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Ovechkina O. A.
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Features of Russian painting of the XIX century
Russian painting of the first half of the XIX century.
Russian fine art was characterized by romanticism and realism.
However, the officially recognized method was classicism.
The Academy of Arts became a conservative and stagnant institution that prevented any attempts at creative freedom.
She demanded to strictly follow the canons of classicism, encouraged the writing of paintings on biblical and mythological subjects.
Young talented Russian artists were not satisfied with the framework of academism.
Therefore, they often turned to the portrait genre.
The painting embodies the romantic ideals of the era of national ascent.
Rejecting the strict, non derogable principles of classicism, the artists discovered the diversity and uniqueness of the surrounding world.
This was not only reflected in the already familiar genres – portrait and landscape but also gave an impetus to the birth of everyday paintings, which became the focus of attention of the masters of the second half of the century.
In the meantime, the championship remained for the historical genre.
It was the last refuge of classicism, but even here, behind the formally classical "facade", romantic ideas and themes were hidden.
Romanticism - (French: romantisme), an ideological and artistic direction in the European and American spiritual culture of the late 18th 1st gender.
19th centuries.
Reflecting the disappointment in the results of the French Revolution of the late 18th century, in the ideology of Enlightenment and social progress.
Romanticism contrasted utilitarianism and the leveling of the individual with the aspiration for boundless freedom and the "infinite", the thirst for perfection and renewal, the pathos of personal and civic independence.
The painful discord between the ideal and social reality is the basis of the romantic worldview and art.
The assertion of the self worth of the spiritually creative life of the individual, the image of strong passions, the image of strong passions, a spiritualized and healing nature, for many romantics, the heroics of protest or struggle are side by side with the motives of "world sorrow"," world evil", the" night " side of the soul, clothed in the forms of irony, grotesque poetics of two worlds.
The interest in the national past (often its idealization), the traditions of folklore and culture of their own and other peoples, the desire to create a universal picture of the world (primarily history and literature), the idea of the synthesis of arts found expression in the ideology and practice of Romanticism.
In the visual arts, Romanticism was most clearly manifested in painting and graphics, less clearly in sculpture and architecture (for example, false Gothic).
Most of the national schools of Romanticism in the visual arts were formed in the struggle with official academic classicism.
In the depths of the official state culture, a layer of "elite" culture is noticeable, serving the ruling class (the aristocracy and the royal court) and having a special susceptibility to foreign innovations.
It is enough to recall the romantic paintings of O. Kiprensky, V. Tropinin, K. Bryullov, A. Ivanov and other major artists of the XIX century.
Orest Adamovich Kiprensky [March 13 (24), 1782, Nezhinskaya Manor, near Koporye, now in the Leningrad Region — October 17, 1836, Rome], Russian artist.
An outstanding master of the Russian fine art of Romanticism, he is known as a wonderful portraitist.
In the painting "Dmitry Donskoy on the Kulikovo Field" (1805, Russian Museum), he demonstrated a confident knowledge of the canons of academic historical painting.
But early on, the area where his talent is revealed most naturally and naturally becomes a portrait.
His first pictorial portrait ("A. K. Schwalbe", 1804, ibid.), painted in the "Rembrandt" manner, stands out for its expressive and dramatic chiaroscuro system.
Over the years, his skill manifested in the ability to create, first of all, unique individually characteristic images, choosing special plastic means to shade this characteristic is growing stronger.
The portrait of the boy A. A. Chelishchev (about 1810-11), paired images of the spouses F. V. and E. P. Rostopchin (1809) and V. S. and D. N. Khvostov (1814, all — Tretyakov Gallery) are full of impressive vitality.
The artist is increasingly playing up the possibilities of color and black and white contrasts, landscape background, symbolic details ("E. S. Avdulina", about 1822, ibid.).
Even large ceremonial portraits, the artist is able to make lyrically, almost intimately relaxed ("Portrait of the life of the Hussar Colonel Yevgraf Davydov", 1809, Russian Museum).
His portrait of the young, poetic glory of Alexander Pushkin is one of the best in creating a romantic image.
Kiprensky's Pushkin looks solemn and romantic, in a halo of poetic glory.
"You flatter me, Orestes," Pushkin sighed, looking at the finished canvas.
Kiprensky was also a virtuoso draughtsman, who created (mainly in the technique of Italian pencil and pastel) examples of graphic skill, often surpassing his picturesque portraits with their open, excitingly light emotionality.
