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Russian painting Russian artists ' creativity, art, paintings by Russian artists
A B C G D E F Z I K L M N O P R S T U F X C H W E Y I
Aivazovsky Ivan Bryullov Karl Bogaevsky Konstantin Vasnetsov Viktor Vereshchagin Vasily Isachev Alexander Kustodiev Boris Repin Ilya Roerich Nikolai Serov Valentin Fedotov Pavel
In the second half of the XVIII century, the classicism style was formed in Russian art, which is characterized by the rigor of drawing, following certain rules in composition, the conventionality of color, the use of subjects from the Bible, ancient history and mythology.
The peculiarity of Russian classicism was that its masters turned not only to antiquity, but also to their native history, that they sought simplicity, naturalness and humanity.
Russian artists, paintings and biographies →
Classicism as a trend in Russian artistic culture was completely established at the end of the XVIII early XIX centuries.
This period in the Russian history of painting is usually called high classicism.
Typical for painters of this time was a romantic statement beauty unique, individual, unusual, however, the highest achievement of this era of fine art in Russia can be considered a historical painting (Akimov, G. Ugryumov, N. Alekseev, D. Antonelli, F. Bronnikov, F. Bruni) and cityscape (F. Alekseev), and portrait (I. Argunov, A. Antropov, F. Rokotov, Levitsky D., O. Kiprensky, V. Borovikovsky, N. Argunov).
O. A. Kiprensky (1782-1836) discovered not only a new quality of a person, but also new possibilities of painting.
Each of his portraits has its own special pictorial structure.
Some are built on a sharp contrast of light and shadow.
In others, the main pictorial means is a subtle gradation of colors that are close to each other.
The canvases of K. P. Bryullov (1799-1852) are characterized by the fusion of academic classicism with romanticism, the novelty of the plots, the theatrical effectiveness of plastic and lighting, the complexity of the composition, the brilliant virtuosity of the brush.
The painting "The Last Day of Pompeii" (1830-1833) was widely known.
The sublime beauty of a person and the inevitability of his death are reflected in the picture in a tragic contradiction.
The romantic character is also inherent in most of Bryullov's portraits.
His brother A. P. Bryullov was an excellent watercolorist.
The greatest master of historical painting was A. A. Ivanov (1806-1858).
Ivanov gave his painting the character of sacrificial service to the idea and managed to overcome many patterns inherent in academic technique.
In his works, he anticipated many of the searches of Russian realistic painting of the following decades.
Russian artists, representatives of salon academic art P. V. Basin, A. I. Belsky and other painters.
The conscious turn of the new Russian painting towards democratic realism was marked in the late 50s, together with the revolutionary enlightenment of Chernyshevsky, Dobrolyubov, Saltykov Shchedrin.
On November 9, 1863, 14 graduates of the Academy of Arts, led by I. Kramsky, refused to write a diploma picture on the proposed plot "A Feast in Valhalla" and asked to give them a choice of subjects themselves.
They were refused, and they defiantly left the Academy, forming an independent Artel of artists.
The second event was the creation in 1870 of the "Association of Traveling Exhibitions", the soul of which was the same I. Kramskoy.
The Peredvizhniki were united in their rejection of "academism" by its mythology, decorative landscapes and pompous theatricality.
Genre (everyday) scenes took the leading place in their work.
The peasantry enjoyed a special sympathy of the "Peredvizhniki".
At that time - in the 60 - 70s of the XIX century the ideological side of art was valued higher than the aesthetic.
Perhaps the greatest tribute to idealism was paid by V. G. Perov (1834-1882).
Evidence of this is such his paintings as" The arrival of the police officer at the investigation"," Tea party in Mytishchi"," Troika","Old parents at the grave of their son".
A number of portraits of his famous contemporaries (Ostrovsky, Turgenev, Dostoevsky) belong to the brush of Perov.
But it cannot be said that the Academy of Arts does not nominate talents.
The best traditions of academism were developed in the grandiose historical canvases of G. Semiradsky, the works of the early deceased V. Smirnov ("The Death of Nero"), the magnificent canvases of the marine painter, representative of Romanticism Ivan Aivazovsky.
Actually, many outstanding artists came out of the walls of the Academy.
These are Repin, Surikov, Polenov, Vasnetsov, and later Serov and Vrubel.
In the works of Kramskoy, the main place was occupied by portrait painting.
He wrote Goncharov, Saltykov Shchedrin, Nekrasov.
He owns one of the best portraits of Leo Tolstoy.
The writer's gaze does not leave the viewer, from whatever point he looks at the canvas.
One of the most powerful works of Kramskoy is the painting "Christ in the Desert".
The Peredvizhniki made genuine discoveries in landscape painting.
A. K. Savrasov (1830-1897) was able to show the beauty and subtle lyricism of a simple Russian landscape.
His painting "Rooks have Arrived" (1871) forced many contemporaries to take a new look at their native nature.
Russian Russian forest singer, the epic breadth of Russian nature was I. I. Shishkin (1832-1898).
