There is no work more honorable and more important than cultivating the land. Unfortunately, this simple truth does not always work in this world. However, the poetics of peasant labor, harmony with the surrounding world, the feeling of satisfaction from a job well done have always interested artists. One of the first to the topic rural life the Dutch artist Pieter Brueghel the Elder, nicknamed Muzhitsky for his passion, turned. In the cycle of paintings "Seasons", three of the five surviving works show rural everyday life: "Return of the herds", "Haymaking" and "Harvest". The last two paintings are distinguished by their peaceful and joyful atmosphere from most of Brueghel's works.

At the beginning of the 17th century, in European, and especially in French, painting, the pastoral genre became especially popular - an idealistic depiction of rural life. The most famous paintings describing rural life, Francois Boucher: "Farm", "Morning in the Village", "Resting Peasants". However, everything depicted on the pastorals is far from real life, and only by the beginning of the Enlightenment, realism begins to prevail in pastoral painting, for example, works English artist Thomas Gainsborough "Return of the Peasants from the Market", "Return from the Harvest".

The pastoral painting of Alexei Venetsianov is filled with Russian flavor. His paintings, idealizing the life of the Russian peasant, have always been quite popular: “On arable land. Spring”, “Reapers”, “Sleeping Shepherd”. Despite the romanticization of rural life, Venetsianov strove for maximum realism in his work, for example, to work on the painting “The Barn”, a wall was dismantled near this agricultural building in the artist’s estate. Again, interest in peasant labor in Russian painting arises with the advent of the Association of Traveling Exhibitions. For example, Grigory Myasoedov's painting "Mowers" (Holy Time) ripens the joy of labor and its unity with the hot landscape. Often referred to peasant theme Ivan Kramskoy. Known series peasant portraits"Melnik", "Woodsman", "Contemplator", "Beekeeper" and others, in which representatives of some rural professions are typified.

Vincent van Gogh addressed this topic many times, so one of the few paintings sold during the life of the artist "Red Vineyards in Arles" depicting the grape harvest. Another famous "rural" painting by Van Gogh is The Potato Eaters. Several times he turned to the topic touched upon in the canvas "The Sower", because he believed that the sower personifies the rebirth and infinity of life. Although the Dutch artist is classified as a post-impressionist, in his understanding of the complexity, monotony and exhaustion of peasant labor, he becomes a real realist. Perhaps Van Gogh adopted this attitude to rural life from Jean Millet, whose work greatly influenced the young artist. Millet himself, the founder of the Barbizon school, said to himself that he was just a peasant. However, in his works, sometimes a certain poetry of rural life slips through “The Gatherer of Ears”, “Angelus”, “Flower”, “The Sower”, “Threshing” and many others.

The artist Arkady Plastov was called the singer of the Soviet peasantry. In his numerous paintings, the hard work of a collective farmer is glorified. All of his characters have very expressive hands - strong, knotty, not afraid of any work. Today it is customary to accuse his paintings (“Harvest”, “Haymaking”, “In Summer”, “Tractor Driver's Dinner”, “Potato Harvesting”) of “socialist realism” - embellishing reality, but they are unique in their pronounced national character and nationality of images. Artists saw it this way different countries and eras, complex and thankless peasant labor, not without its own special charm and beauty.

Each of us carries the world of childhood. Everything that surrounded us in childhood acquires with age deep meaning. Half-forgotten memories of that time in adulthood seem to us significant and deep. Often they determine the fate of a person, and when it comes to creative person, then set the horizons of creative interests.

Simple Russian truth

Most of the Russians artists of the 19th centuries, depicting the Russian village, were superficially familiar with its life. And only Vasily Maksimovich Maksimov (1844-1911) knew the world of the Russian village from birth, was a part of this world. Throughout his life he carried the love of patriarchal world Russian peasantry.

The childhood of the artist Vasily Maksimov passed in the village of Lopino, Novoladozhsky district, St. Petersburg province. His parents were state peasants, and until the age of ten Maximov grew up in the countryside. Poetic sensitivity woke up early in the boy. It was surrounded by a centuries-old way of life peasant life, colorful rituals of weddings and agricultural holidays, huts with beautiful carvings, costumes, home textiles, embroideries on them. And most importantly, simple working people, from whom he learned diligence, honesty, sincerity and mercy.

The father and mother of the future artist were the only literate people in the village. Vasily's great-grandfather was also famous in the village as a literate man. The father began to teach his son to read early. Just as early, the boy began to draw. His mother encouraged this inclination. But already at the age of six, Vasily survived the death of his father, and at ten, his mother.

