Painting of the second half of the XIX century. Art of the second half of the 19th century
The turn of Russian fine art towards critical realism was marked in the late 1950s. XIX century.
Painting. The strengthening of democratic traditions, the close connection of painting with the life and way of life of the people led to its flourishing in the second half of the 19th century. The development of painting in post-reform Russia is characterized by a struggle between two trends - academicism and realism. The Academy of Arts still remained the highest government institution that regulated the artistic life of Russia, but its authority among the creative intelligentsia was rapidly declining. Considering modern reality unworthy high art, K.Flavitsky, G.I.Semiradsky opposed it with idealized images, plots abstracted from life from ancient mythology, the Bible, and ancient history. At the same time, the Academy retained its importance as the main school of professional excellence in Russia.
The artificially implanted academism was opposed by democratic tendencies, expressed in the assertion of realism and the national principle in painting. The suppression of the creative freedom of the artist and the imposition of obligatory plots led to the so-called riot of 14: in November 1863, 14 graduates of the Academy (I.N. Kramskoy, F.S. Zhuravlev, A.I. Korzukhin, K.V. Lemokh and others .) left it, refusing to participate in the competition for the gold medal, and created in St. Petersburg the Artel of Artists, modeled on the commune of N.G. Chernyshevsky. After 7 years, the Artel broke up.
In 1870, on the initiative of I.N. Kramskoy, the Association of Traveling Art Exhibitions was established in St. Petersburg. The partnership united the largest Russian realist artists who supported the democratic trend, including N.N. direction in Russian painting. The Wanderers sought to bring art closer to the people. To this end, they organized exhibitions in provincial cities (a total of 48 exhibitions were organized), depicted Russian reality in their works, and recreated the everyday life of ordinary people. The partnership has become truly the center of the national artistic life, at different times it included all the most talented artists: I.E. Repin, V.I. Surikov, V.E. Makovsky, V.D. Polenov, A.M. and V.M. Vasnetsov, I.I. Levitan, V.A. Serov etc.
The work of realist artists was distinguished by an extraordinary variety of genres. Many artists worked in several genres, so I.E. Repin created masterpieces in the genres of portraiture, everyday and historical painting, and landscape. Still one of the most popular genres was the portrait. Portraits were written by almost all artists. I.N.Kramskoy, I.E.Repin, V.G.Perov and N.N.Ge achieved the greatest success. The critical orientation determined a special place for everyday painting. Works the best craftsmen of this genre (V.G. Perov, N.A. Yaroshenko, V.E. Makovsky, G.G. Myasoedov) denounced the social order of the Russian Empire.
The landscapes of A.I. Kuindzhi, I.I. Shishkin, I.I. Levitan, Repin and many other artists gained world fame. VV Vereshchagin, close to the circle of the Wanderers, was a prominent representative of battle painting. The historical past of our country has become the object of paintings by Surikov, Repin, Ge, M.V. Nesterov.
Sculpture. The preservation of the tradition of synthesis of architecture and sculpture determined the general trends in their development, which manifested themselves primarily in the dominance of eclecticism. Examples of eclecticism are the temple-monument to the Heroes of Plevna, created by the Russian architect, sculptor and painter V. O. Sherwood; composition Millennium of Russia in Novgorod, erected according to the project of M.O. Mikeshin with the participation of A.M. Opekushin. He also owns the monument to A.S. Pushkin in Moscow.
By the end of the century, the rejection of sculpture from architecture was becoming increasingly clear, which contributed to the growing role of easel sculpture, which was largely influenced by contemporary painting. This trend was clearly manifested in the work of M. M. Antokolsky, close to the Wanderers, who created a series of sculptures on national, historical and biblical themes (Ivan the Terrible, Ermak, Nestor the chronicler, Yaroslav the Wise, Christ before the court of the people).
Architecture. Architecture, once the leading art form, receded into the background in the second half of the 19th century. An essential factor determining the development of architecture in the post-reform era was the formation of an industrial society, the development of science and technology, and the expansion of production.
The introduction of the achievements of industrial progress into architecture contributed to its intensive development, the improvement of construction equipment, and the growth of the professional level of architects. The buildings became more functional, the construction of public and administrative buildings prevailed, new types of them appeared: railway stations, factory and factory buildings, large covered retail premises, apartment buildings, banks, etc.
The development of private enterprise caused significant changes in the appearance of large cities, the characteristic features of which were the chaotic development, inconsistency in the scale of buildings, the contrast between the lush center and the miserable outskirts. The dominant trend was eclecticism. The most popular type of eclecticism in architecture has become the pseudo-Russian style, the emergence of which is associated with a passion for ancient Russian architecture, folk decorative arts, carving, embroidery. The most famous buildings of this style include: Teremok imitating a wooden peasant hut with a carved porch in Abramtsevo near Moscow (architect I.P. Petrov, better known under the pseudonym Ropet); the buildings of the Historical Museum (V.O. Sherwood and A.A. Semenov), the City Duma (D.N. Chichagov) and the Upper Trading Rows - now GUM (A.N. Pomerantsev) in Moscow.
The theater has become one of the spiritual centers of Russian society. In the second half of the 19th century, realistic tendencies were finally established in theatrical art. The theater has acquired enormous educational and socio-political significance; all the pressing problems of the Russian post-reform society are reflected on its stage. The public role of the theater was largely determined by its repertoire. Many classics of Russian literature willingly worked for the theatre, plays by A.N. Ostrovsky occupied the leading place in the repertoire of drama theaters.
As in the first half 19th century, the main centers of dramatic theatrical art remained the theaters: the Maly in Moscow and the Alexandrinsky in St. Petersburg, which continued the previously established realistic traditions. On the stage of the Maly Theater, P. Sadovsky, S. Shumsky, as well as actors M. Ermolova, A. Sumbatov-Yuzhin, who were beginning at that time, shone. P. Strepetova, K. Varlamov glorified the Alexandrinsky Theater with their art.
In the 60-70s. both in the capitals and in the provinces, private theaters and theater circles began to emerge, the development of which was facilitated by the abolition of the monopoly of state (imperial) theaters in 1882. Created in 1888 in Moscow, the opera singer A.F. Fedotov and the artist F.L. Sologub The Society of Art and Literature, which was mainly engaged in stage activities (staged plays by V. Shakespeare, A.N. Ostrovsky, P.P. Gnedich). One of its leaders was the future director K.S. Stanislavsky. In addition to dramatic productions, ballet and opera were also very popular, in the development of which the Bolshoi and Mariininsky Theaters, as well as the Russian private opera, founded by entrepreneur and philanthropist S.I. Mamontov.
Lyagina Yana
This work introduces us to the art of the XIX century. Art of any time, like a sponge, absorbs the main problems, ideas and views of its time. For Russian art, this circumstance is most significant, since it has always been, if not politicized, then, in any case, closely connected with the ideology of the ruling part of society, whether its reactionary circles or revolutionary radicals.
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Municipal competition of abstract works of students
Municipal state educational institution
secondary school with. Sweetie.
Full address: Saratov region, Yekaterinovsky district, s. sweetie,
st. Working d. 1
Abstract work:
"Russian art in the 19th century"
Grade 10
Supervisor : Yulia Andreevna Sazonova,
art teacher.
2013-2014 academic year
Introduction…………………………………………………………………...………3
1.Culture of Russia of the 19th century: general characteristics……………………….….4
2. Russian art in the 19th century…………………………………………………….6
2.1 Russian art in the first half of the 19th century – “Golden Age of Culture”……………………………………………………………….…………………6
2.2 Russian art in the second half of the XIX century………………………....11
Conclusion………………………………………………………………………….15
List of literature used…………………………………………………………………16
Introduction
Art of any time, like a sponge, absorbs the main problems, ideas and views of its time. For Russian art, this circumstance is most significant, since it has always been, if not politicized, then, in any case, closely connected with the ideology of the ruling part of society, whether its reactionary circles or revolutionary radicals.
Objective - analyze Russian art of the 19th century.
Tasks:
1.Give general characteristics given era;
2. Briefly describe the Russian art of the XIX century in its forms.
- Culture of Russia in the 19th century: general characteristics
The history of Russian art of the 19th century is usually divided into stages.
The first half is called the Golden Age of Russian culture. Its beginning coincided with the era of classicism in Russian literature and art. After the defeat of the Decembrists, a new upsurge in the social movement began. This gave hope that Russia would gradually cope with its difficulties. The country achieved the most impressive successes in these years in the field of science and especially culture. The first half of the century gave Russia and the world Pushkin and Lermontov, Griboedov and Gogol, Belinsky and Herzen, Glinka and Dargomyzhsky, Bryullov, Ivanov and Fedotov.
Visual arts first half of XIX century has an inner commonality and unity, a unique charm of bright and humane ideals. Classicism is enriched with new features, its strengths are most clearly manifested in architecture, historical painting, and partly in sculpture. The perception of the culture of the ancient world became more historical than in the 18th century, and more democratic. Along with classicism, the romantic direction is intensively developed and a new realistic method begins to take shape.
Romantic direction of Russian art of the first thirds of XIX century prepared the development of realism in the following decades, because to a certain extent it brought romantic artists closer to reality, to simple real life. This was the essence of the complex artistic movement throughout the first half of the 19th century. In general, the art of this stage - architecture, painting, graphics, sculpture, applied and folk art - is an outstanding, full of originality phenomenon in the history of Russian artistic culture. Developing the progressive traditions of the previous century, it has created many magnificent works of great aesthetic and social value, contributing to the world heritage.
The second half is the time of the final approval and consolidation of national forms and traditions in Russian art. In the middle of the 19th century, Russia experienced severe upheavals: it ended in defeat Crimean War 1853-1856 Emperor Nicholas I died, Alexander II, who ascended the throne, carried out the long-awaited abolition of serfdom and other reforms. The "Russian theme" became popular in art. Russian culture was not isolated within national boundaries, it was not separated from the culture of the rest of the world.
- Russian art in the 19th century
The beginning of the 19th century is a time of cultural and spiritual upsurge in Russia. The development of Russian culture in the 19th century was based on the transformations of the previous time. The penetration of elements of capitalist relations into the economy increased the need for literate and educated people.A positive role in the cultural life of the country was played by public libraries and museums (First public library was opened in St. Petersburg in 1814). The culture of Russia developed against the background of the ever-increasing national self-consciousness of the Russian people and, in this regard, had a pronounced national character .
2.1 Russian art in the first half of the 19th century - "The Golden Age of Culture
The first third of the 19th century is called the "golden age" of Russian culture. Interest in national history has led to the emergence of numerous novels, short stories, ballads, stories in various historical themes. The most famous were the novels M.N. Zagoskin (1789--1852) "Yuri Miloslavsky, or Russians in 1612", "Roslavlev, or Russians in 1812", "Kuzma Roshchin", I.I. Lazhechnikova (1792-- 1869) "Ice House", "The Last Novik", "Basurman". Even from the titles, it is clear that these and other works of historical prose considered the crisis periods of Russian history: the internecine struggle of Russian princes, Russian wars of liberation, political intrigues and events that, from the point of view of their authors, are of significant importance. At the same time, the political preferences of the authors always came to the fore. For example, M.N. Zagoskin was a clear supporter of the monarchy, and these views of his are manifested not in the political declarations of the author, but in his characters, in descriptions of the elements of everyday life, depending on the personal relationships of the characters on the outcome of many historical events. And yet, at the center of all the narratives, there was one general idea, which most strongly took shape after the war of 1812 and was briefly expressed by I.I. .
History in its extreme moments is the content of Gogol's brilliant "Taras Bulba", Pushkin's "The Captain's Daughter" and "Arap of Peter the Great", his drama "Boris Godunov", the poem "Poltava" and so many works that it is impossible to list them all. A.S. Pushkin became a symbol of his era, when there was a rapid rise in the cultural development of Russia. Pushkin is the creator of the Russian literary language. His work has become an enduring value in the development of not only Russian, but also world culture. He was a singer of freedom and a convinced patriot. The poet bequeathed to his descendants: “It is not only possible, but also necessary, to be proud of the glory of your ancestors ... Respect for the past is the feature that distinguishes education from savagery ....”
