Alexei Gavrilovich Venetsianov is an academician who educated himself outside the academy and almost self-taught developed his remarkable abilities. About the same in 1839, in a letter to his father from Italy, Alexander Ivanov wrote: “Venetsianov’s talent deserves to be noticed ... But Venetsianov did not have the happiness to develop in his youth, go through school, have concepts of noble and sublime, and therefore he cannot evoke an important scene from past centuries onto his canvas."

If A. Venetsianov had known these words, they would not have come as a surprise to him, he himself defined his attitude to his only attempt to create a great historical composition in this way: they say, "he took on his own business." Indeed, the paintings of this artist did not shock like, for example, the painting by Karl Bryullov “The Last Day of Pompeii”. But A. G. Venetsianov was the first to depict scenes from folk life, and in this regard deserves universal gratitude. Generation after generation experience a unique feeling of joy and delight from the first meeting with his “Zakharka”, “Morning of the landowner”, “On arable land. Spring" and other paintings. Yes, and the personality of Venetsianov was deeply sympathetic.

He came to art on his own path by an inner call, from the first steps he began to do what he knew how and wanted to do. He did not have to solve subjectively, for himself, the problem of "art and the people." He himself was a people, a part of it, which the perspicacious N.V. Gogol defined it as a "miracle". A. G. Venetsianov came out of the people and always remained inside him. And when he received academic titles; and when he ridiculed nobles in his satirical sheets; and when, until the last day of his life, he arranged the life of the peasants, treated and taught them in his Safonkovo; when he dressed and fed indigent serfs capable of arts in his school ... And when, unlike the "divine" Karl Bryullov, who stunned the landowner Engelhardt with lofty phrases, he quickly and simply agreed on how much he would give T. Shevchenko ...

The painting “In the harvest. Summer "belongs to those masterpieces that have enduring value and to this day deliver genuine aesthetic pleasure to the audience. This is a truly Russian landscape, it is in this picture that nature is presented to the artist, in the words of the poet, as "a haven of tranquility, work and inspiration." The plot of the painting "In the Harvest" is drawn from the daily life of the people. However, A. G. Venetsianov least of all set out to depict this life in its everyday aspect, and this conclusion is confirmed by the complete absence of household accessories on the canvas. The picture has the subtitle "Summer", which perfectly expresses the general mood of the whole work.

Hot July afternoon. Nature, as it were, froze in its solemn peace: the hot air is motionless, the thick dark golden rye does not stir. The viewer seems to hear this ringing silence reigning over the fields. The sky has risen high above the flattened earth, and "some kind of quiet play of clouds" is taking place on it. At the first glance at the picture, we see only the figure of a peasant woman, and only then we notice in the background the figures of other reapers. Wrapped in a haze of hot air, they seem to dissolve in an endless space. The impression of aerial immensity, of the length of the fields is created by the alternation of planes that ascend to the hilly horizon lines, rising one after the other. Not without reason, many art historians note that the paintings of A. G. Venetsianov are permeated with a single rhythm like musical works.

In the canvas “In the harvest. Summer ”(as in the painting“ On arable land. Spring ”), the main motive unfolds in the foreground, and then repeats rhythmically several times, like a refrain in a song. Calmly and naturally, straightening her overworked back, a woman sits, placing a sickle beside her. Her stately, majestic figure, shrouded in dense sultry air, is illuminated by the hot rays of the midday sun.

A peasant woman, feeding a child clinging to her, sits in profile to the viewer, on a hill, from where a view of the boundless fields opens - either generously flooded with the sun, then slightly shaded by silver-white clouds slowly floating across the high sky. Despite the fact that the peasant woman sits on a high platform, as if dominating everything around her, however, she is organically connected with the landscape and the ongoing action by bonds of inseparable unity.

