Modern still life with flowers. Famous still lifes
Let's move on to the final stage of this series of posts about the still life genre. It will be dedicated to the work of Russian artists.
Let's start with Fyodor Petrovich Tolstoy (1783-1873). Still life graphics by F.P. Tolstoy, a famous Russian sculptor, medalist, draftsman and painter, probably the most outstanding and valuable part of his creative heritage, although the artist himself said that he created these works "in his free time from serious studies."
The main property of Tolstoy's still life drawings is their illusory nature. The artist carefully copied nature. He tried, in his own words, “with strict clarity to transfer from life to paper the copied flower as it is, with all the smallest details belonging to this flower.” To mislead the viewer, Tolstoy used such illusionistic techniques as the image of dew drops or translucent paper covering the drawing and helping to deceive the eye.
Ilya Efimofich Repin (1844-1930) also repeatedly turned to such a still life motif as flowers. Such works include the painting “Autumn Bouquet” (1892, Tretyakov Gallery, Moscow), where the artist depicts with equal attention autumn landscape, a young woman standing against the background of golden trees, and a modest bouquet of yellow and white flowers in her hands.
I. Repin. Autumn bouquet. Portrait of Vera Repina. 1892, Tretyakov Gallery
The history of the painting “Apples and Leaves” is somewhat unusual. The still life, combining fruits and leaves, was staged for Repin's student, V.A. Serov. The teacher liked the subject composition so much that he decided to write such a still life himself. Flowers and fruits attracted many artists, who preferred these, among other things, to show the world of nature most poetically and beautifully. Even I.N. Kramskoy, who was dismissive of this genre, also paid tribute to still life, creating a spectacular painting “Bouquet of Flowers. Phloxes” (1884, Tretyakov Gallery, Moscow).
Valentin Alexandrovich Serov (1865-1911) is known to most of us as an artist who paid attention in his work to landscape, portrait and history painting. However, it should be noted that the subject in his work always played an important role and often occupied the same equal position as other elements of the composition. A little higher, I already mentioned his student work "Apples on the Leaves", 1879, made under the direction of Repin. If we compare this work with a work written on the same theme by Repin, we can see that Serov's still life is more etude than the canvas of his teacher. The novice artist used a low point of view, so the first and second shots are combined, and the background is reduced.
Known to everyone since childhood, the painting "Girl with Peaches" goes beyond the portrait genre and it is no coincidence that it is called "Girl with Peaches", and not "Portrait of Vera Mamontova". We can see that the features of a portrait, interior and still life are combined here. The artist pays equal attention to the image of a girl in a pink blouse and a few, but skillfully grouped objects. Pale yellow peaches, maple leaves and a shiny knife lie on a white tablecloth. Other things in the background are also lovingly drawn out: chairs, a large porcelain plate decorating the wall, a figurine of a toy soldier, a candlestick on the windowsill. sunlight, pouring from the window and falling on objects with bright highlights, gives the image a poetic charm.
Mikhail Alexandrovich Vrubel (1856-1910) wrote: “And again it hits me, no, it doesn’t hit me, but I hear that intimate national note that I so want to catch on canvas and in ornament. This is the music of a whole person, not dissected by the distractions of an ordered, differentiated and pale West.”
At the Academy of Arts, Vrubel's favorite teacher was Pavel Chistyakov, who taught the young painter to "draw with form" and argued that three-dimensional forms should not be created in space with shading and contours, they should be built with lines. Thanks to him, Vrubel learned not only to show nature, but as if to have a sincere, almost loving conversation with her. In this spirit, the wonderful still life of the master “Wild Rose” (1884) was made.
Against the backdrop of exquisite drapery with floral motifs, the artist placed an elegant rounded vase painted with oriental patterns. A delicate white rosehip flower stands out clearly, tinted with blue-green fabric, and the leaves of the plant almost merge with the dimly shimmering black neck of the vase. This composition is full of inexpressible charm and freshness, which the viewer simply cannot help but succumb to.
During the period of illness, Vrubel began to paint more from nature, and his drawings are distinguished not only by the chased form, but also by a very special spirituality. It seems that every movement of the artist's hand betrays his suffering and passion.
Particularly noteworthy in this regard is the drawing “Still Life. Candlestick, decanter, glass”. It is a crushing triumph of fierce objectivity. Each piece of still life carries a hidden explosive power. The material from which things are made, whether it is the bronze of a candlestick, the glass of a decanter or the matte reflection of a candle, trembles perceptibly from colossal internal tension. The pulsation is conveyed by the artist in short intersecting strokes, which makes the texture explosive and tense. Thus, objects acquire an incredible sharpness, which is the true essence of things.
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G.N. Teplov and T. Ulyanov. Most often they depicted a plank wall, on which knots and veins of a tree were drawn. Various objects are hung on the walls or plugged behind nailed ribbons: scissors, combs, letters, books, music notebooks. Clocks, inkwells, bottles, candlesticks, dishes and other small things are placed on narrow shelves. It seems that such a set of items is completely random, but in fact this is far from the case. Looking at such still lifes, one can guess about the interests of artists who were engaged in playing music, reading, and who were fond of art. Masters lovingly and diligently depicted things dear to them. These paintings touch with their sincerity and immediacy of perception of nature.
Boris Mikhailovich Kustodiev (1878-1927) also devoted much of his work to the genre of still life. On his cheerful canvases, one can see bright satin fabrics, sparkling copper samovars, the brilliance of faience and porcelain, red slices of watermelon, grape clusters, apples, and mouth-watering muffins. One of his wonderful pictures is "The Merchant for Tea", 1918. It is impossible not to admire the bright splendor of the objects shown on the canvas. A sparkling samovar, bright red pulp of watermelons, glossy apples and transparent grapes, a glass vase with jam, a gilded sugar bowl and a cup standing in front of the merchant's wife - all these things bring a festive mood to the image.
In the genre of still life, much attention was paid to the so-called "dummy still lifes". Many “deceitful” still lifes, despite the fact that their main task was to mislead the viewer, have undoubted artistic merit, especially noticeable in museums, where, hung on the walls, such compositions, of course, cannot deceive the public. But there are also exceptions. For example, “Still Life with Books”, made by P.G. Bogomolov, is inserted into an illusory "bookcase", and visitors do not immediately realize that this is just a picture.
