Interest in the fine arts covered ever wider sections of society, which was reflected in the creation of various art societies, the growing popularity of exhibitions at the Academy of Arts, the founding of art magazines, and the creation of art museums.
The portrait remained the leading genre in painting, its development was associated with the work of O.A. Kiprensky and V.A. Tropinin. In the works of these artists, one can see the desire to capture the uniqueness of the spiritual and emotional world of contemporaries, romanticism is intertwined with the features of realism. The landscape developed along with the portrait associated with the name of S.F. Shchedrin, which is characterized by a poetic perception of the natural appearance of nature. The everyday genre is represented by the work of A.G. Venetsianov, who deliberately chose it as an independent and full-fledged type of painting, and P.A. Fedotov. The theme of their painting is national and democratic. Historical painting developed under the influence of the war of 1812, the growth of patriotism and national consciousness. This trend was represented by A.A. Ivanov, who wrote famous painting Appearance of Christ to the people, A.E. Egorov and others. Some artists worked equally well in various genres. Such were F. Bruni, K.P. Bryullov, the largest artist of his time, whose work embodied drama, humanity, brilliant craftsmanship.
Almost the entire development of painting in that period took place within the framework of classicism, which in painting was called academism. Academism was focused on the highest visual technique, mythological and biblical subjects, decorative composition. In general, for the painting of the nineteenth century. characterized by the expansion of genres, plots, improvement of techniques and artistic aspects. For Russian visual arts were characterized by romanticism and realism. However, the officially recognized method was classicism.
Classicism in architecture at the beginning of the nineteenth century. reached the highest level of development, creating fertile ground for the expression of civil pathos. Characteristic- the creation of large ensembles. Russian architecture was distinguished by high professionalism, the search for new ways.
Among the architects of that time, O.I. Beauvais, who supervised the restoration of Moscow after the fire of 1812. Under his leadership, unique urban ensembles were created: Theater, Voskresenskaya, Red Square; Alexander Garden; buildings were built Bolshoi Theater, Manezh - buildings that have transformed the face of the city. In St. Petersburg, classicism retained its official character and reflected the significance of the city as the capital of the empire. Among the outstanding monuments is the Kazan Cathedral (1801-1811) by architect A.N. Voronikhin; the Stock Exchange building (1804-1811) by the architect Thomas de Thomon; urban ensembles K.I. Rossi, who turned the city into a work of art. Project AD. Zakharov, the building of the Admiralty was erected. The rays of St. Petersburg avenues spread from it. According to the project of A.A. Montferrand was the creator of St. Isaac's Cathedral - the tallest building in Russia at that time.
To replace classicism, which had exhausted its possibilities, which came into conflict with the changed aesthetic needs of the era in the 30s. nineteenth century came eclecticism. Her main principle- the use of elements of various architectural styles of the past in a free form. Architect K.A. Tone is one of the most prominent representatives this direction. According to his project, the Cathedral of Christ the Savior (1839-1883) was built in honor of the victory in the Patriotic War of 1812.
The most significant successes were achieved at this time in the field of monumental sculpture. Just like in other directions artistic culture, there was a strong influence Patriotic War 1812, the themes of heroism, patriotism, etc. became popular. Sculpture developed within the framework of the classicism style, but realistic features acquire a rather strong influence. A characteristic feature of the development of Russian sculpture in the first half of the century was the synthesis of sculpture and architecture, which was especially pronounced in the creation of urban ensembles and the solution of other urban planning problems.
Among the outstanding monumental sculptors, a special place is occupied by V.I. Demuth - Malinovsky and S.S. Pimenov. Together with the architect Voronikhin, they created the unique decoration of the Kazan Cathedral, then bas-reliefs for the Mining Institute. Several grandiose statues were carved out of stone for the Admiralty building. The sculptors also worked in collaboration with the architect Rossi; the sculpture of the arch of the General Staff Building is considered the pinnacle of their work.
Among the outstanding monuments of the era is the monument to Minin and Pozharsky on Red Square, created by the sculptor I.P. Martos. In the images of the heroes of the XVII century. features of patriotism and national pride are embodied. Great importance had the work of B.I. Orlovsky, the author of the figure of an angel crowning the Alexander Column, monuments to Field Marshal M.I. Kutuzov and General Barclay de Tolly in front of the Kazan Cathedral in St. Petersburg. Alexander Column - menhir, one of famous monuments Petersburg. Erected in the Empire style in 1834 in the center of the Palace Square by the architect Auguste Montferrand by decree of the younger brother of Emperor Alexander I, Nicholas I, in memory of the victory over Napoleon. The column is a monolithic obelisk, which stands on a pedestal decorated with bas-reliefs with a dedicatory inscription "Grateful Russia to Alexander I". At the top of the column is a sculpture of an angel by Boris Orlovsky. The face of the angel is given the features of Alexander I. In his left hand, the angel holds a four-pointed Latin cross, and raises his right hand to heaven. The head of the angel is tilted, his gaze is fixed on the ground. The column faces the Winter Palace. She is not only outstanding architectural monument, but also a great engineering achievement of its era. In the first half of the XIX century. independent Russian musical art appeared, although the influence of Italian, German, French schools. Russian national musical culture was created on the basis of folk art, as evidenced by the work of A.A. Alyabiev, the creator of the Russian national opera M.I. Glinka. A significant contribution to the development of domestic musical art was made by the innovative operas of A.S. Dargomyzhsky. The combination of folk motifs with romanticism led to the emergence of a special genre - the Russian romance (A.A. Alyabyev, A.E. Varlamov, A. Gurilev). During that period, the role of the drama theater in the cultural life of Russia has seriously increased. In Moscow, the Maly Theater became the center of this type of art, where democratic tendencies were very strong; in St. Petersburg - Alexandrinsky, which retained the significance of the official. Theatrical art of that time developed within the framework of the romanticism style (especially in the work of P.S. Mochalov, who played in the plays of Schiller, Shakespeare; his role of Hamlet was especially successful). Gradually, a realistic direction was established on the Russian stage thanks to the dramaturgy of A.S. Griboedova, N.V. Gogol, A.N. Ostrovsky. Among the actors who created the glory of the Russian stage, M.S. Shchepkina, P.S. Mochalova, E.S. Semenov, and others. There were various types of theaters. Serf theaters belonging to Russian aristocratic families (Sheremetevs, Apraksins, Yusupovs, etc.) were still widespread. State theaters there were few (Alexandria and Mariinsky in St. Petersburg, Bolshoi and Maly in Moscow). Ballet theatrical art occupied a special place in the cultural life of Russia. It developed in close connection with and under the influence of domestic literature. The ballets of "pure classicism" were a thing of the past. They were replaced by sentimental melodramas and romantic productions. Ballets appeared in the repertoire, the plot of which was prompted by Russian literature.