The humanistic ideals of Russian society were reflected in the highly civic examples of architecture of that time and monumental and decorative sculpture, in synthesis with which decorative painting and applied art, which often ends up in the hands of the architects themselves. AT architecture XIX in. dominated by classicism. Buildings built in this style are distinguished by a clear and calm rhythm, correct proportions. There were significant differences in the architecture of St. Petersburg and Moscow. Even in the middle of the XVIII century. Petersburg was a city of architectural masterpieces, immersed in the greenery of estates and was in many ways similar to Moscow. Then the regular building of the city began along the avenues that cut through it, rays diverging from the Admiralty. St. Petersburg classicism is not the architecture of individual buildings, but of entire ensembles that amaze with their unity and harmony. . An important role in shaping the architectural image of St. Petersburg is played by the building of the Admiralty, erected according to the project A.D. Zakharova (1761-1811). Facade of the Admiraltystretched for 406 m. In its center is located Triumphal Arch with a high gilded spire, which has become one of the symbols of the city.
The largest architect of this timeAndrei Nikiforovich Voronikhin(1759–1814). The main creation of Voronikhin is the Kazan Cathedral, the majestic colonnade of which formed a square in the center of Nevsky Prospekt, turning the cathedral and the surrounding buildings into the most important town-planning hub of the center of St. Petersburg. In 1813, M.I. Kutuzov was buried in the cathedral and the cathedral became a kind of monument to the victories of Russian weapons in the war of 1812. Later, statues of Kutuzov and Barclay de Tolly, executed by the sculptor, were installed on the square in front of the cathedral B.I. Orlovsky. Russian sculpture of the 30-40s of the XIX century. becoming more democratic. In the sculpture of the middle of the century, there are two main directions: one, coming from the classics, but coming to dry academicism; the other reveals a desire for a more direct and multilateral reflection of reality, it becomes widespread in the second half of the century, but there is no doubt that both directions are gradually losing the features of the monumental style.
A sculptor who, in the years of the decline of monumental forms, managed to achieve significant success and in this area, as well as in "small forms", there wasPetr Karlovich Klodt(1805–1867), author of horses for the Narva Triumphal Gates in St. Petersburg (architect V. Stasov), “Horse Tamers” for the Anichkov Bridge (1833–1850), a monument to Nicholas I on St. Isaac’s Square (1850–1859), I.A. . Krylov in summer garden(1848–1855), as well as a large amount of animalistic sculpture. Classicism was the leading trend in architecture and sculpture in the first third of the 19th century. In painting, it was developed primarily by academic artists in historical genre(A.E. Egorov - "The Torture of the Savior", 1814, Russian Museum; V.K. Shebuev - "The Feat of the Merchant Igolkin", 1839, Russian Museum; F.A. Bruni - "The Death of Camilla, Horace's Sister", 1824, Russian Museum; "The Copper Serpent", 1826-1841, Russian Museum). But the true successes of painting lay, however, in a different direction - romanticism. The best aspirations of the human soul, ups and downs of the spirit were expressed by the romantic painting of that time, and above all by the portrait. In the portrait genre, the leading place should be given to Orest Kiprensky (1782–1836). An invaluable part of Kiprensky's work is graphic portraits, made mainly with soft Italian pencil with tinted pastels, watercolors, and colored pencils. He portrays General E.I. Chaplitsa (TG), A.R. Tomilova (RM), P.A. Olenina (TG). The appearance of quick pencil portraits-sketches is in itself significant, characteristic of the new time: any fleeting change in the face, any mental movement. But in Kiprensky's graphics, a certain evolution is also taking place: in later works there is no immediacy and warmth, but they are more virtuosic and more refined in execution (portrait of S.S. Shcherbatova, it. car., State Tretyakov Gallery).
A Pole can be called a consistent romantic A.O. Orlovsky (1777–1832), He quickly assimilated on Russian soil, which is especially noticeable in graphic portraits. In them, through all the external attributes of European romanticism, with its rebelliousness and tension, something deeply personal, hidden, secret lurks (Self-portrait, 1809, State Tretyakov Gallery). Orlovsky, on the other hand, played a certain role in “breaking through” the paths to realism thanks to his genre sketches, drawings and lithographs depicting St. Petersburg street scenes and types, which brought to life the famous quatrain of P.A. Vyazemsky:
Russia of the past, removed
You pass on to offspring
You grabbed her alive
Under the folk pencil.
Also in the first half of the 19th century. marked by the flourishing of Russian music, associated primarily with the nameMikhail Ivanovich Glinka(1804–1857), who went down in history as the first Russian composer of world significance. M.I. Glinka is considered the founder of Russian classical music. His operas A Life for the Tsar and Ruslan and Lyudmila largely determined further development Russian opera music for many decades to come. hallmark creative approach of the composer was the use of motives of Russian folklore, folk music. Glinka also wrote romances. Glinka's contemporaries made a significant contribution to the development of Russian musical culture.A.A. Alyabiev, A.E. Varlamov, A.L. Gurilev, known today mainly as the authors of romances.
A.A. Alyabiev. A.L. Gurilev A.E. Varlamov
2.2 Russian art in the second half of the 19th century
Conditions for the development of culture in the second half of the 19th century.
Second half of the 19th century - the time of the final approval and consolidation of national forms and traditions in Russian art. In the middle of the XIX century. Russia experienced severe upheavals: the Crimean War of 1853-1856 ended in defeat, Emperor Nicholas I died, Alexander II, who ascended the throne, carried out the long-awaited abolition of serfdom and other reforms. The "Russian theme" became popular in art. Russian culture was not isolated within national boundaries, it was not separated from the culture of the rest of the world. Achievements foreign art found a response in Russia. In turn, Russian culture has received worldwide recognition. Russian culture has taken a place of honor in the family of European cultures.
Fine arts could not remain aloof from the processes taking place in the public mind. The State Tretyakov Gallery in Moscow is one of the largest collections of Russian fine art, a world famous national cultural center. The museum bears the name of the founder - the Moscow merchant P.M. Tretyakov (1832-1898), who in 1892 presented the city with his art gallery, as well as a small collection of his brother and a house, which in 1881 opened to visitors.
At this time, Russian artists reached a level of skill that put their works on a par with the best examples of European art. A trend is formed, which was based on ideas critical realism. One of the first masters of this trend was Vasily Grigorievich Perov (1833–1882). His genre works (“Rural procession on Easter” in 1861, “Seeing the dead man” in 1865, “Troika” in 1868) are the sad stories of the life of the common people, set out in the language of painting.
The landscape has reached unprecedented prosperity. Landscape painting has become one of the advanced areas of development artistic creativity, the genre was taken to new heights. Expressive means improved, technique developed. The landscape of the second half of the 19th century is no longer just an image of “views of landscapes”, but a painting that conveys the subtlest movements of the human soul through images of nature. by the greatest masters landscape in Russia were A.K. Savrasov (“The Rooks Have Arrived” 1871), I.I. Shishkin (“Pine Forest” 1873, “Rye” 1878), A.I. Kuinzhi (“Birch Grove » 1879, « Moonlight night on the Dnieper" 1880), V.D. Polenov ("Moscow courtyard" 1878), I.I. Levitan ("Evening ringing" 1892, "Spring. High water" 1897), K. A. Korovin ("In winter" 1894 "Paris. Capuchin Boulevard" 1906).
Peaks of realistic art of the second half of the XIX century. achieved in creativityI.E. Repin and V.I. Surikov. Historical painting found its highest expression in the work of Vasily Ivanovich Surikov (1848-1916). In the history of the artist, people were most interested in: the masses of the people and strong bright personalities.
The first work that brought fame to V.I. Surikov was “Morning of the Streltsy Execution” (1881). The composition is built on contrast: grief, hatred, suffering, embodied in the figures of archers going to their death and their loved ones, are opposed to Peter sitting on a horse, stone frozen in the distance.
In addition to V.I. Surikov, V.M. Vasnetsov painted pictures on historical topics. The image of history in his works has a palpable epic, fairy-tale tone: “After the battle of Igor Svyatoslavich with the Polovtsians” (1880), “Alyonushka” (1881), the combination of the epic and history was especially vividly manifested in the grandiose canvas “Bogatyrs” (1898 G.).
In 1898 a new artistic association, named"World of Art" . At the head of the formed circle stood the artistA.N. Benois and philanthropist S.P. Diaghilev.The main core of the association wasL.S. Bakst, E.E. Lansere, K.A. Somov. The World of Art arranged exhibitions and published a magazine under the same name. The association included a lot of artists:M. A. Vrubel, V. A. Serov, I. I. Levitan, M. V. Nesterov, A. P. Ryabushkin, N. K. Roerich, B. M. Kustodiev, Z. E. Serebryakova, K. S. Petrov-Vodkin.Miriskussniki defended the freedom of individual creativity. Beauty was recognized as the main source of inspiration. Modern world in their opinion, devoid of beauty and therefore unworthy of attention. In search of the beautiful, the artists of the World of Art often turn to the monuments of the past in their works.
Also in the second half of the 19th century. This is a period of outstanding achievements in science and technology. Chemistry, physics, geography, biology are developing...
The development of the natural sciences, the wide ties between Russian scientists and Western scientists testified to a sufficient place in Russia in the world community.
Conclusion.
Russian art your painting architecture
The art of the 19th century can be compared to a multi-colored mosaic, where each stone has its own place, has its own meaning. So it is impossible to remove a single one, even the smallest one, without violating the harmony of the whole. However, in this mosaic there are the most valuable stones, emitting a particularly strong light.
Over the centuries, Russian art has experienced significant, sometimes fundamental changes: it has been enriched, complicated, improved, but always remained original.
Russian architecture, fine, folk and applied art testify to the invaluable contribution that our people made to the treasury of national and world artistic culture.
The 19th century is perhaps the most complex and interesting period in the history of Russian art. This era gave rise to the brilliant creativity of A.S. Pushkin, popular and universal, full of dreams of freedom. This is the heyday of spiritual culture: literature, philosophy, music, theater and fine arts.
Bibliography.
1. Ilyina T.V. Art History: Domestic Art. Textbook / T.V. Ilyina. - M.: Higher school, 2007. - 407 p.
2. The latest complete reference book for a student in grades 5-11 (volume 2). E.V. Simonova.
Second half of the 19th century was marked by the flourishing of Russian fine arts. It became a truly great art, imbued with the pathos of the liberation struggle of the people, responding to the demands of life and actively intruding into life. In the fine arts, realism was finally established - a truthful and comprehensive reflection of the life of the people, the desire to rebuild this life on the basis of equality and justice.
The central theme of art was the people, not only the oppressed and suffering, but also the people - the creator of history, the people-fighter, the creator of all the best that is in life.
The establishment of realism in art took place in a stubborn struggle with the official trend, represented by the leadership of the Academy of Arts. The academy workers inspired their students with the idea that art is higher than life, put forward only biblical and mythological themes for the artists' work.
On November 9, 1863, a large group of graduates of the Academy of Arts refused to write competitive works on the proposed theme from Scandinavian mythology and left the Academy. The rebels were led by Ivan Nikolaevich Kramskoy (1837-1887). They united in an artel and began to live in a commune. Seven years later, it broke up, but by this time the "Association of Traveling Art Exhibitions" was born, a professional and commercial association of artists who stood on close ideological positions.
The "Wanderers" were united in their rejection of "academicism" with its mythology, decorative landscapes and pompous theatricality. They wanted to portray living life. The leading place in their work was occupied by genre (everyday) scenes. The peasantry enjoyed special sympathy for the Wanderers. They showed his need, suffering, oppressed position. At that time - in the 60-70s. XIX century - the ideological side of art was valued higher than the aesthetic. Only with time did the artists remember the inherent value of painting.
Perhaps the greatest tribute to ideology was given by Vasily Grigoryevich Perov (1834-1882). In his works, Perov passionately denounces the existing system, with great skill and persuasiveness shows the hard lot of the people. In the painting “Rural Procession for Easter”, the artist showed the Russian village on a holiday, poverty, unrestrained drunkenness, satirically portrayed the rural clergy. It strikes with its drama, hopeless sorrow, one of the best pictures Perova - "Seeing the Dead", which tells about the tragic fate of a family left without a breadwinner. His paintings “The Last Tavern at the Outpost”, “Old Parents at the Grave of their Son” are very famous. Subtle humor and lyricism, love for nature are imbued with the paintings "Hunters at Rest", "Fisherman". His work is permeated with love for the people, the desire to comprehend the phenomena of life and the language of art to tell truthfully about them. Perov's paintings are among the best examples of Russian art. His work seems to have something in common with the poetry of Nekrasov, with the works of Ostrovsky, Turgenev. Suffice it to recall such of his paintings as "The arrival of the police officer for the investigation", "Tea drinking in Mytishchi". Some of Perov's works are imbued with genuine tragedy ("Troika", "Old Parents at the Son's Grave"). Perov painted a number of portraits of his famous contemporaries (Ostrovsky, Turgenev, Dostoevsky).
