrylic on canvas, by Bishop Maxim, 2021

"Dostoevsky’s face is the face of a peasant. An ashen hue pervades the hollow cheeks, making them appear almost grimy, emphasizing the furrows caused by many years of suffering; the skin, dry and parched, is stretched tight over the bony framework, and is bereft of blood and color, sucked clean of life by the vampire which has preyed on it for a score of years. To right and left, two huge boulders jut forth, the prominent cheekbones typical of his race; a sparse moustache and a straggling beard veil the sad-looking mouth and delicate chin. Earth, rock, and forest; a tragic and primitive landscape; such are the basic lineaments of Dostoevsky’s countenance. All is dark and preeminently earthly in this unbeautiful face. I have called it a peasant’s, but I might almost term it a beggar’s, so flat and colorless is it, so lacking in brightness: a piece of the Russian steppe cast high and dry upon the stones. Even the deep-set eyes, gleaming from within their sockets, are incapable of imparting a spark of light to the grim visage, for their radiance is directed inward. As soon as the lids close over them, the face becomes a death mask, and the nervous tension which otherwise grips the frail features is relaxed into a lifeless lethargy". (Dostoevsky by Stefan Zweig)
 
"Angel Mermaid", acrylic on canvas, 2021

“It is as if he takes out his soul to give it to you, as if he is looking at you in the middle floors of Your existence, he accompanies you not to hit your foot on the rock, it is your “deacon” that the Maker of life gave you. Do not forget him, do not set him aside, do not turn your back on him. When you catch such company with your Angel, then whatever happens to you, you will be able to overcome it. His fiery hair, his fiery eyes, his fiery cheeks, remove the contour, unite with the hair color like a divine lava to smell the angelic face. And yet he is a person like a mermaid, a mermaid Angel, Angel of youth, Angel of power, Angel that we dare and paint since the Son of God took flesh!” (Stamatis Skliris)
 
"Stationary Movement", acrylic on canvas, Bishop Maxim, 2021

In eternity, the human existence will “acquire an ever-moving repose and a stationary movement”. This signifies the existential freedom from every necessity of motion or repose, the realization of existence as relation, the freedom of love as the mode of the fullness of existence. “A stationary movement that is simultaneously eternally-moving stasis, presupposes that outside of this is the Other in whom room is found: movement turns toward God and is stationary in Him. Stasis is also eternally-moving, because it is not exhausted in its limits, but turns out of itself.” (St. Maximus the Confessor)
 
"Emily from Our Town (1938)", acrylic on cardboard, 2018

In a 1938 metatheatrical play Our Town by an American novelist and playwright Thornton Wilder, an extremely interesting dialogue between Emily, one of the characters, and the stage manager takes place. Emily returns to earth to relive one day, her twelfth birthday. She watches with joy at being able to see her parents and some of the people of her childhood. Her joy, however, quickly turns to sorrow when she realizes how little people appreciate the simple joys of life. The memory proves too painful for her, and she turns toward the stage manager and asks: "Do any human beings ever realize life while they live it, every, every minute?" At first, he responds, "No," but after a moment he adds, "saints and poets, maybe—they do some."
 
"Abraham Lincoln 2", acrylic on canvas, 2021
 
"Čiča Draža", acrylic on canvas, 2021

Father Stamatis Skliris: "This work establishes the distinctive artistic identity of the painter Bishop Maxim. We emphasize the particular way of writing the sky that contains the warmth of red, with the glittering city in the far distance, the rivers, forests, flowers, and fields neo-Impressionist, with the houses echoing of Serbian folk art and the "hard realism" of the General's uniform and especially his face that dominates in the center of the composition. A strong face like a wood-carved bust of a hard statue, but which distills from the bluish pearly glare of his eyes and nose the sensitivity of his ideals: We fight not to kill, but to prevent impending dehumanization."
 
Lemon and Pomegranate (Still Life), acrylic on canvas, 2021
 
"Ostrog", acrylic on canvas, 2021
 
"King Peter I", acrylic on canvas, 2021

After the Albanian Golgotha, one of the greatest exoduses in Serbian history, King Petar I the Liberator stands upright, dignified, and honorable, while the snow-capped mountains of Albania and Montenegro, from the winter of 1915/16, can be seen behind him, during the First World War.
 