With what reverence he wrote much later in his memoirs of people dear to him! The description of the mother is especially striking: “The late uncle Father Trifilius, recalling his sister, said: “Everyone was ready to confess to your mother, she inspired such a feeling with her whole being.” She could not stand lies in people and did not lie herself, she always told the truth, but she was so able to say that very rarely anyone was offended by her. From us she demanded complete sincerity and, when she noticed the slightest evasiveness, reproachfully fixed her brown eyes and thereby returned to the truth.

Vasily Maksimovich did not remember his mother sitting idle, getting angry or condemning anyone. She bore her early widowhood with dignity, not falling into despair when she was left alone with her three sons, but trusting in the will of God.

Difficult path

During her lifetime, her mother managed to send her son to the monastery school, and then to the novices of the Nikolaev Monastery. In the house of Hieromonk Anthony (Bochkov), his entire "monastic spiritual life" proceeded. Here the boy read books by N.V. Gogol, I.A. Krylov, Plutarch, recognized the poems of A.S. Pushkin. But Vasily soon left the monastery to study drawing. On a wagon of hay, brother Alexei brought Vasily to St. Petersburg. Here future artist entered the icon-painting workshop, where he was often offended and punished. Having escaped from this owner, he ended up with another. Life here was no easier, but here he was at least allowed to go to the drawing school at the Technological Institute, where he was accepted immediately into the third grade.

To survive in such conditions, Vasily needed to have great perseverance and inner aspiration. To live, the young man painted icons and portraits of local merchants. Finally, at the age of eighteen, he passed the entrance exams to the Academy of Arts.

January 7, 1863 V.M. Maximov began his studies with reverence and delight. For him, the time of rapid success began. Soon he became the first in the class in drawing. Throughout the course, the peasant son Vasily Maximov was one of best students. He was talented in everything: he sang beautifully, wrote poetry, played in performances, was fond of woodcarving, etching, selflessly engaged in carpentry work - he made chairs, dishes and bowls. He did not tolerate idleness and satiety.

He passionately and genuinely loved his homeland. “I never considered a trip abroad to be the height of well-being, I even found it harmful to young man who does not know his homeland. Love for the motherland instilled in me my mother with her stories about Moscow, Kyiv and other places. What a connoisseur of foreign cities I am when I haven’t seen my own, and upon returning, perhaps, you won’t be able to understand and appreciate your own, ”he wrote.

In the autumn of 1866, Vasily Maksimov received a certificate with the title of an artist of the 3rd degree, after which he settled in his native village. He lived in a hut, wore a Russian shirt and trousers; the tailor-brother sewed for him a tanned sheepskin coat with embroidery. The peasants accepted Maksimov, he became theirs for them. The authority of the artist was so great that the peasants went to him for advice, he was invited to family sections, he corresponded with many peasants later long years. Life in the village and the writing of peasant paintings became a real devotion of a deeply convinced and strong in spirit artist.

Peasant son and general's daughter

Visiting the neighboring estate of General Izmailova, Vasily met her daughter. “I fell in love with this wonderful girl, I fell in love sacredly, I’m ready to lay down my head for her if circumstances demanded, but I concealed this feeling from everyone so that no one touched roughly this shrine. Meanwhile, the disturbing feeling of the unknown haunts me day and night,” the artist wrote.

Maximov was afraid that she and her parents, being nobles, would not accept him, peasant son living with his brothers in a simple hut. He was not ashamed of his roots and wrote with pride that "he does not intend to abandon his relatives in the future."

The fears were in vain: Lydia warmly and simply accepted the timid and inept recognition of the artist. And soon, on January 29, 1868, the general's daughter became the wife of a peasant. Lydia Alexandrovna became the artist's muse and adviser.

“You are ours, if you write, it’s not for laughter”

Vasily Maximov works with enthusiasm, one after another paintings appear in which, without idealization, but also without rough naturalism, the artist, faithful to the truth, shows the Russian peasant world. Ilya Repin said best of all about Maksimov: “His paintings can be called pearls folk art. They are modest, not spectacular, they do not scream with their colors, they do not cry out with their plots ... this is the simplest Russian eternal truth. She shines from Maximov's unpretentious paintings, from every face and gesture ... "

The audience paid attention to the work of Vasily Maksimov very early. His painting "Grandma's Tales", written by the artist at the age of 23, was bought for his famous gallery philanthropist P.M. Tretyakov, who later acquired all the major works of Vasily Maksimovich.

