S.A. Lobovikov

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 national household 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 the 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 obtain 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. Alexei Venetsianov, whose paintings are difficult to attribute to certain genre, is considered one of the founders of the Russian poetic landscape.

"Reapers" (1820s)

But the main genre for Venetsianov remains the portrait, and the main task 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 contents 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 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 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, 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 - Alexei Gavrilovich died in 1847, when the horses harnessed to his wagon suddenly got scared 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 picture 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.

Looking at the pictures of everyday life, I saw a strong contrast of life. In this post, I collected life in a village hut, empty log walls, dim light, a stove and a heavy table without a tablecloth - a picture of life in this space.

1. Felitsyn R. On the porch of the hut. 1855


Childhood is a carefree time, but looking at these girls doubt arises. Such a concentrated face of the older one, the younger one braiding the curls and the eyes of the second looking into the distance ...

2. Shibanov M Peasant dinner. 1774


In the dark space of the hut, a modest dinner, and such different emotions are read on the faces of these people! The nursing mother of her child is the only one in the world. A deep exhalation and the shoulders become heavy, and the beat of the heart is heard ...

3. Kulikov And Winter Evening


The time for field work has ended in winter, in the dim light of a window and in the evening a torch, work of a different nature, handicraft and homework, continues.

4. Maksimov V Poor dinner. 1879


And again the dark tones of the low ceiling of the hut and empty walls. There are not even curtains in this house, everything is too heavy, tired faces, doom ... And what beautiful colour men's shirts.

5. _Maksimov In Grandmother's Tales. 1867


Probably one of the most interesting moments life - grandmother's stories on a dark evening with a torch - this is both learning and knowledge and traditions and wisdom of life. How cozy...

6. Maksimov V Who is there. 1879


I remember when it's dark winter evening at my grandmother's, under the crackling of the stove and the sound of the wind in the wires, suddenly the crunch of snow under someone's feet and a knock on the door ... from something it was always a little scary, while my grandmother went out into the corridor, I waited wary and that's someone's familiar voice and that's it it's getting cozy and safe again ;)
The shadow on the wall reminded me of that feeling.

7. Maksimov V A sick husband. 1881


A terrible and sad scene... all that remains is to pray and wait...

8. Maksimov V Outlived the old woman. 1896

I can't find the words to express all the feelings that arise when looking at this story. Incredibly strong.

9. Maksimov In the Family section. 1876


And again low ceilings, I can only guess - from what the section comes from.

10. Shibanov M. Festival of the wedding contract. 1777


From the treat - a loaf on the table, and what elegant women! The meaning of "dowry" becomes clearer. The girl's outfit is hers spiritual world. You can't buy this...

11. Trutovsky K In the hayloft. 1872


The wonderful joys of life. Don't look without a smile ;)

12. Pelevin And The Firstborn. 1888

No matter how harsh the world outside the outskirts is, the happiness of the arrival of a baby illuminates the heart. So there is more light in the hut, and the white oven and the dishes shine and the touching kitten in the cradle, every detail is filled with joy.

13. Korovin P Christening. 1896

Art of the Netherlands 16th century
Painting "Peasant dance". In 1567-1569, Pieter Brueghel executed a number of paintings on the themes folk life(“Peasant Dance”, “Peasant Wedding” – both at the Kunsthistorisches Museum, Vienna). Apparently, Brueghel managed to create one of his best genre works - "Peasant Dance". Its plot does not contain allegory, but general character is distinguished by pathos closed in itself and rigid rationality. The artist is interested not so much in the atmosphere of the peasant festival or the picturesqueness of individual groups, but in the peasants themselves - their appearance, facial features, habits, the nature of gestures and the manner of movement. The heavy and strong figures of the peasants are depicted on a large scale unusual for Brueghel, creating the elements and the natural power of nature. Each figure is placed in an iron system of compositional axes that permeates the whole picture. And each figure seems to be stopped - in a dance, an argument or a kiss. The figures seem to grow, exaggerate in their scale and significance. Acquiring almost super-real persuasiveness, they are filled with a rough, even ruthless, but adamantly impressive monumentality, and the scene as a whole turns into a kind of clot characteristic features peasantry, its elemental, powerful force.

