Group family portrait - the Hill family, Nashville, TN. by portrait artist Igor V. Babailov, Hon. RAA Igor V. Babailov, Hon.RAA, KStA The Hill Family Group Family Portrait (6 feet x 9 feet, oil on canvas) OTHER GROUP PORTRAITS by Igor Babailov

An educational article by portrait artist Igor Babailov, featured in PRIMO Magazine, Italian-American magazine, U.S.A. The Latest News…from an Italian-American Perspective PRIMO magazine Italian Influence on Realistic Portraiture by Igor Babailov Portrait Artist Igor Babailov, the only Living Artist in the Vatican Splendors Exhibition, tells PRIMO why Artists Giovanni Battista Tiepolo and Pietro Annigoni are his Key Influences. Igor Babailov's painting "For Gold, God and Glory" on the cover of PRIMO magazine. The great Italian contributions in the history of art are immeasurable. On my website www.Babailov.com , there are a number of artists, whose works I recommend to study, and among them are Giovanni Battista Tiepolo (1696 - 1770) and Pietro Annigoni (1910–1988). These are only two great names out of many fine visual artists of Italy. They represent two different centuries, yet both come from the same educational background in the classical tradition of one of the oldest art schools in the world: the Italian Academy of Art. “La Strega” by Pietro Annigoni “Head of a Young Man in Three-Quarter View Facing Left, Looking Upward,” by Giovanni Battista Tiepolo Given that they lived in different eras, both Tiepolo and Annigoni faced unique challenges. Tiepolo’s challenge at his time was to explore the knowledge of the Masters before him and around him and to apply it to his own beautiful figurative works, which were celebrated by his contemporaries, as the sophisticated appreciation of the skill in art was taught and very much present at the time. Pietro Annigoni, the utmost admirer of the Old Masters, had a very different challenge at the peak of his career in 1950s-70s, being constantly attacked by the “art critics” for painting beauty and emphasizing the importance of the masters’ methods and techniques as prerequisite of skill for any artist. The celebration of Beauty and God’s Creation is the main focus of the traditional school of painting, which requires more than talent, but the skill to produce, and consequently cannot be achieved without the proper education. It has always been at the core of the academic curriculums and the Italian academy has given the world some of the best known names in the history of art, until about the mid 20 th century, when the rich inheritance of the Renaissance Masters suddenly became “debatable” by “art critics who couldn’t draw.” I became familiar with the name Annigoni when I was invited to teach at the Florence Academy of Art, in Italy in 1999. When I discovered more about his life and works, I immediately felt the closeness to this artist, fully relating to his values and ideals. I myself being a contemporary realist artist, like Annigoni, was asked on numerous occasions “if there was enough of Renaissance in the period of Renaissance…” This question was well answered by Pietro Annigoni, who I quote: “Only those who know nothing about art may think that a Style is repeatable in every age. It is the destiny of every artist to strive to say something NEW with an OLD language.” In 2008, my life size portrait of Pope Benedict XVI was officially presented to the Pope upon His Holiness’s arrival in the United States. Two years later, I received a call from the Papal Nuncio in Washington, D.C. with the news that my papal portrait arrived in America to exhibit in Vatican Splendors, the North American museum tour from the Vatican Collection. The Vatican Splendors exhibition consists of almost 200 objects representing 2,000 years of the Vatican’s history. They include historic works of art, important period documents, even the relics of St. Peter. The significant part of the exhibition are paintings, sculptures and other works of art; as well as the Papal portraits, with my portrait representing the Papacy of Pope Benedict XVI. At the opening of Vatican Splendors I approached the Vatican Curator Roberto Zagnoli to thank him for selecting my work for such an important exhibition and he replied: “No, no, no, Maestro, the Pope chose it!” That was, of course, a huge honor. Some of the artists’ works on the exhibition include the works of Michelangelo, Giotto, Bernini, Guerchino, Vasari and many other Masters of the Renaissance, and I was humbled to be the only living artist there. The 2000-year impact of the Vatican in art history is unquestionably immense and impressive, with the majority of its artists being Italians, and I’m proud to be among such a distinguished group and company of Masters in the history of art. The Vatican