A. I. Kuindzhi (1841-1910) was attracted by the picturesque play of light and air.
The mysterious light of the moon in rare clouds, the red reflections of dawn on the white walls of Ukrainian huts, the slanting morning rays that broke through the fog and played in puddles on the muddy road - these and many other picturesque discoveries are captured on his canvases.
R. A. Bergholz painted subtle lyrical landscapes of the Russian North and central Russia.
Bogolyubov A. P. painted beautiful sea and historical landscapes.
Russian landscape painting of the XIX century reached its peak in the work of Savrasov's student I. I. Levitan (1860-1900).
Levitan is a master of calm, quiet landscapes, a shy and vulnerable person, he knew how to relax only alone with nature, imbued with the mood of the beloved landscape.
The small town of Ples on the upper Volga has firmly entered Levitan's work.
In these parts, he created his canvases: "After the rain", "Gloomy day", "Over eternal rest".
There were also painted peaceful evening landscapes: "Evening on the Volga", " Evening.
Golden Ples", "Evening bell", "Quiet abode".
The second half of the XIX century accounts for the creative flourishing of I. E. Repin, V. I. Surikov and V. A. Serov.
I. E. Repin (1844-1930) was a very versatile artist.
A number of monumental genre paintings belong to his brush.
Perhaps no less grandiose than "Boatmen on the Volga" is the canvas "The Procession in the Kursk province".
The bright blue sky, the clouds of road dust pierced by the sun, the golden glow of crosses and vestments, the police, the common people and the cripples - everything fit into this canvas: the greatness, strength, weakness, and pain of Russia.
Many of Repin's paintings touched on revolutionary themes ("Refusal to confess", "They did not wait", "Arrest of a propagandist").
A number of Repin's paintings are written on historical themes ("Ivan the Terrible and his son Ivan", "Cossacks composing a letter to the Turkish Sultan", etc.).
Repin created a whole gallery of portraits.
He painted portraits of scientists (Pirogov and Sechenov), writers Tolstoy, Turgenev and Garshin, composers Glinka and Mussorgsky, artists Kramsky and Surikov.
At the beginning of the XX century, he received an order for the painting "The Solemn Meeting of the State Council".
The artist managed not only to place such a large number of people present on the canvas compositionally, but also to give a psychological characteristic to many of them.
V. I. Surikov (1848-1916) was born in Krasnoyarsk, in a Cossack family.
The heyday of his work falls on the 80s, when he created three of his most famous historical paintings: "The morning of the Streletsky execution", "Menshikov in Berezovo" and "Boyar Morozova".
Surikov was well aware of the life and customs of past eras, was able to give vivid psychological characteristics.
In addition, he was an excellent colorist (master of color).
It is enough to recall the dazzlingly fresh, sparkling snow in the painting "Boyar Morozova".
If you approach the canvas closer, the snow seems to "crumble" into blue, blue, pink strokes.
This picturesque technique, when two or three different strokes merge at a distance and give the desired color, was widely used by the French Impressionists.
V. A. Serov (1865-1911), the son of a composer, painted landscapes, canvases on historical themes, worked as a theater artist.
But his fame was brought, first of all, by portraits.
In 1887, the 22 year old Serov was resting in Abramtsevo, the dacha of the philanthropist S. I. Mamontov near Moscow.
One day after lunch, two people accidentally stayed in the dining room Serov and 12 year old Vera Mamontova.
They were sitting at a table with peaches left on it, and during the conversation the girl did not notice how the artist began to sketch her portrait.
The work lasted for a month.
In early September, "The Girl with Peaches" was finished.
Despite its small size, the picture, painted in pink and gold tones, seemed very "spacious".
There was a lot of light and air in it.
The girl, who sat down at the table as if for a minute and fixed her eyes on the viewer, charmed with clarity and spirituality.
And the whole canvas was covered with a purely childish perception of everyday life, when happiness is not aware of itself, and a whole life is ahead.
Time has put "The Girl with Peaches" among the best portrait works in Russian and world painting.
The appeal to national themes led to an unprecedented flourishing of historical and battle painting.
True masterpieces in these genres were created by V. Surikov, I. Repin, N. Ge, V. Vasnetsov, V. Vereshchagin, F. Rubo.
During these years, the first national art galleries were opened; works by Russian artists began to appear regularly at international exhibitions and in foreign art salons.
Many paintings by Repin, Surikov, Levitan, Serov and other Peredvizhniki were included in the Tretyakov collection.
P. M. Tretyakov (1832-1898), a representative of an old Moscow merchant family, was an unusual person.
Thin and tall, with a full beard and a quiet voice, he looked more like a saint than a merchant.
He began collecting paintings by Russian artists in 1856.
The hobby has grown into the main business of life.
In the early 1890s, the collection reached the level of a museum, absorbing almost the entire fortune of the collector.
Later it became the property of Moscow.
The Tretyakov Gallery has become a world famous museum of Russian painting, graphics and sculpture.
In 1898 in St. Petersburg, in the Mikhailovsky Palace (the creation of Carlo Rossi) the Russian Museum was opened.
It received works by Russian artists from the Hermitage, the Academy of Arts and some imperial palaces.