But nature in the paintings of A. G. Venetsianov is not just an arena of human labor, it does not act as violence against nature, distorting its natural appearance. From the point of view of the artist, human labor is a continuation of the vital activity of nature, with the only difference being that it turns from spontaneous into rational. And man, thus, appears as a nature that understands itself, it is in this sense that he is the “crown of creation”.

The background is excellently painted - a field with sheaves and figures of reapers, and above them - a high sky with melting clouds. The sun is behind the peasant woman, and due to this, her face and most of the figure are shaded, and this makes it possible to generalize the forms and reveal clean and smooth lines in her silhouette.

A.G. Venetsianov had a rare poetic gift, he knew how to find poetry in the daily worries and troubles of a person - in his work and life. The words spoken by Gogol about A. S. Pushkin are fully applicable to him. Like the works of Pushkin, “where Russian nature breathes in him”, so the paintings of A.G. Venetsianov "can be completely understood only by one whose soul carries within itself purely Russian elements, to whom Rus' is the homeland, whose soul ... is tenderly organized and developed in feelings."

13.12.2014

Description of the painting by Alexei Venetsianov “On the harvest”

Alexei Gavrilovich Venetsianov is a master of the embodiment of peasant life on canvas. His paintings are realistic, believable, heartfelt. Venetsianov approved the everyday genre in art along with others. The painting "In the Harvest" is one of the most significant works of the artist and belongs to the best world masterpieces. The picture shows a field during the harvest of rye. In the foreground, a woman sat down on a wooden platform to feed her child. He is always with her both at home and in the field, there is no one to leave him with, the harvest is the hottest time in the village. Next, the field itself is depicted, where rye is still earing in places. The work of the peasants is very hard from dawn to dusk, under the scorching rays of the sun. The picture seems to breathe on a hot, sultry day, midday fatigue, and there is still a lot of work ahead. Next to the woman lies a sickle, which she put aside for a while, taking care of her son. The time allotted for the harvest is small, but everything must be done in time.

The woman enjoys peace and relaxation. She looks ahead at the eared rye, at the clouds floating by, and enjoys communicating with the child. The picture is painted in warm colors and is so attractive that you want to immerse yourself in this earthly beauty and enjoy the smell of freshly cut rye. The artist skillfully uses the color palette. Against the background of golden rye, the heavenly surface, breathing heat, faded green grass, the red bright sundress of the reaper clearly stands out, as a statement of the greatness of man over nature. Industrious hands will reap the harvest, the harvest will end and it will be time for rest. The horizon line is clearly marked in the picture - the border of earth and sky. A clear sky promises paradise and peace, and earthly life requires effort and labor.
This picture is a brilliant creation that can change the outlook on life. It is impossible to remain indifferent, looking at the work of the great master.

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Venetsianov, Alexey Gavrilovich. “In the harvest. Summer"

Biography

Aleksey Gavrimlovich Venetsiamnov (1780-1847) - Russian painter, master of genre scenes from peasant life, teacher, member of the St. Petersburg Academy of Arts, founder of the so-called Venetian school.

The Venetsianov family came from Greece, where they were called Mihapulo-Proko or Farmaki-Proko. The artist's great-grandfather Fyodor Proko with his wife Angela and son George arrived in Russia in 1730-1740. There they received the nickname Veneziano, which later turned into the name of the Venetsianovs.

Alexei Venetsianov was born on February 7 (18), 1780 in Moscow. Father Gavril Yuryevich, mother Anna Lukinichna (nee Kalashnikova, daughter of a Moscow merchant). The family of A. G. Venetsianov was engaged in trade, they sold currant bushes, tulip bulbs, as well as paintings. A. G. Venetsianov served as a land surveyor at the forest department.

Alexei studied painting first on his own, then with V. L. Borovikovsky. In his youth, he painted lyrical portraits - mothers (1802), A. I. Bibikov (1805), M. A. Fonvizin (1812).

From 1807 he served in St. Petersburg as an official.

In 1811, he was recognized as "Appointed", that is, a candidate for academician. In the same year, Venetsianov received the title of academician.