Very good “Still Life with a Parrot” (1737) G.N. Teplov. With the help of clear, clear lines, turning into soft, smooth contours, light, transparent shadows, subtle color nuances, the artist shows a variety of objects hung on a plank wall. Masterfully rendered wood, bluish, pink, yellowish shades which help to create an almost real feeling of fresh smell of freshly planed wood.
G.N. Teplov. “Still life with a parrot”, 1737, State Museum of Ceramics, Kuskovo estate
Russian still lifes-“tricks” of the 18th century testify to the fact that artists are still not skillfully conveying space and volumes. It is more important for them to show the texture of objects, as if transferred to the canvas from reality. Unlike Dutch still lifes, where things absorbed by the light environment are depicted in unity with it, in the paintings of Russian masters, objects painted very carefully, even petty, live as if on their own, regardless of the surrounding space.
At the beginning of the 19th century, the school of A.G. Venetsianov, who opposed the strict delimitation of genres and sought to teach his pupils a holistic vision of nature.
A.G. Venetsianov. Barnyard, 1821-23
The Venetian school opened a new genre for Russian art - the interior. The artists showed various rooms of the noble house: living rooms, bedrooms, studies, kitchens, classrooms, people's rooms, etc. In these works, an important place was given to the depiction of various objects, although the still life itself was of little interest to representatives of the Venetsianov circle (in any case, very few still lifes made by the students of famous painter). Nevertheless, Venetsianov urged his pupils to carefully study not only the faces and figures of people, but also the things around them.
The object in Venetsianov's painting is not an accessory, it is inextricably linked with the rest of the details of the picture and is often the key to understanding the image. For example, the sickles in the painting “The Reapers” (second half of the 1820s, Russian Museum, St. Petersburg) perform a similar function. Things in Venetian art seem to be involved in a slow and serene life characters.
Although Venetsianov, in all likelihood, did not actually paint still lifes, he included this genre in his teaching system. The artist wrote: Inanimate things are not subject to those diverse changes that are characteristic of animate objects, they stand, hold themselves calmly, motionless before an inexperienced artist and give him time to penetrate more accurately and more judiciously, to peer into the relationship of one part to another, both in lines, and in light and shadow by color itself. , which depend on the place occupied by objects”.
Of course, still life also played a big role in the pedagogical system of the Academy of Arts in the 18th-19th centuries (in the classrooms, students made copies from the still lifes of Dutch masters), but it was Venetsianov, who urged young artists to turn to nature, who introduced the still life into his program of the first year of study, made up of such things as plaster figures, dishes, candlesticks, colorful ribbons, fruits and flowers. Venetsianov selected subjects for educational still lifes so that they were of interest to novice painters, understandable in form, beautiful in color.
In the paintings created by talented students of Venetsianov, things are conveyed truthfully and freshly. These are the still lifes of K. Zelentsov, P.E. Kornilov. In the works of the Venetians there are also works that are not essentially still lifes, but, nevertheless, the role of things in them is enormous. You can name, for example, the canvases “Study in Ostrovki” and “Reflection in the Mirror” by G.V. Magpies kept in the collection of the Russian Museum in St. Petersburg.
G.V. Magpie. "Office in Ostrovki". Fragment, 1844, Russian Museum, St. Petersburg
Still lifes in these works do not appear independently, but as parts of the interior arranged in a peculiar way by the master, corresponding to the general compositional and emotional structure of the picture. The main connecting element here is light, gently passing from one object to another. Looking at the canvases, you understand how interesting the world around is to the artist, who lovingly depicted every object, every smallest little thing.
The still life presented in the “Study in Ostrovki”, although it occupies a small place in overall composition, seems unusually significant, highlighted due to the fact that the author fenced it off from the rest of the space with a high back of the sofa, and cut it off with a frame on the left and right. It seems that Magpie was so carried away by the objects lying on the table that he almost forgot about the rest of the details of the picture. The master carefully wrote out everything: a quill pen, a pencil, a compass, a protractor, a penknife, an abacus, sheets of paper, a candle in a candlestick. The point of view from above allows you to see all things, none of them obscures the other. Attributes such as a skull, a clock, as well as symbols of “earthly vanity” (statue, papers, abacus) allow some researchers to classify the still life as a vanitas type, although this coincidence is purely coincidental, most likely, the serf artist used what was on the table his master.
The famous master of subject compositions of the first half of XIX century was the artist I.F. Khrutsky, who painted many beautiful paintings in the spirit of Dutch still life XVII century. Among his best works are “Flowers and Fruits” (1836, Tretyakov Gallery, Moscow), “Portrait of a Wife with Flowers and Fruits” (1838, Art Museum of Belarus, Minsk), “Still Life” (1839, Museum of the Academy of Arts, St. Petersburg).
In the first half of the 19th century, the “botanical still life”, which came to us from Western Europe, was very popular in Russia. In France, at that time, works of botanists with beautiful illustrations were published. Greater fame in many European countries received by the artist P.Zh. Redoubt, who was considered "the most celebrated flower painter of his time." "Botanical drawing" was a significant phenomenon not only for science, but also for art and culture. Such drawings were presented as a gift, decorated albums, which thus put them on a par with other works of painting and graphics.
In the second half of the 19th century, P.A. Fedotov. Although he did not actually paint still lifes, the world of things he created delights with its beauty and truthfulness.
Objects in Fedotov's works are inseparable from people's lives, they are directly involved in dramatic events depicted by the artist.
Looking at the picture fresh cavalier” (“Morning after the feast”, 1846), one is amazed at the abundance of objects carefully painted by the master. A real still life, surprising with its taciturnity, is presented on famous painting Fedotov "Major's Matchmaking" (1848). The glass is palpably real: wine glasses on high legs, a bottle, a decanter. The thinnest and transparent, it seems to emit a gentle crystal ringing.
Fedotov P.A. Major's marriage. 1848-1849. GTG
Fedotov does not separate objects from the interior, so things are shown not only reliably, but also picturesquely subtly. Every most ordinary or not very attractive object that takes its place in the common space seems amazing and beautiful.
Although Fedotov did not paint still lifes, he showed an undoubted interest in this genre. Intuition told him how to arrange this or that object, from what point of view to present it, what things would look next not only logically justified, but also expressively.
The world of things, which helps to show a person's life in all its manifestations, endows Fedotov's works with a special musicality. Such are the paintings “Anchor, more anchor” (1851-1852), “The Widow” (1852) and many others.