Some canvases of the "Wanderers", painted from life or under the impression of real scenes, enriched our ideas about peasant life. The painting by S. A. Korovin “On the World” shows a skirmish at a rural meeting between a rich man and a poor man. V. M. Maksimov captured the rage, tears and grief of the family division. The solemn festivity of peasant labor is reflected in the painting by G. G. Myasoedov “Mowers”.
The ideological leader of the Association of Traveling Exhibitions was Ivan Nikolaevich Kramskoy (1837-1887), a remarkable artist and art theorist. Kramskoy fought against the so-called "pure art". He urged the artist to be a man and a citizen, to fight for high social ideals with his work. In the work of Kramskoy, the main place was occupied by portraiture. Kramskoy created a whole gallery of wonderful portraits of Russian writers, artists, public figures: Tolstoy, Saltykov-Shchedrin, Nekrasov, Shishkin and others. He owns one of best portraits Lev Tolstoy. The writer's gaze does not leave the viewer, from whatever point he looks at the canvas. One of the most powerful works of Kramskoy is the painting "Christ in the Desert".
The Wanderers made genuine discoveries in landscape painting. Alexey Kondratievich Savrasov (1830-1897) managed to show the beauty and subtle lyricism of a simple Russian landscape. In 1871, the master creates a number of his best works (“Pechersky Monastery under Nizhny Novgorod”, Nizhny Novgorod Art Museum; “The flood of the Volga near Yaroslavl”, the Russian Museum), including the famous painting “The Rooks Have Arrived” (Tretyakov Gallery), which has become the most popular Russian landscape, a kind of picturesque symbol of Russia. Etude work on "Rooks" was in March, in the village. Molvitino (now Susanino) of the Buysky district of the Kostroma province. Melted snow, spring rooks on birch trees, a gray-blue, faded sky, dark huts and an ancient church against the backdrop of cold distant meadows - everything merged into an image of amazing poetic charm. The picture is characterized by a truly magical effect of recognition, “already seen” (deja-vue, in the language of psychology) - and not only somewhere near the Volga, where “Rooks” were written, but almost in any corner of the country. Here the "mood" - as a special contemplative space that unites the picture with the viewer - finally turns into a completely special component of the image; I. N. Kramskoy aptly captures this when he writes (in a letter to F. A. Vasiliev, 1871), referring to other landscapes in the exhibition: “all these are trees, water and even air, and there is only soul in Rooks.” Invisibly visible “soul”, the mood gives life to Savrasov’s subsequent works: wonderful Moscow landscapes, organically combining everyday simplicity of the foreground with majestic distances (“Sukhareva Tower”, 1872, Historical Museum, Moscow; "View of the Moscow Kremlin, Spring", 1873, Russian Museum), virtuoso in the transfer of moisture and chiaroscuro "Country Road" (1873, Tretyakov Gallery), sentimental "Grave over the Volga" (1874, Altai Regional Museum of Fine Arts, Barnaul), luminous "Rainbow" (1875, Russian Museum), melancholy painting "Winter Landscape. Frost" (1876-77, Voronezh Museum of Fine Arts). In the later period, Savrasov's skill sharply weakens. Degraded by life, suffering from alcoholism, he lives off copies from his the best works, primarily with "Rooks".
Fyodor Alexandrovich Vasiliev (1850-1873) lived a short life. His work, interrupted at the very beginning, enriched domestic painting with a number of dynamic, exciting landscapes. The artist was especially successful in transitional states in nature: from sun to rain, from calm to storm. Coming from a family of a postal clerk, he studied at the Drawing School of the Society for the Encouragement of Arts, and also in 1871 at the Academy of Arts; in 1866-67 he worked under the direction of I. I. Shishkin. Vasiliev's outstanding talent developed early and powerfully in his paintings, which impress the viewer with their psychological drama. Wonderful "poetry with a natural impression" (according to I. N. Kramskoy, close friend Vasiliev, about the fundamental property of his work as a whole), the painting “Before the Rain” (1869, Tretyakov Gallery) is already imbued. In 1870 he traveled along the Volga together with I. E. Repin, resulting in the painting “View of the Volga. Barges" (1870, Russian Museum) and other works, marked by the subtlety of light and air effects, the skill of transferring river and air moisture. But the point is not in external effects. In Vasiliev's works, nature, as if responding to the movements of the human soul, is psychologized in the full sense, expressing a complex range of feelings between despair, hope and quiet sadness. The most famous paintings are The Thaw (1871) and Wet Meadow (1872; both in the Tretyakov Gallery), where the artist’s constant interest in the transitional, indefinitely unsteady states of nature is translated into images of illumination through the melancholic haze. This is a kind of natural dreams about Russia, which can be compared with the landscape motifs of I. S. Turgenev or A. A. Fet. The artist (judging by his correspondence with Kramskoy) dreams of creating some unprecedented works, of symbolic landscapes-revelations that could heal humanity, weighed down by "criminal designs." But his days are already numbered. Having fallen ill with tuberculosis, he moved in 1871 to Yalta. Fatal illness, merging with the impressions of southern nature, which appears to him not as festive, but alienated and disturbing, gives his painting even more dramatic tension. Anxious and gloomy is his most significant canvas of this period - "In the Crimean Mountains" (1873, Tretyakov Gallery). Sinking in a haze, written in gloomy brownish-gray tones, the mountain road here acquires an otherworldly shade, a kind of hopeless road to nowhere. The influence of Vasiliev's art, reinforced by the tragedy of his early death, was very significant. The romantic tradition, finally renouncing the notion of the landscape as a decorative spectacle, achieved in his works a special spiritual content, foreshadowing the art of symbolism and modernity, the landscape of the Chekhov-Levitan era.
The work of Viktor Mikhailovich Vasnetsov (1848-1926) is closely connected with Russian folk tales, epics, the plots of which he took as the basis of his paintings. His best work is "Three Heroes". Before the viewer, the favorite heroes of the Russian epic epic are heroes, defenders of the Russian land and native people from numerous enemies.
Ivan Ivanovich Shishkin (1832-1898) became the singer of the Russian forest, the epic latitude of Russian nature. Arkhip Ivanovich Kuindzhi (1841-1910) was attracted by the picturesque play of light and air. The mysterious light of the moon in rare clouds, the red reflections of dawn on the white walls of Ukrainian huts, the slanting morning rays breaking through the fog and playing in the puddles on the muddy road - these and many other picturesque discoveries are captured on his canvases. Shishkin's early works ("View on the Island of Valaam", 1858, Kyiv Museum of Russian Art; "Cutting a Forest", 1867, Tretyakov Gallery) are characterized by some fragmentation of forms; adhering to the “stage” construction of the picture, traditional for romanticism, clearly marking out plans, he still does not achieve a convincing unity of the image. In such paintings as “Noon. In the environs of Moscow” (1869, ibid.), this unity already appears as an obvious reality, primarily due to the subtle compositional and light-air-color coordination of the zones of heaven and earth, soil (Shishkin felt the latter especially penetratingly, in this regard, without having himself equal in Russian landscape art).
In the 1870s the master enters the time of unconditional creative maturity, which is evidenced by the paintings “Pine Forest. Mast forest in the Vyatka province "(1872) and" Rye "(1878; both - Tretyakov Gallery). Usually avoiding the unsteady, transitional states of nature, the artist captures its highest summer flowering, achieving an impressive tonal unity precisely due to the bright, midday, summer light that determines the entire color scale. The monumental-romantic image of Nature with a capital letter is invariably present in the paintings. New, realistic trends appear in the penetrating attention with which the signs of a particular piece of land, a corner of a forest or field, a particular tree are written out. Shishkin is a wonderful poet not only of the soil, but also of the tree, who subtly feels the nature of each species [in his most typical notes, he usually mentions not just “forest”, but a forest of “special trees, elms and part of oaks” (diary of 1861) or “ spruce, pine, aspen, birch, linden forest” (from a letter to I. V. Volkovsky, 1888)]. With particular desire, the artist paints the most powerful and strong breeds such as oaks and pines - in the stage of maturity, old age and, finally, death in a windfall. Classical works of Shishkin - such as “Rye” or “Among the Flat Valley ...” (the painting is named after the song by A. F. Merzlyakov; 1883, Kyiv Museum of Russian Art), “Forest Dali” (1884, Tretyakov Gallery) - are perceived as generalized, epic images of Russia. The artist equally succeeds in both distant views and forest “interiors” (“Pines illuminated by the sun”, 1886; “Morning in a pine forest” where the bears were painted by K. A. Savitsky, 1889; both are in the same place). Of independent value are his drawings and sketches, which are a detailed diary of natural life. He also worked fruitfully in the field of etching. Printing his finely nuanced landscape etchings in different conditions, publishing them in the form of albums, Shishkin powerfully activated interest in this art form. He did little teaching (in particular, he directed the landscape workshop of the Academy of Arts in 1894-95), but he had such artists as F. A. Vasiliev and G. I. Choros-Gurkin among his students. His images, despite their "objectivity" and the fundamental absence of psychologism, characteristic of the "mood landscape" of the Savrasov-Levitan type, always had a great poetic resonance (no wonder Shishkin was one of the favorite artists of A. A. Blok). The house-museum of the artist was opened in Yelabuga.
By the end of the XIX century. the influence of the Wanderers declined. New directions appeared in the visual arts. Portraits by V.A. Serov and landscapes by I.I. Levitan were in tune with French school impressionism. Some artists combined Russian artistic traditions with new pictorial forms (M.A. Vrubel, B.M. Kustodiev, I.L. Bilibin and others).
Russian landscape painting of the 19th century reached its pinnacle. reached in the work of Savrasov's student Isaac Ilyich Levitan (1860-1900). Levitan is a master of calm, quiet landscapes. The man is very timid, shy and vulnerable, he knew how to relax only alone with nature, imbued with the mood of the landscape he loved.
Once he came to the Volga to paint the sun, air and river expanses. But there was no sun, endless clouds crawled across the sky, dull rains did not stop. The artist was nervous until he was drawn into this weather and discovered the special charm of the bluish-lilac colors of Russian bad weather. Since then, the Upper Volga, the provincial town of Ples have firmly entered his work. In those parts, he created his "rainy" works: "After the Rain", "Gloomy Day", "Above Eternal Peace". Peaceful evening landscapes were also painted there: “Evening on the Volga”, “Evening. Golden reach”, “Evening ringing”, “Quiet abode”.
In the last years of his life, Levitan drew attention to the work of French impressionist artists (E. Manet, C. Monet, C. Pizarro). He realized that he had a lot in common with them, that their creative searches were going in the same direction. Like them, he preferred to work not in the studio, but in the air (in the open air, as the artists say). Like them, he brightened the palette, banishing dark, earthy colors. Like them, he sought to capture the transience of being, to convey the movements of light and air. In this they went further than him, but they almost dissolved three-dimensional forms (houses, trees) in light-air flows. He avoided it.
“Levitan's paintings require a slow examination,” wrote a great connoisseur of his work, K. G. Paustovsky. “They do not stun the eye. They are modest and accurate, like Chekhov's stories, but the longer you look at them, the sweeter the silence of provincial settlements, familiar rivers and country roads becomes.
In the second half of the XIX century. account for the creative flowering of I. E. Repin, V. I. Surikov and V. A. Serov.
Ilya Efimovich Repin (1844-1930) was born in the city of Chuguev, in the family of a military settler. He managed to enter the Academy of Arts, where P. P. Chistyakov became his teacher, who brought up a whole galaxy of famous artists (V. I. Surikov, V. M. Vasnetsov, M. A. Vrubel, V. A. Serov). Repin also learned a lot from Kramskoy. In 1870 the young artist traveled along the Volga. Numerous sketches brought from the trip, he used for the painting "Barge haulers on the Volga" (1872). She made a strong impression on the public. The author immediately moved into the ranks of the most famous masters. Criticizing the supporters of “pure art”, he wrote: “The life around me excites me too much, does not give me rest, it asks itself to be painted on the canvas; reality is too outrageous to embroider patterns with a clear conscience - let's leave it to well-bred young ladies. Repin became the banner of the Wanderers, their pride and glory.