Painting of the first half XIX century:
The trend of realistic painting of the 18th century remains leading in the first half of the new century, special attention is paid during this period to the features of Russian life, which are of a folk and national nature. A significant achievement of Russian painting in the first third of the 19th century was the development of the portrait genre. Portraits of this time are illuminated by the humanism of the Pushkin era with its boundless respect for the dignity of man. The patriotic upsurge caused by the struggle against the French intervention of 1812, the expectation of the triumph of social justice gave the worldview of the progressive person of this era an exalted character, at the same time, the civic principle was combined here with the lyrical, intimate, which gave the spiritual appearance of the best people of that time a special completeness.
Among the largest Russian portrait painters of the first half of the 19th century is Vasily Andreevich Tropinin (years of life 1776-1857), one of the founders of romanticism in Russian painting. In his portraits, Tropinin revealed the value of the human personality in all the specificity of its external appearance and spiritual world. Tropinin's portraits are easy to recognize by the benevolent facial expression characteristic of his characters; he endowed his characters with his own calmness and goodwill. In addition to portraits, Tropinin also developed everyday subjects in his work, which also makes him one of the founders of Russian genre painting. The "Portrait of Arseny Tropinin" can be called a masterpiece of Tropinin's early work. Children's images were especially attractive for the artist. Most of the children's portraits by Tropinin have a genre plot, he depicts children with animals, birds, toys, musical instruments ("Boy with a pity", "Boy with a goldfinch" and others). "Portrait of Arseny Tropinin" captivates with sincerity and purity of emotions, it is written easily and generally. The refined coloring is built on a combination of golden brownish tones, a pinkish tone of the ground and underpainting shines through the paint layer and glazing.|
V. A. Tropinin. Lacemaker. 1823 |
The image of a pretty girl, who for a moment looked up from her occupation and looked at the viewer, suggests that her work is not at all difficult, that this is just a game. A still life is carefully and lovingly painted - lace, bobbins, a box for needlework. The feeling of peace and comfort created by Tropinin in this picture convinces of the value of every moment of everyday human existence.
The early forms of Russian genre painting include other portraits of serf needlewomen by Tropinin - gold embroiderers, embroiderers, and spinners. Their faces are similar, they clearly show the features of the artist's female ideal - a gentle oval, dark almond-shaped eyes, a friendly smile, a coquettish look. These works by Tropinin are distinguished by clear contours and body overlay of paints, the picturesque texture acquires density. Small, densely laid strokes make the paintings look like enamel miniatures.|
V. A. Tropinin. Portrait of A. S. Pushkin. 1827 |
Pushkin is depicted sitting in a relaxed position, right hand placed on a table with an open book. The background and clothes are united by a common golden-brown tone, on which the poet's face stands out - the most intense colorful spot and the compositional center of the picture. Genuine inspiration shines in the wide-open blue eyes of the poet. All contemporaries noted in this portrait an irreproachable resemblance to Pushkin, where the artist, conscientiously following nature, managed to capture the high spirituality of the poet.
The 1830-1840s account for the largest number of portraits painted by Tropinin. These are portraits of the first persons in the city hierarchy and private individuals - nobles, merchants, as well as actors, writers, and artists spiritually close to Tropinin.During these years, under the influence of Karl Bryullov, who returned to Russia from Italy, Tropinin produced large-sized works similar to a formal portrait. In the portrait of Bryullov himself, Tropinin emphasizes the artistic originality of the artist with a lush background with ancient ruins entwined with vines and smoking Vesuvius.
Tropinin's later works attract with their genre observation, anticipating the interest in everyday life that was characteristic of Russian painting in the 1860s.
It is worth noting that Tropinin was a serf for most of his life and received freedom only at the age of 47 (and his family, wife and son, after another 5 years), but despite this, the artist maintained a benevolent attitude towards people all his life, depicting them in portraits in a good mood and with a pleasant expression.