These are household types ("The Blind Musician", 1809, the Russian Museum; "Kalmychka Bayausta", 1813, the Tretyakov Gallery), and the famous series of pencil portraits of participants in the Patriotic War of 1812 (drawings depicting E. I. Chaplitz, A. R. Tomilov, P. A. Olenin, the same drawing with the poet Batyushkov, etc.; 1813-15, the Tretyakov Gallery, etc. collections); the heroic beginning here acquires a sincere shade.
A large number of sketches and textual evidence show that the artist throughout his mature period gravitated towards creating a large (in his own words from a letter to A. N. Olenin in 1834), "spectacular, or, in Russian, to say, striking and magical picture", where the results of European history, as well as the purpose of Russia, would be depicted in an allegorical form.
"Newspaper Readers in Naples "(1831, Tretyakov Gallery) - in appearance just a group portrait — in fact, there is a covertly symbolic response to the revolutionary events in Europe.
However, the most ambitious of Kiprensky's pictorial allegories remained unfulfilled, or disappeared (like the "Anacreon Tomb", completed in 1821).
These romantic searches, however, received a large scale continuation in the works of K. P. Bryullov and A. A. Ivanov.
The realistic manner was reflected in the works of V. A. Tropinin.
Tropinin's early portraits, painted in a restrained colorful scale (family portraits of the Counts Morkovs of 1813 and 1815, both in the Tretyakov Gallery), still entirely belong to the tradition of the Age of Enlightenment: the model is the unconditional and stable center of the image in them.
Later, the color of Tropinin's painting becomes more intense, the volumes are usually molded more clearly and sculpturally, but most importantly, a purely romantic feeling of the mobile element of life grows insinuatingly, only a part of which the hero of the portrait seems to be a fragment ("Bulakhov", 1823; "K. G. Ravich", 1823; self portrait, about 1824; all three — in the same place).
Such is A. S. Pushkin in the famous portrait of 1827 (All Russian Museum of A. S. Pushkin, Pushkin): the poet, putting his hand on a stack of paper, as if "listening to the muse", listens to the creative dream surrounding the image with an invisible halo.
He also painted a portrait of Alexander Pushkin.
Before the viewer appears a wise man with life experience, not a very happy person.
In the portrait of Tropinin, the poet is charming at home.
Some special Old Moscow warmth and comfort emanates from the works of Tropinin.
Until the age of 47, he was in serfdom.
That is probably why the faces of ordinary people on his canvases are so fresh, so spiritual.
And the youth and charm of his "Lace Maker" are endless.
Most often, V. A. Tropinin turned to the image of people from the people ("Lace Maker", "Portrait of a Son", etc.).
The artistic and ideological search of Russian public thought, the expectation of changes were reflected in the paintings of K. P. Bryullov "The Last Day of Pompeii" and A. A. Ivanov "The Appearance of Christ to the People".
The great work of art is the painting "The Last Day of Pompeii" by Karl Pavlovich Bryullov (1799-1852).
In 1830, the Russian artist Karl Pavlovich Bryullov visited the excavations of the ancient city of Pompeii.
He walked along the ancient pavements, admired the frescoes, and in his imagination rose that tragic night of August 79 AD, when the city was covered with red hot ashes and pumice stone of the awakened Vesuvius.
Three years later, the painting "The Last Day of Pompeii" made a triumphant journey from Italy to Russia.
The artist has found amazing colors to depict the tragedy of the ancient city, dying under the lava and ash of the erupting Vesuvius.
The picture is imbued with high humanistic ideals.
It shows the courage of people, their selflessness shown during a terrible disaster.
Bryullov was in Italy on a business trip to the Academy of Arts.
In this educational institution, the teaching of painting and drawing techniques was well established.
However, the Academy clearly focused on the ancient heritage and heroic themes.
Academic painting was characterized by a decorative landscape, the theatricality of the overall composition.
Scenes from modern life, an ordinary Russian landscape were considered unworthy of the artist's brush.
Classicism in painting was called academism.
Bryullov was connected with the Academy with all his creativity.
He had a powerful imagination, a sharp eye and a faithful hand — and he gave birth to living creations that were consistent with the canons of academism.
Truly, with Pushkin's grace, he was able to capture on canvas both the beauty of the naked human body and the trembling of a sunbeam on a green leaf.
His canvases "Horsewoman", "Bathsheba", "Italian Morning", "Italian Noon", numerous ceremonial and intimate portraits will forever remain unfading masterpieces of Russian painting.
