Visual arts

Fairy tale world of Viktor Vasnetsov

"Traditions of ancient times" came to life thanks to the brush of Viktor Vasnetsov. Bogatyrs and princesses went beyond book lines and illustrations. The artist grew up in the wilderness of the Ural forests on Russian fairy tales that sounded to the crackle of a torch. And already being in St. Petersburg, he did not forget childhood memories and endured those magic stories onto canvas. We examine fabulous canvases with Natalia Letnikova.

Alyonushka

A barefoot, simple-haired girl on the banks of a forest river. With inexpressible sadness, he looks into a deep pool. The sad picture was inspired by a fairy tale about sister Alyonushka and brother Ivanushka, and he painted an orphan from a peasant girl from the Akhtyrka estate, adding, as he himself admitted, the features of Verusha Mamontova, the daughter of a famous Moscow philanthropist. Nature echoes girlish sadness, intertwining with the poetry of folk tales.

Ivan Tsarevich on the Gray Wolf

Gloomy dark forest. And a gray wolf, quite expected for such a thicket. Only instead of an evil grin, the predator has human eyes, and on it are two riders. Cautious Ivanushka carefully holds Elena the Beautiful, submissive to fate. We recognize not only the plot of the Russian fairy tale, but also the image of the girl. The artist endowed the fairy-tale heroine with real features - Savva Mamontov's niece, Natalia.

V.M. Vasnetsov. Alyonushka. 1881

V.M. Vasnetsov. Ivan Tsarevich on a gray wolf. 1889

Bogatyrs

Viktor Vasnetsov. Bogatyrs. 1898

One of the most famous paintings Vasnetsov devoted 20 years of his life to Russian painting. "Bogatyrs" became the artist's largest painting. The size of the canvas is almost 3 by 4.5 meters. Bogatyrs are a collective image. Ilya, for example, is a peasant Ivan Petrov, and a blacksmith from Abramtsevo, and a cab driver from the Crimean bridge. At the heart of the picture are the childish feelings of the author. “So it was before my eyes: hills, space, heroes. Wonderful dream of childhood.

Song of Joy and Sorrow

Viktor Vasnetsov. Sirin and Alkonost. A song of joy and sorrow. 1896

Alkonost and Sirin. Two half-birds with ghostly promises of a cloudless paradise in the future and with regrets about the lost paradise. Vasnetsov embellished sexless birds, giving mythical creatures lovely female faces and rich crowns. Sirin's singing is so sad that the leaves of a century-old tree turned black, the delight of an alkonost can make you forget about everything ... if you linger on the picture.

Magic carpet

Viktor Vasnetsov. Magic carpet. 1880

Painting for Office railway. Not a train, not even a postal troika. Magic carpet. This is how Victor Vasnetsov responded to the request of Savva Mamontov to paint a picture for the industrialist's new project. The fabulous flying machine, a symbol of victory over space, puzzled the members of the board and inspired the artist himself. Mamontov bought the painting, and Vasnetsov discovered new world. In which there is no place for the ordinary.

Three princesses of the underworld

Viktor Vasnetsov. Three princesses underworld. 1884

Gold, copper and coal. Three riches that are hidden in the bowels of the earth. Three fabulous princesses are the embodiment of earthly blessings. Proud and haughty gold, curious copper and timid coal. Princesses are mistresses of mountain mines, accustomed to command people. There are two pictures with such a plot at once. On one of them in the corner - as petitioners, the figures of two men obsequiously looking into beautiful cold faces.

Koschei the Deathless

Viktor Vasnetsov. Koschei the Deathless. 1917–1926

Rich mansions with chocolate, red and gold hues. The luxury of brocade and rare woods is a worthy frame for heavy chests with treasures, and the main treasure that Koshchei cannot get into his hands is a young beauty. The girl is interested in the sword, which, however, cannot defeat Koshchei. The image of the main fairy-tale villain Viktor Vasnetsov wrote for nine years. Chronologically, the picture was the last for the artist.

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(musical accompaniment)

Sirin and Alkonost. Song of Joy and Sorrow

Oleg's farewell to the horse. Illustration for “Songs about prophetic Oleg” A.S. Pushkin

Vasnetsov Viktor Mikhailovich (Viktor Mikhailovich Vasnetsov, 1848–1926), a great Russian artist, one of the founders of Russian Art Nouveau in its national romantic version.
Born in the village of Lopyal (Vyatka province) on May 3 (15), 1848 in the family of a priest. He studied at the seminary in Vyatka (1862-1867), then at the drawing school at the Society for the Encouragement of Arts in St. Petersburg (where Vasnetsov's mentor was Ivan Nikolaevich Kramskoy) and at the St. Petersburg Academy of Arts (1868-1875).