Repin was a very versatile artist. I. E. Repin was a wonderful master in all genres of painting and in each he said his new word. The central theme of his work is the life of the people in all its manifestations. He showed the people in labor, in struggle, glorified the fighters for the freedom of the people. A number of monumental genre paintings belong to his brush. the best work Repin in the 70s was the painting "Barge Haulers on the Volga". The painting was perceived as an event in the artistic life of Russia, it became a symbol of a new direction in the visual arts. Repin wrote that "the judge is now a peasant, and therefore it is necessary to reproduce his interests." Perhaps no less impressive than the "Barge haulers" is made by the "Religious procession in the Kursk province." The bright blue sky, the clouds of road dust pierced by the sun, the golden glow of crosses and vestments, the police, the common people and the crippled - everything fit on this canvas: the greatness, strength, weakness and pain of Russia.
In many of Repin's paintings, revolutionary themes were touched upon ("Refusal of confession", "They did not wait", "The arrest of the propagandist"). The revolutionaries in his paintings are kept simply and naturally, avoiding theatrical poses and gestures. In the painting “Refusal of Confession”, the condemned man, as if on purpose, hid his hands in his sleeves. The artist clearly sympathized with the heroes of his paintings.
A number of Repin's paintings are written on historical themes ("Ivan the Terrible and his son Ivan", "Cossacks composing a letter to the Turkish Sultan", etc.). Repin created a whole gallery of portraits of scientists (Pirogov, Sechenov), writers (Tolstoy, Turgenev, Garshin), composers (Glinka, Mussorgsky), artists (Kramskoy, Surikov). At the beginning of the XX century. he received an order for the painting "The Ceremonial Meeting of the State Council." The artist managed not only to place such a large number of those present on the canvas, but also to give a psychological description of many of them. Among them were such well-known figures as S. Yu. Witte, K. P. Pobedonostsev, P. P. Semenov-Tyan-Shansky. It is hardly noticeable in the picture, but Nicholas II is very subtly written out.
Vasily Ivanovich Surikov (1848-1916) was born in Krasnoyarsk, in Cossack family. The heyday of his work falls on the 80s, when he created three of his most famous historical paintings: "Morning of the Streltsy Execution", "Menshikov in Berezovo" and "Boyar Morozova". His works “Morning of the Streltsy Execution”, “Menshikov in Berezov”, “Boyar Morozova”, “Conquest of Siberia by Yermak Timofeevich”, “Stepan Razin”, “Suvorov Crossing the Alps” are the pinnacle of Russian and world historical painting. The greatness of the Russian people, its beauty, unbending will, its difficult and difficult fate - that's what inspired the artist.
Surikov knew the life and customs of past eras well, he knew how to give vivid psychological characteristics. In addition, he was an excellent colorist (color master). Suffice it to recall the dazzlingly fresh, sparkling snow in Boyaryna Morozova. If you come closer to the canvas, the snow, as it were, “crumbles” into blue, blue, pink strokes. This painting technique, when two or three different strokes merge at a distance and give the desired color, was widely used by the French Impressionists.
Valentin Alexandrovich Serov (1865-1911), the composer's son, painted landscapes, canvases on historical themes, worked as a theater artist. But fame brought him, above all, portraits.
In 1887, the 22-year-old Serov was vacationing in Abramtsevo, the dacha near Moscow of the philanthropist S. I. Mamontov. Among his many children, the young artist was his man, a participant in their romps. Once, after dinner, two people accidentally lingered in the dining room - Serov and 12-year-old Verusha Mamontova. They were sitting at a table on which peaches were left, and during the conversation Verusha did not notice how the artist began to sketch her portrait. The work dragged on for a month, and Verusha was angry that Anton (as Serov was called at home) was forcing her to sit in the dining room for hours.
In early September, The Girl with Peaches was finished. Despite its small size, the painting, painted in pink and gold tones, seemed very "spacious". There was a lot of light and air in it. The girl, who sat down at the table as if for a minute and fixed her gaze on the viewer, enchanted with clarity and spirituality. Yes, and the whole canvas was covered with a purely childish perception of everyday life, when happiness is not conscious of itself, and a whole life lies ahead.
The inhabitants of the Abramtsevo house, of course, understood that a miracle had happened before their eyes. But only time gives final estimates. It put "The Girl with Peaches" among the best portrait works in Russian and world art.
The following year, Serov managed to almost repeat his magic. He painted a portrait of his sister Maria Simonovich ("The Girl Illuminated by the Sun"). The name stuck a little inaccurate: the girl is sitting in the shade, and the glade in the background is illuminated by the rays of the morning sun. But in the picture everything is so united, so unified - morning, sun, summer, youth and beauty - that best title hard to think of.
Serov became a fashionable portrait painter. Famous writers, artists, artists, entrepreneurs, aristocrats, even kings posed in front of him. Apparently, not to everyone he wrote, his soul lay. Some high-society portraits, with a filigree technique, turned out to be cold.
For several years Serov taught at the Moscow School of Painting, Sculpture and Architecture. He was a demanding teacher. An opponent of the frozen forms of painting, Serov, at the same time, believed that creative searches should be based on a solid mastery of the technique of drawing and pictorial writing. Many outstanding masters considered themselves students of Serov: M. S. Saryan, K-F. Yuon, P. V. Kuznetsov, K. S. Petrov-Vodkin.
Many paintings by Repin, Surikov, Levitan, Serov, "Wanderers" ended up in Tretyakov's collection. Pavel Mikhailovich Tretyakov (1832-1898), a representative of an old Moscow merchant family, was an unusual person. Thin and tall, with a bushy beard and a quiet voice, he looked more like a saint than a merchant. He began collecting paintings by Russian artists in 1856. The hobby grew into the main business of his life. In the early 90s. the collection reached the level of a museum, absorbing almost the entire fortune of the collector. Later it became the property of Moscow. The Tretyakov Gallery has become a world famous museum Russian painting, graphics and sculpture.
In 1898, in St. Petersburg, in the Mikhailovsky Palace (the creation of K. Rossi), the Russian Museum was opened. It received works by Russian artists from the Hermitage, the Academy of Arts and some imperial palaces. The opening of these two museums, as it were, crowned the achievements of the Russian painting XIX in.
CONCLUSION
Russian fine art, imbued with the progressive ideas of that time, served a great humane goal - the struggle for the liberation of man, for the social reorganization of the whole society.
In general, in the first half of the 19th century, Russia achieved impressive success in the field of culture. The world fund forever included the works of many Russian artists. The process of forming a national culture has been completed.
At the turn of the XIX-XX centuries. modernist searches led to the formation of a group of artists united around the magazine "World of Art" (A.N. Benois, K.A. Somov, E.E. Lansere, L.S. Bakst, N.K. Roerich, I.E. Grabar and others). The World of Artisans proclaimed new artistic and aesthetic principles that opposed the realistic views of the Wanderers, and the inclination of academicism. They promoted individualism, the freedom of art from social and political problems. The main thing for them is the beauty and traditions of Russian national culture. They paid special attention to the revival and new estimate heritage of past eras (XVIII - early XIX century), as well as the popularization of Western European art.
At the beginning of the XX century. the "Russian avant-garde" arose. Its representatives K.S. Malevich, R.R. Falk, M.Z. Chagall and others preached the art of "pure" forms and outward non-objectivity. They were the forerunners of abstractionism and had a huge impact on the development of world art.
Romanticism in painting
Representatives: Francisco Goya, Antoine-Jean Gros, Theodore Géricault, Eugene Delacroix, Karl Bryullov, William Turner, Caspar David Friedrich, Karl Friedrich Lessing, Karl Spitzweg, Karl Blechen, Albert Bierstadt, Frederic Edwin Church.
The development of romanticism in painting proceeded in sharp controversy with adherents of classicism. Romantics reproached their predecessors for "cold rationality" and the absence of a "movement of life." In the 1920s and 1930s, the works of many artists were distinguished by pathos and nervous excitement; in them there has been a tendency to exotic motifs and a play of the imagination that can lead away from the "dim everyday life." The struggle against the frozen classicist norms lasted for a long time, almost half a century. The first who managed to consolidate a new direction and "justify" romanticism was Theodore Géricault.
One of the branches of romanticism in painting is the Biedermeier style.
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If you look into dictionary Russian language, then you can find the following definition of romanticism:
a trend in literature, music, painting and theater that arose at the beginning of the 19th century, fought against the canons of classicism, brought personality and feelings to the fore and used historical and folk poetic themes in its work;
direction in literature and art, imbued with optimism and striving for vivid images show the high purpose of a person.
As can be seen from the definition, romanticism covers a large layer of different types of art. The purpose of my essay is to explore the development of romanticism in one of them, namely in painting, by identifying the most prominent representatives of this trend in Western Europe and Russia and analyze their work.
I. Romanticism in Western European Painting
If France was the ancestor of classicism, then “to find the roots of ... the romantic school,” wrote one of his contemporaries, “we should go to Germany. She was born there, and there the modern Italian and French romantics formed their tastes.
Fragmented Germany did not know the revolutionary upsurge. Many of the German romantics were alien to the pathos of advanced social ideas. They idealized the Middle Ages. They surrendered to unaccountable spiritual impulses, talked about the abandonment of human life. The art of many of them was passive and contemplative. They created their best works in the field of portrait and landscape painting.
An outstanding portrait painter was Otto Runge (1777-1810). Portraits of this master, with outward calmness, amaze with an intense and intense inner life.
The image of the romantic poet was seen by Runge in his “Self-Portrait”. He carefully examines himself and sees a dark-haired, dark-eyed, serious, full of energy, thoughtful and strong-willed young man. The romantic artist wants to know himself. The manner of execution of the portrait is fast and sweeping, as if the spiritual energy of the creator should be conveyed already in the texture of the work; in a dark colorful range, contrasts of light and dark appear. Contrast is a characteristic pictorial technique of romantic masters.
To catch the changeable play of a person's moods, to look into his soul, an artist of a romantic warehouse will always try. And in this respect, children's portraits will serve as fertile material for him. In the “Portrait of Children Huelsenbeck” (1805), Runge not only conveys the liveliness and immediacy of a child’s character, but also finds for a bright mood special reception. The background in the picture is a landscape, which testifies not only to the artist's coloristic gift, admiring attitude to nature, but also to the emergence of new problems in the masterful reproduction of spatial relationships, light shades of objects in the open air. A master romantic, wishing to merge his “I” with the expanses of the Universe, strives to capture the sensually tangible appearance of nature. But by this sensuality of the image, he prefers to see the symbol big world, "the artist's idea".
Runge, one of the first Romantic artists, set himself the task of synthesizing the arts: painting, sculpture, architecture, music. The artist fantasizes, reinforcing his philosophical concept with the ideas of the famous German thinker of the first half of the 17th century. Jacob Boehme. The world is a kind of mystical whole, each particle of which expresses the whole. This idea is related to the romantics of the entire European continent.
Another outstanding German romantic painter, Caspar David Friedrich (1774-1840), preferred landscape to all other genres and painted only pictures of nature throughout his life. The main motive of Friedrich's work is the idea of the unity of man and nature.
“Listen to the voice of nature that speaks within us,” the artist instructs his students. The inner world of a person personifies the infinity of the Universe, therefore, having heard himself, a person is able to comprehend the spiritual depths of the world.
The position of listening determines the main form of "communication" of a person with nature and its image. This is the greatness, mystery or enlightenment of nature and the conscious state of the observer. True, very often Friedrich does not allow the figure to “enter” the landscape space of his paintings, but in the subtle penetration of the figurative structure of the sprawling expanses, the presence of a feeling, a person’s experience is felt. Subjectivism in the depiction of the landscape comes to art only with the work of the Romantics, foreshadowing the lyrical disclosure of nature by the masters of the second half of the 19th century. Researchers note in the works of Friedrich the “expansion of the repertoire” of landscape motifs. The author is interested in the sea, mountains, forests and various shades of the state of nature at different times of the year and day.