The peasants themselves, who posed for Maximov, told him: “You are ours, if you write, it’s not for laughter.” These pictures are amazing. log huts with their modest and poor life, at first glance, they seem miserable to the viewer. But it is worth peering, and an understanding comes of how complex and deep the world of their inhabitants is. The obligatory emphasis is made by the artist on the image of the red corner of the Russian hut. Rows of icons stand here, a lampada burns, illuminating the walls of a poor dwelling with a golden light. And in moments of despair, danger, disaster, it is these icons that the heroes of his paintings turn their eyes to.

On the traveling exhibition 1882, several paintings by Maximov were presented. One of them is "Sick Husband". The artist continued a theme close to him, depicting a sick village peasant on a couch in a hut, next to him his wife bent over the icons. This was part of his childhood memories of his father's illness and mother's fervent prayer.

Several times V. M. Maksimov traveled to the Volga. In the village of Varvarikha, near Yuryevets, he will write the touching "Blind Master". The blind owner of the house sits on a bench by the window, holding on his knees small child. The father feeds the baby, next to it is a cradle-cradle stuffed with straw. Homemade in the field. Rods and tools are scattered everywhere. The owner weaves baskets, he is not a burden to the family, but its support. Surprisingly calm expression on his face. And here, in this poor house, they live with faith and hope in the mercy and help of God.

During these years, Maksimov created a whole series of paintings dedicated to the life of the poor, the difficult peasant lot: “Poor Dinner” (1879), “Auction for arrears” (1880), “Bread loan” (1882), “At my lane” (1891) , "The dashing mother-in-law" (1893). The artist could not stand falsehood and "writing". I. N. Kramskoy said about his works: “Yes, yes, the people themselves painted their own picture.”

"Unfashionable" artist

In 1885, the artist's wife, Lidia Alexandrovna, became the heiress of the Lyubsha estate. Maximov enthusiastically began to rebuild the dilapidated estate and located a workshop on the first floor. But hopes for a prosperous future did not come true. Need haunted the artist all his life. The family grew, there were already four children: two daughters and two sons. And his paintings were less and less interested in viewers and critics, they were less and less bought. The artist did not stop working, tried himself in new genres, participated in exhibitions of the Wanderers.

A new time has come, requiring complex images and ambiguous themes. Maximov did not want to follow the fleeting fashion. In addition, during a trip to his homeland, the artist fell into a ravine on the Volkhov, for a long time he was in cold water. Since then, the disease has ravaged his body. Constant poverty made life difficult for the family. Hopes for income from Lyubsha did not materialize, and Maksimov was completely ruined. Moved to Petersburg. The last surge of energy allowed the sick artist to take up the painting “Forgiveness Sunday”. He made several sketches. But the picture remained unfinished. December 1, 1911 the artist died.

Peasant's son, truly folk artist Vasily Maksimov throughout his life, out of time and fashion, remained true to his main calling: "selfless service to his great people." “I feel right only in the fidelity of the look at folk life which I love,” said V. M. Maksimov. And today we need this truth in order to feel with gratitude and love a part of our people, their past and present.

Prepared by Oksana BALANDINA

CHAPTER 2. THE IMAGE OF THE PEASANTRY IN RUSSIAN ART OF THE 18TH CENTURY

2.1. The image of the peasantry in painting

In the 18th century, secular art came to the fore in Russian art in Russian art. Several stages can be distinguished in the development of Russian painting of the 18th century. The first stage - the first third of the 18th century, the painters then depicted mainly people of high-ranking ranks. At this time, the peasants are practically not depicted. popular genre is a portrait, a landscape. The next two stages are the middle of the 18th century and the second half of the 18th century. These two stages are of interest to us, since they are marked by the further flourishing of Russian national painting, which developed along the path of realism, but our theme can be traced more in the second half of the 18th century, so we will talk about this half.

The 18th century is rich in Russian portrait painters, but among them there are those who are interested in the theme of the peasantry. These include Vishnyakova A.I. , Shibanova M. , Ermeneva I.A. , Argunova I.P. . Through the paintings of these artists, we can see the life, holidays and life in general of the peasants.

Vishnyakov Alexander Ivanovich - son famous portrait painter Vishnyakova I.Ya. , not much is known about him, he was a genre painter. His painting "Peasants' Revel" (Fig 5) late 1760s - early 1770s. - one of the earliest images of peasant meals. Here we see the grotesque, characteristic of the depiction of rough nature, characteristic of the Dutch and Flemish paintings masters of the 17th century, that is, here we see the imitation of the Russian artist of these masters, which does not reflect the originality of the Russian people and the community of peasants.