Vasnetsov is the founder of a special "Russian style" within the pan-European symbolism and modernity. The painter Vasnetsov transformed Russian historical genre, combining the motifs of the Middle Ages with the exciting atmosphere of a poetic legend or fairy tale; however, the tales themselves often become the themes of his large canvases. Among these picturesque epics and fairy tales by Vasnetsov are the paintings "The Knight at the Crossroads" (1878, Russian Museum, St. Petersburg), "After the Battle of Igor Svyatoslavich with the Polovtsy" (based on the legend "The Tale of Igor's Campaign", 1880), "Alyonushka" (1881), "Three Heroes" (1898), "Tsar Ivan Vasilyevich the Terrible" (1897; all paintings are in the Tretyakov Gallery). Some of these works ("Three Princesses of the Underworld", 1881, ibid.) are already typical for Art Nouveau decorative panel paintings that take the viewer into the world of dreams. For his painting "Alyonushka" the artist could not find a model for a long time. None of the girls, according to the artist, resembled that fairy-tale sister Ivanushka, whom he so clearly imagined. But one day the artist realized that his heroine should have the eyes of Verochka Mamontova (the one with whom Serov wrote his “Girl with Peaches”). And he immediately rewrote the face again, asking the girl to sit motionless in front of him for at least half an hour.

Master decorative painting Vasnetsov showed himself in the panel " Stone Age"(1883-85), written for the Moscow Historical Museum, depicting on it the ancient ancestors of the Slavs. But his greatest accomplishment in the field of monumental art was the murals of the Kyiv Vladimir Cathedral (1885-96); striving to update the Byzantine canons as much as possible, the artist introduces a lyrical, personal beginning into religious images, framing them with folklore ornaments.

Vasnetsov's contribution to the history of architecture and design is also original. In the Russian style, he saw not just a pretext for imitating antiquity, but also the basis for reproducing such properties of ancient Russian architecture as organic, "vegetative" integrity and decorative richness of forms. According to his sketches, a church was built in Abramtsevo in the spirit of the medieval Pskov-Novgorod tradition (1881-82) and the playfully fairy-tale "Hut on Chicken Legs" (1883). He also developed a decorative composition for the facade of the Tretyakov Gallery (1906) with the coat of arms of Moscow (St. George defeating the dragon) in the center.

After 1917, the artist went entirely to fairy theme, which is eloquently evidenced by the titles of the last large canvases: "The Sleeping Princess", "The Frog Princess", "Kashchei the Immortal", "Princess Nesmeyana", "Sivka-Burka", "Baba Yaga", "Three princesses of the underworld", "Sirin and Alkonost" ... He existed on a pension provided to him as an honored artist, Soviet power, to which he, in turn, was forced to sell the house, which is now a house-museum. In the upper room of this house, to this day, there is a heroic oak table with the image of a huge Double-headed Eagle in full breadth, which vividly illustrates the scale and spirit of Vasnetsov's monarchism. The importance of Vasnetsov for the development of the creative element of Russian monarchism can hardly be overestimated. It was in his paintings that a generation of future theorists of Russian autocracy was brought up (I. A. Ilyin, P. A. Florensky). It was Vasnetsov who gave rise to the national school in Russian painting (M. Nesterov, P. Korin, I. Bilibin). Black-and-white postcards with images of Vasnetsov's paintings, published in millions of copies during the First World War, contributed to the high patriotic upsurge of the Russian spirit. No less great was the influence of the artist on Soviet art and culture, namely in the Vasnetsov Budyonnovka (or, as they were originally called, bogatyrs), designed by the artist for a single holiday parade of the tsarist army, due to a special set of circumstances, became the form of the army, which in 1918-1922 restored the unity of the country and repulsed foreign intervention.

Vasnetsov died in Moscow in his studio, working on a portrait of the artist M.V. Nesterov.

The younger brother of the famous Viktor Vasnetsov, much less known, Appolinary Vasnetsov was also an artist - by no means was his timid shadow, but had a completely original talent. An excellent master landscape painter, A. M. Vasnetsov became famous as a connoisseur and inspired poet of old Moscow. It is rare that someone who once sees will not remember his paintings, watercolors, drawings, recreating the excitingly fabulous and at the same time so convincingly real image of the ancient Russian capital.

AT In 1900, Appolinary Vasnetsov became an academician of the St. Petersburg Academy of Arts, then led the landscape class of the Moscow School of Painting, Sculpture and Architecture, and from 1918 headed the Commission for the Study of Old Moscow and conducted archaeological research during earthworks in the central part of the city.

The grandson of Viktor Vasnetsov, Andrei Vasnetsov, also became an artist, later - the founder of the so-called " severe style". In 1988-1992 Andrey Vasnetsov was the chairman of the Union of Artists of the USSR, an active member Russian Academy Arts, since 1998 - member of the Presidium. He was honorary chairman of the Vasnetsov Foundation.