In the second half of the 19th century, the still life genre practically ceased to interest artists, although many genre painters willingly included still life elements in their compositions. Things in the paintings of V.G. Perov (“Tea drinking in Mytishchi”, 1862, Tretyakov Gallery, Moscow), L.I. Solomatkin (“Slavilshchiki-gorodovye”, 1846, State historical Museum, Moscow).
Still lifes are presented in genre scenes by A.L. Yushanova (“Seeing off the chief”, 1864), M.K. Klodt (“The Sick Musician”, 1855), V.I. Jacobi (“Pedlar”, 1858), A.I. Korzukhin (“Before confession”, 1877; “In the monastery hotel”, 1882), K.E. Makovsky (“Alekseich”, 1882). All these canvases are now kept in the collection of the Tretyakov Gallery.
K.E. Makovsky. “Alekseich”, 1882, Tretyakov Gallery, Moscow
In the 1870s-1880s, everyday life remained the leading genre in Russian painting, although landscape and portrait also occupied an important place. A huge role for the further development of Russian art was played by the Wanderers, who sought to show the truth of life in their works. Artists began to attach great importance to working from nature and therefore increasingly turned to landscape and still life, although many of them considered the latter a waste of time, a senseless passion for form, devoid of inner content. So, I.N. Kramskoy mentioned the famous French painter, who did not neglect still lifes, in a letter to V.M. Vasnetsov: “A talented person will not waste time on the image, for example, basins, fish, etc. It’s good to do this for people who already have everything, but we have a lot of work to do.”
Nevertheless, many Russian artists who did not paint still lifes admired them, looking at the canvases of Western masters. For example, V.D. Polenov, who was in France, wrote to I.N. Kramskoy: “Look how things are going here, like clockwork, everyone works in his own way, in a variety of directions, what anyone likes, and all this is appreciated and paid. With us, what matters most is what is done, but here it is how it is done. For example, for a copper basin with two fish they pay twenty thousand francs, and in addition they consider this copper craftsman the first painter, and, perhaps, not without reason.
Visited in 1883 at an exhibition in Paris V.I. Surikov admired landscapes, still lifes and paintings depicting flowers. He wrote: “Gibert's fish are good. Fish slime is conveyed masterfully, colorfully, kneaded tone on tone.” There is in his letter to P.M. Tretyakov and such words: “And Gilbert's fish are a miracle. Well, you can completely take it in your hands, it’s written to deceit. ”
Both Polenov and Surikov could become excellent masters of still life, as evidenced by the masterfully painted objects in their compositions (“Sick” by Polenova, “Menshikov in Berezov” by Surikov).
V.D. Polenov. “Sick”, 1886, Tretyakov Gallery
Most of the still lifes created by famous Russian artists in the 1870s and 1880s are works of a sketch nature, showing the authors' desire to convey the features of things. Some of these works depict unusual, rare objects (for example, a study with a still life for I.E. Repin’s painting “The Cossacks write a letter Turkish sultan”, 1891). Such works had no independent significance.
Still lifes by A.D. Litovchenko, made as preparatory sketches for the large canvas “Ivan the Terrible Shows His Treasures to Ambassador Horsey” (1875, Russian Museum, St. Petersburg). The artist showed luxurious brocade fabrics, weapons inlaid with precious stones, gold and silver items stored in the royal treasuries.
More rare at that time were etude still lifes, representing the usual household items. Such works were created with the aim of studying the structure of things, and were also the result of an exercise in painting technique.
Still life played an important role not only in the genre, but also in portrait painting. For example, in the picture I.N. Kramskoy “Nekrasov in the period of the Last Songs” (1877-1878, Tretyakov Gallery, Moscow), objects serve as accessories. S.N. Goldstein, who studied Kramskoy’s work, writes: “In search of the overall composition of the work, he strives to ensure that the interior he recreates, despite his own everyday character, primarily contributes to the awareness of the spiritual image of the poet, the unfading significance of his poetry. And indeed, the individual accessories of this interior - the volumes of Sovremennik, randomly stacked on a table by the patient's bedside, a sheet of paper and a pencil in his weakened hands, a bust of Belinsky, a portrait of Dobrolyubov hanging on the wall - acquired in this work a meaning by no means external signs situations, but relics closely related to the image of a person.
Among the few still lifes of the Wanderers, the main place is occupied by “bouquets”. Interesting “Bouquet” by V.D. Polenov (1880, Abramtsevo Estate Museum), in the manner of execution it is a bit reminiscent of the still lifes of I.E. Repin. Unpretentious in its motive (small wild flowers in a simple glass vase), he nevertheless delights with his free painting. In the second half of the 1880s, similar bouquets appeared in the paintings of I.I. Levitan.
In a different way, I.N. demonstrates the flowers to the viewer. Kramskoy. Many researchers believe that two paintings are “Bouquet of Flowers. Phloxes” (1884, Tretyakov Gallery, Moscow) and “Roses” (1884, collection of R.K. Viktorova, Moscow) were created by the master while working on the canvas “Inconsolable Sorrow”.
Kramskoy demonstrated two “bouquets” at the XII Traveling Exhibition. Spectacular, bright compositions depicting garden flowers on a dark background found buyers even before the opening of the exhibition. The owners of these works were Baron G.O. Gunzburg and the Empress.
At the IX Traveling Exhibition of 1881-1882, the attention of the public was attracted by the painting by K.E. Makovsky, named in the catalog "Nature morte" (now it is in Tretyakov Gallery titled "In the Artist's Studio"). The large canvas depicts a huge dog lying on a carpet and a child reaching out from an armchair to fruit on the table. But these figures are just details that the author needs in order to revive the still life - a lot of luxurious things in the artist's studio. Written in the traditions of Flemish art, Makovsky's painting still touches the viewer's soul. The artist, carried away by the transfer of the beauty of expensive things, failed to show their individuality and created a work, the main objective which is a demonstration of wealth and luxury.
All the objects in the picture seem to be collected in order to amaze the viewer with their splendor. On the table is a traditional still life set of fruits - large apples, pears and grapes on a large beautiful dish. There is also a large silver mug, decorated with ornaments. Nearby stands a white-and-blue faience vessel, next to which is a richly decorated ancient weapon. The fact that this is an artist's workshop is reminiscent of brushes placed in a wide jug on the floor. The gilded armchair has a sword in a luxurious scabbard. The floor is covered with a carpet with a bright ornament. Expensive fabrics also serve as decoration - brocade trimmed with thick fur, and velvet from which the curtain is sewn. The color of the canvas is sustained in saturated shades with a predominance of scarlet, blue, golden.