However, the artist has always gravitated towards big historical themes, to depict significant events in human history.
Many of his plans in this regard were not implemented.
Bryullov never left the idea of creating an epic canvas based on a plot from Russian history.
He begins the picture "The Siege of Pskov by the troops of King Stefan Batory".
It depicts the culmination of the siege of 1581, when the Pskov warriors and.
the citizens of ki are given to attack the Poles who have broken into the city and throw them over the walls.
But the painting remained unfinished, and the task of creating truly national historical paintings was carried out not by Bryullov, but by the next generation of Russian artists.
The same age as Pushkin, Bryullov outlived him by 15 years.
He has been ill for the last few years.
From a self portrait painted at that time, a red haired man with delicate features and calm, thoughtful eyes looks at us.
In the first half of the XIX century, the artist Alexander Andreevich Ivanov (1806-1858) lived and worked.
He devoted his entire creative life to the idea of spiritual awakening of the people, embodying it in the painting "The Appearance of Christ to the People".
For more than 20 years he worked on the painting "The Appearance of Christ to the People", in which he invested all the power and brightness of his talent.
In the foreground of his grandiose canvas, the courageous figure of John the Baptist catches the eye, pointing to the approaching Christ to the people.
His figure is given in the distance.
He has not come yet, he is coming, he will definitely come, says the artist.
And the faces and souls of those who are waiting for the Savior brighten and purify.
In this picture, he showed, as I. E. Repin later said, "an oppressed people, hungry for the word of freedom."
In the first half of the XIX century, Russian painting includes a household plot.
Alexey Gavrilovich Venetsianov (1780-1847) was one of the first to address him.
He devoted his work to depicting the life of peasants.
He shows this life in an idealized, embellished form, paying tribute to the then fashionable sentimentalism.
However, Venetsianov's paintings "Threshing Floor", " At the harvest.
Summer", " On arable land.
Spring", "Peasant woman with cornflowers", "Zaharka", "Morning of the landowner" reflecting the beauty and nobility of ordinary Russian people, served to affirm the dignity of a person regardless of his social status.
Its traditions were continued by Pavel Andreevich Fedotov (1815-1852).
His canvases are realistic, filled with satirical content that exposes the tradesman's morality, the way of life and morals of the upper class of society ("The Matchmaking of the Major", "The Fresh Cavalier", etc.).
He began his career as a satirical artist as a guardsman officer.
Then he made funny, mischievous sketches of army life.
In 1848, his painting "The Fresh Cavalier"was presented at the academic exhibition.
It was an audacious mockery not only of the stupid, self satisfied bureaucracy, but also of academic traditions.
The dirty robe that the main character of the picture was wearing looked very much like an antique toga.
Bryullov stood in front of the canvas for a long time, and then said to the author half jokingly, half seriously: "Congratulations, you beat me."
Other Fedotov's paintings ("The Breakfast of an aristocrat", "The Matchmaking of a Major") also have a comedic satirical character.
His last paintings are very sad ("Anchor, more anchor!", "Widow").
Contemporaries rightly compared P. A. Fedotov in painting with N. V. Gogol in literature.
Exposing the plagues of serfdom Russia is the main theme of Pavel Andreevich Fedotov's work.
Russian painting of the second half of the XIX century.
The second half of the XIX century was marked by the flourishing of Russian fine art.
It became a truly great art, was imbued with the pathos of the liberation struggle of the people, responded to the demands of life and actively invaded life.
Realism has finally established itself in the visual arts — a truthful and comprehensive reflection of the life of the people, the desire to rebuild this life on the principles of equality and justice.
The conscious turn of the new Russian painting towards democratic realism, nationality, modernity was marked in the late 50s, along with the revolutionary situation in the country, with the social maturation of the diverse intelligentsia, with the revolutionary enlightenment of Chernyshevsky, Dobrolyubov, Saltykov Shchedrin, with the people loving poetry of Nekrasov.
In the” Essays of the Gogol period " (in 1856), Chernyshevsky wrote: “If painting is now generally in a rather pitiful situation, the main reason for this must be considered the alienation of this art from modern aspirations."
The same idea was given in many articles of the magazine "Sovremennik".
The central theme of art was the people, not only the oppressed and suffering, but also the people the creator of history, the people are a fighter, the creator of all the best that is in life.
The establishment of realism in art took place in a stubborn struggle with the official board, whose representative was the leadership of the Academy of Arts.
