Opekushin, Alexander Mikhailovich- Alexander Mikhailovich Opekushin. OPEKUSHIN Alexander Mikhailovich (1838-1923), Russian sculptor. Monument to A.S. Pushkin in Moscow (1880), marked by historical concreteness and poetic imagery, M.Yu. Lermontov in Pyatigorsk (1889) and others. A.M. ... ... Illustrated Encyclopedic Dictionary
- (1838 1923), Russian. sculptor. The author of the monument to A. S. Pushkin in Moscow, O. also created a monument to L. in Pyatigorsk (the project was recognized as the best at the competition of 1883). Cast in bronze, the monument was unveiled in Aug. 1889 in the mountains. square overlooking the mountains. Lermontov Encyclopedia
Opekushin, Alexander Mikhailovich sculptor, was born in 1840, the son of a peasant. Educated under the guidance of Professor D.I. Jensen, after which he studied at the Imperial Academy of Arts, which, in 1864, awarded him the title ... ... Biographical Dictionary
Russian sculptor. The son of a serf. He studied at the Drawing School of the Society for the Encouragement of Artists and in the sculptural workshop of D.I. ... ... Great Soviet Encyclopedia
- (1838 1923), Russian sculptor. He studied at the Drawing School of the OPH and in the sculpture workshop of D. I. Jensen in St. Petersburg. Participated in the creation (according to the projects of M. O. Mikeshin) of the monument to the Millennium of Russia in Novgorod (opened in 1862) and Catherine ... Art Encyclopedia
Opekushin Alexander Mikhailovich- (18381923), sculptor. Lived in Petersburg in 18501918. He studied at the Drawing School of the OPH and the workshop of the sculptor D. I. Jensen. Academician of the Academy of Arts (1872). He worked in the field of easel ("Peter I", bronze, 1872, State Tretyakov Gallery) and monumental plastics; ... ... Encyclopedic reference book "St. Petersburg"
- (1838 1923) Russian sculptor. a monument to A. S. Pushkin in Moscow (1880), marked by historical concreteness and poetic imagery. He also created a monument to K. M. Baer in Tartu (1886), M. Yu. Lermontov in Pyatigorsk (1889) and others ... Big Encyclopedic Dictionary
- (1838 1923), sculptor. In St. Petersburg he lived in 1850 1918. He studied at the Drawing School of the OPH and the workshop of the sculptor D. I. Jensen. Academician of the Academy of Arts (1872). He worked in the field of easel ("Peter I", bronze, 1872, State Tretyakov Gallery) and monumental plastics; most… … St. Petersburg (encyclopedia)
- (1838 1923), sculptor. Participated in the creation of the monument "Millennium of Russia" in Novgorod (opened in 1862) and Catherine II in St. Petersburg (opened in 1873) according to the designs of M. O. Mikeshin. Monument to A. S. Pushkin in Moscow (1880), marked by the historical … encyclopedic Dictionary
Sculptor; genus. in 1840; He received his education under the guidance of Professor D. Jensen, after which he studied at the Imperial Academy of Arts, which, in 1864, awarded him the title of an unclass artist for sculptural sketches ... ... Big biographical encyclopedia
Since I decided to write about old monuments in my diary, naturally I cannot ignore their authors - sculptors. I begin with Alexander Mikhailovich Opekushin, the author of the first in Russia and the most famous monument to Pushkin. The task was: to try to bring together images of original and recreated monuments by a talented sculptor. Here's what happened.
OPEKUSHIN Alexander Mikhailovich (11/28/1838 - 03/04/1923), sculptor-monarchist.
Full member of the Academy of Arts and the Imperial Archaeological Commission, academician of sculpture. Born in with. Svechkino Danilovsky st. Yaroslavl province. in a serf peasant family of hereditary sculptor Mikhail Evdokimovich Opekushin. Serf. Subsequently, he bought himself free with the money he earned. In 1861, he got married in the Church of the Transfiguration in St. Petersburg with a peasant woman Evdokia Ivanovna Guskina.