Another artist Mikhail Shibanov - Russian artist second half of XVIII century, a painter from serfs, since 1783 - a "free painter". He can be called the initiator of the peasant household genre in Russian art. His paintings are unique for their time in terms of the subject matter depicted - in the 18th century, almost no artist depicted peasants in the fine arts. First of all, we are talking about two canvases depicting scenes from the life of peasants "Peasant Lunch" (Fig. 6) and "The Feast of the Wedding Contract".

Figure 5

In 1774, Mikhail Shibanov painted the canvas "Peasant Lunch". This work was published during the Pugachev uprising. This topic was new for Russian society, and works devoted to the peasantry were even considered scandalous. And although what Shibanov depicted is far from what the real life of the peasantry was, he portrayed them this way not because he wanted to embellish the life and life of the peasants, but because this could offend the aristocracy. It can be said that Shibanov was placed in a certain framework and could not fully see his vision. Despite the festivity of clothing, you can see the love of a mother for a child, the thoughtfulness of a grandfather, the crying of the Russian soul, here the truthful peasant life.

Figure 6

Another picture of this theme is “The Celebration of the Wedding Contract” (Fig. 6). The title refers to what is depicted in the picture. It really is a celebration. Some women in decorated dresses, the guests are happy and happy for the bride and groom, who are in the center of the composition. These scenes by Shibanov are depicted masterfully. His courage is also striking that he was not afraid to raise such an acute problem.

Argunov Ivan Petrovich Russian portrait painter. Argunov was not busy with this topic, but we can single out one painting from him “Portrait of an unknown peasant woman in a Russian costume” (Fig. 7) - one of his famous works. The portrait reflects the interest in the theme of the peasantry that has appeared in Russian society. Argunov, himself a native of the serfs of Count Sheremetyev, tried to show beauty and dignity in portraits, regardless of class.

Figure 7

The image of a peasant woman in this work Argunov is conveyed with truthfulness, sincerity and respect. Since the author dressed the girl in a festive outfit, many believe that it was an actress. From an ethnographic point of view, we see how accurately the costume of a peasant woman in the Moscow province is conveyed. Also, belonging to the peasant class is easy to determine in this girl by the lack of mannerisms and ingenuity. The soft features of the girl, a slight smile, a calm pose indicate modesty, openness, kindness of a girl from the people.

Ermenev Ivan Alekseevich Russian painter, also considered a serf, he became friends with the future Grand Duke, to whom he was attached to serve. Known for his series of eight watercolors "Beggars", as well as watercolors "Lunch (Peasant Lunch)". Most often, he depicted two full-length figures against the sky: a beggar old woman and a child, a beggar and a guide, or a lonely figure of a beggar, but the “Peasant Lunch” (Fig. 8) falls out of this series.

Figure 8

Many researchers believe that this picture reflects the formidable power ordinary people with such a difficult fate and life. Ermenev's paintings, especially the paintings on the theme of the peasantry, have a tragic meaning, show hopelessness and gloom, which we can see even in the colors chosen for the picture.

2.2. The image of the peasantry in literature

The literature of the 18th century prepared fertile ground for the development of the literature of the 19th century, so it cannot be said that the 18th century is oblivious. The writers of this time tried to solve acute problems of its modernity. Of course, here many of them did not bypass the peasant question. As in painting, a number of authors who are interested in this problem can be distinguished, these include Bakhtin I. I., Lomonosov M. V., Radishcheva A. N., Fonvizina D. I., Karamzin N. M..

Ivan Ivanovich Bakhtin - public figure and a writer, his work was dominated by satirical themes. The most daring theme in Bakhtin's work was the peasant question. In the work "Satire on the cruelty of some nobles to their subjects" the author showed the real features of the peasant life of the 18th century. In the tale "The Master and the Peasant Woman", the writer also showed sympathy for the peasants, like some others.

Fonvizin Denis Ivanovich is a Russian writer who also raised the theme of the peasantry in his work. First of all, we can trace this in his work "Undergrowth". In this work, Fonvizin, seeing the root of all evil in serfdom, ridicules the noble system and noble education. Moreover, this can be seen already by the surnames and names of the main characters, all these surnames tell us about the inner qualities of these people. Fonvizin in many works speaks of the nobility and ridicules their life.