"King Alexander I of Yugoslavia", acrylic on canvas, 2021
 
A Study of а Russian Saint, acrylic on canvas, 2021
 
“Klara Olsufyevna” (The Double, by Dostoyevsky), acrylic on canvas, 2021

In the novel The Double, Klara Olsufyevna, “pale, tired and sad, but richly dressed”, gradually becomes a “enchantress” for Goliadkin’s bipolar personality. Klara is Osulfy Ivanovitch’s only daughter. Engaged to marry a Prince she doesn't want to marry, Klara contacts Golyadkin and asks him to take her away.
 
"The Grand Inquisitor", acrylic on canvas, 2021
 
“George Washington”, acrylic on canvas, 2021, by Bishop Maxim
“It's a serious work with all the seriousness they owe to the founding fathers who made the United States truly the United States of America. I like the seriousness of the lips of the nose and the paths of the face, and the scarf around his neck and the deep red background that leaves the dark model visible.” (Fr. Stamatis Skliris)
 
“George Washington”, acrylic on canvas, 2021, by Bishop Maxim
“It's a serious work with all the seriousness they owe to the founding fathers who made the United States truly the United States of America. I like the seriousness of the lips of the nose and the paths of the face, and the scarf around his neck and the deep red background that leaves the dark model visible.” (Fr. Stamatis Skliris)
 
"Sonya Marmeladova à la Fayum", acrylic on wooden board, 2021

"This is a noble portrait, which after many centuries continues the tradition of Fayum portraits (naturalistic painted portrait on wooden boards attached to upper class mummies from Roman Egypt). It is characterized by an unspeakable aristocratic nobility, for which we cannot understand how it came about. This painting follows all the Byzantine lessons that the artist has in himself, but at the same time he has one ‘fabric’ of high artistic breath, one breath that can turn and speak to modern man. It is a portrait that we can say is contemporary, a portrait of the 21st century." (Stamatis Skliris)
 
“Abraham Lincoln”, acrylic on canvas, 2021, by Bishop Maxim
 
"Prayers by the Lake of Ohrid and a Fish", acrylic on canvas, 2021

This is the Lake that inspired the ascetic of Ohrid to utter prayers—vibrant in their lyrical mood and characterized by a Christian view of the cosmos. It invites us to express reverently and poetically our longing for Christ, inflamed by divine eros. The fish appears as a mysterious presence.
 
"Fyodor Dostoevsky and Maria Skobtsova", acrylic on canvas, 2021
 
"Dostoyevsky at Night", acrylic on canvas, by Bishop Maxim, 2021
 
"King Peter I of Serbia and Yugoslavia", acrylic on canvas, 2021
 
"Prayers by the Lake of Ohrid 2", acrylic on canvas, 2021

This is the Lake that inspired the ascetic of Ohrid to utter prayers—vibrant in their lyrical mood and characterized by a Christian view of the cosmos. It invites us to express reverently and poetically our longing for Christ, inflamed by divine eros.
 
"A Monologue from the Underground", acrylic on canvas, 2021
 
"Dostoevsky 2", acrylic on canvas, 2021
"Dostoevsky’s face is the face of a peasant. An ashen hue pervades the hollow cheeks, making them appear almost grimy, emphasizing the furrows caused by many years of suffering; the skin, dry and parched, is stretched tight over the bony framework, and is bereft of blood and color, sucked clean of life by the vampire which has preyed on it for a score of years. To right and left, two huge boulders jut forth, the prominent cheekbones typical of his race; a sparse moustache and a straggling beard veil the sad-looking mouth and delicate chin. Earth, rock, and forest; a tragic and primitive landscape; such are the basic lineaments of Dostoevsky’s countenance. All is dark and preeminently earthly in this unbeautiful face. I have called it a peasant’s, but I might almost term it a beggar’s, so flat and colorless is it, so lacking in brightness: a piece of the Russian steppe cast high and dry upon the stones. Even the deep-set eyes, gleaming from within their sockets, are incapable of imparting a spark of light to the grim visage, for their radiance is directed inward. As soon as the lids close over them, the face becomes a death mask, and the nervous tension which otherwise grips the frail features is relaxed into a lifeless lethargy". (Dostoevsky by Stefan Zweig)
 
Mihajlo Pupin / Michael Pupin, acrylic on canvas, 2021

This work is painted after a portrait of Mihajlo Pupin, done in 1903 by the great Serbian painter Paja Jovanović in the USA. Feeling confident in himself, Pupin has a decisive and direct look into investing in new technologies understanding the risks. The warmth of red represents the heat of the laboratory and the passion of a scientific experiment. The viewer feels the warmth in red color and the coolness in blue. Blue color of Pupin’s suits represents complete calmness, peace and tranquillity and has a pacifying effect on the entire atmosphere. Blue means responsibility and reliability.
 