1862 was a turning point in the life of the young sculptor. Opekushin participated in the creation of the monument "Millennium of Russia" in Novgorod (he made a sculpture of Peter I).
The joint work of A. M. Opekushin, M. O. Mikeshin and M. A. Chizhov was the St. Petersburg monument to the Russian Empress Catherine II, installed in the square of the Alexandrinsky Theater in 1873. (Opekushin owns here nine statues of the Russian Empress’s associates: military leaders P. A. Rumyantsev, G. A. Potemkin, A. V. Suvorov, secretary of Catherine II A. A. Bezborodko, president of the Academy of Arts I. I. Betskoy, naval commanders A. G. Orlov, V. Ya. Chichagov, poet G. R. Derzhavin, President of the Russian Academy E. R. Dashkova.).
Opekushin’s famous monument to A.S. Pushkin in Moscow, opened in the atmosphere of a national celebration on June 6, 1880, brought world fame to A. M. Opekushin. symbol of Moscow.
Less well known are the monuments to Pushkin created by Opekushin in St. Petersburg (1884), in Chisinau (1885), and in Ostafievo (1913). In 1881, Alexander Mikhailovich received the first prize at the international competition for the design of a monument to the natural scientist Karl Ernst Baer. Its opening took place in Dorpat (Tartu, Estonia) on Cathedral Hill on November 16. 1886.
Opekushin also created the first monument in the history of Russia to the poet M. Yu. Lermontov. It opened on 16 Aug. 1889 in Pyatigorsk, also becoming an integral attraction of the famous resort.
Artistically remarkable was the monument to the Russian statesman, Governor-General of Eastern Siberia, gr. N. N. Muravyov-Amursky in Khabarovsk (1891) - the largest monument in size in pre-revolutionary Russia: the total height of the sculpture, together with the pedestal, was almost 16 m. At the same time, there was nothing official in the monument. The sculptor, along with a unique portrait resemblance, managed to reveal the unique spiritual essence of N. N. Muravyov-Amursky and the greatness of his deeds. The beautiful statue standing on the high bank of the Amur was clearly visible even from a long distance. In 1925, by the ruthless order of the chairman of the Dalrevkom, Y. Gamarnik, the giant monument was destroyed, and for many decades even the mention of it in the press remained under an unspoken ban. Now, according to the surviving model, the monument has been recreated in the form of a copy.
The Opekushinsky monument to the Russian industrialist and philanthropist I. G. Kharitonenko has the same fate. Opened in May 1895 in the city of Sumy, Kharkov province., in n. In 1924, by decision of local Bolshevik leaders, the monument was dismantled and melted down. Now its copy has been recreated (in 1996).
The monarchical theme is the main theme in the work of the sculptor, which was especially carefully hushed up in the post-revolutionary art history literature. Here Opekushin created the largest works. Opekushinsky monuments to Alexander II and Alexander III were considered the most famous and generally recognized artistically before the revolution. In total, 12 such monuments are known to date. “The greatest monuments in Russia” were called the Moscow monuments to Alexander II in the Kremlin (opened on August 16, 1898, created in collaboration with P.V. Zhukovsky and N.V. Sultanov) and Alexander III near the Cathedral of Christ the Savior (opened on May 30, 1912), personifying, according to the sculptor, a special historical mission of the Russian Autocracy.
Monuments to Alexander II created by A. M. Opekushin were erected in Astrakhan (1884), Pskov (1886), Chisinau (1886), Czestochowa (Poland, 1889),
Buturlinovka (1912), Vladimir (1913), Rybinsk (1914, now the local Ilyich stands on the pedestal of the monument) and other cities. Opekushin owns the sculptural decoration of a number of Moscow buildings: the building of the State Bank, the Stock Exchange on Ilyinka, the Nezlobinsky Theater, the mansions of Eliseev, Prova, Mazurins, Malkiel, princes Shcherbatovs, etc.