DETERMINATION OF THE COUNCIL OF THE ACADEMY OF ARTS

February 25th day 1811

Point II: Aleksey Gavrilov Venetsianov, who serves as a deputy measurer at the Forestry Department, is determined to be appointed according to the picturesque portrait of himself presented by him; The program for the title of Academician asks him to paint a portrait of Mr. Inspector Kirill Ivanovich Golovachevsky.

Recorder: Skvortsov. On the back: Elected to the Academician of 1811 September 1 day.

During Patriotic War In 1812, together with I. Terebenev, he created caricatures of the French and gallomaniac nobles. He also studied genre scenes from noble and bourgeois life. He was a member of the Society for the Encouragement of Artists.

A. G. Venetsianov. Portrait of the artist's wife Marfa Afanasievna Venetsianova

In 1819, he left the service and settled with his family: his wife Marfa Afanasyevna and two daughters, Alexandra and Felitsata, in the village of Safonkovo, Tver province, devoting his efforts to the development of the "peasant" genre. There he organized his own art school, in which more than 70 people were trained. V. A. Zhukovsky took an active part in their fate. The works of his students Venetsianov exhibited along with his own at academic exhibitions.

Among the students of A. G. Venetsianov was the talented painter Grigory Soroka, the serf of the landowner N. P. Milyukov, who was preparing Soroka to become a gardener. Magpie committed suicide.

In 1829 he received the title of court painter.

Venetsianov died as a result of an accident on the way to Tver on December 4 (16), 1847 in the village of Poddubie, Tver province. Venetsianov did not have time to drink a cup of tea when the coachman Grigory Lavrentiev and the peasant Agap Bogdanov entered the door. “The horses are ready, Alexei Gavrilych. What would you like to ship?" "Take a suitcase with samples, but I don't have anything else." He turned to his daughter, blessed; kissing, he said: “Do not see me off, Sashurushka!” Grigory jumped up on the box, and Agap sat next to him. Venetsianov waved to his daughter, and the bell rang... The coachman let go of the reins, and on a pothole he was thrown into a snowdrift. The maddened horses flew faster and faster. The wagon rolled over on its side and mercilessly shook in all directions. Venetsianov, with his last strength, managed to grab the reins, but this only worsened the matter - he was dragged along the ground, hitting the trees. After a particularly strong blow, the glove slipped off his hand, and the body was thrown to the side ... Venetsianov was dead.

Venetsianov was buried in the rural cemetery of the village of Dubrovskoye (now Venetsianovo) in the Udomelsky district of the Tver region.

Creation

Venetsianov's brush belongs to the portrait gallery of his contemporaries: the artist painted N. V. Gogol (1834), V. P. Kochubey (1830s), N. M. Karamzin (1828). For the title of academician, Venetsianov was asked to paint a portrait of the inspector of the Educational School of the Academy, K. I. Golovachevsky. A. G. Venetsianov depicted him surrounded by three boys, symbolizing the union of the “three most noble arts”: painting, sculpture and architecture. The portrait also personified the unity of the old Academy (K. Golovachevsky, being a fellow student of A. I. Losenko, was considered the patriarch of the Academy) with the new one. However, A. G. Venetsianov was most famous for the images of peasants he painted. "The Reapers", "The Sleeping Shepherd", "Zakharka" have been attracting the viewer's attention with their freshness and sincerity for almost two centuries.

In 1808, A. Venetsianov published the Journal of Caricatures, which was soon banned. The magazine consisted of engraved sheets: "Allegorical image of twelve months", "Sledding", "Nobleman". satirical image an influential dignitary, is believed to have caused the wrath of Alexander I.

Venetsianov's brushes also belonged to the image for the cathedral of all educational institutions (Smolny Cathedral), for the church of the Obukhov city hospital. IN Last year life, the artist worked on images for the church of the boarding school of noble youth in Tver.