In this picture, the everyday peasant genre, concrete in its method, is born. But, unlike later works of this kind, Brueghel imparts exceptional power and social pathos to his images. When this picture was painted, the strongest uprising of the masses, iconoclasm, had just been suppressed. Brueghel's attitude towards him is unknown. But this movement was popular from beginning to end, it shocked contemporaries with the obviousness of its class character, and, presumably, Brueghel's desire to concentrate in his picture the main, distinctive features people stands in direct connection with this fact (it is significant that before his death he destroyed some drawings that apparently had a political character).

Associated with iconoclasm is another work by Brueghel - "Peasant Wedding" (Vienna). Here is the sharpness of vision folk character increased even more, the main figures gained even greater, but already somewhat exaggerated power, and the allegorical beginning was revived in the artistic fabric of the picture. Three peasants look with horror or bewilderment at the wall supposed to be in front, outside the picture. Perhaps this is an allusion to the biblical story about the feast of Belshazzar, when words appeared on the wall predicting death to those who stole treasures from the temple and wished to get out of their insignificant state.

Recall that the rebel peasants, who fought against Catholicism, smashed catholic churches. The shade of some idealization and softness unusual for Brueghel even has a taste of bitter regret and good humanity - qualities that were not in the clear and consistent "Peasant Dance". Some departure from the principles and ideas " Peasant dance" can also be found in the drawing "Summer" (Hamburg), at first glance close to the named painting. However, a complete departure from former hopes took place a little later, when the master created a number of gloomy and cruel paintings (The Misanthrope, 1568, Naples; The Cripples, 1568, Louvre; The Nest Destroyer, 1568, Vienna, Museum), and in including the famous "Blind" (1568; Naples, Capodimonte Museum). They are indirectly connected with the first crisis in the development of the Dutch revolution.

Peasant life in the work of Russian artists.

The theme of the peasantry and peasant life attracted and excited many Russian artists. They turned to the life of the people and labor activity ordinary people and saw in this a special significance. believed that the peasantry is the backbone of the Russian state, and the peasants are the main keepers of the Russian traditions and culture of the country, because it was the peasantry who for many centuries managed to preserve the original Russian way of life and self-organization.

The life of a peasant was highly dependent on the change of seasons. In the period from spring to autumn, they worked in the field, picked mushrooms and berries for the winter, grazed cattle and prepared hay and firewood for the cold.

N.E. Makovsky "Feeding turkeys" oil on canvas. V.E. Makovsky "Girl with geese" oil on canvas. 1875

VE Makovsky "Fisherwomen" oil on canvas. 1886

I.F. Khrutsky "Portrait of a boy" oil on canvas. 1834. A.I. Strelkovskiy "At the Well" watercolor on paper. 1878.

Most of the time in the summer, the peasants, young and old, spent in the field. Therefore, a lot of rituals and holidays were associated with agriculture and the change of seasons. The peasants even had their own special calendar, which fixed milestones agricultural work and holidays associated with their completion.

A.G. Venetsianov "On arable land, spring" oil on canvas. 1820

G. Myasoedov. "The Passionate Time" oil on canvas. 1887

The peasants spent the whole day in the field. They worked from spring, growing crops all summer and early autumn. They went to the field with the whole family, where they dined and rested. Even babies were taken into the field, who were supposed to be looked after by older guys.

A.G. Venetsianov "Reapers" oil on canvas. 1820s

Makovsky K.E. "Peasant lunch in the field" oil on canvas. 1871

Z.E. Serebryakova "Peasants" oil on canvas. 1914

Makovsky K.E. "Reaper" oil on canvas. 1871

Harvest The final stage of farming was harvesting or “harvesting”. The peasants took this time very seriously, because they were gathering the long-awaited harvest, the result of everyday work. They said: "What you collect in August, you will spend the winter with it." “The first sheaf is the first autumn holiday”On the Assumption (August 28 - according to a new style), the holiday of the end of the harvest (dozhinki) was celebrated. These days, an ancient rite was performed, associated with the veneration of mother earth.

Z.E.Serebryakova. "Harvest" oil on canvas. 1915

A.G. Venetsianov “Summer, At the Harvest” oil on canvas. 1820

K.S.Malevich "Hacks" oil on canvas. 1912

In winter, the peasants were mainly engaged in household chores. The women sat at the needlework. They spun, weaved, knitted, sewed new clothes. Men went hunting, harvested firewood, fished, made tools for summer jobs. In some villages, they were engaged in folk crafts, such as basket weaving or pottery.

VG Malyshev "Kitchen" oil on canvas.