In the pre-revolutionary period, the name of the sculptor was very popular in monarchical circles. He was favored by representatives of the royal dynasty. After 1917, most of what was created by Opekushin was barbarously destroyed by revolutionary vandals. The first victims of cultural terror were his monuments to the Russian Tsars, demolished in accordance with the decree of V.I. 1918. In 1919, the disgraced sculptor and his family were forced to return to their native village, where they slowly died in terrible poverty and without medical care. Already in the 20s, many milestones of his creative biography were deliberately hushed up and distorted. In official Soviet art criticism, the myth of Opekushin as "the author of one brilliant monument" (Pushkin) was created and vigorously promoted. The modest grave of the sculptor is located in the village. Rybnitsa, Yaroslavl region
Sculptor Alexander Mikhailovich Opekushin was born in 1838 in the Yaroslavl province.
After moving to St. Petersburg, he studied at the Drawing School and the sculpture workshop, which was led by Professor David Jensen. Then there was the Imperial Academy of Arts, in which in 1964 Alexander Mikhailovich was awarded the title of "non-class artist" for his sculptural sketches "Belisarius" and "Cupid and Psyche".
The talent of the young sculptor did not go unnoticed. In 1969, he was promoted to the 2nd degree of a class artist, in 1870 he was awarded the 1st degree (for a bust of Shuvalova and seven figures for a monument in honor of Catherine II in St. Petersburg), and in 1874 the sculptor Opekushin was admitted to academics.
The last title was associated with his work on the creation of a statue of Peter the Great and a bust of Tsarevich Nikolai Alexandrovich.
At the first stages of his formation as a sculptor, Alexander Mikhailovich worked under the supervision of Mikhail Mikeshin, who was the author of the above-mentioned monument to Catherine II. In addition, Opekushin made many stucco ornaments for the buildings of the city on the Neva.
In 1882, together with the sculptor Mikeshin and the architect Chichagov, he completed the sculptural compositions "Volga" and "Oil" for the All-Russian Industrial Exhibition.
The works of the sculptor Opekushin could be seen in many cities of the Russian Empire - Moscow, Nikolaev, Chisinau, Estonian Tartu, Pyatigorsk, Polish Czestokhov and Rybinsk. These were monuments to Admiral Greig, poet Pushkin, medical scientist Baer, poet Lermontov and Russian emperors. Unfortunately, some of them were destroyed during the years of Soviet power.
Alexander Mikhailovich was known as a convinced monarchist. Thanks to this, he won the patronage of the royal persons of that time - Grand Duke Sergei Alexandrovich and Emperor Alexander III.
At the end of his life, the great master returned to his birthplace - to the Yaroslavl region, where he died in the village of Rybnitsa in 1923.
(November 16 (28), 1838, the village of Svechkino, Danilovsky district, Yaroslavl province - March 4, 1923, the village of Rybnitsy, now the Yaroslavl region) - Russian artist, muralist.
Photo by K.K. Bulla. M.A. Opekushin
Alexander Mikhailovich Opekushin worked as an apprentice for the sculptor Jensen in St. Petersburg, then studied at the Academy of Arts, receiving a diploma as a "class artist" in 1869. First won recognition as a portrait painter. He took part in the creation of the Millennium of Russia monument in Novgorod (1859-1862), sculpting the figure of Peter I for it, as well as in the work on the monument to Catherine II in St. Petersburg (1862-1873), for which Opekushin has already performed 9 figures. In the 1870s, his gift as a romantic sculptor, able to embody the ideal image of a celebrity solemnly and at the same time captivatingly humane, was already fully developed - and it was precisely in monumental art. It was these features that were clearly manifested in his masterpiece - the monument to Pushkin for Moscow (1872-1880), which rightfully became the most popular Russian monument of the 19th century.
Also among his works are monuments to: Pushkin in St. Petersburg (1884), K. Baer in Tartu (1886), Lermontov in Pyatigorsk (1889), Muravyov-Amursky in Khabarovsk (1889), all made in traditional materials (bronze for the figure, granite for the pedestal). The most grandiose were the monuments to Alexander II in the Moscow Kremlin (1898) and Alexander III near the Cathedral of Christ the Savior (1912), dismantled after the October Revolution (as well as the monument to Muravyov-Amursky).