“Stairways to the Underground”, acrylic on canvas, 2021
 
“Nasturtium”, acrylic on canvas, 2021
 
“A Vase of Evangelism”, acrylic on canvas, 2021
Leaves and flowers rejoice in a transmission of joy that overflows from the vase and fills our hearts.
 
Elder Tikhon, acrylic on canvas, 2021
 
“The Little Prince”, acrylic on canvas, 2021
 
"Stavrogin", acrylic on canvas, 2021
 
"Brothers Karamazov", acrylic on canvas, 2021
 
 
"Nastasya Filippovna", acrylic on canvas, 2021, by Bishop Maxim
 
"Netochka Nezvanova", acrylic on canvas, by Bishop Maxim, 2021
 
Blaise Pascal, acrylic on cardboard, 2021

Pascal was a brilliant child prodigy, who went on to become one of the greatest mathematicians, physicists, inventors, and writers of the seventeenth century. The author of Pensees and the Provincial Letters has said, “Eloquence is a painting of the thoughts.” This work of older Pascal, with long and curly hair, seated and facing to the left, is painted after a portrait done by French painter Philippe de Champagne (1602-1674). Adopting an ascetic lifestyle, Pascal wrote eloquently about the insoluble paradoxes of the human condition, blending stoic and skeptical arguments to bring his readers to a point of confusion and despair, at which they would accept his famous wager and embrace God.
 
“The Elder Atanasije Breaks Through The Darkness Of Night With Prayer”, acrylic on canvas, by Bishop Maxim, 2021

Divinity emanating through his expression, the broad shoulders and the blessed peace of mind of the Elder Atanasije describe the balance between physical and spiritual strength.
 
“Dostoevsky”, acrylic on cardboard, by Bishop Maxim, 2021

Father Stamatis Skliris:

Did you see the charm of the dark background? "Dostoyevsky" is very nice, the design stands and the expression is serious, as it should be. The jacket with two touches brush is finished and is complete, with a clever artistic gesture. I especially like the atmosphere or the mentality. A serious man, thinking eyes, troubled, and a jacket spaciously wrapped around his body that betrays his Van Goghian suffering and existential difficulty to be caught by existence, to be clung to and not to fall into non-existence.
 
"Mihajlo Idvorski Pupin - Michael Idvorsky Pupin", acrylic on canvas, by Bishop Maxim, april 2021
 
"A Jar from the Pec Patriachate", drawing, bp Maxim, 2017
 
"A Patient of 2020", acrylic on canvas, by bp. Maxim
This acrylic painting conveys vulnerable human beings' battles with the novel SARS-CoV-2 virus, which is not yet contained, leaving suffering and death in its wake. Yet, coexisting with Covid-19 implies faith, hope, dreams...
 
Saint George, acrylic on canvas, 2021, Bishop Maxim (Vasiljevic)
 
Saint Paul, acrylic on canvas, 2020
 
Metropolitan Amfilohije (Radovic)
 
"The Hagia Sophia", acrylic on canvas, by Bishop Maxim, 2020

The Hagia Sophia is а marvelous building that transcends time and still impacts Christianity’s history. Its importance came to light recently with the decision to convert it into a mosque. This acrylic painting depicts the exterior of the Hagia Sophia (“Holy Wisdom”, Sancta Sophia, Ayasofya) with the sea walls of Constantinople. It seems that Justinian’s dream of the Eastern Roman Empire’s sea power was imprinted here. The ellipticity of the dome seems to be the origin and the crowning of the peculiar light of the Hagia Sophia.
 
Jesus Christ, egg tempera on wood, by Bishop Maxim, 2007
 
Jesus Christ, detail, egg tempera on wood, by Bishop Maxim, 2007
 
St. George, acrylic on canvas, by Bishop Maxim, 2020
 
"Pacifica", acrylic on canvas, by bp Maxim and Radmila Vasiljevic, 2020
 
"Awaiting", acrylic on canvas, by bp Maxim and Radmila Vasiljevic, 2020
 
"Pacific Sunset", acrylic on canvas, by Radmila Vasiljevic, 2019
 
"St. Nicholas", egg tempera on board, by Radmila Vasiljevic, 2016
 
“Jesus Christ - Alpha and Omega”, acrylic on canvas, by bp Maxim, 2020
 
“Jesus Christ - Alpha and Omega”, detail, acrylic on canvas, by bp Maxim, 2020
 
"St Vasilije of Ostrog", egg tempera on board, by Radmila Vasiljevic, 2015
 
"St Vasilije of Ostrog", detail, egg tempera on board, by Radmila Vasiljevic, 2015
 