Splendors exhibition moved to the John Heinz History Center in Pittsburgh, and then the Fine Arts Museum in Ft. Lauderdale until May 2011, when it returned back to the Vatican. Igor Babailov at work on the portrait of Pope Benedict XVI On another note, some of my famous Italian American portrait subjects included: Mayor Rudy Giuliani of New York, actor James Gandolfini and the most recent portrait of Iraq veteran of war and American Hero, Brendan Marrocco. They all are on my website www.Babailov.com Editor’s Note: PRIMO had the honor of featuring the work of Igor V. Babailov on the cover of our September/October 2001 edition on Christopher Columbus. The painting, oil on canvas, was titled “For Gold, God and Glory.” Artist Babailov is praised by many for his sensitive and detailed portraits of contemporary luminaries in politics and entertainment, as well as a number of spectacular landscape paintings. Please review his latest works at www.Babailov.com Igor Babailov and Pope Benedict XVI Apostolic Palace, Vatican

Official portrait of Pope Leo XIV, by Igor Babailov, commissioned portrait artist to Popes in the Vatican, Presidents, Prime Minister, global and business leaders. His Holiness Pope Leo XIV Life Portrait Studies in preparation for the upcoming grand Oil Portrait Vatican A Life Portrait Study, Vatican Graphite Photography credit: Vatican media Igor Babailov's Vatican Paintings & other Sacred Artworks Official Portrait of Pope Benedict XVI Official Portrait of Pope Francis Official Portrait of Pope St. John Paul II Official Portrait of the Commander of the Pontifical Swiss Guard The Vatican Splendors exhibition Igor Babailov's other Sacred Artworks Resurrection of Realism - Beauty will save the world - article OTHER OFFICIAL PORTRAITS by Igor Babailov

Official Portrait of His Holiness Pope Francis by Igor V. Babailov. Collection: Vatican. Igor V. Babailov, Hon.RAA, KStA Recent Official Portraits His Holiness Pope Francis Collection: Vatican Official Portrait Unveiling Igor Babailov shares with Pope Francis the painting's symbolism. "The Holy Cross" Portrait of His Holiness Pope Francis Oil on Canvas, 72" x 48" ( 183 cm x 122 cm ) Original Concept & Composition, Copyright © Igor V. Babailov "This work is inspired, it touches my heart!" ~ Pope Francis ABOUT THE PORTRAIT "Like with my many other portrait works, Pope Francis’s portrait is more than a portrait in its traditional sense. Its large canvas incorporates a number of symbolic references reflective of Pope Francis: his spirituality and devotion to the Holy Family, love for children and, of course, his washing the feet of the everyday disciples. The word ‘Pontiff’ derives from the word ‘pont’ (bridge) and means the ‘bridge builder,’ so the rainbow behind the Holy Father, symbolizes a bridge that connects the Catholic Church with other religions (represented in the painting by the Hagia Sophia in Istanbul, Turkey). The theme of cross is present throughout the whole painting. The portrait composition is comprised of five major ‘actions’: Pope Francis in the middle, as the focus of the painting, and four groups, located diagonally in both directions towards the corners of the canvas. The Pope’s figure connects them all together, forming a cross. The other cross is prompted by the bright beam of God’s light that comes from above, between the Dove (symbol of the Holy Spirit) on the right and the Holy Family with the little Jesus in the arms of Mary, on the left. This setting invites the viewer to sense the sign of the cross: The Father, the Son and the Holy Spirit. The journey of the viewer’s eye begins with the Holy Father and in circular movement returns back to him, as he gently puts the hands over the cross on his cassock, protecting gesture. This is also his typical posture. I reminisce the unveiling of the portrait to Pope Francis, when he put his hand on his heart and said about the painting, “It touches me” and then he added, “It inspires.” ~ Igor V. Babailov Photo credit: Official Vatican photography Life Portrait Studies, Vatican The papal portrait unveiling featured on the billboard at Times Square, New York City. VIDEO "The Man who Painted Pope Francis" Igor Babailov's Vatican Paintings & other Sacred Artworks Official Portrait of Pope Benedict XVI Official Portrait of Pope St. John Paul II Life Portrait Studies for the upcoming Portrait of Pope Leo XIV Official Portrait of the Commander of the Pontifical Swiss Guard The Vatican Splendors exhibition Igor Babailov's other Sacred Artworks Resurrection of Realism - Beauty will save the world - article OTHER OFFICIAL PORTRAITS by Igor Babailov