From all of the above, it is clear that in the second half of the 19th century, still life did not play a significant role in Russian painting. It was distributed only as a study for a painting or an educational study. Many artists who performed still lifes as part of the academic program did not return to this genre in their independent work. Still lifes were painted mainly by non-professionals who created watercolors with flowers, berries, fruits, mushrooms. Major masters did not consider the still life worthy of attention and used objects only to convincingly show the setting and decorate the image.
The first beginnings of a new still life can be found in the paintings of artists who worked at the turn of the 19th-20th centuries: I.I. Levitan, I.E. Grabar, V.E. Borisov-Musatov, M.F. Larionova, K.A. Korovin. It was at that time that the still life appeared in Russian art as independent genre.
But it was a very peculiar still life, understood by artists who worked in an impressionistic manner, not as an ordinary closed subject composition. The masters depicted the details of a still life in a landscape or interior, and it was not so much the life of things that was important to them, but the space itself, a haze of light that dissolves the outlines of objects. Of great interest are also graphic still lifes by M.A. Vrubel, distinguished by their unique originality.
At the beginning of the 20th century, such artists as A.Ya. Golovin, S.Yu. Sudeikin, A.F. Gaush, B.I. Anisfeld, I.S. Schoolboy. A new word in this genre was also said by N.N. Sapunov, who created a number of panel paintings with bouquets of flowers.
In the 1900s, many artists of the most different directions. Among them were the so-called. Moscow sezannists, symbolists (P.V. Kuznetsov, K.S. Petrov-Vodkin), etc. Subject compositions occupied an important place in the work of such famous masters like M.F. Larionov, N.S. Goncharova, A.V. Lentulov, R.R. Falk, P.P. Konchalovsky, A.V. Shevchenko, D.P. Shterenberg, who made the still life full-fledged among other genres in Russian painting of the 20th century.
One listing of Russian artists who used elements of still life in their work would take up a lot of space. Therefore, we restrict ourselves to the material presented here. Those interested can learn more about the links provided in the first part of this series of posts about the genre of still life.
Previous posts: Part 1 -
Part 2 -
Part 3 -
Part 4 -
Part 5 -
Still life is a genre that rose to prominence in Western art towards the end of the 16th century and has remained an important genre ever since. Still life are classified according to the depiction of ordinary objects, which can be natural, such as flowers, fruits, etc., or artificial, such as glasses, musical instruments etc. Below is a list of the 10 most famous still lifes famous artists including Chardin, Paul Cezanne, Van Gogh and Giorgio Morandi.
No. 10 Still life series, Artist Tom Wesselman
The pop art movement originated in the 1950s and uses recognizable images from popular culture. Among the most popular works of pop art is a series of still lifes by Tom Wesselmann. His still life paintings depict elements of the modern world, rather than the fruits and vegetables of the previous generation of artists in this genre. This work (Still Life #30) is a combination of painting, sculpture, and a collage of trademarks that Tom saw on the street.
No. 9 Vanitas with violin and glass ball
Illustrator: Peter Klas
From: ,
Pieter Claesz is one of the foremost still life painters of his time. His vanitas with a violin and a glass ball, which depicts many objects, including a skull, but especially the glass ball, which reflects the artist himself in front of the easel, attracts attention. This feels mystical. Caravaggio's "Fruit Basket" is very natural, wormholes are even visible on the fruits. And it is not clear whether the master depicted what he saw, or a deeper meaning lies in the spoiled fruits. Undoubtedly good still life with van Gogh sunflowers. |
The presented rating of still lifes perfectly shows how diverse paintings of this genre can be. A very "Soviet" (or proletarian) work by Wesselmann, although it does not depict the attributes of the USSR, except for the red star. The portrait of Lincoln does not fit into the still life so much, it looks strange between whiskey, fruit, indoor flower, a cat and again fruit, which is involuntarily associated with images of general secretaries, which at one time were an indispensable attribute of any situation. Two bottles of whiskey seem to be beer, give the impression of an everyday, everyday drink that does not require a special snack. White House in the picture, it is almost completely hidden by fruit, which hints that this is just a minor detail of the interior. Bright colors give the composition a clear character of the 60s and make it easier to perceive the red star next to Lincoln. Vanitas contrasts vividly with the violin, which is sharply distinguished by elegance, sophistication, more restrained colors and a set of objects from the opposite world, relative to Wesselmann's painting. Caravaggio's fruit basket is an example of a classic still life, very stylish, concise, which is always nice to see. An interesting palette, which does not differ in the variety of colors, but fits into a certain range of natural shades. And Morandi's work is so simple, essential and pure that it is impossible to get tired of looking at it. A minimum of color, a few items that make up the composition, no patterns, a variety of objects, simple, with the exception of a vase, forms. Nevertheless, I want to consider the still life, find various nuances in apparent simplicity. Cezanne's canvases are a celebration of life, abundance, unpretentious joys - fresh fruits, homemade wine, homemade dessert, intended to be eaten, and not to create a canonical composition. Still life with lemons is very stylish, with a favorable color combination black and yellow, and a plate, a basket and a coffee pair create a kind of "video sequence", give dynamism. The slope in the Chardin painting immediately attracts attention, effectively distinguishes the canvas from the background of any others, although in fact it is quite a classic, traditional still life. The cubic, geometric work of Braque demonstrates that the genre of still life is also possible in this style. Well, Van Gogh's sunflowers are a sunny, joyful, radiant, warm work, but I'm not sure that I would put it in the first place. |
Today I was at an exhibition at the National Ukrainian Museum of Modern Art.
I liked a lot. I share.
Viktor Tolochko
1922-2006, Yalta
"Spring still life", 1985
oil, canvas.
Viktor Tolochko
"Still life with a white teapot", 1993
oil, canvas
/Born in Melitopol, participant of the Second World War, studied in Kharkov. He headed the Art Museum in Yalta, which at that time occupied the halls of the Vorontsov Palace. Then he moved to Donetsk. In his declining years he returned to the Crimea. He painted still lifes, landscapes and portraits. People's Artist Ukraine/.
