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Center for ART - education All-Russian competition "Pride of the Fatherland": Anniversaries of Russia in 2013 (history and culture) Presentation for a lesson on history. Presentation topic: "Vasily Grigorievich Perov - an outstanding genre painter of the 19th century (on the occasion of the 180th anniversary of the artist's birth)". Vitvitskaya Lyubov Mikhailovna, history teacher Alexandra Arshinova, student of the 9th grade, MBOU secondary school No. 4, Kolchugino, Vladimir region. website

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Perov - one of the best Russian painters of modern times, was born in Tobolsk on December 23, 1833. (The real surname is Kridener. The surname "Perov" arose as a nickname given to the future artist by his literacy teacher, a provincial deacon). Perov Vasily Grigorievich (1833-1882) "Self-portrait", 1851

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Perov received his first painting lessons at the Arzamas school of A.V. Stupin - the best provincial art school of that time. Being in it, in addition to copying the originals, for the first time he began to try his hand at composition and painting from nature and painted the painting "Crucifixion". Upon completion of the work, the sixteen-year-old artist presented it to the church of the neighboring village of Nikolsky as an altarpiece (located in the church of the village of Nikolsky, Arzamas district). Monument to Stupin in Arzamas

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In 1853 he entered the Moscow School of Painting, Sculpture and Architecture. The famous sculptor Ramazanov, the inspector of the school, approved Perov's drawings and accepted him as a student. He lived with a poor relative, an old maid, an orphanage matron, who was ill with consumption. His father was old and did not send him money. Upon the death of a relative, he was literally left homeless, but one of the teachers of the school, E.Ya. Vasiliev, offered to move to him in a state-owned apartment, noticing good abilities in a young man. In 1856, for the study of the head of a boy presented at the Imperial Academy of Arts, he received a small silver medal. This award was followed by others awarded to him by the academy: in 1858 - a large silver medal for the painting "Arrival of the Policeman for Investigation", in 1860 - a small gold medal for the paintings "Scene on the Grave" and "The son of the sexton, who received the first rank", in 1861 - a large gold medal for "Sermon in the Village". “First rank. The son of a deacon, promoted to collegiate registrars”, 1860 An excellent figure of a barefoot official, who is being tried on a uniform tailcoat.

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In the painting Sermon in the Village, created in the year of the abolition of serfdom, Perov depicted a scene in a village church. The priest points up with one hand, and with the other - at the landowner dozing in an armchair, plump, unpleasant; the young lady sitting next to him also does not listen to the sermon, she is carried away by what some well-groomed gentleman whispers in her ear. To the left are peasants in torn clothes. They, scratching their heads, listen with distress and distrust to the priest, apparently suggesting that all power is from God. "I wanted to depict one of the sermons of John Chrysostom, and tried to show the degree of its effect on different tempers, for youth and old age, for poverty and wealth, "- this is how the artist explained the idea of ​​\u200b\u200bthe canvas. "Sermon in the village", 1861

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Simultaneously with the "Sermon" Perov painted two pictures - "Tea drinking in Mytishchi, near Moscow", where an obese monk is surprisingly typical, and "Rural religious procession on Easter". The last picture depicts everyone completely drunk. The rural priest has grasped the porch column and can hardly hold the cross in his other hand; the deacon has completely collapsed on the threshold, is floundering and cannot get up. "Tea drinking in Mytishchi, near Moscow", 1862 "Rural religious procession at Easter", 1861

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Having received, along with a large gold medal, the right to travel to foreign lands at public expense, Perov went there in 1862. He visited the main art centers in Germany and spent about two and a half years in Paris. Here he made sketches from nature and painted several paintings depicting local types and scenes of street life (Statuette Seller, Savoyard, Organ Grinder, Parisian Rag-pickers, Beggars on the Boulevard, Musicians and Onlookers, and etc.), but soon became convinced that the reproduction of unfamiliar, foreign customs is not given to him as successfully as the image of his native, Russian life. The Academy allowed him to return to Russia a year before the deadline. Savoyard, 1863-1864 Organ grinder, 1863 Parisian rag-pickers, 1864

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After arriving in Moscow, the artist creates more and more expressive and full of deep meaning human tragedies: "Seeing the Dead" (1865), "The Arrival of the Governess in merchant's house» (1866). "Seeing the dead man", 1865 "Arrival of the governess in the merchant's house", 1866

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Perov is drawn to the cold, gloomy scenes of city life. Famous for his painting "Troika" (1866), depicting little apprentices. Exhausted, the children pull an icy barrel of water. In the painting "The Drowned Woman" (1867), Perov portrayed a policeman on duty at the body of a dead woman.