Architecture, like design, fascinated Vasnetsov, the reason for this was his participation in the Abramtsevo artistic mug, which zealously sought to create modern synthetic art. In Abramtsevo, Vasnetsov became an architect. Church of the Savior […]

The canvas "Christ the Almighty" was created by Vasnetsov for 9 years, from 1885 to 1896. The artist depicted the image of Jesus Christ, enclosed in a circle of ideal form, in the central part of the composition, Vasnetsov […]

State Tretyakov Gallery, Moscow. The painting "The Shroud" (otherwise it is called "The Laying in the Coffin") was painted by Viktor Vasnetsov in 1901. It depicts the gospel scene of the funeral of the crucified Jesus Christ. In the center of the canvas is depicted Christ […]

1885; watercolor; State Tretyakov Gallery. A connoisseur of Russian folklore, a lover of dramatic fairy tales, Viktor Mikhailovich Vasnetsov appears in a role that is not the most familiar to him. Watercolor sketch called "Spring-Red" - not separate work, […]

In 1873 Alexander Ostrovsky wrote his famous play"Snow Maiden", which was staged on theater stage. Many masters of that time were engaged in the scenery for the production, but the work of Viktor Mikhailovich Vasnetsov occupies a special place. […]

Vasnetsov is known for his artwork on fabulous and epic themes. However, the list of topics of his work is extensive. He painted portraits, paintings on everyday and religious themes. Painting portraits of loved ones helped Vasnetsov create […]

Russian artist Viktor Vasnetsov, true patriot of his country, became the founder of the "Russian style" within the symbolism inherent in European art late 19th century. His work combined historical motives with the poetic atmosphere of fairy tales, leaving a bright mark in Russian and world culture.

Childhood and youth

Viktor Mikhailovich Vasnetsov was born on May 15, 1848 in the village of Lopyale, Vyatka province. Father, priest Mikhail Vasilyevich Vasnetsov, put his whole soul into six children. He did not just raise children in accordance with religious rules, but did everything so that they would grow up diversified, including in the field of science. But little Vitya grew up surrounded by tales, beliefs, legends that abounded in the Vyatka land, and preferred a fairy tale to science.

FROM early childhood Victor painted, and talent was felt in the boy's work. But the Vasnetsov family was not very wealthy, and therefore the father could not send his son to art school. Instead, in 1858 Vitya entered the Vyatka Theological School, where, as the son of a priest, he had the right to study for free.

The next step in education for the young Vasnetsov was the seminary. But this educational institution the young man left with the blessing of his father for the sake of the St. Petersburg Drawing School, where he entered in 1867. Simultaneously with entering the art school, Victor managed to pass the exam at the Academy of Arts, but he began to study there only a year later. AT art school painting teacher at young artist was .

Creation

Viktor Vasnetsov graduated from the Academy in 1873, and began exhibiting while still a student, in 1869. At first, the artist's works were included in the exposition of the Academy. Later, after his entry in 1878 into the Association of Travelers art exhibitions, - in exhibitions organized by the partnership.

Vasnetsov's work is divided into two large stages. Initially, the artist worked in the socio-critical genre. Among his heroes are a couple of impoverished old people in the painting “From Apartment to Apartment”, bored and dull philistines in the painting “Preference”. The artist's works during this period resemble works imbued with irony and compassion at the same time.

At the end of the 19th century, the second stage of Vasnetsov's work began, logically connected with the public's interest in "traditions of ancient times." Features of creativity were combined historical facts and folklore motifs. The artist painted incredibly exciting canvases that touch the soul of any Russian person.

This period includes the works "Gusliary", "The Knight at the Crossroads", "Alyonushka", "Ivan Tsarevich on gray wolf", "Three heroes". The last one, on which they stand guard over the borders of the Russian land, and, perhaps, business card Vasnetsov.

The “epic” period of the painter became, according to contemporaries, a prime example"new Russian style". Vasnetsov also brought innovation to scenography, creating sketches of costumes and scenery for the opera The Snow Maiden. What is worth only the scenery, which should depict the chamber.

In addition to The Snow Maiden, the artist had a hand in theatrical design of Shpazhinsky's drama The Enchantress and Dargomyzhsky's opera Mermaid. The underwater landscape in "Mermaid" is still depicted based on the scenery created by Vasnetsov.

Thanks to the talent of Vasnetsov, visitors to the Historical Museum in Moscow still admire the picturesque frieze "Stone Age". Colleagues highly appreciated this work of the master, made in 1883-1885.