Z.E.Serebryakova "Peasant woman with pots" paper, watercolor, whitewash 1900s A.G.Venetsianov "Peasant woman at embroidery" oil on canvas 1843

I.A. Pelevin "Children in a sleigh" oil on canvas. 1870

Most peasant families there were many children. Children with early years love for one's family, respect for elders, fellow villagers, respect for parents were instilled. They grew up in conditions of mutual assistance, older children always helped and looked after the younger ones, and the younger ones obeyed the elders. Peasant children worked together with adults, over time doing more and more difficult and responsible work, often doing the same work as their parents.

V.E. Makovsky "Peasant Children" oil on canvas.

A. M. Kolesov “Peasant woman giving a drink to a soldier” oil on canvas 1859 K. V. Lemokh “Varka” oil on canvas. 1893

V.E. Makovsky "Shepherds" oil on canvas. 1903

A.G. Venetsianov “The Sleeping Shepherd” wood, oil. 1824

V. Vasnetsov "For Water" oil on canvas. N. Pimonenko "Boy with a basket" canvas on cardboard, oil. late XIX– early XX

A.G. Venetsianov "Peasant children in the field" oil on canvas. 1820s Makovsky K.E. "Children running from a thunderstorm" oil on canvas. 1872

In the Russian village of the past, an important aspect of social and family life constituted a holiday. Holidays interrupted the monotony of everyday life, set a certain rhythm for life. The holiday was a real ritual, where everything had its time, its place. Sunday after working week- the day is not just a free day, but a festive day, for which they are preparing.

We were seriously preparing for the big holidays. The hostesses washed the floors and heated the baths, dressed in elegant clothes, went to holiday service to church, they baked pies, cooked meat soup. Gathered on the table, spread a clean tablecloth, put treats. The father of the family played the accordion, sang songs, danced. Major holidays were celebrated by the whole village. The peasants even said: "We whole year we are working for the holiday.

K.A.Trutovsky "Dance on the Trinity in the Kursk province" oil on canvas. 1860

One of the brightest moments in the life of the peasants was their young years before marriage. This is the time of joint games of girls and boys, gatherings, round dances, caroling at Christmas time.

A special place in the life of peasant youth was occupied by a round dance. The round dance often began like this: two or three young women and the same number of brides stood in the middle of the street and began to “play songs”. Many young women and girls joined them, then young men and boys came up, often with harmonicas, rattles, tambourines. Then one of the participants was already singing loudly, and a guy with a handkerchief in his hands came out into the middle of the circle. A round dance began ... Round dance

B.M. Kustodiev "round dance" oil on canvas

A.P. Ryabushkin "A guy got into a round dance" oil on canvas. 1902

Wedding Wedding was the main ritual in the life of a peasant. Marriage meant acquiring the status of a full and full member of the community. The whole settlement participated in the ritual, and each of the participants had a role consecrated by tradition. Married and married necessarily with the consent of the parents and with their blessing.

E.V. Chestnyakov "Svahonka, my dear, come out!" wood, tempera

E.V. Chestnyakov "Peasant Wedding" wood, oil

On long winter evenings, especially on Christmas Eve, peasant girls wondered, trying to penetrate the secrets of their fate and unravel who their betrothed would be. Divination

N. K. Pimonenko " Christmas divination" canvas, oil. 1988 A. G. Venetsianov "Fortune-telling on the cards" oil on canvas. 1842

The presentation was prepared by the teacher additional education GBOU school No. 245 of the Primorsky district of St. Petersburg Oreshkina Natalya Nikolaevna. 2014

Sergey Alexandrovich Lobovikov was born in 1870 in the village of Belaya, Glazovsky district, Vyatka province, in the family of a deacon. He graduated from a rural school, studied for two years at the Glazov Theological School. Orphaned at the age of 14. In 1885 he was given as a guardian to apprentice in the photography studio of Pyotr Grigoryevich Tikhonov in Vyatka. In 1892 he was taken to the real military service(released in 1893 for health reasons). In 1893 he worked for a short time in photography by K. Bulla in St. Petersburg. In 1894 he returned to Vyatka and opened his own photo workshop (in 1904 he bought a house on the corner of Moskovskaya and Tsarevskaya streets, where his photograph was placed for 30 years). Since 1899, he participated in exhibitions in Russia and abroad, repeatedly received the highest awards. In 1900 he made a trip to Europe, participated in the Paris World Exhibition (bronze medal).