Vasily Andreevich Tropinin created more than three thousand portraits throughout his long creative life, having a huge impact on the formation of the Moscow school of painting and the development of realistic trends in Russian art.
One of the most significant Russian painters of the first half of the 19th century can be called Karl Pavlovich Bryullov (years of life 1799-1852). Bryullov in his work gravitates towards large, historical canvases, their general design is often romantic, although they retain the features of classicism and a realistic basis.Karl Bryullov was born into the family of an academician, woodcarver and painter-decorator. In 1809, Bryullov was admitted to the Academy of Arts, having graduated with honors, was sent on a pensioner trip to Italy, where he painted a series of paintings on the theme of the life-affirming beauty of a healthy person, who feels the joy of being with his whole being (“Italian morning”, “ Italian noon”, “Bathsheba”).
This theme of joyful beauty and harmony sounds distinctly in the painting “Italian Noon”. Bryullov skillfully conveys the effect of the sun's rays penetrating the leaves and the grape bunch filled with juice, traces the play of light and the shadow softened by reflexes on the swarthy skin of the Italian, while maintaining the clarity of the plastic volumes of her bare shoulders and full arms.
Karl Bryullov can also be called a master of the ceremonial portrait. The romantic elation of the image, its decorativeness, the plastic clarity of the volumetric form and the amazing materiality of the texture of objects distinguish Bryullov's best ceremonial portraits, such as The Horsewoman and two portraits of Countess Yulia Samoilova.However, it can be noted that the ceremonial portraits of Bryullov are devoid of the significance that is inherent in the representative image of the 18th century. Many ceremonial portraits of Bryullov are purely external in nature, anticipating the salon portrait of the second half of the 19th century.
In contrast to custom-made ceremonial portraits, the portraits of people of art by Bryullov (the poet Kukolnik, the sculptor Vitali, the fabulist Krylov, the writer and critic Strugovshchikov) are distinguished by the special accuracy of the psychological characteristics of the models.
In the portrait of Vitali, Bryullov depicts the sculptor as an enthusiastic creator, the sparkle of moistened eyes betrays the tension of the creative state, and simple clothes with a casually turned down collar of a white shirt remind of the sculptor's working environment. Bryullov highlights Vitali's face and hand with bright light, plunging the rest of the environment into soft semi-darkness.
K. P. Bryullov. The last day of Pompeii. 1830-1833
The pinnacle of creative achievements, bright talent and virtuosity of Karl Bryullov can be called a large historical painting "The Last Day of Pompeii", which characterizes romanticism in Russian painting, mixed with idealism and increased interest in the open air.
In the picture, Bryullov depicted the moment of the eruption of Vesuvius in 79 AD. e. and the destruction of the city of Pompeii near Naples. The death of people under the influence of blind, elemental forces is tragically inevitable, the glow of the volcano and the light of lightning illuminate the crowd of people rushing about in horror, seeking salvation. Bryullov combines in the images of the characters in this picture the heroic idealization traditional for classicism and the tendency inherent in the new romantic direction to portray natures in exceptional situations.
In constructing the composition of the painting, Bryullov uses the basic rules of classicism: the frontality and closed nature of the composition, its division into three planes in depth, the distribution of actors into groups arranged in the form of academic triangles. Such a construction of the composition in the style of classicism conflicts with the general romantic nature of the idea of the picture, introducing some conventionality and coldness into the picture.
Unlike his contemporaries, who illuminated the paintings with neutral diffused daylight, Bryullov boldly and successfully takes on the transmission of the most complex double lighting: hot red light from a volcano flame in the depths and cold, greenish-bluish light in the foreground from a flash of lightning.
The painting "The Last Day of Pompeii" by Karl Bryullov created a sensation both in Russia and abroad, marking the first great international success of the Russian painting school.
Sculpture of the first half XIX century:
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BY. Russia. Portrait of I. P. Martos |
The most prominent representative of Russian classicism in the sculpture of this period can be called Ivan Petrovich Martos (years of life 1754-1835).
In the work of Martos, a large place is occupied by memorial sculpture. Martos can be called one of the creators of a peculiar type of Russian tombstone of the era of classicism. Among the first works of Martos that have come down to us is the tombstone of S. S. Volkonskaya, which is a marble slab with a bas-relief image of a weeping woman next to the urn. The slender, majestic figure is completely draped in long clothes, the face is shaded by a veil thrown over the head and is almost invisible. The work of Martos is characterized by a great measure of restraint in the transfer of human sorrow; a calm and clear solution to the overall composition of the tombstone.
The same features distinguish the tombstone of E. S. Kurakina. Instead of a complex multi-figured composition, the sculptor placed only one reclining figure of a woman on the pedestal of the tombstone; leaning on an oval medallion with a portrait of the deceased, a woman in grief covers her face with her hands. On the pedestal of the tombstone, Martos carved a bas-relief depicting the two sons of the deceased against a smooth, neutral background characteristic of classicism.
The strength and drama of deep human feelings are conveyed in this work by Martos with artistic tact and plastic expressiveness.
The theme of grief is revealed in the marble tombstones of Martos with deep poetry, they feel a great sincerity of feelings, a lofty ethical understanding of human grief, they lack the overwhelming horror of death.