The leaders of the academy inspired their students with the idea that art is higher than life, put forward only biblical and mythological themes for the creativity of artists.
But painting was already beginning to join modern aspirations first of all in Moscow.
The Moscow School did not enjoy even a tenth of the privileges of the St. Petersburg Academy of Arts, but it depended less on its ingrained dogmas, the atmosphere was more lively in it.
Although the teachers at the School are mostly academicians, but the academicians are secondary and hesitant they did not suppress their authority as much as at the Academy F. Bruni, a pillar of the old school, who at one time competed with Bryullov's painting “The Copper Serpent”.
In 1862, the Council of the St. Petersburg Academy of Arts decided to equalize the rights of all genres, abolishing the primacy of historical painting.
The gold medal was now awarded regardless of the theme of the picture, taking into account only its merits.
However ,the "liberties" within the walls of the academy did not last long.
In 1863, young artists participating in the academic competition submitted a petition "for permission to freely choose subjects for those who wish it, in addition to the given topic".
The Academy Council refused.
What happened next is called in the history of Russian art the "revolt of the fourteen".
Fourteen students of the history class did not want to paint pictures on the proposed theme from Norse mythology - "The Feast in Valgaal" and defiantly submitted a petition to leave the academy.
Finding themselves without workshops and without money, the rebels united in a kind of commune like the communes described by Chernyshevsky in the novel “What to do?"
,- An artel of artists, which was headed by the painter Ivan Nikolaevich Kramskoy.
Art workers took orders for the execution of various works of art, lived in the same house, gathered in a common room for conversations, discussing paintings, reading books.
Seven years later, the artel broke up.
By this time, in the 70s, on the initiative of the artist Grigory Grigoryevich Myasoedov, an association appeared - the "Association of Artistic Mobile Inserts", a professional and commercial association of artists who stood on close ideological positions.
The Association of Peredvizhniki, unlike many later associations, did without any declarations and manifestos.
Its charter only stated that the members of the Partnership should conduct their own material affairs, not depending on anyone in this regard, and also arrange exhibitions themselves and take them to different cities ("move” around Russia) to acquaint the country with Russian art.
Both of these points were of significant importance, asserting the independence of art from the authorities and the will of artists to communicate widely with people not only from the capital.
The main role in the creation of the Partnership and the development of its charter belonged to Myasoedov, past Kramsky, Ge - from St. Petersburg, and from Muscovites - Perov, Pryanishnikov, Savrasov.
The "Peredvizhniki" were united in their rejection of "academism" by its mythology, decorative landscapes and pompous theatricality.
They wanted to portray a living life.
Genre (everyday) scenes took the leading place in their work.
The peasantry enjoyed a special sympathy of the "Peredvizhniki".
They showed his need, suffering, and oppressed situation.
At that time — in the 60— 70s of the XIX century the ideological side of art was valued higher than the aesthetic.
Only over time, the artists remembered the intrinsic value of painting.
Perhaps the greatest tribute to idealism was paid by Vasily Grigoryevich Perov (1834-1882).
It is enough to recall his paintings such as "The Arrival of the police officer at the investigation", "Tea Party in Mytishchi".
Some of Perov's works are imbued with genuine tragedy ("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.
Some of the paintings of the "wanderers", painted from nature or under the impression of real scenes, enriched our ideas about peasant life.
S. A. Korovin's painting "On the World" shows a skirmish at a rural gathering between a rich man and a poor man.
V. M. Maksimov captured the rage, tears, and grief of the family division.
The solemn conviviality of peasant labor is reflected in the painting by G. G. Myasoedov "Mowers".
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 first exhibition of "Peredvizhniki", which opened in 1871, convincingly demonstrated the existence of a new direction that developed during the 60s.
There were only 46 exhibits (unlike the bulky exhibitions of the Academy), but they were carefully selected, and although the exhibition was not deliberately programmatic, the overall unwritten program loomed quite clearly.
All genres were presented - historical, everyday, landscape portrait and the audience could judge what new "Peredvizhniki" brought to them.
Only sculpture was unlucky (there was one, and then a little remarkable sculpture by F. Kamensky), but this kind of art was "unlucky" for a long time, actually the entire second half of the century.
By the beginning of the 90s, among the young artists of the Moscow school there were, however, those who continued the civil peredvizhnik tradition with dignity and seriously: S. Ivanov with his cycle of paintings about immigrants, S. Korovin the author of the painting "On the World", where the dramatic (really dramatic!)are interestingly and thoughtfully revealed collisions of the pre reform village.