Ibrahim Litinsky
1908-1958, Kyiv
"Still life with peonies on the piano", 1958
oil, canvas
/Litinsky Ibrahim Moiseevich (1908 - 1958) - Ukrainian artist, portrait painter, master of political and film posters. He graduated from the Kyiv art-industrial school, then studied at the Kiev Art Institute at the theater and film department (1927 - 1928). He painted portraits of prominent people - Stalin, Panas Saksagansky, Ivan Patorzhinsky, Natalia Uzhviy, Gnat Yura. The artist's works are in various private collections./(With)
Nina Dragomirova
1926
"Still life with vegetables", 1971
/Ukrainian artist, painter. Graduated from the Crimean art school named after. N. Samokisha (1952). Member of the National Union of Artists since 1970. Master of landscape and still life. Works are in numerous private collections in Ukraine. (c) /
Sergei Shapovalov
1943, Kirovograd
"Still life". 1998
Oil on canvas
/ Graduated from the Kyiv State Art Institute. Member of the Union of Artists of Ukraine. Honored Artist of Ukraine (2008). A significant part of the artist's works are in traveling art exhibitions of the Ministries of Culture and museums of Ukraine. Many of the artist's works are in private collections. He took part in foreign commercial exhibitions ("New York. Inter-Expo 2002" (USA), "Russian House" in Berlin (Germany). In 2004, the artist's personal exhibition took place in Guadalajara (Spain) (c) /.
Fedor Zakharov
1919-1994, Yalta
"Lilac", 1982
oil, canvas
/ Outstanding painter, master of landscape and still life. Born in with. Alexandrovskoye, Smolensk region. In 1935 - 1941 he studied at the art-industrial school. M. Kalinin in Moscow, in 1943 - 1950 - at the Moscow Art Institute. V. Surikov with A. Lentulov, I. Chekmasov and G. Ryazhsky. In 1950 he moved to Simferopol, where he taught at the Art School. N. Samokish. In 1953 he settled in Yalta. Honored Art Worker of the Ukrainian SSR since 1970, People's Artist of the Ukrainian SSR since 1978.
Laureate of the State Prize of the Ukrainian SSR. T. Shevchenko (1987). Memorial exhibitions of the artist were held at the State Tretyakov Gallery (2003), in Simferopol (2004) and Kyiv (2005). The works are stored in the State Tretyakov Gallery, the National Art Museum of Ukraine, Feodosiya art gallery them. I. Aivazovsky, Simferopol, Sevastopol art museums and others (c) /
Sergei Dupliy
1958, Kyiv
"Phloxes", 2003
oil, canvas
/ Born in 1958 in the village of Sidorovka, Cherkasy region.
A great influence on his formation as an artist was the work of I. Grabar, N. Glushchenko and F. Zakharov.
Member National Union artists of Ukraine since 2000. Lives and works in Rzhishchev. (c) /
Valntina Tsvetkova
1917-2007, Yalta
"Autumn Flowers", 1958
oil, canvas
/Ukrainian and Russian painter, master of landscape and still life. Born in Astrakhan, Russia. Graduated in 1935 from Astrakhan art school. Awarded with orders and medals. People's Artist of Ukraine since 1985. Lived and worked in Yalta. (c) /
Stepan Titko
1941-2008, Lviv
"Still life", 1968
oil, canvas
/Born in the village of Stilskoe, Lviv region.
In 1949, the artist's family was repressed and exiled to the Khabarovsk Territory. In 1959, Stepan Titko graduated from high school and entered the art and graphic department of the Khabarovsk State Polygraphic Institute, and in 1961, the Khabarovsk Art Institute. Since 1964 he lived in Komsomolsk-on-Amur and worked as a graphic designer at the Institute of Cosmonautics. In 1966, together with his family, the artist returned to Ukraine, settled in Novy Rozdil, Lviv region, and worked as a drawing teacher at a school. From 1969 to 1971 Titko S.I. is on a business trip Japanese island Sakyu.
In 1974 he participated in the "bulldozer exhibition". He was accused of formalism and a pro-Western attitude to art.
The works of Titko S.I. are stored in museum and private collections in Ukraine, Poland, Germany, France, the USA and other countries. (c) /
Konstantin Filatov
1926-2006, Odessa
"Still life with a cup", 1970
cardboard, oil
Konstantin Filatov
1926-2006, Odessa
"Eggplant and Peppers", 1965
canvas on cardboard, oil
/Honored Artist of Ukraine. Born in Kyiv.
In 1955 he graduated from the Odessa Art College named after M.B. Grekov. Since 1957 - a member of the republican, all-Union and foreign art exhibitions. Member of the Union of Artists of the Ukrainian SSR since 1960.
Worked in the area easel painting. Author of numerous genre paintings, landscapes, portraits and still lifes.
From 1970 to 1974 - a teacher at the Odessa Art College.
In 1972 he became the Laureate of the State Prize of the Ukrainian SSR. T. Shevchenko for the paintings "Red Square" and "V. I. Lenin. In 1974 he was awarded the title of "Honored Artist of the Ukrainian SSR".
The works of K.V. Filatov are presented in museum and private collections in Ukraine and abroad. (With)/
Pavel Miroshnichenko (I like this work very much!)
1920-2005, Sevastopol
"Still life", 1992
oil, canvas
/Honored Artist of Ukraine. Landscape painter, master of still life. Born in Belovodsk, Luhansk region.
Member of the Great Patriotic War. Awarded with orders and medals.
From 1946 to 1951 he studied at the Crimean Art School. N. S. Samokish. Since 1951 the artist lived and worked in Sevastopol.
Since 1965 Miroshnichenko P.P. - Member of the Union of Artists of Ukraine.
Works are in the Sevastopol Art Museum. M. P. Kroshitsky and other museum and private collections in Ukraine, Russia, France, Germany, Japan, USA, Poland and the Czech Republic. Five seascapes were purchased for the Museum of Russian Art in Japan. (c) /
Gayane Atoyan
1959, Kyiv
"Cornflowers", 2001
oil, canvas
/ In 1983 she graduated from the Kyiv State Art Institute. He considers his mother, an artist, to be his main teacher. Tatiana Yablonskaya. Since 1982 he has been taking part in art exhibitions.
In 1986 she was admitted to the Union of Artists of Ukraine.