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In 1867, the painting “The Drawing Teacher” appears - a whole poem from real life in the strength of the best Turgenev types. With even greater skill, the painting “Birdcatcher”, which is one of the masterpieces of the Russian school, was painted. The picture begins a new period of Perov's activity and coincides with the beginning of the activities of the Association of Traveling Exhibitions.

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In Perov's paintings of the 60s, everything - composition, color, and always a harsh landscape - was aimed at expressing his main thoughts, and - as Stasov very well said - everything in them "bites strictly, importantly and painfully." But how often Perov was prevented from working; how often he indignantly dismissed absurd conversations, newspaper articles in which he was accused of not loving his fatherland, if he showed it in such a "disgusting" light that he had "no matter what picture, then the tendency and ", that "isn't it better for an artist to work in the name of pure art. " Clean Monday", 1866 "The queue at the pool", 1865

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One of the highest achievements of the artist is "The Last Tavern at the Outpost" (1868). This is a picture of great emotional tension, unusually integral in its artistic solution. On the outskirts of the city, at the last tavern, two harnessed sledges stopped. The peasant woman left in the sleigh has long been waiting for her husband who has been on a spree. The last street of the city runs away into the distance, to the outpost, behind which the world of the village begins. The landscape is imbued with a sense of melancholy and loneliness. Evening twilight, a general gray-brown tone, and only the snow-covered windows of the tavern are illuminated from the inside by an alarming light, and the cold yellow stripe of sunset burns out at the horizon behind the pillars of the outpost, revealing a boundless distance.

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Perov gave a lot of time and energy to social work. He was a member of the Moscow Society of Art Lovers and a member of the committee of this society. “... I find that I positively have no right to refuse such an honorary title. Therefore, I hasten to express my gratitude to you, as well as my readiness to serve for society and for its good purposes ... ”- he wrote in response to his election. And, despite being busy, he was very conscientious about his duties, participated in all the affairs of society. When in 1869 the artist Grigory Grigoryevich Myasoedov proposed to organize a partnership for organizing exhibitions by the artists themselves, Perov was the first to seize on this idea. But it was not so easy in those years to obtain permission to set up such a partnership. The tsarist officials, who constantly forbade the exhibition of paintings by objectionable artists, did not approve of the new society, and the Academy of Arts did not like this idea either. "Portrait of the historian Mikhail Petrovich Pogodin", 1872

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Perov, Myasoedov, Kramskoy and other artists decided not to back down. Endless troubles began. A year later, permission was obtained, and then the charter of the partnership was approved. It was necessary to prepare for the first exhibition, which was supposed to be opened in St. Petersburg. The year in which talks about a new partnership began was one of the most difficult in Perov's personal life: in one year his wife and two older children died, leaving one younger son. It was difficult to come to terms with this, and only boundless love and devotion to art, the support of friends helped Perov overcome grief, find the strength to work. Since 1871, the TPHV has arranged 48 traveling exhibitions in St. Petersburg and Moscow, then shown in Kyiv, Kharkov, Kazan, Orel, Riga, Odessa and other cities.