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I. P. Maptos. Monument to Minin and Pozharsky in Moscow. 1804-1818 |
The monument to Minin and Pozharsky is a sculptural group on a granite pedestal of a strict rectangular shape. Stretching his hand towards the Kremlin and as if calling for the salvation of the fatherland, Kuzma Minin hands Prince Pozharsky a sword, Pozharsky, accepting the sword and holding the shield with his left hand, rises from his bed, on which he rested after his injuries.
The dominant image in the group is the figure of Kuzma Minin; his powerful figure clearly dominates and attracts the main attention with a wide free wave of his hand. High reliefs are cut into the pedestal from both sides, the front high relief depicts patriotic citizens donating their property for the good of the Motherland, the back depicts Prince Pozharsky driving the Poles from Moscow.
Martos, by laconic means, was able to fully express in the monument the idea of civic duty and feat in the name of the motherland, which fully corresponded to the deeds and feelings of the Russian people after the victory in the war with the French in 1812.
Commemorative inscription on the pedestal
Martos's late period work anticipates the romantic tendencies of sculpture in the second half of the 19th century. Martos creates monuments that play an important role in creating the figurative structure of cities: to Duke E. Richelieu in Odessa, Alexander I in Taganrog, G. A. Potemkin-Tavrichesky in Kherson, M. V. Lomonosov in Arkhangelsk.Among the late monumental works of Martos stands out the monument to Richelieu in Odessa, which has become a symbol of this city. Martos depicted Richelieu dressed in an ancient Roman toga, his movements are restrained and expressive, which emphasizes the noble simplicity of the image. The monument is compositionally connected with the surrounding architectural ensemble: with buildings located along the semicircle of the square, with the famous Odessa staircase and Primorsky Boulevard.
Ivan Petrovich Martos played a decisive role in shaping the work of many Russian sculptors of the 19th century. He taught at the Academy of Arts for more than fifty years, from 1814 he was its rector.
In the work of many sculptors of the first half of the 19th century, one can see a growing interest in the transfer of reality and a passion for genre and everyday topics, which will determine the features of art in the second half of the century. The expansion of the themes of sculptural works and interest in the genre are most characteristic of the work of P. K. Klodt.
Pyotr Karlovich Klodt (years of life 1805-1867) - Russian sculptor from the baronial family Klodt von Jurgensburg of Baltic-German origin.
In his youth, Baron Klodt, at the insistence of his father, the chief of staff of the Separate Siberian Corps, entered the artillery school, but everything free time, he gave to his main hobby: at the slightest opportunity, Klodt took up a pencil or penknife and drew or cut horses in small sizes.
At 23, Klodt retired from military service and devoted his later life exclusively to sculpture. In 1830, Klodt entered the Academy of Arts as a volunteer, his teachers were the rector of the Academy I.P. Martos, as well as the famous masters of sculpture S.I. Galberg and B.I. Orlovsky. At the same time, Klodt's figurines depicting horses began to enjoy great success.
The first famous monumental work of Klodt can be called a sculptural group of horses in the design of the Narva Gates in St. Petersburg. Klodt worked on this large government order together with such experienced sculptors as S. S. Pimenov and V. I. Demut-Malinovsky.
According to Klodt's model, a copper six horses were installed on the attic of the gate arch, carrying the chariot of the goddess of glory. In contrast to the classical images of this plot, the horses performed by Klodt are rapidly rushing forward and rearing, giving the entire sculptural composition the impression of impetuous movement.
From 1833 to 1841, Klodt worked on models of four groups of Horse Tamers installed on the Anichkov Bridge in St. Petersburg.The romantic-sounding theme of these groups, performed in the best traditions of Russian classicism, can be defined as the struggle of the will and mind of a person with the forces of nature. Defeated to the ground at the first attempt to curb the animal, the man in the end still becomes the winner. Clearly conveyed elastic volumes are typical for all four groups, their silhouettes are clear and expressive. Thanks to these qualities, Klodt's sculptural groups are compositionally integrated into the surrounding architectural urban ensemble.
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P. K. Klodt. Horse tamer. 1833-1841
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In the first group, a naked athlete holds back a rearing horse, the animal and the person are tense. The growth of the struggle is shown with the help of two main diagonals: the smooth silhouette of the neck and back of the horse forms the first diagonal, which intersects with the diagonal formed by the figure of the athlete. Movements are marked with rhythmic repetitions. |
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In the second group, the head of the animal is upturned high, the mouth is bared, the nostrils are swollen, the horse beats the air with its front hooves, the figure of a man is turned in a spiral in an attempt to besiege the horse. The main diagonals of the composition are approaching, the silhouettes of the horse and the man seem to be intertwined. |
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In the third group, the man is thrown to the ground, and the horse tries to break free, triumphantly arching his neck, his freedom is hindered only by the bridle in the man’s left hand. The main diagonals of the composition are clearly readable and their intersection stands out. The silhouettes of a horse and a man form an open composition, in contrast to the first two groups. |
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In the fourth group, a person tames an angry animal: leaning on one knee, he stops the horse’s wild run, squeezing the bridle with both hands. The silhouette of the horse forms a gentle diagonal, the silhouette of a man is covered by a drapery falling from the back of the horse. The general silhouette of the monument again becomes closed and balanced. |
Klodt refuses here all the conventional and idealizing methods of sculpture of classicism and conveys his living impressions and the appearance of a man whom he knew and loved well. The sculptor depicts the poet sitting in a simple, natural pose, focusing on Krylov's face, which reveals his personal characteristics. Unusually, Klodt solves the pedestal of the monument, the entire middle part of which is occupied by a solid high relief encircling the perimeter with images of various animals, characters of Krylov's fables. Despite some criticism for excessive realism in the depiction of animals on the pedestal, the monument was highly appreciated and took its rightful place in the history of Russian sculpture.