Portrait of Margaret Leo of McLean, by portrait artist Igor Babailov, Collection: Catholic Information Center, Washington, DC Igor V. Babailov, Hon.RAA, KStA Blessed Stanley Rother Blessed Stanley Rother (oil on canvas, 30" x 24") Collection: The Blessed Stanley Rother Shrine Oklahoma City, OK Official Unveiling of the Blessed Stanley Rother portrait with the Most Reverend Paul Coakley, Archbishop of Oklahoma City, at the Blessed Stanley Rother Shrine, Oklahoma City With His Excellency the Most Reverend J. Mark Spalding, Bishop of Nashville, at the Artist's studio The Blessed Stanley Rother Shrine, Oklahoma City Photo credit: Pablo Angel Gonzales / Oklahoma City Free Press

Official portrait of Mikhail Kalashnikov, Inventor of AK-47, by portrait artist Igor Babailov. Central Armed Forces Museum of Russia. Life portrait sitting video. Igor V. Babailov, Hon.RAA, KStA Recent Official Portraits Official Portrait of Mikhail Kalashnikov Inventor of AK-47 Collection: Central Armed Forces Museum of Russia, Moscow Portrait of Mikhail T. Kalashnikov - Inventor of AK-47 (oil on canvas) by Igor Babailov "It's like seeing myself in the mirror" ~ Mikhail Kalashnikov VIDEO of portrait sitting with Mikhail Kalashnikov OTHER OFFICIAL PORTRAITS by Igor Babailov

Official portrait of Michael Novak, theologian, author, Templeton Prize (1994), the White House adviser, by portrair artist Igor Babailov. Igor V. Babailov, Hon.RAA, KStA Recent Official Portraits Michael Novak Frederick Jewett Scholar - the American Enterprise Institute, Author, Theologian, The Templeton Prize recipient 1994, Diplomat, Adviser to the Office of Ethnic Affairs, The White House. Michael Novak (oil on canvas) by Igor Babailov Michael Novak and Margaret Thatcher (left) - The Templeton Prize ceremony, Westminster Abbey, London, 1994 Michael Novak portrait unveiling. Collection: Ave Maria University, Florida VIDEO of the official portrait unveiling Life Study Oil on Canvas Collection: C iocca Center of the Busch School of Business, Catholic University of America Washington, DC Life Sitting With Andreas Widmer, Director of the Art C iocca Center at the Busch School of Business, Catholic University of America OTHER OFFICIAL PORTRAITS by Igor Babailov

Through his formal art education, Igor Babailov belongs to the direct Teacher-Student Lineage of world-famous artists, Repin and Serov. IGOR V. BABAILOV Hon.RAA, KStA, MFA (Ph.D), D.Litt (Honoris Causa) Famous Teachers DIRECT 'Teacher~Student' ACADEMIC LINEAGE I gor Babailov painted his very first portrait at the age of four (4) and received his first lessons in art from his father, Valery Babailov , who was the student of renowned artist Aleksey Kholmogorov . Child prodigy, I gor Babailov began his FORMAL art training at the age of nine ( 9) and, in the span of sixteen years (1974-1990), he attained the highest levels of the academic art education, receiving his Master of Fine Arts degree, MFA (official equivalent to Ph.D. in the U.S.) under the acclaimed Russian Academy of Arts (est.1757) that gave the world many outstanding artists, including American artist James McNeill Whistler. Through a chain of professors in his academic ancestry, Igor Babailov belongs to the Academic Lineage of the world-famous Masters of Portraiture, and he is a third generation direct descendant student of Ilya Re pin and Valentin S erov. CLICK on photos below for info on this Teacher~Student Academic Geneology Serov Yuon Levitan Repin Chistyakov Arkhipov Kulikov Kramskoi Babailov Kholmogorov Tsyplakov Danilichev Zabelin Chirkov Kibrik Pavlov Korin Korovin Gerasimov Deineka Shatsky Babailov International Students of Igor V. Babailov Nota bene: The academic lineage herein stands far beyond inspirational moments of occasional interactions with master-artists (i.e. attending their public portrait demonstrations or visiting their studios, etc.) and/or inspirational stories of such, told by art mentors, their teachers, or close artist friends. This lineage represents the unbroken chain of art professors who served as mentors of each other within the system of the academic curriculum and consecutive academic lessons, passed on DIRECTLY from Teacher to Student during a sustained period of time of formal academic art education that resulted in earning a terminal Fine Art degree. Igor V. Babailov, Hon. RAA, ellected Honorary Academician of the Russian Academy of Arts (est.1757) shares his expertise of the highest fine art education and academic credentials with his fellow professional artists and art students in the U.S., Canada, Italy, Russia and around the globe. Share