But they did not set the tone: the entrance to the forefront of the "World of Art" was nearing, it was equally far from Peredvizhnichestvo and from the Academy.
How it looked at that time the Academy?
Her artistic nye still rigorous installation weathered, she no longer insisted on the strict requirements of Neoclassicism, the notorious hierarchy of genres, domestic genre was quite tolerable, just rather he was "beautiful" and not "peasant" (for example, "beautiful" non academic works are scenes from ancient life then popular S. Bakalovich).
For the most part, non - academic products, as it was in other countries, were bourgeois salon products, their "beauty" was a vulgar prettiness.
But it cannot be said that it did not put forward talents: G. Semiradsky, mentioned above, was very talented, V. Smirnov, who died early (who managed to create an impressive large painting "The Death of Nero"); it is impossible to deny certain artistic merits of the paintings of A. Svedomsky and V. Kotarbinsky.
Repin spoke approvingly about these artists, considering them carriers of the "Hellenic spirit" in his later years, they impressed Vrubel, as well as Aivazovsky - also an "academic" artist.
On the other hand, none other than Semiradsky, during the reorganization of the Academy, strongly spoke in favor of the everyday genre, pointing to Perov, Repin and V. Mayakovsky as a positive example.
So there were enough points of convergence between the "Peredvizhniki" and the Academy, and this was understood by the then vice president of the Academy, I. I. Tolstoy, on whose initiative the leading "Peredvizhniki"were called to teach.
But the main thing that does not allow us to completely discount the role of the Academy of Arts, primarily as an educational institution, in the second half of the century is the simple fact that many outstanding artists came out of its walls.
These are Repin, Surikov, Polenov, Vasnetsov, and later Serov and Vrubel.
Moreover, they did not repeat the "revolt of the fourteen" and, apparently, benefited from their apprenticeship.
Respect for the drawing, for the constructed constructive form, is rooted in Russian art.
Russian Russian culture's general orientation towards realism was the reason for the popularity of the Chistyakovsky method - one way or another, Russian painters before Serov, Nesterov and Vrubel, inclusive, honored the "unshakable eternal laws of form" and were wary of "disembodying" or subordinating the colorful amorphous element, no matter how much they loved color.
Among the Peredvizhniki invited to the Academy were two landscape painters - Shishkin and Kuindzhi.
It was at that time that the hegemony of landscape began in art both as an independent genre, where Levitan reigned, and as an equal element of everyday, historical, and partly portrait painting.
Contrary to the forecasts of Stasov, who believes that the role of the landscape will decrease, it has increased in the 90s as never before.
The lyrical "mood landscape" prevailed, leading its lineage from Savrasov and Polenov.
The "Peredvizhniki" made genuine discoveries in landscape painting.
Alexey Kondratievich Savrasov (1830-1897) managed 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.
Fyodor Alexandrovich Vasiliev (1850-1873) lived a short life.
His work, which broke off at the very beginning, enriched Russian painting with a number of dynamic, exciting landscapes.
The artist was particularly successful in transitional states in nature: from sun to rain, from calm to storm.
Russian Russian forest singer, the epic breadth of Russian nature was Ivan Ivanovich Shishkin (1832-1898).
Arkhip Ivanovich 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 I am through the fog and playing in puddles on a muddy road — these and many other picturesque discoveries are captured on his canvases.
Russian landscape painting of the XIX century reached its peak in the work of Savrasov's student Isaac Ilyich Levitan (1860-1900).
Levitan is a master of calm, quiet landscapes, a very timid, shy and vulnerable person, he knew how to relax only alone with nature, imbued with the mood of the beloved landscape.
One day he came to the Volga to paint the sun, air and river expanses.
But there was no sun, endless clouds were crawling across the sky,and the dreary rains stopped.
The artist was nervous until he got involved in this weather and discovered the special charm of the lilac colors of the Russian bad weather.
Since then, the Upper Volga and the small town of Ples have firmly entered his work.
In those parts, he created his "rainy" works: "After the rain", "A Gloomy Day", "Over eternal rest".
Peaceful evening landscapes were also painted there: "Evening on the Volga", " Evening.
Golden Ples", "Evening bell", "Quiet abode".
In the last years of his life, Levitan drew attention to the work of French Impressionist artists (E. Manet, K. Monet, K. Pizarro).