Another writer who was interested in the peasant question was Nikolai Mikhailovich Karamzin. In his work, we see the development of literature and an in-depth look at the relationship between the landowner and the peasant. These trends can be seen in Poor Lisa". With the conventionality of the figure of Liza, this is still an image of the individual experiences of a peasant girl, her personal dramatic fate, in terms of the author's emphatic sympathy and sympathy for her, which in itself was a new and, of course, a progressive literary fact. All this can be traced in an excerpt from the work "Poor Lisa":

“One Liza, who remained after her father of fifteen years, - one Liza, not sparing her tender youth, not sparing her rare beauty, worked day and night - weaved canvases, knitted stockings, picked flowers in the spring, and took berries in the summer - and sold them in Moscow. A sensitive, kind old woman, seeing her daughter’s indefatigability, often pressed her to her weakly beating heart, called her divine mercy, nurse, the joy of her old age and prayed to God to reward her for everything she does for her mother. ”We see the image of a hardworking, modest girl and how the author relates to her. Karamzin in his works tried to reflect not only the attitude towards the peasantry and draw a real image of the peasantry, but also to show his attitude to the relationship between peasants and landlords, the author himself believed that relations should go in a different direction, and real relations are remnants of the past.

Despite the fact that the above-mentioned authors were interested, spoke and considered the image of the peasantry and its place in Russian reality, but most of all, Radishchev Alexander Nikolaevich made a contribution to the study of this problem. This author was arrested for his views and exiled to Siberia. The image of the peasantry Radishchev reflected in the works "Journey from St. Petersburg to Moscow", "Liberty".

One of the most significant phenomena of Russian literature of the eighteenth century is the work of A. N. Radishchev "Journey from St. Petersburg to Moscow." It is written in the travel genre popular at the time. The main characters are the traveler and the Russian people. The traveler on his way met representatives of all classes and the picture that the traveler paints is unsightly, he speaks of the fall of Russian society. Moral baseness and filth are characteristic of all strata of society, but the peasants, as the most socially unprotected people, have the worst of it: "the peasant in law is dead." Indeed, the arbitrariness of the landlords goes beyond all moral limits, and ordinary people have to endure it. For example, in the chapter "Lyubani" the author meets a peasant plowing on Sunday - a holy day of rest for the Orthodox:

“- You, of course, are a schismatic, what do you plow on Sundays?

No, sir, I am baptized with a straight cross, - he said ... - in a week, sir, six days, and we go to corvee six times a week ...

How do you manage to get bread, if you only have a free holiday?

Not only holidays, and our night. Do not be lazy, our brother, he will not die of hunger.

The traveler threatens the feudal lords with this. In addition, the author says that the traveler sees not only the patience and hard life of the oppressed peasantry, but also the dormant strength of the people, which can wake up at any moment. For this work, the writer was exiled.

CHAPTER 3. THE IMAGE OF THE PEASANTRY IN RUSSIAN ART OF THE 19TH CENTURY

3.1. The image of the peasantry painting

The second chapter already spoke about the relevance of the topic of the peasantry in the 18th century and that many representatives of art began to raise this topic in their work, but still the topic was not the main and not widespread. In the 19th century Russian art acquired a folk sound, in painting we see this in the transition from romanticism to realism. In Russian painting, the national accent in creativity was valued, which tells us that in this period the image of the peasantry can be traced in the most vivid form. The theme of the peasantry can be traced not only in a more complex form, i.e. the authors of the works illuminate the problems in the acute form that actually existed in Russian society without censorship, but the number of authors writing about the peasant question has become many times larger, in addition, this topic has become new for Russian artists. All this is connected with the events that took place in connection with the reform of Russia and, first of all, this concerns the reform that canceled serfdom. Russian painters who were interested in this topic - A. G. Venetsianov, V. A. Tropinin, P. A. Fedotov - they are also artists of the first half of the 19th century. In the second half of the 19th century, this theme was reflected in the work of the Wanderers G.G. Myasoedova, I. E. Repina, V. M. Maksimova, S. A. Korovin, etc. .

The 19th century can be conditionally divided into 2 parts. The first part of the 19th century is represented in the work of such artists as Venetsianov A.G., Tropinin V.A., Fedotov P.A. - here the peasant world is reflected before the abolition of serfdom, and the second part of the 19th century is presented mainly in the work of the Wanderers - here we see the peasant world after the abolition of serfdom. At the beginning of the 19th century, the theme of the peasantry and folk life was new. Venetsianov Alexei Gavrilovich is a master of genre scenes from peasant life, he not only brought huge contribution into culture with the help of his paintings, but also brought up many peasants, giving them education and a path to another life. Despite the talent of Venetsianov in painting portraits, nevertheless, it was not portraits that brought him the greatest fame, but the writing of peasant images. Although Venetsianov was not the first to depict peasants, he was the first to depict them in poetic form. The artist painted peasant children, peasant girls and, of course, the life of the peasant people. We see a number of paintings called “peasant woman” by the painter, which depict peasant girls engaged in one activity or another, on their faces we see fatigue and a sad gaze into the distance, their hands indicate the hard daily work of girls, but at the same time says about their diligence and modesty; in addition, of course, it is impossible not to single out some of his most famous paintings in this topic "Reapers" (Fig. 9) and "Barn". The artist was inspired to paint the painting “Reapers” by peasants who admired nature and a butterfly that sat on the hand of a peasant woman. This picture is one of those that reflects the significance of the image of the Russian peasantry. The theme of harvest in the work of Venetsianov can be traced throughout his artistic activity As for this picture, in it we see a peasant woman with her son, who admire nature, that is, butterflies crouching on the hand of a peasant woman. Also, looking at the picture with the naked eye, we see that all the action takes place during the harvest, their clothes are yellowed from hard work and dust, and their hands are black from the work just done. No matter how strange the picture "Reapers" still did not bring such success as the work "Barn", which was completed for a huge amount of money. Here again the theme of the harvest is traced, but in the painting "Barn" we already see a composition that depicts many peasants either resting or preparing for hard work. The author emphasizes the importance of peasant labor and its difficult orientation.