World-renowned portrait painter and figurative artist, scholar and teacher, Igor Babailov, Hon.RAA, shares his academic expertise in traditional art education with his fellow artists and art students. Igor V. Babailov Hon.RAA, KStA, MFA(PhD), D.Litt.(Hon.Causa) Commissioned Portrait Painter Master of Fine Arts degree (MFA) - official Ph.D equivalent, College Art Association (U.S.A.) Honorary Life-Time Member of the Russian Academy of Arts (est.1757) Knighted Chevalier of the Order of Saint Anne (founded in 1735) Honorary Doctorate - Cumberland University Letter to Aspiring and Professional Artists Dear Friends, ALL of the greatest Masters in the history of art regarded formal academic training as indispensable for the development of the highest professional skills. My teaching experience is a direct result of my own years of studies (1974-1990) in the consistency of the academic discipline and established historic curriculum at one of the world's oldest and acclaimed fine art academies, the Russian Academy of Arts (est. 1757). Having started my formal art education at the age of nine, I continued to study within the academic art system for the next sixteen years and had become very familiar with countless challenges one may face in drawing, painting, composition, etc. Therefore, based on my own vast experience of being a formal student for many years, I understand and know exactly what the students need in any given situation, as well as how to successfully resolve any complicated issues they may have, right on the spot. Students posses and are enriched by the skills and knowledge that their teachers pass on to them. If their teacher had not received an extensive classical education, it is most likely that the students would then be limited to only acquire their teacher's 'style and approach', and the fruits of their labor could result in their becoming 'beggars in knights armor' so to speak, as the roots of deeper knowledge and skill, vital for the development of artistic individuality, would not be introduced. "Painterly" and "Photo-realistic" in contemporary portrait painting Have you ever had a feeling, when looking at contemporary realistic paintings, particularly portrait paintings, that they could be divided into two polarized categories: some seem 'dried out' and resemble photographs, and the others look somewhat 'incomplete' in so called 'bravura' of painterly brushstrokes? A true realistic painting in the tradition of the Masters will not look like a photo, and visible brushstrokes will not be chaotic to draw the unnecessary attention either. The brushstrokes must follow the form and correspond to the bone and muscle structure underneath the skin, to guide the viewer's eye in the right direction and in search of the subject's inner-world, instead of intentionally destructing from possible mistakes in proportions. Speaking of proportions and anatomy... the arms and hands in the portrait, especially HANDS, which were described by the Masters as "another portrait", must always be impeccably drawn in proportion to the body with the expertise of the anatomic structure, to assure their equal life-like appearance in the portrait. This is why the works of the great Masters, such as Sargent and Zorn, are strong and never cartoonish, as they have the substance of anatomic strength and uncompromising loyalty to the accuracy of drawing in every area of the painting. Today, unfortunately, the 'painterly style' is quite often used by portrait artists to camouflage any errors in anatomy and proportions; so, we should not follow blindly the praises for such a "style" without keeping in mind that the above mentioned Masters did not just paint, they "drew with brushes", as I like to say. The great Italian Master of the 20th century, Pietro Annigoni stated: "Painting does not exist without Drawing, and it is Drawing [from life] that gives the exact measure of the painter. Drawing never fails, but often the artist does." Let us remember this! Mother's Love (Oil, Grisaille manner) by Igor Babailov The Power of Proper Art Education One can compare art education to the solid foundation of a house, as once it is built properly, it will hold any shape or form you will place on it. This is why it is not sufficient to acquire just any art education, it must be rather a proper classical art education. As in parallel with painting, it also teaches you DRAWING which IS the core of any strong realistic painting. Having a broad and well-rounded academic formation, is a source ofstrength for every artist. First and foremost, it is the application of the academic principles in every subject we draw that we must learn to see. Wouldn't you like to have total confidence in yourself as an artist and to be able to draw and paint realistically entirely from life and/or from your imagination, absolutely anything and be totally comfortable without the use of the camera, when portraying any subject in any genre: portrait, landscape or multi-figurative composition? The academic method, or someone's "style"? In art