Throughout his life, Klodt paid much attention to small plastic art - small figurines depicting horses ("A horse at a watering place", "A horse covered with blankets, rearing up", "A galloping horse", "A foal", etc.). The sculptor in these figurines masterfully conveys the individual character of each animal; these are real portraits, made soulfully, with sensitive attention and genuine respect for nature.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.
Goal of the work - 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
Russian history Art XIX centuries are 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.
The fine arts of the first half of the 19th century have 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, history painting 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.
The romantic direction of Russian art in the first third of the 19th century prepared the development of realism in the following decades, for 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- 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: 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.
- 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 (The first public library was opened in St. Petersburg in 1814). The culture of Russia developed against the backdrop of an ever-increasing national self-consciousness of the Russian people and, therefore, 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 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 heroes, 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 the brilliant "Taras Bulba" by Gogol, " captain's daughter” and Pushkin’s “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 the synthesis of which decorative painting and applied art which often ends up in the hands of the architects themselves. In 19th century architecture 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. Also in mid-eighteenth V. 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 there is a 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.
The sculptor who, during the years of the decline of monumental forms, managed to achieve significant success in this area, as well as in "small forms", 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 the Summer Garden (1848-1855), as well as a large number of animal sculptures. 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 the historical genre (A.E. Egorov - "Torture of the Savior", 1814, Russian Museum; V.K. Shebuev - "The Feat of the Merchant Igolkin", 1839, Russian Museum; F.A. Bruni - " 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. Best Aspirations 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 spiritual movement is easily recorded in them. 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 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 “treading” the paths to realism thanks to his genre sketches, drawings and lithographs depicting Petersburg street scenes and the types that brought to life the famous quatrain of P.A., Vyazemsky:
Rus' 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 the further development of the 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 of foreign art resonated 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. State Tretyakov Gallery in Moscow - one of the largest collections of Russian fine arts, a world-famous national cultural center. The museum bears the name of the founder - the Moscow merchant P.M. Tretyakov (1832-1898), who donated his art gallery to the city in 1892, 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 being formed, which was based on the ideas of critical realism. One of the first masters of this trend was Vasily Grigorievich Perov (1833–1882). His genre works (“Rural procession at 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 leading areas of development of artistic creativity, this genre has been raised 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. The greatest masters of landscape in Russia were A.K. Savrasov (“The Rooks Have Arrived” 1871), I.I. Shishkin (“ Pinery"1873, "Rye" 1878), A.I. Kuinzhi ("Birch Grove" 1879, "Moonlight Night on the Dnieper" 1880), V.D. Polenov ("Moscow Yard" 1878 .) .
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 art association was founded in St. Petersburg, which received the name"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 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 has 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.
Introduction
In the first half of the 19th century, the crisis of the feudal-serfdom system, which hampered the formation of the capitalist order, intensified more and more. Freedom-loving ideas are spreading and deepening in the advanced circles of Russian society. The events of the Patriotic War, the help of the Russian troops in the liberation of the states of Europe from the tyranny of Napoleon exacerbated patriotic and freedom-loving moods. All the basic principles of the feudal-serf state are subjected to criticism. The illusory nature of hopes for changing social reality with the help of the state activity of an enlightened person becomes clear. The Decembrist uprising in 1825 was the first armed uprising against tsarism. It had a huge impact on Russian progressive artistic culture. This era gave rise to the brilliant work of A. S. Pushkin, popular and universal, full of dreams of freedom.
The fine arts of the first half of the 19th century have 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.
After the suppression of the Decembrist uprising, the autocracy established a cruel reactionary regime. His victims were A. S. Pushkin, M. Yu. Lermontov, T. G. Shevchenko and many others. But Nicholas I could not suppress the discontent of the people and progressive social thought. Liberation ideas spread, embracing not only the nobility, but also the raznochintsy intelligentsia, who began to play more and more significant role in artistic culture. V. G. Belinsky became the founder of Russian revolutionary-democratic aesthetics, which influenced artists. He wrote that art is a form of people's self-consciousness, led the ideological struggle for creativity, close to life and socially valuable.
Russian artistic culture in the first third of the 19th century took shape during a period of social upsurge associated with the heroic events of the Patriotic War of 1812 and the development of anti-serfdom and freedom-loving ideas of the pre-Decembrist period. At this time, all types of fine arts and their synthesis reached a brilliant flowering.
In the second third of the 19th century, due to the intensified government reaction, art largely lost those progressive features that were characteristic of it earlier. By this time, classicism had essentially exhausted itself. The architecture of these years embarked on the path of eclecticism - the external use of styles from different eras and peoples. Sculpture lost the significance of its content, it acquired the features of superficial showiness. Promising searches were outlined only in sculpture of small forms, here, just as in painting and graphics, realistic principles grew and strengthened, asserting themselves in spite of the active resistance of representatives of official art.