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On traveling exhibition In 1871, two excellent paintings by Perov were exhibited - "Fisherman" and "Hunters at Rest". These paintings are a direct continuation of the beautiful genre scenes. "Fisherman", 1871 "Hunters at rest", 1871

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Significant are the achievements of Perov, a portrait painter. Depicting outstanding figures of Russian culture, the artist managed to reveal their complex inner world, high spirituality. The portrait of F.M. Dostoevsky (1872) is widely known, the portrait of A.N. Ostrovsky (1871), the portrait of V.I. Dahl (1872) received well-deserved recognition. Portrait of Dostoevsky Portrait of Ostrovsky Portrait of Dahl

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Enthusiasm historical novels Salias and Karnovich prompted Perov to write two large historical paintings- "The Court of Pugachev" (1873, not completed) and "Nikita Pustosvyat. Controversy about faith. He reworked the first one several times, and he himself remained dissatisfied with it. Pugachev sits on the porch of the landowner's house, surrounded by a crowd of his close associates, whose robber faces are extremely characteristic. There is an oath ceremony, which is performed by a miserable, unfortunate priest shaking with fear. In the courtyard, in front of Pugachev, a crowd of people is crowded, in the forefront of which stands the landowner's family, whose members, some with despair, some with firmness and courage, await the decision of their fate. In the background, against the ominous background of the fire, the silhouettes of the gallows loom. The leader of the uprising is opposed by a proud, imperious landowner, looking with anger at "Emelka". Perov set a very difficult task - to write a triptych in which he intended to unfold the history of the Pugachev uprising. In the first picture of the triptych, he wanted to reveal the causes of the uprising, in the second - to depict the uprising itself, and in the third - to convey the massacre of the landowners. The artist carefully prepared for the implementation of his creative plan: he read a lot about the Pugachev uprising, traveled to the Volga and the Urals, sketched types there (“Head of a Kirghiz”, “Head of a Tatar”), made sketches for Pugachev. But from the entire triptych, he managed to paint only the third picture - "Pugachev's Court".

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"Court of Pugachev"

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During his life, Perov turned to literary creativity. It is impossible not to mention his stories, as piercing and deep as his paintings. Perov reflected the history of the creation of some of his paintings in a series of stories, in particular about the "Troika" - in the story "Aunt Marya", about the "Drowned Woman" - "On Nature. Fanny at number 30. IN last years life, moving away from the Association, Perov practically abandoned all exhibition activities - "Nikita Pustosvyat" became known to the general public after the death of the artist. Some idea of ​​Perov's mentality at that time is given by such paintings as "The Wanderer in the Field (On the Way to Eternal Bliss)" and "The Return of the Peasants from the Burial in Winter." Increasingly, the artist reflects on imminent death, more and more painfully perceives creative failures. He teaches at the Moscow School of Painting, Sculpture and Architecture; among his pupils - M.V. Nesterov, A.P. Ryabushkin. S.A. Korovin, N.A. Kasatkin, A.E. Arkhipov. He supports and takes care of his friend, the great landscape painter A.K. Savrasov. Evidence of this friendship can be considered an unfinished portrait of Savrasov by Perov.

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The most significant painting by Perov historical theme, and surpassing the rest in size - "Nikita Pustosvyat". Before us is the Faceted Chamber. Nikita, enraged by the argument and a successful blow to the head of the Suzdal Metropolitan Athanasius, who fell backwards on the steps of the throne, steps on the patriarch with clenched fists. His (one figure is worthy of the whole picture; in all Russian painting you cannot find another like it, where the character of this schism fanatic was so amazingly correctly guessed. Around him is a crowd of schismatics who came with him to defend the common cause. It consists of all kinds of types, variously expressing their sympathy for Nikita's act, rushing to save him from the archers who had settled in. The picture is full of movement and drama.

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In 1881, Perov suffered from typhus and pneumonia, his health deteriorated. The artist's friends tried to help him. L.N. Tolstoy brought the famous doctor Zakharyin to him, P.M. Tretyakov, with whom Perov had been friends throughout his life, invited him to live at his dacha in Kurakino. In May, the seriously ill Perov was transferred to a hospital in Kuzminki near Moscow, where the artist's brother worked as an intern. On the eve of his death, Perov wrote his last letter to Tretyakov: “Dear and good friend Pavel Mikhailovich, I kiss you ... and thank you from the bottom of my heart for everything that you have done and are doing for me ... Your Perov. All hope is in God. May 29 (old style), 1882, the artist died in the hospital. Portrait of Tretyakov. Ilya Repin. Portrait of V. G. Perov I. N. Kramskoy