education, the academic method of learning is universal and also economical. It saves you time and money in the long run and the trouble of trying to build what you need, out of bits and pieces from various workshops by different instructors who, due to the lack of their own education, teach their "approach", instead of classical foundation. Different instructors' personal approaches and their often complicated palettes, may 'clash' with each other and result in confusion and an unclear direction for students. It is like attempting to learn how to write using both hands at the same time. How far would you go? If you want to learn fast and efficiently, proper academic instruction in the principles of classical academic curriculum, should be your focus. It is accessible, straight forward and recognized for its most effective teaching of composition, perspective, foreshortenings, anatomy and tonal values. All the Masters of the past did just that. Despite their different geographic backgrounds, they all went through the same universal academic art training, as prerequisite for the development of high drawing skills, artistic individuality and, eventually, becoming the Masters. Bouguereau, Zorn, Repin are known for their very distinct individual styles, yet that was not what they learned during their academy training, not the 'styles', but the very same alphabet of the academic art language, and spoke it fluently in their own ways. Zorn Studied at the Royal Swedish Academy of Arts Bouguereau Studied at the École des Beaux-Arts, Paris Repin Studied at the Russian Imperial Academy of Arts Sharing the Historic Russian School of Traditional Art Education Since 1974 through 1990, I was very fortunate to study and receive distinguished art degrees from the Russian Academy of Arts (founded in 1757). My friend Amb. Michael Novak, Templeton Prize recipient and world-renowned American scholar, once stated: "One good thing that came out of the Iron Curtain, was the outstanding Russian art education!" When Modernism was already marching for decades throughout Western Europe and North America, the Russian School of Art was the only historic school in the world, which remained free of Modernist influence, as behind the 'iron curtain' it kept its academic roots intact and preserved the best of classical academic education. Art education is like reading the Bible, over and over again, building on what you know and always learning something new. That is why my classes are not limited to so-called 'levels' of instruction. I share with my students the IN-SIGHT of my formal art education, which covers a broad spectrum of critical issues, highly beneficial to all artists, students and professionals, who aim to improve and polish their skills in drawing and painting. Leonardo da Vinci once wrote, 'Poor is a student, who doesn’t go further than their teacher.' Just like Leonardo, I also believe that there must be no secrets whatsoever and I share with my students one hundred percent of everything I have learned during my own academic years in the classrooms and studios of the historically acclaimed Academy. For God, Gold and Glory The Arrival of Christopher Columbus and his crew in the Americas (oil on canvas, 72" x 79") by Igor Babailov Master Workshops' Agenda My workshops contain two important parts: The Instructor's Demo and The Students' Practice after observing the demo. In Visual Art we learn by seeing. In fact, that is how we learn. Therefore, within my workshop program, I do three separate 1.5 - 3 hour (quick and highly detailed) life demonstrations in Drawing, Pastel and Oil, each in the approach of the academic training. This is a great opportunity for students to witness the progression of portraits from life in different mediums, from start to completion. My goal, as your instructor, is to simply show you and teach you 'right' from 'wrong', so you can quickly get on the right and your own artistic path towards advancing your individual skills where 'the sky is the limit'. Following my demo, inspired students work on their own pieces, and every student receives my personal and individual attention according to their needs and specific requirements. For more information and to see the schedule of my upcoming workshops, please refer to the Workshops page on my website www.Babailov.com . To register, please inquire at info@Babailov.com or you may register online HERE . I look forward to seeing you in class! Most sincerely, SHARE THIS © The essay herein is the intellectual property of Igor V. Babailov and may not be reproduced in whole or in part without written permission from Igor V. Babailov. Any attempt to plagiarize the written material of this page will violate the international community's laws and ethics.