Classicism in the first half of the 19th century, in accordance with romantic tendencies, created images that were elevated, spiritualized, emotionally sublime. However, the appeal to a living direct perception of nature and the destruction of the system of so-called high and low genres already contradicted academic aesthetics, based on classic canons. It was the romantic direction of Russian art in the first third of the 19th century that prepared the development of realism in the following decades, for 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. It is no coincidence that the formation at the end of this period of satirical household genre in painting and graphics. In general, the art of this stage - architecture, painting, graphics, sculpture, applied and folk art - is an outstanding phenomenon full of originality 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.
An important evidence of the changes that took place in Russian art in the first half of the 19th century was the desire of a wide range of viewers to get acquainted with the exhibitions. In 1834, in the "Northern Bee", for example, it was reported that the desire to see "The Last Day of Pompeii" by K. P. Bryullov swept the St. Petersburg population, spread "in all states and classes." This picture, as contemporaries argued, largely served to bring "our public closer to the artistic world."
The nineteenth century was also distinguished by the expansion and deepening of ties between Russian art not only with life, but also with the artistic traditions of other peoples who inhabited Russia. Motifs and images of the national outskirts, Siberia, began to appear in the works of Russian artists. The national composition of students in Russian art institutions became more diverse. Natives of Ukraine, Belarus, the Baltic States, Transcaucasia and Central Asia studied at the Academy of Arts, in the Moscow School of Painting, Sculpture and Architecture organized in the 1830s.
In the second half of the 19th and early 20th centuries, only individual masters, and primarily A. A. Ivanov, aroused interest in the art world Russia. Only during the years of Soviet power did the art of this period receive wide recognition. In recent decades, Soviet art history has paid great attention to the study of the work of the masters of the first half of the 19th century, especially in connection with the large jubilee exhibitions of A. G. Venetsianov, A. A. Ivanov, O. A. Kiprensky, the 225th anniversary of the USSR Academy of Arts.
Painting of the first half of the 19th century The first half of the 19th century is a bright page in the culture of Russia. All directions - painting, literature, architecture, sculpture, theater of this era are marked by a whole constellation of names that brought world fame to Russian art.
Painting in the first half of the 19th century was of great importance in the life of society. The development of national self-consciousness, caused by the victory in the Patriotic War of 1812, raised the interest of the people in national culture and history, to domestic talents. As a result, during the first quarter of the century, public organizations arose for the first time, the main task of which was to develop the arts: the Free Society of Lovers of Literature, Sciences and Arts, the Society for the Encouragement of Artists. Special magazines appeared, the first attempts were made to collect and display Russian art. The small private "Russian Museum" of P. Svinin gained fame, and in 1825 the Russian Gallery was created at the Imperial Hermitage. Since the beginning of the century, the practice of the Academy of Arts included periodical exhibitions, which attracted many visitors. At the same time, admission to these exhibitions on certain days of the common people was a great achievement.
At the very beginning of the 19th century, classicism played a significant role in painting. However, by the 1830s, this direction was gradually losing its public importance, and is increasingly turning into a system of formal canons and traditions. The novelty of views was introduced into Russian art by romanticism, a European trend that took shape at the turn of the 18th and 19th centuries. One of the main postulates of romanticism, opposite to classicism, is the assertion of a person's personality, his thoughts and worldview as the main value in art. The consolidation of a person's right to personal independence gave rise to a special interest in his inner world, and at the same time assumed the artist's freedom of creativity. In Russia, romanticism acquired its own peculiarity: at the beginning of the century, it had a heroic coloring, and during the years of the Nikolaev reaction - a tragic one. Having as its feature the knowledge of a particular person, romanticism became the basis for the subsequent emergence and formation of a realistic trend, which was established in art in the second half of the 19th century. A characteristic feature of realism was the appeal to the theme of modern folk life, the establishment of a new theme in the art of life of the peasants. Here, first of all, it is necessary to note the name of the artist A.G. Venetsianov. The most complete realistic discoveries of the first half of the 19th century were reflected in the years in the work of P.A. Fedotov.
Outstanding achievements in Russian art of the first half of the 19th century are characterized by portraiture. Russian portrait is the genre of painting that most directly connected artists with society, with outstanding contemporaries. heyday portrait painting associated with the search for new principles of artistic creativity and the spread of romanticism in Russia. Romanticism is inherent in the portraits of artists O. A. Kiprensky, V. A. Tropinin, K. P. Bryullov. The most famous portrait painters of this time are Kiprensky O.A. and Tropinin V.A. Kiprensky O.A. "Self-portrait" Tropinin V.A. "Self-portrait", 1846
Kiprensky O.A. (). A special page in Russian painting is the female portraits of the artist. Each of his portraits captivates with penetration into the spiritual depths of the image, the unique originality of the appearance, and excellent performing skills. The most famous were the portraits of E.S. Avdulina (1822), E.A. Teleshova (1828), D.N. Tail (1814). One of the pinnacles of Orest Adamovich's work is the portrait of E.P. Rostopchina (1809). Portrait of E. S. Avdulina Portrait of E. A. Teleshova Portrait of D. N. Khvostova Portrait of E. P. Rostopchina
The famous portrait of the poet A.S. Pushkin (one of the best in his lifetime) by Kiprensky. The poet himself wrote about this picture: “I see myself, as in a mirror. But this mirror flatters me.” Portrait of the Life Hussar Colonel E.V. Davydov (1809). The image of Davydov, created by Kiprensky, appears to the viewer as a symbol of the era of wars with Napoleon, on the eve of the Patriotic War of 1812.