1811-1812 marked by the creation of a series mountain scenery as a result of the artist's journey to the mountains. "Morning in the mountains" picturesquely represents a new natural reality, born in the rays of the rising sun. Pinkish-purple tones envelop and deprive them of volume and material gravity. The years of the battle with Napoleon (1812-1813) turn Friedrich to patriotic themes. Illustrating, inspired by the drama of Kleist, he writes "The Tomb of Arminius" - a landscape with the graves of ancient Germanic heroes.
Friedrich was a subtle master of seascapes: Ages, Moonrise over the Sea, Death of Nadezhda in the Ice.
The last works of the artist - "Rest on the field", "Big swamp" and "Memories of the Giant mountains", "Giant mountains" - a series of mountain ranges and stones in a darkened foreground. This, apparently, is a return to the experienced feeling of a person’s victory over himself, the joy of ascension to the “top of the world”, the desire for bright unconquered heights. The feelings of the artist in a special way compose these mountain masses, and again the movement from the darkness of the first steps to the future light is read. The mountain peak in the background is highlighted as the center of the master's spiritual aspirations. The picture is very associative, like any work of the romantics, and involves different levels of reading and interpretation.
Friedrich is very accurate in drawing, musically harmonious in the rhythmic construction of his paintings, in which he tries to speak through the emotions of color and light effects. “Many are given little, few are given much. Everyone opens the soul of nature in a different way. Therefore, no one dares to transfer his experience and his rules to another as a binding unconditional law. No one is the measure of all. Everyone carries within himself a measure only for himself and for natures more or less kindred to himself, ”this reflection of the master proves the amazing integrity of his inner life and creativity. The uniqueness of the artist is palpable only in the freedom of his work - the romantic Friedrich stands on this.
More formal seems to be the disengagement from the artists - "classics" - representatives of classicism of another branch of romantic painting in Germany - the Nazarenes. Founded in Vienna and settled in Rome (1809-1810), the "Union of St. Luke" united the masters with the idea of reviving the monumental art of religious issues. The Middle Ages was a favorite period of history for the Romantics. But in their artistic quest, the Nazarenes turned to the traditions of painting early renaissance in Italy and Germany. Overbeck and Geforr were the initiators of a new alliance, which was later joined by Cornelius, Schnoff von Karolsfeld, Veit Fürich.
The movement of the Nazarenes corresponded to their own forms of opposition to the classicist academics in France, Italy, and England. For example, in France, the so-called “primitive” artists emerged from David’s workshop, and in England, the Pre-Raphaelites. In the spirit of the romantic tradition, they considered art to be the “expression of the time”, the “spirit of the people”, but their thematic or formal preferences, which at first sounded like a slogan of unification, after a while turned into the same doctrinaire principles as those of the Academy, which they denied.
The art of romanticism in France developed in special ways. The first thing that distinguished it from similar movements in other countries was its active, offensive (“revolutionary”) character. Poets, writers, musicians, artists defended their positions not only by creating new works, but also by participating in magazine and newspaper controversy, which is characterized by researchers as a “romantic battle”. The famous V. Hugo, Stendhal, George Sand, Berlioz and many other French writers, composers and journalists “honed their feathers” in romantic controversy.
Romantic painting in France arises as an opposition to the classicist school of David, academic art, referred to as the "school" in general. But this must be understood in a broader sense: it was opposition to the official ideology of the reactionary epoch, a protest against its petty-bourgeois limitations. Hence the pathetic nature of romantic works, their nervous excitement, attraction to exotic motifs, to historical and literary plots, to everything that can lead away from the "dim everyday life", hence this play of imagination, and sometimes, on the contrary, dreaminess and a complete lack of activity.
The representatives of the “school”, the academicians, rebelled, first of all, against the language of the romantics: their excited hot color, their modeling of the form, not the one familiar to the “classics”, statuary-plastic, but built on strong contrasts of color spots; their expressive drawing, deliberately refusing to be precise; their bold, sometimes chaotic composition, devoid of majesty and unshakable calm. Ingres, the implacable enemy of the romantics, until the end of his life said that Delacroix "writes with a mad broom", and Delacroix accused Ingres and all the artists of the "school" of coldness, rationality, lack of movement, that they do not write, but "paint" their paintings. But this was not a simple clash of two bright, completely different personalities, it was a struggle between two different artistic worldviews.
This struggle lasted for almost half a century, romanticism in art did not win easily and not immediately, and the first artist of this trend was Theodore Gericault (1791-1824) - a master of heroic monumental forms, who combined in his work both classicistic features and features of romanticism itself, and, finally, a powerful realistic beginning, which had a huge impact on the art of realism in the middle of the 19th century. But during his lifetime he was appreciated only by a few close friends.
The name of Theodore Zhariko is associated with the first brilliant successes of romanticism. Already in his early paintings (portraits of the military, images of horses), ancient ideals receded before the direct perception of life.
A new stage in the development of realism in the Russian artistic culture of the second half is associated with penetration into the depths of human consciousness and feelings, into complex processes. public life. The works of art created at that time are characterized by humanistic pathos, high moral and aesthetic ideals.
Russian literature of the second half of the 19th century.
Russian literature of the second half of the 19th century continues the traditions of Pushkin, Lermontov, and Gogol. There is a strong influence of criticism on the literary process, especially N.G. Chernyshevsky's master's thesis "Aesthetic Relations of Art to Reality". His thesis that beauty is life underlies many literary works of the second half of the 19th century. Hence the desire to uncover the causes social evil. The main theme of works of literature and, more broadly, of works of Russian artistic culture is at this time the theme of the people, its sharp socio-political meaning. AT literary works images of men appear - righteous, rebels and altruistic philosophers. Artworks I.S. Turgenev, N.A. Nekrasova, L.N. Tolstoy, F.M.Dostoevsky distinguished by a variety of genres and forms, stylistic richness. The special role of the novel in the literary process as a phenomenon in the history of world culture, in the artistic development of all mankind is noted. "Dialectics of the Soul" was an important discovery in Russian literature of this period. Along with the appearance of the "great novel" in Russian literature, small narrative forms of great Russian writers appear (please see the program on literature). I would also like to note dramatic works A.N. Ostrovsky and A.P. Chekhov.
In poetry, a high civic position stands out N.A. Nekrasova, penetrating lyrics F.I. Tyutcheva and A.A. Feta.
Russian fine arts of the second half of the 19th century.
A keen sense of citizenship became characteristic not only of works of literature, but was also feature fine arts of post-reform Russia. The most striking phenomenon of the second half of the 19th century was the creation of the Association of Traveling Art Exhibitions and artels of artists. Their works were distinguished by the breadth of themes and variety of genres: from satirical, built on the principle of social contrast, to philosophical, poetic, full of thoughts about the fate of the Motherland, affirming the dignity and beauty of a person. The Wanderers continued the traditions of Russian artists of the mid-19th century P.A. Fedotov and A.A. Ivanov.
In the work of the Wanderers, the genre of everyday life played an important role as the most accessible to a wide audience, as it was directly related to everyday life. The theme of folk suffering finds its place in the art of the Russian artist V.G. Perova(,). In his works, the naked truth of life is combined with penetrating lyricism, conciseness, and deep generalization of images. The landscape plays a special role in the epic sound of the paintings, emphasizing the mood of the heroes of Perov's paintings.
An important role in the work of the Wanderers is played by a portrait that reveals to the viewer a new hero - a commoner, democrat, spiritually rich, creative, active public figure. Among the works of Perov, I would like to note the portraits of the playwright and writer, in which the artist penetrates the essence creative individuality the largest representatives of Russian literature.
Portraits are distinguished by vital persuasiveness, bright individuality, depth and accuracy of characteristics. I.N.Kramskoy. He always knew how to capture the characteristic, typical in the depicted hero, he saw the significance of the situation, things, details. Portraits are also interesting, in which he captured the complexity of spiritual life, the depth of characters.
The pinnacle of creativity of the Wanderers and the beginning of a new stage in the development of Russian national culture is the art of the masters of historical painting I.E. Repina and V.I. Surikov. Surikov writes his historical canvases on plots that allow revealing the powerful strength of the people, conveying the authenticity of historical events and bringing the past closer to the present. The atmosphere of complex contradictions and social conflicts of the time of Peter the Great is reflected in Surikov's painting, which the artist interprets as a folk tragedy.
In another historical canvas (), Surikov creates a complex, contradictory image of a heroine whose feat, full of physical and moral beauty, awakens invincible forces in the people.
A notable historical canvas is the work of I.E. Repin, the idea of which arose as a response to an event of our time - the execution of the First of March, as an affirmation of the idea of madness and criminality of autocracy as a form of government. No wonder this painting by Repin was arrested and was not allowed to be shown in the Tretyakov Gallery.
The portraits painted by Repin differ in depth of characteristics.
The landscapes of Russian artists of the second half of the 19th century are filled with greatness, richness, lyricism in the paintings of native nature, songfulness. At this time, the formation of a realistic landscape is taking place ( A.Savrasov , F.A.Vasiliev , N.N. Shishkin), lyrical and sincere ( I.I. Levitan,), socio-philosophical (Levitan,).
Russian music of the second half of the 19th century.
In Russian music of the second half of the 19th century, connections with the democratic movement of the era can be traced. In Russia, there are two music centers. One of them is located in St. Petersburg, the other - in Moscow. In St. Petersburg, a movement of composers arose, which was called " mighty bunch". It included five composers, of which only one was a professional musician - M.A. Balakirev. N.A. Rimsky-Korsakov was a professional military (naval officer), A.P. Borodin- professor of chemistry, who made more than 30 discoveries in this field, M.P. Mussorgsky- medical ensign, and Ts.A.Kui fortifier general. The soul and inspirer of this musical circle was the critic V. Stasov. In their work, these composers followed the line of development of the intonation of the Russian znamenny melody, asserting the folk-national character of music, turned to peasant song, to musical culture other peoples.
Acute social conflicts of the 60-70s of the 19th century were reflected in the music of MP Mussorgsky. The composer refers to historical events, plots that allow revealing contradictions Russian life, the tragedy of the people, the formidable scope of the liberation struggle. This explains the meaning of Mussorgsky's statement: "The past in the present is my task." This is especially true of his operas "Boris Godunov" and "Khovanshchina", in which the events of past centuries appear before us in a modern aspect. In the opera "Boris Godunov" the composer penetrates deep into the ideological conception of A.S. Pushkin, using the legend of the murder of Tsarevich Dimitri following the poet. The basis of the dramaturgy of the opera is sharp contrasts - juxtapositions. Tragically - contradictory image of Boris Godunov, whose monologues are distinguished by song - recitative character. The people in the interpretation of Mussorgsky appears as great personality inspired by a great idea.
In the work of N.A. Rimsky-Korsakov one can feel the poetry and original beauty of Russian national art. Mind, kindness, artistic talent of the people, their dreams of freedom, their ideas of justice - the main theme of Rimsky Korsakov's operas. His heroes are characterized by the realism of fantastic images, their picturesqueness. A special place in operas is given to musical landscapes. The melodic beauty and variety of the musical palette are filled with his fabulous images (Volkhovs and the Sea Tsar from the opera "Sadko", Snow Maiden, Lelya, Mizgir from "The Snow Maiden", characters from "The Golden Cockerel").
Heroic images of the Russian folk epic form the basis of the work of A.P. Borodin. The opera "Prince Igor" is an epic poem about Ancient Russia, in which, according to V. Stasov, one feels "great strength and breadth, monumental power, united by passion, tenderness and beauty." The opera has a patriotic beginning, lyrics (song of Yaroslavna, dance of Polovtsian girls), the theme of the East (aria of Konchak, Konchakovna).
Another, Moscow, center of musical art of the second half of the 19th century is represented by works P.I. Tchaikovsky, who in his work developed the intonations of urban romance, continuing the traditions of M.I. Glinka and W.A. Mozart. The legacy of P.I. Tchaikovsky is distinguished by the richness of musical genres: the ballets "Swan Lake", "The Nutcracker", "The Sleeping Beauty", the operas "Iolanta", "Eugene Onegin", six symphonies, waltzes and romances, piano works.