Portrait of His Royal Highness Prince Andrew The Duke of York, by Igor V. Babailov. Royal Collection: Buckingham Palace, London. Igor V. Babailov, Hon.RAA, KStA Recent Official Portraits His Royal Highness Prince Andrew The Duke of York Royal Collection: Buckingham Palace, London Portrait of HRH Prince Andrew The Duke of York (Oil on canvas, 28" x 22") Original Concept & Composition, Copyright © Igor V. Babailov Officially commissioned by the SSMAC Club, New York City Official Portrait Unveiling, 2014 Igor V. Babailov presenting his book Greatest Portrait Moments to HRH Prince Andrew The Duke of York. See an article in London's art magazine Cossone . OTHER OFFICIAL PORTRAITS by Igor Babailov

Igor Babailov's published article about Beauty verses Ugliness, Relativism verses Traditional Values, and Good Art verses Bad Art. The Resurrection of Realism – Beauty will Save the World By Igor V. Babailov, Hon.RAA, KStA Published in the Faith an d Culture online publication and The Epo ch Times It is not a coincidence that the very last thing we ever expect to see in church, is Modern art or an abstract painting, such as a blank page, a single brick or splashes of paint, as some sort of “intellectual” revelation to message one’s ego. Why? Many of us would immediately answer that it just does not belong there, and they are right, it doesn’t. Since the Renaissance, realistic art has played a leading role in education and particularly Christian education. Whether it is in the Bible, churches, or Catholic publications, an illustrated history of Christianity has been presented by realistic and life-like images, those that the viewer can relate to and understand. A strong realistic work of art can clearly convey a theological message, materialize the word of God, and serve as a powerful vehicle of communication to the masses. Hence, artist theologians such as Rafael, Da Vinci, Michelangelo and other Renaissance masters, painted religious works to educate, uplift and strengthen the faith. A definition of an ‘Artist’ was very clear in the past. Applied only to visual artists, it was also synonymous with ‘Skill,’ as the artist was someone who could do something that nobody else could do. VS. BEAUTY UGLINESS "Madonna Litta" (1490), by Leonardo da Vinci "Woman Standing - Pink" (1955), by Willem de Kooning Today, in times of Relativism, anyone can be labeled an “artist,” such as a cook, karate expert, dentist, butcher, or anyone. The term Artist has lost its sacred meaning. We often hear from the defenders of Modernism that ‘art can be anything and anything can be art.’ However, this just does not go well with our Christian heritage and culture, and portraying the Blessed Mother as a chaotic splash of paint or a deformed piece of sculpture, would stand against our visual perception of the Mother of Christ and, in general, our Christian teachings about the sacredness of life and the Beauty of Creation. A story comes to mind about a family of four children, driving on a road, along the fields with tree groves and rivers passing by. They were playing a game where each child were to name the ‘best,’ in their opinion, artist in the world. One child said it was ‘Picasso,’ another child mentioned ‘Van Gogh,’ then the third child named ‘Monet’ and the fourth child sat quietly looking out of the car window and admiring the nature flying by. Then he said, “Look at the sun and the birds and clouds in the blue sky, and the shapes and colors of the leaves and all the different trees. I think that the best artist in the world is God, who created it all.” Indeed, no one ever can create anything better than the masterpiece that He created. As an artist myself, I often think of that story, realizing that we artists realists are trying to reproduce the Beauty of God’s Creation on our canvases and, as artist theologians, we explore the nature of the divine. We know that we will never be as good as God in His skill, but at least we try to get as close as possible to that Master perfection. In other words, we treasure and glorify the Creation of Life and its Beauty. We go to schools and embark in traditional training of direct communication with nature to study all the “sciences in art,” as described by Michelangelo, Raphael and many other great masters after them. We strive to enhance our skills in drawing from life, because Realistic art is the only kind of art that requires skill, especially when it comes to exploring and capturing life in all its beauty and complexity, in the way it is and without exaggeration. I was fortunate to have received the core of such a traditional training and, unlike many debaters out there who are experts at expressing their opinion about art, I rely on my credentials which give me the artistic license, if you will, to support my remarks. A child prodigy, I painted my first portrait at four. I began my formal sixteen-year (1974-1990) fine art education at the age of nine and continued it at the specialized art lyceum for gifted children, followed by the Ph.D. levels of study at the renowned Surikov Art institute, all under the Russian Academy of Arts (founded in 1757) which recently also