Figure 9

Fedotov Pavel Andreevich made no less contribution to the transfer of the image of the Russian peasantry. Fedotov laid the foundations critical realism in the everyday genre, which was for him the main thing in his work. But if Venetsianov showed the peasantry itself, then Fedotov showed the upper strata of society, showing their meaninglessness of existence, the emptiness they have inside. The artist, with the help of satire, shows the insignificance of some, and the significance of others. The work of Venetsianov and Fedotov was continued by the Wanderers, who were the color of the second half of the 19th century. Despite the fact that speaking about the beginning of realism and the transfer of the image of the Russian peasantry, we are talking about the names of Venetsianov and Fedotov, we must not forget to mention Tropinin. Tropinin Vasily Andreevich is a master of romantic and realistic portraits. He painted people of different classes, trying not to convey their belonging to a certain class, but to show a specific person typical of a given society. In Tropinin's work, we are interested in such works as "Lace Maker" (Fig. 10), "Gold Sewing", where we see the hard manual work of peasant women. These pictures were well received by critics and audiences alike. The painting "Lacemaker" has become a real gem of Russian art. This picture, like "Golden Sewing", shows us a very sweet girl and unlike a serf peasant woman. The author of these works wanted to convey to the viewer the image of hard peasant work, and Tropinin shows that hard work, happiness and dignity do not go against the grain. All this is demonstrated by the artist in his painting “The Lacemaker”. In the first half of the 19th century, the theme of the peasantry is new, but nevertheless the theme is much more pronounced in the second half of the 19th century. In the second half of the 19th century, “Wanderers” can be distinguished in painting, almost each of them contributed to the formation of the image of the peasantry. Myasoedov Grigory Grigorievich - the most bright representative Russian realism. The main topic addressed by Myasoedov is peasant life. The evolution of Myasoedov's work is visible in his works. One of the paintings reflecting the theme of the peasantry is “Zemstvo is having lunch” (Fig. 11). The picture was painted during the years of the abolition of serfdom. The peasants are next to the Zemstvo, apparently they were on some business, but they are forced to sit on the threshold. In the window you can see a servant who washed all the dishes, apparently the peasants decided that the ranks had a good lunch and their problem would not be of interest. The picture is visible new reality which shows without embellishment Russian society.

Figure 10

In addition, in the picture we see new trick the author, expressing the theme, he is a critic who shows the truth of Russian society, and the author leaves some understatement, a question in his works, allowing the viewer to draw their own conclusions. The main focus in this picture is on the peasants: their facial features are well drawn, which shows us inner world peasants who had a hard time getting used to the new free life and did not become happier from the reforms adopted in the direction of the peasant question. Their facial expressions are unhappy and tired from hard work, which calls the viewer to the sympathy and pity of poor peasant husbands.

Figure 11

Unlike the previous painting “Mowers”, painted even before “Zemstvo is having lunch”, shows us the lyricism of the image of the peasantry and speaks of their unity and good nature.

Another well-known itinerant artist, Maksimov Vasily Maksimovich, devoted all his work to the development of the theme of the peasantry. One of his main works, the work "Healer at a village wedding" shows the true look of the Russian village, here the author tries to reveal the charm folk images, peasant life, but the author reflected not only the life of the peasant, but also described the image of the Russian peasantry, in such paintings as “Sick Husband”, “Family Division”, etc.

Contributed to the development of this theme and such an artist as Arkhipov Abram Efimovich. Not much is known about Arkhipov, but much has been said about his work. The main theme of Arkhipov's work is peasant. He painted many paintings about peasant life, such as "Drunkard", "Washerwomen" (Fig. 12), "Northern Village", "On the Volga", etc. can be attributed to them. All paintings show true life peasants after the abolition of serfdom.