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Perov was buried at the Danilovsky cemetery in Moscow. In the 1930s, his ashes were transferred to the cemetery of the Donskoy Monastery. Always modest, thinking little of himself, he did not highly value his works and, despite the modest demands that he made on life, left nothing behind him except debts. A whole century separates us from the moment when Perov's life ended. For these long years a lot of great masters appeared, a lot of once-big names were forgotten. But the art of Vasily Grigoryevich Perov, a great storyteller and "high moral personality", still remains alive and relevant. Perov was the first talented follower of Fedotov, and the next generation of genre painters, headed by the talented Vladimir Makovsky, was brought up on his works. One of the stories written by Perov says: “An artist who knows and loves his art leaves behind creations that pass into offspring and live there for a long time.” These words rightfully refer to the work of Perov himself. Otpety, 1873 self-portrait

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Literature and Internet resources. 1. Masterpieces of Russian painting. Encyclopedia of world art. Due to " White City”, 2006, pp. 162-174 2. Aleksandrov V.N. History of Russian art. Minsk "Harvest" 2007, pp. 441-444. 3. Roginskaya F.S. Association of Traveling Art Exhibitions: Historical essays. M., 1989. 4. Sarabyanov D.V. History of Russian Art II half of XIX century: a course of lectures. M., 1989. http://literatura5.narod.ru/dostoevskiy1.html http://www.bibliotekar.ru/Kartiny2/10.htm http://www.tanais.info/art/perov13more.html http: //upload.wikimedia.org/wikipedia/commons/4/48/Perov_V_G_DonM.jpg?uselang=ru http://tphv.ru/perov_obuhov18.php http://www.hydojnik.ru/Perov/ http:// commons.wikimedia.org/wiki/File:Perov_V_G_DonM.jpg?uselang=ru http://tphv.ru/perov_sher18.php

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Vasily Grigorievich Perov. "Troika". Apprentice artisans carry water” 1866, Tretyakov Gallery In a letter to D. Grigorovich, Perov explained the idea of ​​this textbook picture as follows: “Four little unfortunate apprentices (artisans), in a terrible frost and blizzard, carrying a huge tub of water uphill, dressed not quite for the season.” So we are able to see. How the compositional idea of ​​the canvas changed in the process and work on it. And the work was long and painstaking. Quite quickly, having written "tethered" children, the author could not find a model for the central character.

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Vasily Grigorievich Perov. "Troika". Apprentice artisans carry water” 1866, Tretyakov Gallery Perov told a sad story closely connected with these searches in his story “Aunt Marya”. Nevertheless, he once found the right boy - he went with his mother to pray in the temple. The woman at first flatly refused the artist, saying that he would jinx his son, but then agreed that he posed for Perov. And 4 years after the creation of the "troika", the painter had a chance to meet her again. She said that her Vasya had died, and asked to see the picture in which he was depicted. Looking at the picture, the woman exclaimed: “Here he is - as if alive! Here is his broken tooth!

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Vasily Grigorievich Perov. "Troika". Workmen's Apprentices Carrying Water” 1866, Tretyakov Gallery Frightened CHILDHOOD The Perovs in this picture do not strive for detail, making do with the most stingy pictorial range. He makes the monastery wall hopelessly deaf, depriving it of all sorts of architectural details.

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Vasily Grigorievich Perov. "Troika". Apprentice artisans carry water” 1866, Tretyakov Gallery Frightened CHILDHOOD The icon, cut off by the edge of the picture, is nothing but another irritated nod from the artist in the direction of the official church.

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Vasily Grigorievich Perov. "Troika". Workmen's Apprentices Carrying Water” 1866, Tretyakov Gallery Frightened CHILDHOOD The children's faces caught in the light are the compositional center of the picture – everything else is drowned in the hazy winter fog of the big city. Faces are distorted by suffering and seem to bear the verdict on the existing world order.