elected me as the Honorary foreign life-time academician. The curriculum of all my studies, besides such mandatory subjects as Human Anatomy, Perspective and others, also included History of Art from Prehistoric to Renaissance to Modern Art. So, we students were well aware of all the ‘art movements,’ styles and techniques, involved in every period of art. In our broad art education, we acquired the power of knowledge and the more we learned, the clearer was realization that masterfully executed realistic works of art can not be put on the same page with meaningless and helpless dribbles of paint, as we unfortunately often see today in schoolbooks. This is where the damage to the mind begins, resulting in total confusion of one’s thinking such as: If this one is a ‘masterpiece’ and this one is also a ‘masterpiece,’ what example should I follow? But in reality, it is not that complicated, as long as we remember that we live in a world of contrasts: plus verses minus, light verses dark, beauty verses ugliness. The concepts of Relativism are based on questioning what is already known, but what if it questions the moral values that helped humanity survive throughout its existence? Modern art goes hand in hand with Relativism, where common moral sense is demonized and instead ‘choice enlightened’ and socially acceptable often tasteless, unethical and even criminal behaviors such as abortion and euthanasia are championed as rights, choices, privileges and freedoms of expression. So, here is the question. Is Moral Relativism the tool of the devil and therefore the fundamental element in the art of Modernism, where God’s perfect form in human anatomy and nature is broken and defamed, and death and ugliness are celebrated over life and beauty? The answer is obvious. I would like to expand further and use Genesis Chapter 1, as the basis for the moral value of realistic painting and its vital role in following God’s commandments and in promoting and preserving life as He created it. In Genesis Chapter 1, it says that God created heaven and earth when the earth was without form or shape and in darkness. He separated light from darkness, and at the end of each day, “God saw it was good,” hence, God SAW goodness. Modern critics of the school of the Renaissance and Realism in general, claim that there is no creativity in depicting man or nature in its true form, yet that is exactly what God did in his creation of heaven and earth, nature and all beings. God created the template, the blueprint of Realism in art, where light and dark are separated in tonal values, and those who are familiar with the traditional school of art know that study of ‘tonal values’ in nature is the fundamental principle of Realism. After the viewer sees the realistic painter’s work, they become enlightened and SEE goodness, like God did after each stage of His creation. They see goodness also in the most tragic and sad paintings such as Christ on the cross and where a painting depicting pain and suffering, will move us to compassion and love. Realism is prayer, gratitude, honoring God’s creation. This is not the case in the inherent pessimism of Modern art, the art of ugliness and death, where future does not exist. Artistic talent is often referred to as a ‘gift from God’ and should be treasured as one and not taken for granted. For an artist, it also comes with sacred responsibilities, as the mission of Visual Art is not to celebrate selfish expression of one’s depressive feelings by primitive means. It must propagate goodness and beauty and not evil’s ugliness. And yes, even the horrors of war and devastation can be portrayed with signs of Hope, which helps us get through difficult times, so goodness will eventually prevail. Art must educate in a positive way and the artists have this very moral obligation before their viewers and God Himself, who gave them talent. “The works of art speak of their authors,” - said Pope John Paul II. In his letter to the Artists in 1999, His Holiness wrote, “To all who are passionately dedicated to the search for new ‘epiphanies’ of beauty so that through their creative work as artists they may offer these as gifts to the world,” and then His Holiness quotes from Genesis 1:31, “God saw all that he had made, and it was very good.” A very Holy man, John Paul II was outspoken about the “culture of death,” warned about its consequences, and liked to quote the famous words of Fyodor Dostoyevsky, “Beauty will save the world!” Resurrection of Realism by Igor V. Babailov In the cataclysm of today’s debates and what is happening in the arts, I decided to create this work and my original composition depicted in this article. The angelic young child in the center represents the beauty, innocence and purity of Realistic art. Since the mid 1950s, it has been oppressed by shallow and weak art education and self-appointed art critics, kept for decades under the darkness of Modernism. In my painting, Modernism is represented by the ugly creatures from Picasso’s ‘iconic’ painting called “Guernica.” It portrays the moment when the film of darkness begins to heat up from beneath, like a volcano it bubbles