He also worked in pastels on paper and parchment.

In 1955, a USSR postage stamp dedicated to Venetsianov was issued.

At present, the work of Venetsianov A.G. presented in the State Tretyakov Gallery. In Lavrushinsky Lane of Zamoskvorechye, in the house that the Tretyakov family bought in 1851, is the main building of the Tretyakov Gallery. Pavel Tretyakov began building his art collection in the mid-1850s. This, after some time, led to the fact that in 1867 the “Moscow City Gallery of Pavel and Sergei Tretyakov” was opened for the general public in Zamoskvorechye. Her collection included 1276 paintings, 471 drawings and 10 sculptures by Russian artists, as well as 84 paintings by foreign masters.

In August 1892, Pavel Mikhailovich donated his art gallery to the city of Moscow. By that time, the collection included 1287 paintings and 518 graphic works of the Russian school, 75 paintings and 8 drawings of the European school, 15 sculptures and a collection of icons. On August 15, 1893, the official opening of the museum took place under the name “Moscow City Gallery of Pavel and Sergei Mikhailovich Tretyakov.” Since the growth of the collection constantly exceeded the exposition possibilities of the Gallery, new premises were gradually added to the residential part of the mansion, necessary for the storage and demonstration of works of art. Similar extensions were made in 1873, 1882, 1885, 1892 and 1902-1904, when the famous Vasnetsovsky facade appeared, which became the emblem of the Tretyakov Gallery.

On April 2, 1913, the Moscow City Duma elected Igor Emmanuilovich Grabar, a prominent artist, architect and art historian, as a trustee of the Tretyakov Gallery. The main thing that marked the activity of Grabar was the reforms that turned the Tretyakov Gallery into a European-style museum with an exposition built on a chronological basis. In early December 1913, on the fifteenth anniversary of the death of the founder of the Gallery, the reformed museum was opened to the public. On June 3, 1918, the Council of People's Commissars issued a decree declaring the Tretyakov Gallery the state property of the Russian Federative Soviet Republic. From that moment the museum became known as the State Tretyakov Gallery. After nationalization, I. E. Grabar was appointed director of the Gallery. Returning to the work of Venetsianov, I would like to pay special attention to the collection of his works in the State Tretyakov Gallery. The collection includes:

self-portrait

Canvas, oil

Peasant woman with cornflowers

Canvas, oil

"Here is the father's dinner!"

Canvas, oil

Oil on cardboard

Portrait of Princess V.S. Putyatina

Second half of the 1810s

Wood, oil

Peasant girl with a calf

Late 1820s

Canvas, oil

On the arable land. Spring

First half of the 1820s

Canvas, oil

Mid 1820s

Canvas, oil

At the harvest. Summer

Mid 1820s

Canvas, oil

I would like to draw special attention to the last of these works.

At the harvest. Summer

The plot of the painting "In the Harvest" is drawn from the daily life of the people. However, A.G. Venetsianov least of all set himself the goal of depicting this life in its everyday aspect, and this conclusion is confirmed by the complete absence of household accessories on the canvas. The picture has a subtitle "Summer", which perfectly expresses the general mood of the whole work.

Hot July afternoon. Nature, as it were, froze in its solemn peace: the hot air is motionless, the thick dark golden rye does not move. The viewer seems to hear this ringing silence reigning over the fields. The sky has risen high above the flattened earth, and "some kind of quiet play of clouds" is taking place on it.

At the first glance at the picture, we see only the figure of a peasant woman, and only then we notice in the background the figures of other reapers. Wrapped in a haze of hot air, they seem to dissolve in an endless space. The impression of aerial immensity, of the length of the fields is created by the alternation of planes that ascend to the hilly horizon lines, rising one after the other. No wonder many art historians note that the paintings of A.G. Venetsianov are imbued with a single rhythm like musical works. In the canvas "In the harvest. Summer" (as in the painting "In the arable land. Spring"), the main motive unfolds in the foreground, and then repeats rhythmically several times, like a refrain in a song.