The works of Gayane Atoyan are in the art museums of Kyiv, Zaporozhye, Khmelnitsky, in private collections in Ukraine and abroad. (c) /
Evgeny Egorov
1917-2005, Kharkiv
"Roses", 1995
paper, pastel
/ Worked at the Kharkov Institute of Art and Industry (now KhGADI) from 1949 to 2000. (from 1972 to 1985 - rector) /.
Sergey Shurov
1883-1961, Kyiv
"Still Life", 1950s
Paper, watercolor
Igor Kotkov
1961, Kyiv
"Still life with red flowers" 1990
oil, canvas
/ Graduated from the Kyiv Republican Art School, then - the Art Academy in Kyiv. He worked as a production designer at the film studio "UkrAnimafilm" creating cartoons for adults. Gradually, the artist developed his own style of writing, his own creative style. Now painting - favourite hobby and his life's work. In his creative arsenal, there are several dozen works in private collections in Ukraine, Russia, Germany, Great Britain, the USA, Canada, two solo exhibitions in Kyiv and participation in many other exhibitions. (c) /
Vladimir Mikita (class!)
1931, Transcarpathia
"Hutsul still life", 2002
canvas, mixed media
/People's Artist of Ukraine.
Born in the village of Rakoshino, Mukachevo district, Transcarpathian region. Nationality - Rusyn.
In 1947, after the 9th grade, he passed the exams at the Uzhgorod School applied arts and was admitted to the 3rd course.
From 1951 to 1954 he was in the ranks Soviet army on Sakhalin Island. After the army, he was hired at the Art and Production Workshops of the Artistic Fund of Transcarpathia, where he worked until his retirement in 2001.
In 1962 he was admitted to the Union of Artists of Ukraine. In 2005 - the winner of the National Prize of Ukraine named after. Taras Shevchenko.
He was awarded the orders of Yaroslav the Wise V and IV degree. Since 2010 - Honorary Citizen of Uzhgorod.
The artist's works are in the funds of the Ministries of Culture of Ukraine and Russia, in various art museums, including foreign ones: Lithuania, Slovakia, Germany, Hungary, Serbia, Venezuela and in private collections around the world. (c) /
Anastasia Kalyuzhnaya(also like it a lot)
1984, Kerch
"Still Life" 2006
oil, canvas
/Anastasia Kalyuzhnaya graduated from the National Academy of Fine Arts of Ukraine, Roman Serdyuk Art School. The rich experience of the school of Ukrainian painting served as the basis for the development of the artist. Now she works in Kerch in realistic manner painting. (c) /
Mikhail Roskin
1923-1998, Uzhgorod
"Crystal vase with flowers", 1990
paper, pastel
/Born in Nikopol, Dnepropetrovsk region. He received artistic and professional training at the Studio of Military Artists. M. B. Grekova. Member of the National Union of Artists of Ukraine since 1978 (c) /
Elena Yablonskaya
1918-2009, Kyiv
"Scented tobacco on the window", 1945
cardboard, oil
/ Sister of the artist Tatyana Yablonskaya. The wife of the outstanding Ukrainian artist E.V. Volobuev.
In 1941 she graduated from the Kyiv State Art Institute. In 1945 she was awarded the Medal "For Valiant Labor in the Great Patriotic War of 1941-1945".
Member of the Union of Artists of the USSR since 1944.
Master of easel painting and book graphics. Elena Nilovna illustrated books for twenty years. Several generations of children have grown up at her work. The artist simultaneously led and pedagogical activity— taught graphic artists and sculptors.
In 1977 he was awarded the title - "Honored Artist of Ukraine".
The works of E.N. Yablonskaya are presented in the National Art Museum of Ukraine, in museum, gallery and private collections in Ukraine, Germany, England, the USA and in other countries. (c) /
Oksana Pilipchuk
1977, Kyiv
"Still life", 2001
oil, canvas
/ Pilipchuk Oksana Dmitrievna - painter, member of the National Union of Artists of Ukraine, teacher at the Kyiv National University of Construction and Architecture (department of drawing and painting).
Works are kept in many Ukrainian museums, as well as private collections in Ukraine, Belarus, Russia, Holland, USA, Japan, Slovakia, Czech Republic, Poland, Germany, Israel, France./
Evgeny Smirnov
1959, Sevastopol
"Still life with green pears", 2000
oil, canvas
/Born in Rybinsk, Yaroslavl region, Russia. From 1975 to 1979 studied at the painting faculty of the Saratov Art College. Bogolyubov. Upon graduation, Evgeny Smirnov moved to Sevastopol.
In 1993 he joined the National Union of Artists of Ukraine. Since 2005 - Honored Artist of Ukraine.
The artist's works are in the Sevastopol Art Museum. M.P. Kroshitsky and in other museum and private collections in Ukraine, Russia, Germany and other countries./
Vera Chursina
1949, Kharkov
"Evening still life", 2005
oil, canvas
/ Graphic artist, painter.
Born in with. Borisovka, Belgorod region, Russia.
In 1972 she graduated from the Oryol State Pedagogical Institute - art and graphic department.
In 1980 she defended her diploma at the Kharkov Institute of Art and Industry, majoring in "Easel Graphics". Honored Art Worker of Ukraine, member of the Kharkov branch of the National Union of Artists of Ukraine, teacher of the Kharkov state academy Design and Arts, Professor of the Department of Painting.
Takes part in international, all-Ukrainian and regional exhibitions.
Since 1992 - member of the National Union of Artists of Ukraine. (c) /
Vladimir Kuznetsov
1924-1998, Kharkov
"Still life", 1992
oil, cardboard
/ Graduated from the Kharkov Institute of Arts (1954), taught there. A regular participant in city, regional and regional exhibitions since 1954. The artist's works are in many regional museums, in private collections in Russia and abroad./
Alexander Gromovoi
1958
"Still life", 2011
oil, canvas
/Born in the village of Krasnopolye, Mykolaiv region.
In 1987 he graduated from Uzhgorod State University, in 1993 - the art and graphic faculty of the Odessa Pedagogical Institute named after K.D.Ushinsky. Member of the National Union of Artists of Ukraine since 1995./
Azat Safin
1961, Kharkov
"Still life" 2003
oil, canvas
Anna Faynerman
1922-1991, Kyiv
"Still life with mountain ash", 1966
cardboard, oil
/ Born in the village of Uspenskaya, Beloglinsky district Krasnodar Territory Russia. In 1941 she graduated from the art secondary school them. T. G. Shevchenko. After graduating from the Faculty of Journalism of the Ural University in 1945, she entered the Kyiv Art Institute, from which she graduated in 1951.