The opening of these two museums seemed to crown the achievements of Russian painting of the XIX century.
At the end of the 1890s, the leading masters of critical realism - I. E. Repin, V. I. Surikov, V. M. Vasnetsov, V. E. Makovsky still worked fruitfully, but at that time another trend appeared in art.
Many artists now sought to find first of all its poetic sides in life, so even in genre paintings they included a landscape.
They often turned to the Old Russian history.
These trends in art are clearly traced in the works of such artists as A. P. Ryabushkin, B. M. Kustodiev, M. V. Nesterov, and partly A. E. Arkhipov.
A major artist of this time B. M. Kustodiev (1878-1927) depicts fairs with colorful spoons and piles of colorful goods, Russian Maslenitsa with riding on troikas, scenes from merchant life.
In the early work of M. V. Nesterov, the lyrical aspects of his talent were most fully revealed.
Landscape has always played an important role in his paintings: the artist sought to find something pleasant in the silence of the eternally beautiful nature.
He liked to depict thin stemmed birch trees, fragile stems of grasses and meadow flowers.
His heroes are thin youths, inhabitants of monasteries, or kind old men who find peace and quiet in nature.
The paintings dedicated to the fate of a Russian woman ("On the Mountains", 1896, "Great Tonsure", 1897-1898) are covered with deep sympathy.
Symbolism, neo classicism, art Nouveau has a significant impact on M. A. Vrubel, the artists of "World of art" (A. Benois, Konstantin Somov, L. S. Bakst, I. Y. Bilibin, M. V. Dobuzhinsky, E. E. Lansere, A. P. Ostroumova Lebedeva.) and "Blue rose" (S. Sudeikin, N. Krymov, V. Borisov Musatov).
The activities of these groups were very diverse, the artists published their own magazine "World of Art", organized interesting art exhibitions with the participation of many outstanding masters.
In the 1910s, the Russian avant garde was born as a desire to rebuild the foundations of art, up to the denial of art itself.
A number of artists and creative associations are creating new schools and trends that have had a decisive impact on the development of world fine art Suprematism (K. Malevich), "improvisational" style and abstractionism (V. Kandinsky), luchism (Larionov) , etc.
All trends of avant garde art are characterized by the substitution of spiritual content by pragmatism, emotionality - by sober calculation, artistic imagery - by simple harmonization, aesthetics of forms, composition - by construction, big ideas - by utilitarianism.
The new art conquers with unrestrained freedom, captivates and captures, but at the same time testifies to the degradation, destruction of the integrity of content and form.
The atmosphere of irony, games, carnivality, masquerade inherent in some trends of avant garde art does not so much mask as reveal a deep inner discord in the artist's soul.
The concept of "avant garde" conventionally combines the most diverse trends of art of the twentieth century (constructivism, cubism, orphism, op art, pop art, purism, surrealism, Fauvism).
The main representatives of this trend in Russia are V. Malevich, V. Kandinsky, M. Larionov, Yu.
Annenkov, M. Matyushin, V. Tatlin, P. Kuznetsov, G. Yakulov, A. Exter, B. Ender, partly O. Braz, D. Burlyuk and others.
In the 1910s, there was also a revival of interest in icon painting.
The artistic principles of icon painting were creatively applied as separate Russians (V. Vasnetsov, M. Nesterov, K. S. Petrov Vodkin) and foreign (A. Matisse) artists, as well as entire trends and schools of the avant garde.
Since the late 20s, the principle of socialist realism has been established in Russia.
Ideality becomes the main determining force in artistic creativity (I. I. Brodsky, B. V. Ioganson, E. A. Katsman).
Despite the strong influence of ideology, real world class works of art were created.
The works of landscape painters S. V. Gerasimov, V. N. Baksheev, A. A. Plastov, the works of P. D. Korin, A. N. Ostroumoy Lebedeva, I. Glazunov, K. Vasiliev, A. Shilov, A. Isachev are convincing proof of this.
Since the 1960s, the revival of the Russian avant garde has been coming.
The "permitted" but not official part of Soviet art in the 1960s was represented by the works of masters of the "severe style" (T. Salakhov, S. Popkov).
In the 1970s and 1980s, the work of Soviet artists - R. Bichunas, R. Tordia, D. Zhilinsky, A. Zverev, E. Steinberg, M. Romadin, M. Leys, V. Kalinin and other representatives of not only "officially authorized art"was recognized.
Russian postmodernism of the 90s of the twentieth century is an example of the creativity of the group "SVOI" (Hyper Pupper Kuznetsov V., Veshev P., Dudnik D., Kotlin M., Max Maksyutin, Menus A., Nosova S., Podobed A., Tkachev M.).
The very fact of combining diverse artists into a single living organism, not limited by conceptual or stylistic frameworks, most accurately corresponds to the basic principle of postmodernism about the parallelism and equivalence of artistic trends.
Reference and biographical data of the "Small Bay Planet Painting Gallery" are prepared on the basis of the materials of the " History of Foreign Art "(ed.by M. T. Kuzmina, N. L. Maltseva)," The Art Encyclopedia of Foreign Classical Art","The Great Russian Encyclopedia".
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