The two peaks of Tchaikovsky's work are the opera " Queen of Spades"and" The Sixth Symphony ". In the musical tragedy The Queen of Spades, there is a connection with the social movement of Russia in the second half of the 19th century, the theme of crime and punishment. The composer makes a change in the plot and the psychological characteristics of the characters. Pushkin's "German" is a surname, Tchaikovsky's - name. Musical dramaturgy The opera, distinguished by harmony and dynamism, is built on the principle of conflict development. The theme of the three cards - the theme of money - comes into conflict with the leitmotif of Herman's fate and the theme of love. These themes are in contrasting development, struggle and interpenetration, which reveal the evolution of the hero's inner world.
The philosophical problem of the meaning of life is the main theme of Tchaikovsky's Sixth "Pathetic" Symphony. It sounds the conflict of a person with the surrounding reality, his desire for light, for joy, love for life and the inevitability of a selfless struggle for their triumph. Contrasting themes are filled with a tragic sound and high humanism, the composer's faith in the spiritual powers of the individual.
In order for you to correctly perceive the works of this time (the second half of the 19th century), you should remember the tasks of art given period. by the most important event that changed the development of painting was the invention in 1839 of photography. The main task of the visual arts, which can be formulated as "I write what I see", has undergone changes. The Impressionists put the question differently: "I paint not what I see, but how I feel." The emergence of a new technique in painting (separate stroke) led to a change in the means artistic expressiveness. The viewer is the co-author of the work of art. To do this, it is necessary to find such a distance when perceiving the paintings of the Impressionists, so that the colors mix in the eye of the viewer, transforming into artistic image. I would like you to look at the Impressionist paintings in the museum, where you would feel all their charm.
It will be especially difficult for you to communicate with the works of the post-impressionists, who, using the discovery of the impressionists (for example, in the field of "pure tones"), solved the problem of art as follows: "I write not what I see and not what I feel, but what know about these things." For the first time in the history of painting, an image appears not at the level of the eyes, but at the level of the brain. It was a special perception of the world with far-reaching consequences. Four post-impressionists (Toulouse-Lautrec, Cezanne, Gauguin and Van Gogh) were the founders of almost all the leading trends of the twentieth century.
Symbolism in Russian Art.
In the 1900s a new generation of symbolist artists of the Blue Rose and Golden Fleece circle entered the artistic arena in Russia, solving artistic problems close to modern French masters. Russian symbolism, the most significant after French, was based on the same prerequisites as Western symbolism: a crisis of a positive worldview and morality, a heightened religious feeling. Russian symbolism - marks the so-called "two waves". The first wave" arose at the turn of the 1880s - 1890s and was a spontaneous neo-romantic protest. In their desire to escape from modern reality, each of the "senior symbolists" chose his own path. Some turned to the images of romantic literature (M. Vrubel), others - to ancient history (N. Roerich), others - to religious and moral ideals (M. Nesterov), many came to the theater (A. Golovin).But they all sought to create their own new world according to the laws of high art.
One of the masters of Russian symbolism is Mikhail Vrubel. His images are images-symbols. They do not fit into the framework of old ideas. An artist who thinks not in terms of everyday life, but in "eternal" concepts, he rushes about in search of truth and beauty. Vrubel's dream of beauty, which was so hard to find in the world around him, full of hopeless contradictions, and Vrubel's fantasy, which takes us, as it were, to other worlds, where beauty, however, is not freed from the diseases of the age, are feelings embodied in colors and lines people of that time, when Russian society yearned for renewal and was looking for ways to it. In the work of Vrubel, fantasy is connected with reality. The plots of some of his paintings and panels are frankly fantastic. But even when the subject of the image turned out to be reality, Vrubel seemed to endow nature with the ability to feel and think, and human feelings intensified immeasurably. The artist sought to ensure that the colors on his canvases shone with inner light, shone like precious stones.
Impressionism in Russian painting.
Russian impressionism is a significant and peculiar phenomenon in art.
The development of impressionism in Russia was due to the influence of French artists, as well as the internal laws of the evolution of Russian art at the turn of the century. Russian artists did not borrow discoveries from the French, but, observing them, gradually approached solving these problems on their own. For each of the Russian artists, the ways of implementing the French artistic experience were unique.
They fought against academicism, asserting the beauty and aesthetic value of reality with variability, richness of colors, and abandoned the narrative. Working outdoors, created their own alive. system with the decomposition of complex tones into pure colors, light and bright colors, richness of reflections, colored shadows. There was a convergence of the painting and the sketch, which ceased to be a preparatory stage in the creation of the picture. The spatial construction of the paintings seems to be accidental, unbalanced, asymmetric compositions, unexpected and complex angles. Refusal of analysis and complex psychological characteristics, lyrical interpretation of nature.
V. Serov created the masterpieces of plein air painting "Girl with peaches" and "Girl illuminated by the sun" long before the collision with impressionism. After becoming acquainted with the painting of French artists, Serov later turned to the techniques of impressionism, however, his work represented an original fusion of this trend with elements of the Art Nouveau system rethought by him, while maintaining the general realistic basis of the works he created.
One of the first Moscow artists who appreciated the Impressionists was I. Grabar. As an artist, he was greatly influenced by Impressionism and Post-Impressionism. For his work, the most characteristic are discreet in motive, but extremely sonorous, emotionally saturated in color landscapes (“September Snow”, “February Blue”, “March Snow”), as well as still lifes, or rather whole pictorial pieces of space where things make up sparkling chromatic scales ("Chrysanthemums"; "Untidy table"). At the same time, his considerable talent as a portrait painter was revealed.
Voloshin - showed himself as an original artist. In watercolor live-si, he developed the theme and style of the epic landscape of Cimmeria. His individual style was influenced by French impressions and Japanese art, which he studied in Paris. His favorite genre was watercolor Crimean landscapes with poetic inscriptions. Creating them over the years, the artist thought about the relationship of the four elements: Earth, Water, Air and Fire, about the deep meaning of the Cosmos. Almost every real or fantastic landscape is seen, as it were, from the point of view of the Creator, therefore the elements in Voloshin's watercolors - the sea, hills, sky, clouds - while maintaining their density and "texture", are translucent and luminous ("Two trees in the valley. Koktebel", "Landscape with lake and mountains", "Pink twilight", "Moon swirl", "Lead light").
Representatives: K. Korovin, A.G. Lysenko, P. Trubetskoy, A. Plastov, Voloshin, Grabar, Serov.
Wanderers.
The largest progressive democratic art association, the Association of Traveling Art Exhibitions (1870-1923), was created by Russian painters and sculptors of a realistic direction. The emergence of the Association was largely due to the crisis of the salon academic art, the general rise of democratic culture in the 50s and 60s XIX years century and prepared by the activities of the St. Petersburg Artel of Artists-Democrats, headed by Kramskoy, who in 1870 became one of the founding members of the Partnership, its leader and ideological inspirer.
The artel of free artists, organized in 1863 after the demonstrative exit from the Academy of its graduates - competitors for a big gold medal ("revolt of fourteen"), for a number of years was a kind of art center in St. Petersburg, opposing the Academy and its art, far from the demands of life, from contemporary reality. Moscow artists Myasoedov, Perov, V. E. Makovsky, Pryanishnikov, Savrasov at the end of 1869 suggested that the St. Petersburg Artel unite all together and form a new society. In 1870, the "Partnership", already approved by the government, began its activities. By the time the Association was created, the St. Petersburg Artel had almost ceased to exist, and some of its members joined the new association. The main thing that the members of the Association managed to achieve first of all was the organization of independent exhibitions and their movement around the cities of Russia. "Wanderers", as the members of the Association began to be called, set themselves the task of the widest propaganda of art and the social and aesthetic education of the masses. Already in the 50s and 60s of the 19th century, in contrast to the pseudo-classical art that was planted by the Imperial Academy of Arts, there was a close rapprochement with the life of democratic art. And with the advent of the Wanderers, the new art develops in line with advanced Russian literature, music, theater, social thought, forming a powerful stream of Russian democratic culture, inspired by the advanced social ideas of its time.
Paintings of the Wanderers of Russia. The partnership united around itself all the best painters and sculptors of the second half of the 19th - early 20th centuries. These are Perov and Kramskoy, Myasoedov and V. Makovsky, Savitsky and Maximov, Pryanishnikov and Ge, Savrasov and Shishkin, Kuindzhi and Dubovskoy, V. Vasnetsov and Polenov, Kostandi and Pimonenko, Gun and Nevrev, Repin and Surikov, Serov and Levitan, Yaroshenko and Nesterov, Kasatkin and S. Ivanov, Pozen and Andreev, Popov and Arkhipov, Baksheev and Byalynitsky-Birulya and many others. Antokolsky, Vereshchagin, K. Korovin, S. Korovin, Malyavin, Ryabushkin, Volnukhin, Konenkov and others participated as exhibitors at some exhibitions of the Wanderers.
In the 70-80s of the 19th century, the activity of the Partnership reached its peak. The leading place in the traveling exhibitions belonged to the paintings of Repin, as well as Surikov, Kramskoy, Polenov, Nesterov, Myasoedov, Makovsky, Perov. In their work they reflected the most significant phenomena of the surrounding reality in all their complexity and contradiction. The Wanderers had a huge impact on all aspects of the artistic life of Russia, on the formation of national art schools. Among the members of the Association and exhibitors were artists of various nationalities. Many of them became the founders of the realistic, democratic art of their peoples.
The role of the Wanderers in art education is great. Many of the largest Wanderers taught for many years at the Moscow School of Painting, Sculpture and Architecture (Perov, Savrasov, Pryanishnikov, Levitan, Serov, Polenov, Arkhipov and others). Since 1894, Repin, V. Makovsky, Kuindzhi, Shishkin, and later Kiselev, Dubovskoy and other artists have joined the professorship of the St. Petersburg Academy of Arts, which greatly increased the role and authority of the Academy as a center of art education.
Everyday genre in the work of the Wanderers.
The Wanderers are painters of a realistic direction, who were part of the largest Russian progressive democratic association - the Association of Traveling Art Exhibitions (1870-1923). Created on the initiative of G. G. Myasoedov (“Mowers”), Ge (Peter1 interrogates Tsarevich Alexei in Peterhof”), Perov (“Rural religious procession at Easter”), I.N. Kramskoy ("Christ in the Desert"). The partnership included in its membership the advanced forces of Russian democratic artistic culture. The partnership was a fundamentally new, original creative organization of artists.
In the 70s, in the center of the official school - the St. Petersburg Academy of Arts - a struggle was brewing for the right of art to turn to real, real life, which resulted in the so-called "rebellion of 14". A number of graduates of the Academy refused to write a programmatic picture on one theme of the Scandinavian epic, when there are so many exciting modern problems around, and, not having received permission to freely choose a theme, left the Academy, founding the "Petersburg Artel of Artists". And soon Moscow and St. Petersburg advanced artistic forces united in the Association of Traveling Art Exhibitions (1870). These exhibitions were called mobile because they were arranged not only in St. Petersburg and Moscow, but also in the provinces. The Wanderers had a clear ideological program - to reflect life with all its acute social problems, in all its topicality.
The art of the Wanderers was an expression of revolutionary democratic ideas in the domestic artistic culture of the second half of the 19th century. The everyday genre in the best works of the Wanderers is devoid of any anecdotal. Social orientation and high citizenship of the idea.
The Wanderers set themselves the task of social and aesthetic education of the masses and sought to widely popularize their art. The partnership at different times included Levitan ("March"), Polenov ("Moscow Yard"), Repin ("Barge Haulers on the Volga", "They Didn't Wait"), Savrasov ("The Rooks Have Arrived"), Serov ("The Girl with Peaches ". "The Abduction of Europe"), Surikov ("Morning of the Streltsy Execution"), Shishkin ("Rye"). Vereshchagin, Korovin ("On the World") took part in the exhibitions of the Wanderers.
In their work, the Wanderers, on the basis of a realistic method, deeply and comprehensively reflected, first of all, the contemporary life of the working people of Russia. A truly folk everyday genre, the best examples of which were distinguished by combative publicism, was the leading one in their work. Many works of the Wanderers are devoted to Russian history, in which their attention was especially attracted by the dramatic popular movements. (Surikov "Morning of the Streltsy Execution", "Boyar Morozova") These works were marked by the depth of historical knowledge of the past. An important place was also occupied by the art of portraiture, remarkable for the content of socio-psychological characteristics. They portrayed mainly advanced cultural figures and representatives of the working people. Many works of the Wanderers are devoted to Russian history, in which their attention was especially attracted by the dramatic popular movements. These works were marked by the depth of historical knowledge of the past. In landscape works, the Wanderers turned to simple, ordinary motifs of their native nature, creating paintings imbued with a patriotic feeling and great social content. A significant number of works of the Wanderers reproduced images of folk art and literature.