While studying at the institute, she worked as a literary collaborator and proofreader in the publishing house "Soviet Ukraine".
The wife of the famous Ukrainian artist Rapoport Boris Naumovich.
Member of the Union of Artists of the Ukrainian SSR since 1955. The works are kept in museum, gallery and private collections in Ukraine and abroad./
Adalbert Marton
1913-2005, Uzhgorod
Still life, 1969
paper, pastel
/Ukrainian-Hungarian painter. Master of the Transcarpathian landscape and still life.
Born in Clerton, USA. In 1936 he graduated from the art-industrial school in Gablontsi, Czechoslovakia.
Since 1937 he lived and worked in Uzhgorod. Since 1957, he has participated in regional, republican, all-Union and international exhibitions. The artist's works are in museums, galleries and private collections in Ukraine, Russia, Hungary, USA, Canada and Japan. In 1972, the artist moved to Hungary, where he died in 2005. (c) /
Alexander Sheremet
1950, Kyiv
"Still life", 2001
oil, canvas
Konstantin-Vadim Ignatov
1934, Kyiv
"Tea ceremony" 1972
tempera canvas
/Born in Kharkov (Ukraine). He studied at the art school in Kyiv, also studied at the Kiev State Art Institute.
AT Soviet time had a reputation as an outstanding illustrator and worked at the Veselka publishing house for about 30 years, where he illustrated more than 100 books. Member of the National Union of Artists of Ukraine./
Lesya Pryymych
1968
"Holy Evening", 2013
oil, canvas
/ Born in Uzhgorod, Transcarpathian region.
Graduated from the Lviv State Institute of Applied and decorative arts(1992). Painter. Member of the National Union of Artists (2006)./
Andrey Zvezdov
1963-1996, Kyiv
still life with autumn leaves" 1991
oil, cardboard
Karl Zvirinsky
1923-1997
"Still life", 1965
Zoya Orlova
1981, Kyiv
Still life", 2004
cardboard, mixed media
Oleg Omelchenko
1980
"Still life with clock", 2010
oil, canvas
Nikolay Kristopchuk
1934, Lviv
"Kosovo still life", 1983
oil, canvas
Boris Kolesnik
1927-1992, Kharkov
"Still life", 1970
cardboard, oil
/Born in with. Vilshany, Kharkiv region.
In 1943-1949. studied at the Kharkov State Art School, in 1949-1955. - at the Kharkov State Art Institute.
In 1965 he joined the Union of Artists of the Ukrainian SSR.
Author of genre lyrical pictures revealing the life and traditions of the Ukrainian people.
Works by Kolesnik B.A. are stored in the Museum of Russian Art in Kyiv, in the art museums of Kharkov and other cities of Ukraine and the former USSR./
Konstantin Lomykin
1924-1993, Odessa
"Pears", 1980
cardboard, pastel
/Painter, graphic artist. People's Artist of Ukraine.
Born in Glukhov, Sumy region. In 1951 he graduated from the Odessa Art College. Member of the Odessa organization of the Union of Artists of the Ukrainian SSR since 1953.
Author of thematic paintings, works household genre, landscapes and still lifes.
Honored Art Worker of the Ukrainian SSR.
The artist's works are in art museums of Ukraine, as well as in private collections in Ukraine, Russia, Japan, France, Greece, Germany, Italy, Portugal and other countries./
Alexander Khmelnitsky
1924-1998, Kharkov
"Still life with a red hat"
oil, canvas
/Born in Kharkov.
Participated in military operations during the Great Patriotic War.
From 1947 to 1953 he studied at the Kharkov State Art Institute, then taught at the Kharkiv Art Institute, (Kharkiv Art and Industry Institute), from1978 - professor
In 1956 he was accepted as a member of the Kharkov organization of the Union of Artists of Ukraine, was the chairman of the painting section.
In 1974, he participated in the creation of the diorama "Forcing the Dnieper" in collaboration with A. Konstantinopolsky, V. Mokrozhitsky, V. Parchevsky for the Museum of the Great Patriotic War in Kyiv.
People's Artist of Ukraine. He has been a corresponding member of the Academy of Arts of Ukraine since 1997.
The artist's works are in museums, galleries, private collections in Ukraine and abroad./
Vladimir Boguslavsky
1954, Lviv
"Bronze jug", 2005
oil, canvas
I hope you enjoyed it.
Thank you for your attention!
I. Mashkov "Still Life" (1930)
The word "still life" is translated from French as "dead nature" (fr. nature morte).
About still life
Everything that no longer lives, breathes, that is torn off, cut off, but continues to please a person with its existence - all this is the subject of a still life.
As an independent genre of painting, still life begins to exist in the 17th century. in the work of Dutch and Flemish artists. And earlier it was only an ornament and performed a utilitarian function.
Early still lifes often contained hidden allegory (allegory), which was expressed through everyday objects endowed with symbolic meaning. Sometimes a skull was depicted in still lifes, which was supposed to remind of the transience of life and the inevitability of death.
The allegorical still life was called Vanitas (lat. vanitas lit.: "vanity, vanity"). Its compositional center is traditionally a human skull.
Bartholomeus Brain the Elder (I half of the 16th century). Vanitas
“Vanity of vanities,” said the Ecclesiastes, “vanity of vanities, all is vanity!”
Willem Claesz Heda. Vanitas
The skull symbolizes frailty human life. Smoking pipe - a symbol of fleeting and elusive earthly pleasures. Glass symbolizes the fragility of life. The keys are the power of the housewife managing the inventory. The knife reminds of the vulnerability of a person and his mortality. A sheet of paper usually with a moralizing (often pessimistic) saying. For example:
Hodie mihi cras tibi - today for me, tomorrow for you;
memento mori - memento Mori;
Aeterne pungit cito volat et occidit - the glory of heroic deeds will vanish in the same way as a dream;
Omnia morte cadunt mors ultima linia rerum - everything is destroyed by death, death is the last boundary of all things;
Nil omne - everything is nothing.
But more often, in still lifes, one can feel the artist’s admiration for objects: kitchen utensils, flowers, fruits, household items - such paintings were purchased by customers to decorate the interiors of their homes.