Figure 12

Each painting by Arkhipov shows a scene of peasant life. For example, "Washerwomen" canvas shows us exhausting, hard work. In this picture, we can trace the detail of the image, as well as social motives. Social motives can be traced in the image of fatigue from hard work and the hopelessness of their position as women, as well as spiritual longing, which is caused by a sense of hopelessness.

In considering this point, one should not forget such artists as Perov and Repin. Repin Ilya Efimovich - outstanding artist, the theme of the peasantry was not the main one for him, but his first painting on this topic became world famous. "Barge haulers on the Volga" (Fig. 13) is exactly the picture that we know from school, it emphasizes many literary works. Each of the haulers in the picture is individual, but they all show the oppression of the poor. The picture calls for mercy towards ordinary people. Repin showed his sentence with this work modern society and showed the oppression of the disenfranchised.

Figure 13

Like Repin, Perov wrote peasant stories, but unlike him, he paid attention to this topic. great value. He painted many canvases on the theme of peasant oppression and the difficult fate of the peasants. Vasily Perov, like Repin, painted a picture similar to "Barge haulers on the Volga", the picture "Troika". The meaning is similar, but in the second work, Perov does not talk about barge haulers, but about ordinary children who pull a barrel of water. Perov's painting tells us about the need of peasants and peasant children and their hard way, the author emphasizes the latter, showing how cold it is, water freezes on the street, so we can imagine how cold it is for children to carry such a burden.

Figure 14

The authors depicting the images of the Russian peasantry express national character Russian people. Artists depict in their paintings real life Russian society of the 19th century, but speaking of the Russian peasantry in art, one should not forget about the writers who tried to reach out to Russian society, raising actual question enslavement.

How is the work of a Russian artist most often defined? sonorous surname Venetsianov? Paintings depicting genre scenes from peasant life are called the beginning of the domestic genre in painting, a phenomenon that would eventually flourish in the era of the Wanderers.

But the magnitude of Venetsianov's artistic talent, the scale of his human personality rendered a huge impact for the development of Russian visual arts not only within the same genre. This becomes especially noticeable when looking closely at his canvases.

"Portrait of a mother" (1802)

Alexei Gavrilovich Venetsianov was born in 1780 into a Moscow merchant family with ancestors from Greece. In Russia, they received the nickname Veneziano, later converted into a Russian surname. When Alexei became interested in drawing, his studies did not seem like something serious parents. Maybe that's why he didn't get a regular art education. It is believed that he received the first knowledge about the technique of painting from the "uncle" - the educator, and main source artistic education that Venetsianov received - paintings by old masters in museums and the creations of modern painters in salons and galleries.

The main genre in Russian painting of that time was the portrait, and therefore the first painting experience of Venetsianov known to us belongs to this genre. mother - Anna Lukinichna, nee Kalashnikova.

It is noticeable how the twenty-two-year-old youth still lacks painting skills, how difficult it is for him to convey volume, air and light. But something else is also visible - his ability to convey different textures of fabric, sufficient confidence in the drawing. And most importantly, he managed to convey the feelings of his model: some embarrassment and tension of the mother from her unusual role and his tender attitude towards her.

"Self-portrait" (1811)

After 1802, Venetsianov moved to St. Petersburg, where he tried to make a name for himself and start earning a living through painting. Soon he was forced to enter the service of a minor official in the postal office. A happy chance allowed him to meet the famous portrait painter V. L. Borovikovsky (1757-1825), who highly appreciated the paintings of Venetsianov and became his mentor both in his profession and in life. Perhaps due to his influence, Venetsianov petitions the Academy of Arts for the official title of painter. According to the charter of the Academy, the applicant had to submit his work. To this end, Venetsianov paints a self-portrait.

In this picture you can already see high level technical skill of the artist. This is an accurate and truthful work of a true realist, devoid of romantic touch and embellishment. The psychological depth of the image created by the artist was also highly appreciated. Here and attentive focus on work, and a clearly felt sense of self-esteem.

Venetsianov was defined by the Council of the Academy of Arts as "appointed" - one of the formal qualification levels of the artist, which made it possible to receive the title of academician after completing a task assigned by the Council. Venetsianov becomes an academician after writing a given portrait of K. I. Golovachevsky.

"Barn" (1821)

Soon after receiving the title of academician of painting, Venetsianov unexpectedly leaves the capital and service and settles in his estate Safonkovo ​​in the Tver province. Here he creates his most significant works, dedicated to the poeticization of peasant life.