Calmly and naturally, straightening her overworked back, a woman sits, placing a sickle beside her. Her stately, majestic figure, shrouded in dense sultry air, is illuminated by the hot rays of the midday sun.

But nature in the paintings of A. G. Venetsianov is not just an arena of human labor, it does not act as violence against nature, distorting its natural appearance. From the point of view of the artist, human labor is a continuation of the vital activity of nature, with the only difference being that it turns from spontaneous into rational. And man, thus, appears as self-understanding nature, in this sense he is the "crown of creation."

A.G. Venetsianov had a rare poetic gift, he knew how to find poetry in the daily worries and troubles of a person - in his work and life. The words spoken by Gogol about A.S. are fully applicable to him. Pushkin. Like the works of Pushkin, "where Russian nature breathes in him", so the paintings of A.G. Venetsianov "can be fully understood only by one whose soul carries within itself purely Russian elements, to whom Rus' is the homeland, whose soul ... is tenderly organized and developed in feelings."

Venetsianov and Venetsianovtsy. Sentimentalism

Venetian art picture

Creativity Venetsianov had its own special concept. Some art historians attribute it to sentimentalism, which never flourished in Russian fine arts, while literature in the person of Nikolai Karamzin gave a clear outline of this artistic direction. One can agree with this, if one does not distinguish between sentimentalism and idyll. Peasant images are not only sentimental, permeated with attention to the lower class; the artist tries to equate them in human qualities with representatives of the upper classes. The whole spirit of Venetsianov's paintings is a poeticization of peasant life without flaws and dark spots. From this concept of creativity comes a similar interpretation of landscapes by the Venetians, primarily by Grigory Soroka and Nikifor Krylov. The landscape of Venetsianov himself is prosaic. But in a holistic picture of the world, he, playing an auxiliary role, seems to poeticize prose, giving it that shade of idealization that passed on to his students.

Sentimentalism in social aspect not devoid of contradictions: sentimentalists are not satisfied with the existing order of things, but they do not think about rebellion, seeking to overcome social evils in self-improvement, enlightenment, in leaving the bustle of the big world for a life unpretentious, merged with nature, for rural life. And this was also to the liking of Venetsianov.

It was sentimentalism that first introduced the commoner into art with his inner world. Moreover, classicism usually showed people, so to speak, without chiaroscuro, knowing two colors in the depiction of characters - “black” and “white”. "White" - for heroes, "black" - for such as the dissolute Silvia in Cantemir in one of his satires or the Venetian "Nobleman". Sentimentalism and romanticism introduce chiaroscuro into art, so to speak, in two forms: as a plastic painting technique and as a multifaceted volume of characters, also built on the transitions of halftones. And this means is adopted by Venetsianov.

The replacement of objectivity by a passionate authorial interest gave rise to philanthropy: sentimentalism (from the French sentimentale, which means “sensitive”) called for compassion, sympathy for “everything that is sad, everything that is oppressed, everything that is tearful.”

What prompted you to write

One of my most revered artists is A. G. Venetsianov. His painting "at the harvest. Summer". It is, in my opinion, one of the most memorable. Venetsianov skillfully, using a color palette, creates a picture of roast summer day. In the frozen golden rye, the expanse of heaven breathing with heat, the dim green of the grass, the painter seems to melt the crimson sundress of the reaper. static horizontal lines: the platform on which the peasant woman sits, the surface of the rye and the alternating color stripes going to the horizon reinforce the impression of nature immersed in summer languor.

The painting "In the Harvest. Summer" belongs to those masterpieces that have enduring value and to this day give the audience a genuine aesthetic pleasure. This is a truly Russian landscape, it is in this picture that nature appears to the artist, in the words of the poet, as "a haven of tranquility, work and inspiration."