He realized that he had a lot in common with them, that their creative searches were going in the same direction.
Like them, he preferred to work not in the studio, but in the open air (in the open air, as artists say).
Like them, he lightened the palette, banishing dark, earthy colors.
Like them, he sought to capture the transience of being, to convey the movements of light and air.
In this they went further than him, but they almost dissolved three dimensional forms (houses, trees) in the light air flows.
He avoided it.
"Levitan's paintings require slow viewing," wrote K. G. Paustovsky, a great connoisseur of his work, " They do not stun the eye.
They are modest and accurate, like Chekhov's stories, but the longer you look at them, the more charming the silence of provincial townships, familiar rivers and country roads becomes."
The second half of the XIX century saw the creative flourishing of I. E. Repin, V. I. Surikov and V. A. Serov.
Ilya Yefimovich Repin (1844-1930) was born in the city of Chuguev, in the family of a military settler.
He managed to enter the Academy of Arts, where his teacher was P. P. Chistyakov, who brought up a whole galaxy of famous artists (V. I. Surikov, V. M. Vasnetsov, M. A. Vrubel, V. A. Serov).
Repin also learned a lot from Kramskoy.
In 1870, the young artist made a trip along the Volga.
He used numerous sketches brought from the trip for the painting "Boatmen on the Volga" (1872).
She made a strong impression on the public.
The author immediately moved into the ranks of the most famous masters.
Repin was a very versatile artist.
A number of monumental genre paintings belong to his brush.
Perhaps, the "Procession in the Kursk province" makes no less impression than "Boatmen".
The bright blue sky, the clouds of expensive 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, infirmity and pain of Russia.
Many of Repin's paintings touched on revolutionary themes ("Refusal to confess", "They did not wait", "Arrest of a propagandist").
The revolutionaries in his paintings keep themselves simple and natural, avoiding theatrical poses and gestures.
In the painting "Refusal to Confess", the condemned man seemed to have deliberately hidden his hands in his sleeves.
The artist clearly sympathized with the heroes of his paintings.
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.
Among them were such famous figures as S. Y. Witte, K. P. Pobedonostsev, P. P. Semenov Tyan Shansky.
Hardly noticeable in the picture, but very subtly painted Nicholas II.
Vasily Ivanovich 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 Streltsy execution", "Menshikov in Berezovo" and "The 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.
Valentin Alexandrovich 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, 22 year old Serov was on vacation in Abramtsevo, the dacha of the philanthropist S. I. Mamontov near Moscow.
Among his many children, the young artist was his own person, a participant in their noisy games.
One day after lunch, two people accidentally stayed in the dining room Serov and 12 year old Verusha Mamontova.
They were sitting at a table with peaches left on it, and during the conversation Verusha did not notice how the artist began to sketch her portrait.
The work lasted for a month, and Verusha was angry that Anton (that was Serov's home name) made her sit in the dining room for hours.
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.
The inhabitants of the "Abramtsevsky" house, of course, understood that a miracle had happened before their eyes.
But only time gives final estimates.
It also put "The Girl with Peaches" among the best portrait works in Russian and world painting.
The next year, Serov managed to almost repeat his magic.
He painted a portrait of his sister Maria Simonovich ("A girl illuminated by the sun").
The name is fixed a little inaccurate: the girl is sitting in the shade, and the rays of the morning sun illuminate the clearing in the background.
But in the picture everything is so merged, so one — morning, sun, summer, youth and beauty - that it is difficult to come up with a better name.
Serov became a fashionable portrait painter.
Famous writers, artists, artists, entrepreneurs, aristocrats, even tsars posed in front of him.
Apparently, not everyone he wrote to had his heart in his heart.
Some high society portraits, with a filigree technique of execution, turned out to be cold.
For several years, Serov taught at the Moscow School of Painting, Sculpture and Architecture.
He was a demanding teacher.
An opponent of the frozen forms of painting, Serov at the same time believed that creative searches should be based on a firm mastery of the technique of drawing and pictorial writing.
Many outstanding masters considered themselves Serov's students.
These are M. S. Saryan, K. F. Yuon, P. V. Kuznetsov, K. S. Petrov Vodkin.
Many paintings by Repin, Surikov, Levitan, Serov, and the Peredvizhniki were included in the Tretyakov collection.
Pavel Mikhailovich 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.
His passion turned into the main business of life.
In the early 90s, 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 K. 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.
Ovechkina O. A.
Source Russian Civilization
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