Before starting work on the painting “The Barn”, the artist ordered his serfs to dismantle the front wall in a large barn where grain was stored. He set himself the task of conveying depth, similar to those that struck him in the paintings. French painter Francois Granet. In addition to the image of a room receding into the distance, amazing for that time, the carefully verified composition of frozen in different poses figures of peasants and animals. They are full of ancient significance and amazing poetry.

The painting was highly appreciated by Emperor Alexander I, who bought it from the artist, and also presented the author with a diamond ring. This slightly eased his financial situation.

“On the arable land. Spring" (1820s)

Many paintings by Alexei Gavrilovich Venetsianov are full of secrets and mysteries that are still beyond the control of professionals and art lovers. Such is a small canvas (65 x 51 cm) with an almost Botticelli title and a poetic sound commensurate with the greatest masterpieces of the Renaissance. It is believed that this picture is part of a cycle dedicated to the seasons.

The scene of peasant labor appears as an action full of sacred, cosmic meaning. The figure of a young woman who went to hard work, wearing her best clothes, a child on the edge of the field, making the plot look like an icon of the Virgin, the mirror figure of another peasant woman leaving in the depths - everything is full of mysteries. The landscape is filled with significance and great simplicity, against which these ordinary and at the same time majestic events take place. Alexey Venetsianov, whose paintings are difficult to attribute to a particular genre, is considered one of the founders of the Russian poetic landscape.

"Reapers" (1820s)

But the main genre for Venetsianov is the portrait, and the main task that he solves is the expression of genuine interest and respect for those he portrays. High pictorial skill, combined with laconicism and sophistication of the composition, enhances the impression that Venetsianov has on the viewer. the content of which can fit into a few phrases, amaze with depth and versatility, even if their heroes are simple peasants.

On the hand of the reaper, who stopped for a moment to rest, two butterflies sat down. A boy looks at them over his shoulder, mesmerized by their beauty. The artist painted almost a snag - it seems that now the light wings will flutter and disappear in the summer heat. The main characters are just as real - their faces, hands, clothes. The feelings expressed by the young woman and the child also seem real, and most importantly, one can feel tangibly how Venetsianov admires them.

"Morning of the Landowner" (1823)

The role of Venetsianov as the founder of genre diversity in Russian painting is undeniable. One of the first he tried to draw attention to the special beauty of Russian nature, paving the way for the future brilliant landscape painters - Levitan, Shishkin, Kuindzhi, Savrasov. In the portrait, he showed completely unusual main characters - people from the people. But the poeticization of the everyday genre was a particularly innovative phenomenon.

It is believed that the master made his wife, Marfa Afanasievna, and her serf girls the heroines of his painting. This explains the warm feeling that permeates this canvas. There is no confrontation between the hostess and her forced servants - it is more like a family scene in which the girls have their own dignity and calm beauty. The environment plays an equally important role in the picture: the lovingly painted filling of the interior and - what is especially striking - the soft, but all-filling light.

"Zakharka" (1825)

Peasant children are frequent characters in portraits and genre paintings that Venetsianov painted. The paintings “The Sleeping Shepherd”, “Here are the Father’s Dinner”, “The Shepherd with a Horn” depict children not as disembodied cherubs from icons and classical paintings - these are full-fledged heroes with their own character, experiencing powerful emotions that are part of the harmony of our world. Such is Zakharka - main character With the names and descriptions of such works of the artist, his vocation as a teacher, which left its mark on Russian painting, becomes clear.

He thought about the fate of talented children born as serfs when he saw a yard boy trying to draw something with chalk on a blackboard. Soon the “Venetsianov school” was born from this. In addition to teaching skills, he gave shelter to peasant children, fed and watered them, and tried to redeem many of them to freedom. Among the students of Venetsianov - brilliant Gregory Forty and about 70 artists, many of whom graduated from the capital's Academy of Arts. The activities of the school proceeded in the face of opposition from official academicians, who did not honor Venetsianov with the title of teacher of painting.

“In the harvest. Summer" (182?)

His life cannot be called carefree, it has always been filled with work and trouble. Its end was also tragic and unexpected - Aleksey Gavrilovich died in 1847, when the horses harnessed to his wagon suddenly became frightened and carried away, and he, trying to stop them, fell onto the road.

Man on earth, the harmony of his relationship with nature, with the whole world around - main topic artist Venetsianov, main point and the value of his heritage, something for which his name is revered by connoisseurs and lovers of Russian painting. The painting depicting a reaper against the backdrop of a recognizable Russian landscape, which at the same time has cosmic significance, is one of the pinnacles of the great Russian painter's work.