Based on the materialistic aesthetics of V. G. Belinsky, N. A. Dobrolyubov and N. G. Chernyshevsky and expressing the ideas of a broad democratic movement of the 2nd half of the 19th and early 20th centuries, the Wanderers created the art of critical realism. Defending and developing the principles of realism, nationality and nationality of art, the organization of the Wanderers very soon turned into the largest center of the artistic life of Russia, into the stronghold of the new realistic trend in painting, and the Imperial Academy of Arts, although it remained the official governing body in the field of art, was increasingly losing its authority. and this role of the main center. During the 70-80s of the 19th century, the work of the Wanderers deepened and improved. Their organization grew stronger, gained more and more authority and popularity among the general public.
The largest progressive democratic art association, the Association of Traveling Art Exhibitions, formed in 1870 and existed until 1923, was created by Russian painters and sculptors who adhered to the realistic direction in their work. The emergence of the Association was due to the crisis of official academic art, the general rise of democratic culture in the middle of the 19th century, and was prepared by the activities of the St. Petersburg Artel of Free Artists, headed by Ivan Nikolayevich Kramskoy, who in 1870 became one of the founding members of the Association.
The artel of free artists was organized in 1863 after the demonstrative exit from the Academy of its graduates - contenders for a large gold medal (the so-called "rebellion of fourteen"). This association for several years was a kind of artistic center, opposing the St. Petersburg Academy of Arts and its art, far from modern reality. V. V. Stasov, an ardent supporter of realism, noted that the Partnership is inextricably linked with the Artel, their ideology is based on the same idea: "the freedom necessary for Russian art, the freedom necessary for a Russian artist." This creative freedom was meant as absolute independence from the conservative noble Academy of Arts, from its art divorced from reality, from its instructions, awards and encouragement. The partnership implied the rallying of like-minded artists into one creative union for artistic activity. A huge achievement of the Partnership was the organization of independent art exhibitions and their movement around the largest cities of Russia. The Wanderers, as the members of the Association began to be called, considered the promotion of high art and aesthetic education to be the main task of their activities. Also, the sale of paintings at exhibitions gave the material independence of artists from official orders. The very idea of creating the Association of Traveling Art Exhibitions belongs to Grigory Grigorievich Myasoedov. In the winter of 1868-1869, Myasoedov returned from Italy and proposed to the members of the Artel the idea of organizing an art exhibition by some circle of the artists themselves. The artel accepted this idea with great enthusiasm, but Myasoedov's proposal did not materialize immediately. But the artist, living in Moscow in 1869, continued to promote ideas about an independent exhibition. Famous Moscow artists V.G. Perov, V.E. Makovsky, I.M. Pryanishnikov and Savrasov enthusiastically accepted this idea and at the end of 1869 proposed that the St. Petersburg Artel unite together and create a new society. And a year later, the new "Partnership" was approved by the government and began its activities. At the same time, the St. Petersburg Artel ceased to exist, and some of its members entered the new association.
Back in the 1850s and 60s, in contrast to classical art, which was planted by the St. Petersburg Academy of Arts, there was a close rapprochement with the life of democratic art. After the appearance of the Wanderers, the new art developed in line with advanced Russian literature and music.
The Association of Traveling Art Exhibitions brought together all the best painters and sculptors of the second half of the 19th and early 20th centuries. This is V.G. Perov and I.N. Kramskoy, G.G. Myasoedov and V.E. Makovsky, K.A. Savitsky and V.M. Maksimov, I.M. Pryanishnikov and N.N. Ge, Savrasov and I.I. Shishkin, A.I. Kuindzhi, V.M. Vasnetsov and V.D. Polenov, N.V. Nevrev, I.E. Repin and Surikov, Serov and I.I. Levitan, N.A. Yaroshenko and Nesterov, N.A. Kasatkin and S.V. Ivanov, A.E. Arkhipov, V.N. Baksheev and many others. During this period, there were no significant artists who would not consider it a high honor to join the ranks of the Partnership, which, in turn, was never a closed association and at all stages of its existence accepted talented youth into its ranks, and also attracted to participate in exhibitions of many artists. Antokolsky, Vereshchagin, Volnukhin, K.A. Korovin, S.A. Korovin, Malyavin, Konenkov and many others.
G.G. Myasoedov, the initiator of the creation of the Association and one of its active figures, characterizing the place occupied by art in society, noted that Russian art before the establishment of the Association huddled mainly in St. Petersburg. The public recalled its existence during the days of the exhibitions of the Academy of Arts. The exhibitions usually presented the works of students of the Academy, sometimes supplemented by works of professors and academicians, as well as foreign artists. Society treated these exhibitions sympathetically, went to them as if to a cheap holiday, left, forgetting art until next year.
Artel of free artists, led by I.N. Kramskoy, did not have the opportunity to organize independent exhibitions, and therefore could not achieve relative freedom and escape from the control of the Academy of Arts. Members of the Artel had to exhibit their paintings at annual exhibitions at the Academy. This situation changed decisively only with the creation of the Association. Exhibitions of the Wanderers aroused great public interest in art and were a huge success among the most diverse segments of the population, since the works of realist artists widely included the surrounding life in all its truth, seen and felt by the artists themselves. During the existence of the Partnership, 48 major exhibitions were held, which, apart from St. Petersburg and Moscow, were also held in all major cities: Kharkov, Kyiv, Odessa, Poltava, Yaroslavl, Tula, Vilna, Riga, Saratov, Kazan, Voronezh, Chisinau, Kursk others. In addition, in some cities where there was no regular exhibition, parallel exhibitions were sent, consisting of paintings from past years. In the 1900s, "folk exhibitions" began to be organized, which were shown in small towns, and some even in villages and villages.
The first traveling exhibition, which opened on November 29, 1871 at the St. Petersburg Academy of Arts, became a major event in the artistic life of Russia. This exhibition featured works by sixteen artists. A total of forty-seven works were exhibited. Later in Moscow, the exhibition was supplemented by several new artists, and the total number of exhibited paintings reached eighty-two. The first exhibition also visited Kharkov and Kyiv. Even among the relatively small number of exhibited works, there were works that entered the history of Russian painting, among them: “May Night” by I.N. Kramskoy, “Peter I interrogates Tsarevich Alexei Petrovich in Peterhof” N.N. Ge, “Hunters at rest”, “Fisherman”, “Portrait of a merchant I.S. Kamynin”, “Portrait of A.N. Ostrovsky", V. G. Perov, "The Rooks Have Arrived" by A.K. Savrasova, "Empty Men" by I.M. Pryanishnikova
In their works of art, the Wanderers took into account not only the experience of Russian painting, but also the achievements of world modern and classical art. It is known that most of the participants of the Association in different years have been abroad in the direction of the Academy of Arts. Traveling around Europe, the artists carefully studied both the painting of different eras and the works of contemporary artists. The Wanderers realized their observations in their creative activity, while not imitating anyone, always remaining original masters. The art of the Wanderers largely determined the progressive movement of world painting in the 19th-20th centuries.
I.E. Repin
A major phenomenon in Russian painting was the painting by I.E. Repin "Barge haulers", written in 1873. In this work, the artist with all his talent showed the exciting image of the people. Repin, being a realist, left the last thoughts about the ideal in art and turned to the people's aching reality. Before Repin, no one dared to take such a deeply amazing, tragic plot. According to the painting “Barge Haulers” by I.E. Repin is a significant, powerful artist and thinker. In this work, he showed the mastery of all the means of art with such perfection as few of the Russian artists.
The most significant work from peasant life was the canvas "Religious procession in the Kursk province" (1880-1883). The picture primarily attracts with its compositional and pictorial solution. A crowded crowd slowly moves along a dusty road flooded with the scorching summer sun directly towards the viewer. This religious procession reflects collective image Russian village with all its classes and groups. Repin gave a sharp critical interpretation of contemporary Russian reality. With warmth and sympathy, Repin draws images of peasants.
Repin's influence was reflected in the work of his like-minded people. The hardest work of the peasants was shown by the talented artist K. A. Savitsky in his work "Repair work on the railway" (1874). This painting was exhibited at the 3rd traveling exhibition. After viewing this canvas, one involuntarily recalls the dramatic lines of the work of N.A. Nekrasov "Railway":
We tore ourselves under the heat, under the cold,
With an eternally bent back ....
In general, the peasant theme occupied one of the central in the work of the Wanderers. It was here that the contradictions of the society of the 1870-80s were most clearly revealed, therefore the gaze of the Wanderers was directed here in search of an ideal and a positive image. In their works, the peasants are no longer only shown suffering, as was the case in the 1860s; artists find in peasant life a bright moral principle that is worthy of affirmation.
One of the most famous works on the peasant theme is the painting by G. G. Myasoedov “Zemstvo is having lunch”, painted in 1872. This painting was exhibited at the 2nd Traveling Exhibition. The picture is characterized by the special attention that the painter pays to the internal characteristics of the peasants, the ability to create expressive types, as, for example, in the image of a peasant sitting on the steps of the porch. In his concentrated pose with his head down, deep thought, a desire to comprehend what is happening, is read in the features of his face. Created fifteen years later, the work "Strada" ("Mowers") testifies to the evolution of Myasoedov's work. A golden rye field, where peasants, covered to the waist with ears, mow rye, light airy clouds in the sky, pink reflections on the horizon - all this is full of a bright feeling, something solemn.
The famous itinerant artist V.M. Maksimov devoted his entire work to the peasant theme. His paintings can be called masterpieces of folk art in terms of their characteristic and purely Russian worldview. They are not spectacular, they do not scream with their colors, they do not amaze with the sharpness of their plots, but over time these works have only become more interesting to the current viewer. Maksimov's most famous painting, The Witch Doctor at a Village Wedding (1874), attracts with his deep knowledge of the Russian countryside. The main advantage of this work, executed with outstanding compositional and pictorial skill, is the desire to reveal the charm of folk images, to show peasant life. Other aspects of peasant life were also reflected in the painter’s work (“Family Section”, 1876; “Sick Husband”, 1881).
In the picture K.A. Savitsky "Seeing off to war" (1880-1887), a diverse mass of people is outlined, many characters and dramatic situations are shown. This picture is inspired by the events of the Russian-Turkish war.
The well-known works of the genre painter V.E. Makovsky. In his paintings, an excellent knowledge of human psychology is revealed. The painter with great skill depicts representatives of various classes and estates. However, the main theme in Makovsky's work is the urban genre. Makovsky's creativity reached its peak in the 1880s and 1890s. During this period, he created such works as "The collapse of the bank" (1881), "Justified" (1882), "On the Boulevard" (1887), "I won't let you go!" (1892), "Party" (1897).
The works of the master of genre painting I.M. Pryanishnikov. Each painting by this artist is an excerpt from reality, trembling to such an extent that you involuntarily become a direct participant in the reproduced scene.
The Wanderers created a large portrait gallery. In their portraits, the painters depicted the best people of Russia: outstanding figures of culture and science. Many of these portraits were commissioned by the famous collector P.M. Tretyakov, for his gallery. Among the outstanding masters of the portrait, V.G. Perov, N.N. Ge, I.N. Kramskoy, I.E. Repin, N.A. Yaroshenko, Serov. The portrait images of the Wanderers were distinguished by psychological depth, the ability to reveal the character of a person. They reflected the era with all its contradictions. So, looking at the "Portrait of Dostoevsky" (1872), written by V.G. Perov, the viewer understands the intention of the painter, who portrayed the great Russian writer in thought, deeply worried about the fate of the “humiliated and offended”. The portrait of Dostoevsky strikes with its deep humanity.
I.N. was a brilliant portrait painter. Kramskoy, one of the founders of the Partnership. The strengths of the talent of the artist, psychologist, manifested themselves in the portrait of L.N. Tolstoy, written in 1873 in Yasnaya Polyana. The psychological interpretation of the image comes to the fore. The image of the great Russian writer is built on the contrast of external simplicity and internal significance of the image. In an excellently written face, Kramskoy shows the writer's wise and clear mind, capable of penetrating the essence of phenomena, subtly conveying the "dialectics of the soul."