Ship of Salvation, acrylic on canvas, by bp Maxim and Rada Vasiljevic, 2020
 
Ship of Salvation, acrylic on canvas, by bp Maxim and Rada Vasiljevic, 2020
 
"Thanksgiving Ship", acrylic on canvas, by bp. Maxim and Radmila Vasiljevic, 2020
 
St George of San Diego, acrylic on canvas, by Radmila Vasiljevic 2020
 
St George of San Francisco  acrylic on canvas, by bp. Maxim & Radmila Vasiljevic 2020
 
"Little Daisy", acrylic on canvas, Radmila Vasiljevic, 2020
 
“Cactus of Elder Ephraim of St. Anthony's”, acrylic on canvas, by Radmila Vasiljevic, 2020
 
"My Angel is Greeting Me", acrylic on canvas, by bishop Maxim, 2015
 
"Horses playing", acrylic on canvas, by bp Maxim and Radmila Vasiljevic, 2019
 
"Alaska Dall Sheep", acrylic on canvas, by Radmila Vasiljevic, 2020
 
"Uniting a Divided Being", acrylic on canvas, by bishop Maxim, 2020
 
"Mirjana", acrylic on board, by bishop Maxim, 2019

Abstract expressionism inspired by Modigliani. The plain background offers no distractions and allows us to gaze at the model’s beauty and her serene expressions. Modigliani would not paint the model’s eyes because they were too beautiful and too intimate. Elongated, angular lines and the sculptural tranquility on the sitter’s face allows for the possibility of the grasp of model’s personality through the eyes.  The blue color of the empty eyes for this case matches with the blue background color on the right side as if we see the background through the empty eyes. When Modigliani left the eyes empty, it is considered that he then had difficulties in understanding the character of the model. Every model has more characters. For the model having an ambiguous character, he blurred the eyes, or pupils. “I will paint your eyes when I find your soul.” It seems that the model looks at the world while we look into the model’s eyes to get into her thoughts.
 
St. Marina, egg tempera on board, by Radmila Vasiljevic, 2014
 
Ship of Salvation, acrylic on canvas, Radmila Vasiljevic, 2020
 
Jesus Christ, egg tempera on cardboard, by Radmila Vasiljevic, 2017
 
“Ship of Salvation”, acrylic on canvas, by bishop Maxim and Radmila Vasiljevic, 2020
 
“Flathead Lake Montana”, acrylic on board, by bp. Maxim and Radmila Vasiljevic, 2020
 
“He Got off His High Horse”, acrylic on canvas, by Bishop Maxim, 2020
 
"Big Sky Prairie Summer", acrylic on canvas, Radmila Vasiljevic, 2020
 
"Summer Pascha in a Skete in the North Star", acrylic on canvas, Radmila Vasiljevic, 2020
 
The One Crying out in the Wilderness, acrylic on canvas, 2020
 
Thanksgiving Ship, By Maxim and Radmila V. 2019
 
"The Boat we are Waiting for", acrylic on canvas, Alhambra, 2019

It is night on the island. We are waiting for the boat. It has been two days. Suddenly, the boat is approaching, coming out of the void, to take us on a voyage.
 
“She is like summertime sadness”, Alhambra, 2019
 
Родина-мать, Egg tempera on board, 1999
 
Jesus Christ, acrylic on board, 2019
 
"A Young Man Before the Martyrdom", acrylic on cardboard box, 2004

The painting depicts the moment before the martyrdom of a man of noble blood. He is portrayed standing anxiously in modesty and courage. The painter has instilled feeling into his colors, mingling humility with bravery, two naturally contradictory feelings.
 
The Bride of the Mountain, acrylic on canvas, 2019
 
"The Boat we are Waiting for", acrylic on canvas, Santa Barbara, 2019
 
"Lambri", or "How the Orthodox celebrate the Night of the Resurrection", acrylic on canvas, 2019

It is a gladness of soul, a record of the Eucharist's experience, that all these years I thanked my Parish, with all these people of God who came to for the vigil on the Holy Saturday night outside the temple with smiling faces and candles in their hands and celebrating Christ who was THEIR OWN.
 
Byzantine Expressionism, 2019
 
 
Amador County, 2017
 
Californian Impressionism, 2019

Travel companions with creation. Creation “bends” over our “journeys.” It beautifies and enriches the journey of our life.
 