In 1908 he was elected chairman of the Vyatka Photographic Society, for photographs on International exhibition received in Kyiv gold medal. In 1909 he made a second trip abroad, participated in an exhibition in Dresden. In 1909-1912. - chairman of Vyatsky artistic circle, did great job on the organization of an art and history museum in Vyatka (traveled to Moscow and St. Petersburg to see artists and collectors, collected paintings). In 1909 he received the first prize at the competition of the Russian Photographic Society. In 1913-1914. - Vowel of the Vyatka City Duma. Since 1918 - as a member of the board of the Provincial sub-department for museums and the protection of monuments of art and antiquity. In 1918, many photo studios were nationalized, Lobovikova's teacher Tikhonov was arrested by the Cheka as a hostage and shot (at the age of 66). Lobovikov managed to avoid the nationalization of the workshop, in 1920 he received a safe-conduct from Lunacharsky. In 1921-26. Lobovikov participated in the assessment of seized church valuables, compiled a collection of 617 items of ancient utensils and asked to leave it in Vyatka (despite repeated petitions, the collection was taken to Moscow). In 1927 in Moscow took place personal exhibition Lobovikov in honor of the 40th anniversary of his photographic activity. In those same years, the work of old Russian photographers was criticized as "narrow aesthetic, divorced from Soviet reality." Since 1920, Lobovikov taught photography at the Vyatka Pedagogical Institute. In 1932, he donated his house and photo lab to the Pedagogical Institute. By decision of the institute's management, the laboratory was soon liquidated, and a student hostel was placed in the house (the photographer himself and his family had to huddle in a small part of the house). In 1934 he received an academic pension, moved to Leningrad, worked in the film and photo laboratory of the Academy of Sciences. He died in November 1941 in besieged Leningrad. In 1954, the photo archive of S.A. Lobovikov was transferred by his heirs as a gift to Kirovsky art museum. Lobovikov's house in Vyatka (Kirov) was demolished in the late 1950s.

A. Koltsov

What are you sleeping, man?
After all, spring is in the yard;
After all, your neighbors
They have been working for a long time.
Get up, wake up, get up
Look at yourself:
What were you? and what became?
And what do you have?
On the threshing floor - not a sheaf;
In the bins - not a grain;
In the yard, on the grass -
At least roll a ball.
From brownie cages
Rubbish dared with a broom;
And horses for debt
Divorced by neighbors.
And under the bench is a chest
Overturned lies;
And, bending down, the hut,
Like an old woman, she stands.
Remember your time
How did it roll
Through fields and meadows
Golden river!
From the yard and the threshing floor
Along the big path
Through villages, cities,
For trading people!
And how are the doors to him
Dissolved everywhere
And in the honorable corner
It was your place!
And now under the window
You sit with need
And all day on the stove
You lie without waking up.
And in the fields as an orphan
The bread is worthless.
The wind whittles the grain!
The bird is pecking at him!
What are you sleeping, man?
After all, the summer has passed
After all, autumn is in the yard
He looks through the curtain.
Winter follows her
In a warm coat goes
The path is covered with snow
It crunches under the sleigh.
All the neighbors are on them
Bread is being brought, sold,
Collect the treasury
They drink mash with a ladle.

Lobovikov's favorite filming location was the village of Fileyskoye, which stood near the city on the banks of the Vyatka River.

Lullaby

The sun is setting
And the day gets dark
Fell from the mountain
There is a shadow in the village.
Only the church dome
illuminated by the sun,
And the church is open
And the call goes on.
Bell for Vespers
Christians are calling;
Tomorrow is Sunday -
Rest from work.
And heard in the field
The bells are calling
Peasant to the village
Already drove the cows.
And in the village church
Already full of people
And sparkle with lights
Lots of candles.
Candles labor
Burning brighter than the stars
And people pray
They create in simplicity.

Ivan Nikitin
Grandfather

Bald, with a white beard,
Grandpa is sitting.
Cup with bread and water
It stands in front of him.
White as a harrier, wrinkles on the forehead,
With a tired face.
He saw a lot of trouble
For your lifetime.
Everything is gone; power is gone,
Dulled look;
Death laid in the grave
Children and grandchildren.
With him in a smoky hut
The cat lives alone.
He is also old, and sleeps the whole day,
It won't jump off the stove.
The old man needs a little:
Bast shoes to weave and sell -
Here is satiety. His consolation -
AT God's temple walk.
To the wall, near the threshold,
Will be there, groaning,
And glorifies God for sorrows,
God child.
He is glad to live, not averse to the grave -
To a dark corner.
Where did you get this power?
Poor guy?