In his painting "Inconsolable Grief" (1884), Kramskoy raises the everyday drama to a universal sound. Despite the fact that the theme itself was inspired by personal experiences, the painter protects the idea of the picture from everything petty, everyday. The painting depicts a young mother dressed in a mourning dress who has lost her child. In her mournful pose, in her tear-stained face, the artist revealed the full depth of inconsolable grief. Among the portraits of I.E. Repin, “Portrait of M. P. Mussorgsky”, written in 1881, is distinguished by special expressiveness and psychological depth. This painting was shown at the ninth traveling exhibition. Repin was connected with the great composer by many years of friendship, passionately loved and understood his works, his contribution to the development of Russian musical art. The portrait strikes with the vitality of the image, the richness of the inner content. A fatal illness left an indelible mark on Mussorgsky's appearance, in which, nevertheless, this strength of an inexhaustible spirit is visible.
In the field of historical painting, the Wanderers also said a new word. Instead of pseudo-historical canvases of the mythological and religious content of the academic school, paintings on themes of Russian history, completely different in character, appear at the exhibitions of the Wanderers. The historical paintings of the Wanderers are characterized by a deep psychological development of the images of historical figures, the depiction of dramatic moments in Russian history.
A huge success at the first traveling exhibition was the picture of N.N. Ge "Peter I interrogates Tsarevich Alexei Petrovich in Peterhof" (1871). This work notes the novelty of the interpretation of a historical event, the high mastery of the psychological depiction of historical figures, as well as the social significance of this topic. The picture unfolds not only a drama between father and son, but also a clash of two opposite human characters, a conflict of the old and the new, the advanced and the backward, connected with the past. The progressive historical force is embodied in the active and intelligent Peter I; in the weak, weak-willed Alexei, everything that had become obsolete was reflected, which hindered the progress of Russia. The painter's sympathies were on the side of Peter I. Ge justified his cruelty, personal sacrifice for the sake of state goals. In his assessment of Peter I, the artist was close to the progressive intelligentsia, which, in the first place, determined the success of the painting.
Psychological drama, the pathos of great human passions are revealed in the work of I.E. Repin "Ivan the Terrible and his son Ivan on November 16, 1581", written in 1885. The artist expressively shows the cruelty of the king, who in a fit of anger kills his son. The idea of this historical canvas arose as early as 1881, after the execution of Narodnaya Volya by the tsarist government. In the progressive intelligentsia, the image of the son-killing king was associated with this massacre. The authorities saw this trend in the picture, and by order of Alexander I, the picture was forbidden to be shown at exhibitions.
In the works of V.I. Surikov for the first time the people was shown as the main acting force of history. All the main historical paintings of the artist, including "Morning of the Streltsy Execution" (1881), "Menshikov in Berezov" (1883), "Boyar Morozova" (1887), "Conquest of Siberia by Ermak" (1895), "Suvorov Crossing the Alps" ( 1899), "Stepan Razin" (1906) - were exhibited at traveling exhibitions and were a huge success with viewers and critics. In the canvases of Surikov, the history of Russia is shown in its true grandeur, in dramatic situations in which mighty folk characters and wonderful spiritual traits of a person are revealed. In his work, the artist glorifies the Russian people, their resilience and courage, rebellious spirit and firm faith in justice.
It is noteworthy that with the unity of ideological and artistic tasks, the Partnership in its ranks united various creative individuals. Each of the Wanderers contributed to democratic realistic art. In this regard, the work of V. M. Vasnetsov is indicative. At the first traveling exhibitions in the 1870s, he acted as a genre painter (“From Apartment to Apartment” (1876), “Reading a Military Telegram” (1878)). But since the beginning of the 1880s, the artist has turned to historical, fairy tale and epic themes. The canvases “After the Battle of Igor Svyatoslavich with the Polovtsy” (1880), “Flying Carpet” (1880), “Alyonushka” (1881), “Bogatyrs” (1898) embody the dreams of the people about happiness, striving for a better life, heroic and patriotic traditions. In the images of three heroes - the favorite heroes of the folk epic, Vasnetsov reflects the heroic spirit of the Russian people, always ready to repulse foreign conquerors.
Russian landscape painting reached its peak in the works of the Wanderers V.D. Polenova, A.K. Savrasova, I.I. Shishkina, V.A. Serova, I.I. Levitan.
A.K. Savrasov became the founder of the Russian lyrical landscape. His work "The Rooks Have Arrived", written in 1871, was a real revelation. A modest, unpretentious plot, close and familiar to everyone, received an artistic embodiment and a deeply human content. This landscape was distinguished by external simplicity, fullness of life, spiritualized beauty.
I.I. Shishkin
One of the most famous landscape painters of the 1870-90s is Ivan Ivanovich Shishkin. In his paintings, the nature of central Russia is shown in all its grandeur and unique appearance. Shishkin's works "Rye" (1878), "Among the Flat Valley" (1883), "Forest Distances" (1884), "Morning in a Pine Forest" (1889) and many others received wide recognition. Shishkin's painting "Rye", like many other works, expresses his love for the motherland, its vast expanses. All the artist's work is permeated with a living sense of nature. Shishkin created a poetic image with his works native land in all its originality.
A great contribution to the development of the Russian landscape was made by V.D. Polenov. Polenov's landscape works are distinguished by sincerity and spontaneity, they captivate with the artist's pictorial skill. The principles of plein air painting were developed by Isaac Ilyich Levitan and other artists. In the work of I.I. Levitan, Russian landscape painting received its highest development and to some extent completed the search for artists of the 1870s and 1880s. Levitan's paintings are full of lyrics, life's truth, they are characterized by great pictorial skill, the ability to create a landscape image of a deeply ideological content. It is enough to see such an ideologically and artistically significant picture of him as “Above Eternal Peace”, painted in 1894, to feel the depth and complexity of the artist’s intention. I.I. Levitan in each of his landscapes was able to show his charm, his "soul". The golden fund of Russian landscape painting will forever include his landscapes “Evening. Golden Reach" (1889), " gold autumn"(1895)," Spring - big water "(1897).
Great success at traveling exhibitions were also such works by such landscape painters as M.K. Klodt, E.E. Volkov, I.S. Ostroukhov, N.N. Dubovsky, S.I. Svyatoslavsky, A.M. Vasnetsov.
Wanderers made a huge contribution to art education: for many years many of them taught at the Moscow School of Painting, Sculpture and Architecture (Arkhipov, Perov, Savrasov, Serov, Pryanishnikov, Levitan, Polenov and others). Since 1894, I.E. Repin, V.E. Makovsky, I.I. Shishkin, and later Kiselev, Dubovskoy and other artists, who greatly increased the authority of the Academy and brought up a large galaxy of artists.
In the 1870s and 1880s, the activity of the Association of Traveling Art Exhibitions reached its peak. The leading place in the traveling exhibitions of this period belonged to the works of I.I. Repin. Surikov's historical paintings were also a huge success. His canvases, like the works of other major Wanderers, were known in the most remote corners of tsarist Russia. More than one generation was brought up on the works of Surikov, Repin, Maksimov, Myasoedov, Savitsky, Makovsky and many other Wanderers.
Among the representatives of the genre painting of the Wanderers, N.P. Bogdanov-Belsky. In his works about the life of peasant children, he was able to simply and truthfully show the inquisitive mind, the desire for knowledge of the village children. His paintings are characterized by democracy, the warmth of children's images ("Oral Account", 1895).
An important place in the genre painting of the 1890s and early 1900s is occupied by the work of A. E. Arkhipov. In his paintings, the artist truthfully reflected the life of the people and, above all, the peasantry. His paintings "On the Oka" (1890) and "Reverse" (1896) received wide recognition, in which the genre organically merged with the landscape. Some of Arkhipov's works reflect social problems. In his paintings “Laundry Women” (“At the iron foundry”, 1896), “Washerwomen” (1901), the artist shows the hard work of women.
After the revolution of 1917, many Wanderers continued their creative activity. Among them were V.N. Baksheev, A.E. Arkhipov, V.K. Byalynitsky-Birulya, A.V. Moravov, N.A. Kasatkin, S.V. Malyutin, P.A. Radimov, N.V. Orlov, V.D. Polenov. These and some other artists, being the successors of the best traditions of the Wanderers, made a huge contribution to the formation and development of Soviet painting. In 1922-23, the 47th and 48th exhibitions of the Wanderers were organized, in which, in addition to members of the Association, a large number of young artists participated.
The Wanderers opened the door to young artists who were close to their desire to continue and develop the traditions of realistic painting. In 1923, the Association of Traveling Art Exhibitions actually merged with the Association of Artists of Revolutionary Russia (AHRR), the largest association of realist artists of the 1920s, and ceased to exist independently. It is symbolic that the last Chairman of the Board of the Partnership P.A. Radimov became the first chairman of the AHRR. Many Wanderers of the younger generation became members of the AHRR and participants in its exhibitions.
Landscape in the work of the Wanderers
Wanderers- these are painters of a realistic direction, who were part of the largest Russian progressive democratic association - the Association of Traveling Art Exhibitions, created on the initiative of G. G. Myasoedov, N. N. Ge, V. G. Perov, the Association was a fundamentally new creative organization of artists, the emergence which was prepared by the previous development of Russian realistic art and especially the art of the 50-60s of the 19th century.
Russian landscape painting reached its peak in the works of the Wanderers V.D. Polenova, A.K. Savrasova, I.I. Shishkina, V.A. Serova, I.I. Levitan. In their work significant place occupied the landscape. In these paintings, the masters depicted various corners of Russian nature with penetrating lyricism and warmth.
A.K. Savrasov became the founder of the Russian lyrical landscape. His work "The Rooks Have Arrived", written in 1871, was a real revelation. A modest, unpretentious plot, close and familiar to everyone, received an artistic embodiment and a deeply human content. This landscape was distinguished by external simplicity, fullness of life, spiritualized beauty.
One of the most famous landscape painters of the 1870-90s is Ivan Ivanovich Shishkin. In his paintings, the nature of central Russia is shown in all its grandeur and unique appearance. Shishkin's works "Rye" (1878),"In the midst of a flat valley" (1883), "Forest distance" (1884), "Morning in a pine forest"(1889) and many others have received wide recognition. Shishkin always created his works based on several motifs seen in different places. In the picture "Rye"(1878) he wrote ears of fabulous height - on the shoulders of peasants walking in the distance; and in the middle of a wide-spread field, mighty pines, which do not belong here: their roots would not allow it to be plowed. These deliberate mistakes of the painter nevertheless create a convincing image of the abundance and heroic power of Russian nature. The accuracy of the drawing, dryish painting and passion for monumental compositions set him apart from other Russian landscape painters.
He made a great contribution to the development of the Russian landscape V.D. Polenov. Polenov's landscape works are distinguished by sincerity and spontaneity, they captivate with the artist's pictorial skill. The artist was among the first Russian painters who focused on plein air painting in his work. Polenov's famous landscapes are "Moscow Yard", "Overgrown Pond", "Grandmother's Garden", "Old Mill", "Turgenevo Village", "Golden Autumn", "Early Snow".
The principles of plein air painting were developed by Isaac Ilyich Levitan and other artists. In creativity I.I. Levitan Russian landscape painting received its highest development and to some extent completed the search for artists of the 1870s and 1880s. Levitan's paintings are full of lyrics, life's truth, they are characterized by great pictorial skill, the ability to create a landscape image of a deeply ideological content. It is enough to see such an ideologically and artistically significant picture of him as "Over Eternal Peace", written in 1894 to feel the depth and complexity of the artist's intention. I.I. Levitan in each of his landscapes was able to show his charm, his "soul". The golden fund of Russian landscape painting will forever include his landscapes "Evening. Golden Plyos» (1889), "Gold autumn" (1895),"Spring is big water" (1897).
Landscape painter A.I. Kuindzhi(1841 - 1910) . In his works, the artist primarily sought to convey lighting, contrasts of light and shadow. Painting space "Evening in Ukraine"(1878) sinking into the dusk, the last rays of the sun illuminate the white huts on a dark hillock among the gardens. Among the peculiar painting of Kuindzhi is an unusual painting "Birch Grove"(1879).
Great success at traveling exhibitions were also such works by such landscape painters as M.K. Klodt, E.E. Volkov, I.S. Ostroukhov, N.N. Dubovsky, S.I. Svyatoslavsky, A.M. Vasnetsov.
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