and melts, and the divine light of Realism breaks through this captivity of cold darkness to breath the long awaited air and new life. I entitled this work “Resurrection of Realism.” In my lifetime professional career, I have created thousands of drawings and paintings and have painted more than 2000 portraits, which also included the official portraits of Presidents, Prime Ministers, British Royalty and three Popes for the Vatican. I particularly enjoy the Portrait genre because it celebrates the beauty of the most perfect of God’s creation, humanity. Perhaps this is why the worst assault on Beauty of Creation by Modernism is actually directed to breaking and mutilating the human form. I never give preference to which I prefer to paint more, adults or children. I just love people from all walks of life and love to find and accurately capture the unique characteristics of their outer and inner world. After all, it is our uniqueness that makes each of us beautiful, as we are all God’s children. I wish to leave my readers with a warning for the future. The more we surrender our God-given talents, skills and ability to re-create the Beauty of creation, the more we break the human form and distance ourselves from nature and the further away we go from God. We become disobedient to His laws and expectations and reverse, if you will, his original creation, reverting into the darkness and emptiness, to which He brought light, form and life. Modernism takes us in the opposite direction, into nothingness and reverses the process of Creation ‘from darkness to light’ and instead it takes us ‘from light to darkness.' Educating our youth and teaching them to recognize Beauty, promoting the classical art school of master skills and drawing from life, are the safeguards for common moral sense to prevail to keep the traditional values alive, so that the Beauty will indeed, save the world. About the Author: Igor V. Babailov, Hon.RAA, KStA, MFA (PhD), D.Litt (Hon.Causa), is the world-renowned American artist, Honorary American Academician of the Russian Academy of Arts (est.1757), invited speaker, and scholar of the sacred arts. His recent articles and interviews have been published in the National Catholic Register (USA), Zenit (Italy), Nasz Dziennik (Poland), The Times of Malta, to name a few. He is a recipient of The Ellis Island Medal of Honor (2022) and the author of his recent book Legacy Portraits with an Introduction by Michael Novak, which accompanies his distinguished clients’ portraits in public, museum, corporate and private collections and libraries around the globe. For more information, visit: www.Babailov.com

New portrait of George Washington, created by portrait artist Igor Babailov, based on Washington's recognized most accurate likeness, Collection: Mount Vernon Museum Igor V. Babailov, Hon.RAA, KStA Recent Official Portraits George Washington First President of the United States of America New Portrait Collection: George Washington's Mount Vernon Museum Inducted on the Independence Day, July 4th, 2009 "My Beloved Country!" ~ George Washington (28" x 22", Oil on Canvas) Original Portrait Concept & Composition by Igor V. Babailov "We will take great pride in displaying your work for generations to come!" ~ James C. Rees Executive Director, George Washington's Mount Vernon Estate and Museum, Mount Vernon, Virginia Igor Babailov used his mastery and professional expertise to transform this sculpted and most accurate likeness of George Washington into a realistic portrait painting. This NEW Portrait of George Washington was created by Igor Babailov, following his extensive historical research on the true likeness of George Washington. Consequently, this portrait painting was inspired by and based on Washington's likeness captured by the great French sculptor, Jean-Antoine Houdon (1741-1828) in George Washington's official statue, located at the State Capitol in Richmond, Virginia. Babailov's research also included Houdon's preliminary sculpture studies, such as Washington's bust and life mask which the sculptor did from life at Mount Vernon in 1785. When George Washington saw the sculpture, he said, "It is right that people in later generations could see my exact likeness," his friend Gen. Lafayette exclaimed, "That is the man himself!" and even Washington's portrait painter, Gilbert Stuart , agreed, "Houdon's bust comes first, and my head of him [Athenaeum portrait] next." Today, Houdon's sculpture is recognized by historians, as the most accurate likeness ever created of the First President. At work on the portrait of George Washington George Washington's Mount Vernon Museum Official induction of the Portrait into George Washington's Mount Vernon Museum July 4, 2009 Mount Vernon Lunch and Fellowship with Igor V. Babailov George Washington's Mount Vernon Presidential Award Coin Portrait of George Washington by Igor Babailov. Collection: Mount Vernon. Presented on behalf of George Washington by Douglas Bradburn, the President of Mount Vernon. The Sons of the American Revolution Official Collection: George Washington's Mount Vernon Museum OTHER OFFICIAL PORTRAITS by Igor Babailov