 
 
Theotokos, egg-tempera on board, by Bishop Maxim, 2018
 
 
 
Acrylic on wooden board, 1999, hierodeacon Maxim
 
Acrylic on wooden board, 1999, hierodeacon Maxim
 
 
 
 
 
Saint Panteleimon, Egg tempera on wood, by Protinica Radmila Vasiljevic
 
Digital painting, 2017
 
"Beethoven", acrylic on canvas, by Bishop Maxim, october 2017
This is a surprising "Beethoven". Hair flies from the urge of inspiration. The eyes - the strongest point of the painting - are in ecstasy. The red cow also participates in ecstasy. A book, a keyboard, and a clock - everything floats, terrified by the invisible waves of fate. The presence of a floating clock is important, indicating the connection between the mystery of time and the mystery of music. Beethoven's wide gaze and the semicircular keyboard indicate the comprehensiveness, enormous energy, and great momentum which envelops the drama of existence, from the germ of the Big Bang to the future mystery (Eschaton).
 
"New Mexico", inspired by Georgia O'Keeffe, Acrylic on canvas, september 2017
 
"Reading Don Quixote", bp. Maxim, acrylic on canvas 2017
 
”Alyina Vorobeyeva”, acrylic on canvas, 2017.
 
"Safari - South Africa" (digital painting made with Adobe Illustrator Draw, iPadPro), June 18, 2017
 
"Saint Sebastian of San Francisco and Jackson", by Protinica Radmila and Bishop Maxim, 2017
 
"The Lady Cellist", 2017
 
"Mother of God", by Protinica Radmila
 
"Mother of God", detail, by Protinica Radmila
 
"Fatherhood", July 19, 2016
 
"Motherhood", July 19, 2016
 
Painting by protinica Radmila & bp. Maxim, 2016
 
 
 
"Lady in Red", protinica Radmila & bp. Maxim, 2016
 
The Man from Herzegovina, egg tempera on bord, 1999
 
The Man from Herzegovina, egg tempera on bord, 1999
 
"Magic in the Moonlight", acrylic on canvas, 2018

Bathed by the light of the moon. When the beauty of the soul is illuminated by the darkness of pain. The heavens narrate the glory of God, and the poetry of His hands announces the firmament.
 
"Magic in the Moonlight", acrylic on canvas, 2018

Bathed by the light of the moon. When the beauty of the soul is illuminated by the darkness of pain. The heavens narrate the glory of God, and the poetry of His hands announces the firmament.
 
 
Человјек - Дрво Живота, 15. мај 2014.
 
"Dame in Green", protinica Radmila & bp. Maxim, 2016
 
"Jesus Christ", acrylic on canvas, by bishop Maxim, 2015
 
Protinica Rada & bp. Maxim, 2015
 
American Indian Landscape, 2013.
 
 
Jesus Christ the Merciful One, Acrylic on canvas, by Stamatis and Maxim, 2015
 
“Dama Azul”, Acrylic on canvas, Mexico City 2015
 
Saint Mardarije of Libertyville
 
"Two homelands", acrylic on canvas, 2014.
Depicting the Old Country and the New World. The Old Country is a place where you or your parents were born but do not now live. Never has it been so vital to understand how issues in the Old or New Country impact our lives, business, and... ART! A great number of Serbs who find themselves for longer or shorter periods of time spread out throughout the world – often departing after difficult deliberation – remain connected to the land of their birth or ancestry, living a 'double consciousness'... This painting somehow points to that phenomenon.
 
2009.
 
Saint Sava Cemetery, Los Angeles, 2008 - 2010
 
Saint Sava Cemetery, Los Angeles, 2008 - 2010
 
Saint Sava Cemetery, Los Angeles, 2008 - 2010
 
Saint Sava Cemetery, Los Angeles, 2008 - 2010
 
Egg tempera on board, 2010
 
"Pristine Amador County", by Bishop Maxim

The painter approaches this idyllic landscape with reverence, seeing it as a universal symbol and source of inspiration. The landscapes are both real and imagined. The site is orchestrated as a terrain where bison, lake, horses, trees, etc. form a grand rural space in which topography, soils, climate, water, and indigenous vegetation serve the life in Amador County. The author takes his cues from nature, seemingly random patterns occurring in nature without human intervention. To this “informal,” “romantic,” or "picturesque" approach he adds the cemetery suggesting a subtle, human accident.
 
 
 
 
 
 
 
 
Theotokos, Mother of God, 2002
 
 
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