Tropinin Vasily Andreevich (). The son of a serf, himself a serf until 1823. The ability to draw manifested itself in childhood, he studied at the Academy of Arts in St. Petersburg, showed brilliant academic success, received silver and gold medals. But the master sent him to the Ukrainian estate, where the artist lived for about 20 years, painted, built and painted the church. Tropinin V.A. painted a huge number of portraits, and not only famous and famous people, but also representatives of the people. Particular attention is drawn to the lifetime portraits of the great poet A.S. Pushkin and the hero of the Patriotic War of 1812 I.P. Bagration. "Portrait of Bagration P.I." "Portrait of A.S. Pushkin", 1827
In portraits of contemporaries, people from the people, the artist shows inner beauty person. So, in the painting "The Lacemaker" Tropinin V.A. managed to find a rare harmony of physical and moral beauty, social certainty such as a girl from the people and the poetry of the image. "Lacemaker" is characteristic of Russian painting of the pre-Wandering era: the traditions of the 18th century are intertwined here with signs new era. "Girl with a Pot of Roses", 1820 "Guitarist", 1823 "Lacemaker", 1823 "Golden Seamstress", 1826
Karl Pavlovich Bryullov () was one of the brightest, and at the same time controversial artist in Russian painting of the 19th century. Bryullov had a bright talent and an independent way of thinking. He was brought up in the family of an artist, from childhood he was fascinated by painting, at the age of 10 he entered the Academy of Arts to study. In 1822, Karl Bryullov went to Rome to study the art of the masters of the Renaissance. "Self-portrait", 1834 "Self-portrait", 1848 "Portrait of Countess Yu. P. Samoilova with her adopted daughter Amazilia Pacini" "Portrait of Alexei Tolstoy", 1832
In the Italian period of creativity Bryullov significant place devoted to portraiture, painted the famous painting-portrait "Horsewoman". In the painting "Italian Morning" he turned not to historical and mythological subjects, but to the everyday scene of the grape harvest. In 1836, Karl Pavlovich Bryullov became a professor at the St. Petersburg Academy of Arts, taught at the Academy, during this period he also painted about 80 portraits. "Fortune-telling Svetlana", 1836 "Horsewoman", 1832 "Italian noon", 1832 "Portrait of the Shishmaryov sisters, 1839
The historical genre was considered the highest in the Academy. The best works of this genre were the works of K.P. Bryullov, including The Last Day of Pompeii. This picture is a shining example academic art, but elements of romanticism are already visible.
The history of the creation of the painting "The Last Day of Pompeii". In 1827, at one of the receptions, the artist met Countess Yulia Pavlovna Samoilova, who became his artistic ideal, closest friend and love. Together with her, Karl goes to Italy to inspect the ruins of the ancient cities of Pompeii and Herculaneum, which died as a result of a volcanic eruption in 79 AD. e. Impressed by the eyewitness description of the tragedy by the Roman writer Pliny the Younger, Bryullov realized that he had found a theme for his next work. For three years, the artist collected material in archaeological museums and excavations so that each item painted on the canvas would correspond to the era. All work on the picture lasted six years. In the process of working on the painting, many sketches, sketches, sketches were made, and the composition itself was rebuilt several times. When in the middle of 1833 the work was presented to the general public, it caused an explosion of delight and admiration for the artist. Previously, not a single picture of the Russian school of painting had such European glory. In 1834, at exhibitions in Milan and Paris, the success of the painting was amazing. In Italy, Bryullov was elected an honorary member of several art academies, and in Paris he was awarded the Gold Medal. The success of the picture predetermined not only the successfully found plot, which corresponds to the romantic consciousness of the era, but also how Bryullov divides the crowd of dying people into local groups, each of which illustrates one or another affect - love, self-sacrifice, despair, greed. The force shown in the picture, destroying everything around, invading the harmony of human existence, caused contemporaries to think about a crisis of illusions, about unfulfilled hopes. This canvas brought the artist worldwide fame. The customer of the painting - Anatoly Demidov - presented it to Tsar Nicholas I.
Ivanov Alexander Andreevich (years) A special place in the historical genre is occupied by the monumental painting by A.A. Ivanov “The Appearance of Christ to the People”, on which he worked for 20 years. Executed in compliance with the basic norms of classical painting, it combines the ideals of romanticism and realism. The main idea of the picture is confidence in the need for moral renewal of people.
The history of the creation of the painting "The Appearance of Christ to the People". In 1833 (from 1830 to 1858 the artist lived in Italy), Alexander Andreevich came up with the idea of a new monumental painting. This worldwide famous picture became the apogee of his work, it revealed in full the mighty talent of the artist. Work on the picture occupied all the thoughts and time of the artist; more than three hundred preparatory sketches from nature and album sketches were made, many of which became independent works. During the work on the painting, Ivanov re-read literature on history, philosophy, religious teachings, and rethought the idea and plot several times. In Italy, the artist found himself in a difficult situation. financial situation. Ivanov lived on benefits that he managed to obtain from various institutions or patrons. He saved on every little thing. Almost all the money that he managed to get, Alexander Andreevich spent on the maintenance of a huge workshop, the purchase of art materials and the payment of sitters. After several breaks in work on the painting, the artist nevertheless completed it by 1857. But the painting "The Appearance of Christ to the People", shown by the artist after returning to Russia in 1857, first in the Winter Palace, then at the Academy of Arts, was met with a rather restrained reception.