Difficulties encountered when copying

When copying this picture, I had some difficulties. In order to create a copy, you need not only to study the style of writing, but also try to most accurately convey the mood and color of the work. To be imbued with the idea that inspired the author to create the work.

The words "who knows how to copy, he knows how to create" are attributed to Michelangelo. The success of training copying is linked to talent. Copying requires endurance, discipline, increased interest, love for the original. “Copy and enjoy,” said Cennino Cennini, in other words, when copying, one must feel the beauty of the original, experience delight.

1. The main difficulty is that I do not have the opportunity to use the original. This is why we have to resort to the help of reproduction. The selection of the desired reproduction also caused some difficulties. On some printed copies, the colors and shapes were not accurately conveyed, so it took a long time to compare and select the closest ones, in my opinion, to the original.

2. The next difficulty was that even on the most accurate reproduction it is not possible to determine the special style of the author, the manner of his writing, the imposition of strokes. Due to the plane of the image, it is impossible to understand the individual technique of the author.

3. Further difficulties were caused directly by the process of copying. The "grid" method is best suited for copying. The essence of drawing is that we divide the image into small cells, each of which will be easy for us to copy into the same cell on the sheet. The grid allows you to scale, that is, change the size.

4. The next item that gave me trouble was the selection of color spots. Since I used a reproduction, it was difficult for me to determine one or another color. It also turned out to be difficult to reproduce certain colors in gouache, because the master used "oil".

Despite all these difficulties, I tried to most accurately copy the work of A. G. Venetsianov “On the Harvest. Summer".

Bibliography

1. Alekseeva T. V., Venetsianov and development household genre, in the book: History of Russian Art, vol. 8, book. 1, M., 1963

2. Alexey Gavrilovich Venetsianov. Articles. Letters. Contemporaries about the artist. -- L.: Art, 1980

3. Venetsianova A. A. Notes of the daughter of Venetsianov. 1862

4. A. N. Savinov and A. G. Venetsianov. Life and creativity, M., 1955

5. "One Hundred Great Paintings" by N. A. Ionina, publishing house "Veche", 2002

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Venetsianov, Alexey Gavrilovich. “In the harvest. Summer"

Biography

Alexei studied painting first on his own, then with V. L. Borovikovsky. In his youth, he painted lyrical portraits - mothers (1802), A. I. Bibikov (1805), M. A. Fonvizin (1812).

From 1807 he served in St. Petersburg as an official.

In 1811, he was recognized as "Appointed", that is, a candidate for academician. In the same year, Venetsianov received the title of academician.

DETERMINATION OF THE COUNCIL OF THE ACADEMY OF ARTS

February 25th day 1811

Recorder: Skvortsov. On the back: Elected to the Academician of 1811 September 1 day.

During the Patriotic War of 1812, together with I. Terebenev, he created caricatures of the French and gallomaniac nobles. He also studied genre scenes from noble and bourgeois life. He was a member of the Society for the Encouragement of Artists.

A. G. Venetsianov. Portrait of the artist's wife Marfa Afanasievna Venetsianova

Among the students of A. G. Venetsianov was the talented painter Grigory Soroka, the serf of the landowner N. P. Milyukov, who was preparing Soroka to become a gardener. Magpie committed suicide.

In 1829 he received the title of court painter.

Venetsianov was buried in the rural cemetery of the village of Dubrovskoye (now Venetsianovo) in the Udomelsky district of the Tver region.

Creation

In 1808, A. Venetsianov published the Journal of Caricatures, which was soon banned. The magazine consisted of engraved sheets: "Allegorical image of twelve months", "Sledding", "Nobleman". The satirical image of an influential dignitary is believed to have angered Alexander I.

Venetsianov's brushes also belonged to the image for the cathedral of all educational institutions (Smolny Cathedral), for the church of the Obukhov city hospital. In the last year of his life, the artist worked on images for the church of the boarding school for noble youth in Tver.

He also worked in pastels on paper and parchment.