From the middle of the XVII century. still life in Dutch painting has become widespread as an independent genre. And one of the very first was the floral still life, especially in the works of Ambrosius Bosschaert the Elder and Balthasar van der Ast, and then continued its development in the luxurious still lifes of Jan Davidsz de Heem in the second half of the 17th century. Floral still life is also popular among artists of our time.
The subject of still lifes is extensive: these are the already mentioned flower still lifes, the image of breakfasts, served tables, scientists' still lifes, which depicted books and other objects of human activity, musical instruments, etc.
Consider some of the most famous still lifes.
Willem Claesz Heda (1594-1682) "Still life with ham and silverware" (1649)
Willem Claesz Heda "Still life with ham and silverware" (1649)
In this picture, the artist's virtuoso skill in the transfer of ordinary, everyday household items is noticeable. Kheda depicts them in such a way that it is obvious that he himself admires them: a feeling of tangibility of each of the objects is created.
On a small table covered with a rich heavy tablecloth, we see a lemon and admire its amber softness, smell fresh ham and hear the ringing of sparkling silver. Breakfast is over, so the items on the table are in natural disorder.
Silverware means earthly wealth, ham - sensual joys, lemon - external beauty within which lies bitterness. The picture concludes a reflection on the need to take care not only of the body, but also of the soul.
The still life is designed in a single brown-gray tone, characteristic of the whole Dutch painting that time. The canvas is not only beautiful, it also tells about the hidden " quiet life»objects, seen by the attentive eye of the artist.
The still life is in State Museum fine arts them. A. S. Pushkin in Moscow.
Paul Cezanne (1830-1906) Peaches and Pears (1895)
Paul Cezanne "Peaches and Pears" (1895)
Paul Cezanne was the greatest French painter late XIX in. Having experienced the influence of impressionism, Cezanne opposed them with his method. He spoke out against their desire to follow in art only their visual impression - he was in favor of an objective transmission of reality, based on patterns in nature. He wanted to see not changeable, but constant qualities. Cezanne said: "I want to restore eternity to nature." The artist conducted his creative searches through the synthesis of form and color, form and space. Especially this search can be traced in his still lifes.
Each of the objects in this still life is depicted from a different point of view. We see the table from above, the tablecloth and fruits from the side, the table from below, and the jug from different points of view at the same time. Cezanne strives to show as fully as possible the shape and volume characteristic of peaches and pears. His technique is based on an optical law: warm colors (red, pink, yellow, golden) seem to us to protrude, and cold colors (blue, cyan, green) recede into the depths of the canvas.
The form of objects in Cezanne's still lifes does not depend on random lighting, but becomes constant, inherent in each object. Therefore, Cezanne's still lifes seem monumental.
The painting is in the State Museum of Fine Arts. A. S. Pushkin in Moscow.
Henri Matisse (1869-1954) Blue Tablecloth (1909)
Henri Matisse "The Blue Tablecloth" (1909)
Famous french artist Henri Matisse in foreign art 20th century occupies one of the leading positions. But this place is special.
At the very beginning of the 20th century. Matisse became the head of the first new group in European painting, which was named Fauvism(from French "wild"). A feature of this trend was the freedom to use any color arbitrarily chosen by the artist, the desire for decorative colorfulness. This was a challenge to the established norms of official art.
But after a while this group broke up, and Matisse no longer belonged to any direction, but chose his own path. With his clear, cheerful art, Matisse sought to give peace to the tormented souls of people in the emotional atmosphere of the 20th century.
In the Blue Tablecloth still life, Matisse uses his favorite compositional technique: fabric descending from above. Matter in the foreground, as it were, closes the space of the canvas, making it shallow. The viewer admires the whimsical play of the blue ornament on the turquoise background of the tablecloth, the lines of the still life objects. The artist generalized the forms of a golden coffee pot, a green decanter and ruddy apples in a vase, they lost their volume, and small objects obeyed the rhythm of the fabric, they complement the colorful accent of the picture.
Still life in Russian painting
Still life as an independent genre of painting appeared in Russia at the beginning of the 18th century, but initially it was considered as a “lower” genre. Most often it was used as an educational setting and was allowed only in a limited sense as a painting of flowers and fruits.
But at the beginning of the twentieth century. still life in Russian painting flourished and for the first time became an equal genre. Artists were looking for new opportunities in the field of color, form, still life composition. Among the Russian naturmorists can be called I.F. Khrutsky, I.E. Grabar, P.P. Konchalovsky, I. Levitan, A. Osmerkin, K. Petrov-Vodkin, M. Saryan, V. Nesterenko and others.
The most famous still life of P. Konchalovsky is his Lilac.
P. Konchalovsky "Lilac" (1939)
P. Konchalovsky "Lilac" (1939)
P. Konchalovsky in painting was a follower of Cezanne, he sought to express the festivity of color inherent in Russian folk art, with the help of Paul Cezanne's color constructibility. The artist gained fame precisely thanks to his still lifes, often executed in a style close to cubism and fauvism.
His still life "Lilac" is full of this festive color, pleasing to the eye and imagination. It seems that the spring scent of lilac comes from the canvas.
Clusters of lilacs are depicted in a generalized way, but inner memory tells us the outlines of each flower in the bunch and that's why Konchalovsky's painting seems realistic.
I. Mashkov, a contemporary of Konchalovsky, was no less generous in depicting the materiality of the world, the colorfulness of the palette.
I. Mashkov "Berries against the background of a red tray" (1910)
There is also a riot of colors in this still life, the ability to enjoy every moment that life gives, because every moment is beautiful.
All subjects of the still life are familiar to us, but it is felt that the artist admires the generosity of nature, the richness of the surrounding world and invites us to share this joy with him.
V. Nesterenko "Father of the Fatherland" (1997)
V. Nesterenko "Father of the Fatherland" (1997)
This is a still life contemporary artist V. Nesterenko. The theme of the painting is expressed in its title, and the content is revealed in the image of still life objects - symbols of the imperial power of Peter I. The portrait of the emperor is located against the backdrop of a battle scene, of which there were many in his life. It makes no sense to retell all those deeds for which Peter I is called the father of the Fatherland. can be heard different opinions about the activities of the first Russian emperor, but in this case the artist expresses his opinion, and this opinion is expressed by him very convincingly.
The still life is in the Kremlin, in the reception room of the President of the Russian Federation.
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