About the portrait skill of the artist Ivanov A.A. testify to the portrait of N.V. Gogol, painted in 1841, with whom the painter had a close friendship. The painting of the "Italian" period of the painter's work "The Appearance of Christ to Mary Magdalene after the Resurrection", on which he worked from 1834 to 1836. This painting was sent to St. Petersburg, where it received positive reviews. The painting was placed in the art gallery of the Hermitage. The Council of the Academy appreciated the work of the artist, which strictly corresponded to the classical canons, and awarded him the title of academician.
Self-portrait, 1848 Fedotov Pavel Andreevich (). The founder of critical realism in Russian painting. In his genre paintings he expressed major social problems. In years he studied at the First Moscow Cadet Corps. Thanks to his phenomenal memory, Pavel studied well, science was given to him easily. Even then, in the first years of his studies, Fedotov showed a craving for painting. Over time, drawing grew into a passion. Fedotov's first works were connected with military theme. He enters the Academy of Arts. He did not take on faith everything that was taught at the Academy, which led to the formation of his own view of painting, different from the frozen canons of academism. After retiring, the artist created talented works of the social direction, showing the critical position of the author in relation to reality.
"Fresh Cavalier", 1846 "Choiceous Bride", 1847 The first work of the artist Fedotov P.A., painted in oil - "Fresh Cavalier" - dates back to 1846. This genre picture was liked by both academic professors and democratic viewers. A year later, Fedotov painted another painting, The Picky Bride. With the direct participation of Bryullov, these two paintings were accepted for an academic exhibition in 1847.
"Courtship of a Major", 1851 For the painting "Courtship of a Major" painted later, the Council of the Academy awarded Pavel Andreevich the title of Academician. An important place in the work of Fedotov was occupied by portraits, of which the “Portrait of N. Zhdanovich”, painted in 1849, stands out. "Portrait of N. Zhdanovich at the piano", 1849
Venetsianov Alexey Gavrilovich (), the founder of the domestic genre of everyday life (genre painting). His paintings poeticized the life of the simple Russian people, dedicated to the daily work and life of the peasants. "Self-portrait", 1811 Born in Moscow, in the family of a merchant. He studied at a private boarding house, served in the Post Office Department, and from childhood was fond of painting. Was a student famous artist V.L. Borovikovsky. In 1811, A.G. Venetsianov was elected an academician of the St. Petersburg Academy of Arts.
In 1818 Venetsianov leaves public service, marries and leaves with his family for the Safonkovo estate, which belonged to his new wife. It is here, far from the bustle of the city, Alexey Gavrilovich finds main theme of your creativity. Venetsianov opens up an inexhaustible source of inspiration, a variety of plots and images. A huge contribution of Alexei Gavrilovich Venetsianov to the development of Russian painting is the creation of his own school, his own method. From private portraits of peasants, the artist comes to magnificent artistic compositions, in which folk life, her aura, finds a multicolored expression for her. In 1822, for the first time, the work of the artist A.G. Venetsianov was presented to the emperor. For it, the painter received a thousand rubles, and the work itself was placed in the Diamond Room of the Winter Palace. The painting was called "Purification of the Beets". This canvas became a kind of "turning point" in Russian painting, the birth of a new trend in Russian art of the everyday genre. It was Venetsianov who achieved the popularity of this direction of painting among the people.
In the 1820s, Aleksey Gavrilovich painted several small paintings, the so-called “peasant portraits”, depicting either girls with a pot of milk, or with a scythe, with beets, with cornflowers, or a boy with an ax or sleeping under a tree, or an old man or an old woman. "Girl in a headscarf", 1810 "Zakharka" "Girl with a pot of milk", 1824 Peasant woman with cornflowers.
“On the arable land. Spring." 1820 At the harvest. Summer. It should be noted the peculiarity of the images of peasant women, characteristic of many of the artist's paintings: their majesty, calm dignity, businesslike facial expressions. The prototype of a peasant woman for the painting “On arable land. Spring "was the wife of the artist. She is a young, slender woman in a long sundress, leading two horses across the field. No less famous is the painting “In the Harvest. Summer". This work is harmonious artistic images: Venetsianov's love for the working peasant people made it possible to depict true beauty in him.
Let's check the knowledge: 1. What artistic directions coexisted in painting in the first half of the 19th century: A) classicism, sentimentalism, realism B) realism, abstractionism, sentimentalism C) classicism, romanticism, realism 2. Which of the artists painted a portrait of A.S. Pushkin, about which the poet said: as in a mirror, I see. But this mirror flatters me”: A) Kiprensky B) Tropinin D) Venetsianov 3. Which of the artists of the first half of the 19th century is the founder of the domestic genre in painting: A) Bryullov B) Venetsianov D) Fedotov 4. Which of the artists of the first half of the 19th century century is the founder of critical realism in Russian painting: A) Tropinin B) Fedotov C) Ivanov A.A.
Answers: 1.C) classicism, romanticism, realism 2.A) Kiprensky 3.B) Venetsianov 4.B) Fedotov 5.K.P. Bryullov "The Last Day of Pompeii" 6. A.G. Venetsianov "On the arable land. Spring” 7.P.A. Fedotov "Fresh Cavalier" 8.A.A. Ivanov "The Appearance of Christ to the People" 9.V.A. Tropinin "Lacemaker" 10. O.A. Kiprensky “Portrait of A.S. Pushkin"