and Karnovich prompted Perov to write two large historical paintings - “The Court of Pugachev” (1873, not finished) and “Nikita Pustosvyat. Controversy about faith. He reworked the first one several times, and he himself remained dissatisfied with it. Pugachev sits on the porch of the landowner's house, surrounded by a crowd of his close associates, whose robber faces are extremely characteristic. There is an oath ceremony, which is performed by a miserable, unfortunate priest shaking with fear. In the courtyard, in front of Pugachev, a crowd of people is crowded, in the forefront of which stands the landowner's family, whose members, some with despair, some with firmness and courage, await the decision of their fate. In the background, against the ominous background of the fire, the silhouettes of the gallows loom. The leader of the uprising is opposed by a proud, imperious landowner, looking with anger at "Emelka". Perov set a very difficult task - to write a triptych in which he intended to unfold the history of the Pugachev uprising. In the first picture of the triptych, he wanted to reveal the causes of the uprising, in the second - to depict the uprising itself, and in the third - to convey the massacre of the landowners. The artist carefully prepared for the implementation of his creative plan: he read a lot about the Pugachev uprising, traveled to the Volga and the Urals, sketched types there (“Head of a Kirghiz”, “Head of a Tatar”), made sketches for Pugachev. But from the entire triptych, he managed to paint only the third picture - "Pugachev's Court".

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Perov Vasily Grigorievich

Vasily Grigorievich Perov - painter, one of the founders of the genre painting.

Russian painter, one of the founding members of the Association of Traveling Art Exhibitions. - Russian painter, one of the founding members of the Association of Traveling Art Exhibitions.

"The constant striving for the truth of life, full of painful doubts, difficult internal breakdown, sometimes severe disappointment did not leave Perov until recently. This is the secret of the charm that he had ..." (Botin B.N.)

Critical realism in Russian painting The emergence of a broad current of critical realism in Russian painting was prepared in the 1840s and 1850s by a part of Russian society that absorbed the prose of N.V. Gogol, the poetry of N.A. Nekrasov, aesthetic views of N.G. Chernyshevsky. fine arts an impetus was needed so that the depiction of the life of disadvantaged compatriots was realized on canvases. Such an impetus was the work of Vasily Grigorievich Perov.

Critical realism is an artistic method and literary direction established in the 19th century. Its main feature is the depiction of the human character in organic connection with social circumstances, along with a deep social analysis. inner world person.

Childhood Born December 21, 1833 in Tobolsk. son of Baron G.K. Kridener. The surname "Perov" arose as a nickname given to the future artist by his literacy teacher, a provincial deacon. He graduated from the course at the Arzamas district school, was sent to the art school of A. V. Stupin (also in Arzamas).

Vasily Perov.

Self-portrait. 1851.

Vasily Perov.

Self-portrait. 1870.

Studies. Awards In 1853 he entered the Moscow School of Painting, Sculpture and Architecture, where he studied with M. I. Scotti, A. N. Mokritsky and S. K. Zaryanko. In 1856 he received a small silver medal for a sketch of a boy's head submitted to the Imperial Academy of Arts. Subsequently, the Academy awarded him other awards:

• a large silver medal for the painting "Arrival of the police officer for the investigation" (1858),
• a small gold medal for the paintings "Scene on the Grave" and "The son of a sexton, promoted to the first rank" (1860),
• a large gold medal for the painting "Sermon in the Village" (1861).

In 1861, for the painting “Sermon in the Village”, Perov received a large gold medal and the right to travel abroad at public expense, in 1862 he went to Europe, visited a number of German cities, as well as Paris. This period includes paintings depicting European scenes of street life (“Seller of figurines”, “Savoyar”, “Paris organ grinder”, “Beggars on the boulevard”, “Musicians and onlookers”, “Parisian rag-pickers”).

Sermon in the village. 1861.

Parisian rag-pickers

European scenes of street life This period includes paintings depicting European scenes of street life (The Seller of Statuettes, The Savoyard, The Organ Grinder, Beggars on the Boulevard, Musicians and Onlookers, Rag-pickers).

Parisian rag-pickers. 1864.

Organ grinder

Great Paintings Back ahead of time in Moscow, Perov from 1865 to 1871 created the paintings "Another at the fountain", "Monastery meal", "Seeing the dead", "Troika", "Clean Monday", "Arrival of the governess in the merchant's house", "Art teacher", " Scene by the railroad”, “The last tavern at the outpost”, “Birdcatcher”, “Fisherman”, “Hunters at rest”.