In 1955, a USSR postage stamp dedicated to Venetsianov was issued.

self-portrait

Canvas, oil

Peasant woman with cornflowers

Canvas, oil

"Here is the father's dinner!"

Canvas, oil

Oil on cardboard

Portrait of Princess V.S. Putyatina

Second half of the 1810s

Wood, oil

Peasant girl with a calf

Late 1820s

Canvas, oil

On the arable land. Spring

First half of the 1820s

Canvas, oil

Mid 1820s

Canvas, oil

At the harvest. Summer

Mid 1820s

Canvas, oil

I would like to draw special attention to the last of these works.

At the harvest. Summer

But nature in the paintings of A. G. Venetsianov is not just an arena of human labor, it does not act as violence against nature, distorting its natural appearance. From the point of view of the artist, human labor is a continuation of the vital activity of nature, with the only difference being that it turns from spontaneous into rational. And man, thus, appears as self-understanding nature, in this sense he is the "crown of creation."

Venetsianov and Venetsianovtsy. Sentimentalism

Venetian art picture

Creativity Venetsianov had its own special concept. Some art historians attribute it to sentimentalism, which never flourished in Russian fine art, while literature in the person of Nikolai Karamzin gave a clear outline of this artistic direction. One can agree with this, if one does not distinguish between sentimentalism and idyll. Peasant images are not only sentimental, permeated with attention to the lower class; the artist tries to equate them in human qualities with representatives of the upper classes. The whole spirit of Venetsianov's paintings is a poeticization of peasant life without flaws and dark spots. From this concept of creativity comes a similar interpretation of landscapes by the Venetians, primarily by Grigory Soroka and Nikifor Krylov. The landscape of Venetsianov himself is prosaic. But in a holistic picture of the world, he, playing an auxiliary role, seems to poeticize prose, giving it that shade of idealization that passed on to his students.

Sentimentalism in the social aspect is not without contradictions: sentimentalists are not satisfied with the existing order of things, but they do not think about rebellion, seeking to overcome social evils in self-improvement, enlightenment, in avoiding the hustle and bustle of the big world to an unpretentious life, merged with nature, to rural life. And this was also to the liking of Venetsianov.

It was sentimentalism that first introduced the commoner with his inner world into art. Moreover, classicism usually showed people, so to speak, without chiaroscuro, knowing two colors in the depiction of characters - “black” and “white”. "White" - for heroes, "black" - for such as the dissolute Silvia in Cantemir in one of his satires or the Venetian "Nobleman". Sentimentalism and romanticism introduce chiaroscuro into art, so to speak, in two forms: as a plastic painting technique and as a multifaceted volume of characters, also built on the transitions of halftones. And this means is adopted by Venetsianov.

What prompted you to write

One of my most revered artists is A. G. Venetsianov. His painting "at the harvest. Summer". It is, in my opinion, one of the most memorable. Venetsianov skillfully, using a color palette, creates a picture of a hot summer day. In the frozen golden rye, the expanse of heaven breathing with heat, the dim green of the grass, the painter seems to melt the crimson sundress of the reaper. Static horizontal lines: the platform on which the peasant woman sits, the surface of the rye and the alternating color stripes going to the horizon reinforce the impression of nature immersed in summer languor.

Difficulties encountered when copying

Despite all these difficulties, I tried to most accurately copy the work of A. G. Venetsianov “On the Harvest. Summer".

Bibliography

1. Alekseeva T.V., Venetsianov and the development of the everyday genre, in the book: History of Russian Art, vol. 8, book. 1, M., 1963

2. Alexey Gavrilovich Venetsianov. Articles. Letters. Contemporaries about the artist. -- L.: Art, 1980

3. Venetsianova A. A. Notes of the daughter of Venetsianov. 1862

4. A. N. Savinov and A. G. Venetsianov. Life and creativity, M., 1955

5. "One Hundred Great Paintings" by N. A. Ionina, publishing house "Veche", 2002