Soon Vasnetsov became interested in the religious theme. His brush made a painting in the St. Petersburg Church of the Savior on Spilled Blood. He worked on wall painting for the Church of the Nativity on Presnya, in collaboration with other painters, created the interior of the memorial church in Sofia.

It took the painter a lot of strength and ten years of life to paint the Vladimir Cathedral in Kyiv. From 1880 to 1890, Vasnetsov and his assistants painted almost 3,000 square meters walls of the cathedral. The artist managed to soften the strictness of the Byzantine canons with a lyrical, poetic beginning, fairy tale motifs.

Vasnetsov brought his own vision of the world into architecture. "Russian style" for him meant not imitation of ancient motifs, but a reasonable borrowing of the special properties of architecture Ancient Russia. With his light hand in the estate of Abramtsevo, the Church of the Savior Not Made by Hands, built in accordance with the Pskov-Novgorod tradition, and the fabulous gazebo "Hut on chicken legs" appeared.

The artist himself designed the house for his own family with the help of the architect Vasily Bashkirov. Now this building, located at Moscow, Vasnetsova lane, 13, is the house-museum of the painter.

After the first Russian revolution of 1905 and Bloody Sunday, Vasnetsov, like a true genius, was imbued with what was happening. His convictions, which at that time practically coincided with the doctrine of the ultra-conservative "Union of the Russian People", led to participation in the financing and design of monarchist publications.

Vasnetsov's later paintings are filled with anxiety, a premonition of inevitable changes. Then the canvas “Varangians” was born, on which Rurik, Sineus and Truvor came to Russia at the vocation of the Novgorodians.

The completed revolution of 1917 put an end to Vasnetsov's active participation in artistic life. The artist switched to illustrations for Russian fairy tales. The master worked on the themes “The Sleeping Princess”, “The Frog Princess”, “The Princess Nesmeyana” until last days, but, according to some critics, the power of the images was no longer the same. But during this period the painter created a number of beautiful portraits.

Personal life

Viktor Vasnetsov's wife, Alexandra Ryazantseva, came from a large Vyatka merchant family, graduated from the Vyatka gymnasium and the first women's medical courses at the Medical and Surgical Academy in St. Petersburg. The artist married Alexandra Vladimirovna in 1878, and for almost half a century the couple lived in perfect harmony. The Vasnetsovs had five children - daughter Tatyana and sons Boris, Alexei, Mikhail and Vladimir.

Apollinary Vasnetsov, younger brother painter, too famous artist. In the village of Ryabovo, Kirov region (Vyatka province), where the family of the priest Vasnetsov lived for more than 20 years, there is a museum of both artist brothers.

Death

The biography of Viktor Vasnetsov ended on July 23, 1926, when he was 78 years old. The artist died of a heart attack in a Moscow workshop. Vasnetsov was buried at the Lazarevsky cemetery, and when it was destroyed, the ashes were reburied at the Vvedensky cemetery.

• Viktor Mikhailovich Vasnetsov in 1912 was granted the "noble Russian Empire dignity with all descendants."
• The Airbus A320 aircraft of the Aeroflot company bears the name of Vasnetsov.
• In 1998, the Bank of Russia dedicated two silver two-ruble coins to the 150th anniversary of Vasnetsov's birth.

• Vasnetsov's paintings and the painter himself appeared on postage stamps Russia and Soviet Union. In Russia in 1998, two stamps and a coupon were issued with the paintings Battle of Slavs with Nomads (1881), Self-portrait (1873) and Ivan Tsarevich on the Gray Wolf (1889).
• According to the memoirs of a colleague in the shop, Mikhail Nesterov, he once asked Vasnetsov if he was hiding from life behind fairy tales. The artist replied:

“Where was higher after the Vladimir Cathedral? Where? Buyers to write? After God? No higher! But there is something that stands up. This, brother, is a fairy tale ... ".

Artworks

• 1876 ​​- "From apartment to apartment"
• 1879 - "Preference"
• 1878 - "The Knight at the Crossroads"
• 1880 - "After the battle of Igor Svyatoslavich with the Polovtsians"
• 1880 - Flying Carpet
• 1881 - Alyonushka
• 1881 - "Three princesses of the underworld"
• 1889 - "Ivan Tsarevich on the Gray Wolf"
• 1890 - "Baptism of Russia"
• 1897 - "Tsar Ivan Vasilyevich the Terrible"
• 1897 - Bayan
• 1897 - "Gamayun - a prophetic bird"
• 1898 - "Sirin and Alkonost"
• 1898 - "Heroes"
• 1899 - "Snow Maiden"
• 1899 - "Guslars"
• 1904 - "The Last Judgment"
• 1909 - "Varangians"
• 1914 - "Duel of Peresvet with Chelubey"
• 1918 - The Frog Princess
• 1926 - The Sleeping Princess
• 1926 - Koschei the Immortal