Monument to Alexander III near the Cathedral of Christ the Savior (1912)
Alexander III
Monument "Millennium of Russia" (1859-1862)
Sculptural group on the pedestal of the monument to Catherine II in St. Petersburg: V.Ya.Chichagov, A.G.Orlov-Chesmensky, G.R.Derzhavin, E.R.Dashkova. (1862-73)
In the world you can find many monuments that not only amaze the imagination with their grandeur, sharp lines, but also help to trace the development of the art of sculpture over the centuries. But what do we know about those people who create these monuments, who put a particle of their soul into their favorite business?
In this article, we will recall the famous Russian sculptor. Opekushin Alexander Mikhailovich - who is he, what contribution did he make to world art, and what works did he become famous for?
Biography
A.M. was born Opekushin on November 28, 1838 (according to other sources, 1833) in the small Volga village of Svechkino (Yaroslavl province). He came from a peasant family. His father was a serf of the landowner Ekaterina Olkhina, a skilled self-taught sculptor.
From childhood, Opekushin showed artistic talent and taste, approaching simple peasant tasks creatively. He successfully graduated from a rural school. It was difficult not to pay attention to the boy's giftedness, so the father, who was often on assignment from the mistress in St. Petersburg, decided to send the boy to study. Having obtained the consent of E. Olkhina, the young Opekushin at the age of 12 went to enter the Drawing School of the Imperial Society for the Encouragement of Artists.
Education
Studying in St. Petersburg was easy. And instead of the prescribed three years, he spent only two. A.M. Opekushin showed outstanding abilities during his studies and won the hearts of famous artists and professors. One of them was the Danish sculptor David Jensen. After graduating from the Drawing School, he invited Opekushin to his workshop as a freelance sculptor.
Further education and career for the young sculptor were impossible, since according to the documents he was still a serf. To solve the problem, Opekushin needed money for ransom - 500 rubles. To do this, he worked hard, fulfilling additional orders and receiving a salary.
Strong emotional stress, daily study, constant lack of sleep and malnutrition significantly weakened Opekushin's body, and he fell seriously ill. Only the care of friends at the academy and young age helped to overcome the disease. And in 1859 Opekushin was signed free. Now he was free and could continue his creative path, as and where he wanted.
The new alma mater was the Imperial Academy of Arts. At the same time, the young sculptor continued to visit Jensen's workshop and diligently won the title of one of the best Russian sculptors.
Family
In 1861 Alexander Mikhailovich got married. Unfortunately, the sources do not provide accurate data about his wife and children. It is only known that Opekushin had a large family, several daughters. It was supported by a regular income from the creation of decorative sculptures.
Opekushin Alexander Mikhailovich was a deeply religious person and a convinced monarchist. His work was highly valued in the imperial family. During the difficult period in Russia, the family of the already famous Russian sculptor was begging and starving. At public expense, she moved from revolutionary St. Petersburg (then Petrograd) to Opekushin's native province. And later in Rybnitsy she received a house for free use. Alexander Mikhailovich was at an advanced age and was no longer engaged in his favorite craft. However, the People's Commissariat of Education provided an academic ration for his family.
In 1923, Opekushin fell ill with pneumonia and died. He was buried in the same village of Rybnitsa, next to the Church of the Savior, in which he was baptized. Half a century later, a modest tombstone appeared on the sculptor's grave. And in 2012, an unknown admirer of Opekushin's work allocated money for a granite tombstone with the inscription: "To the great sculptor from grateful descendants."
Carier start
Opekushin Alexander Mikhailovich began to work early as an artist and sculptor. By the age of 17, he had created the authority of a talented master. However, the turning point in his fate was 1862. The bas-relief "Angels proclaiming the Nativity of Christ to the shepherds" became a kind of starting point for great art for the young sculptor.
Soon he was noticed by the famous artist Mikhail Mikeshin and offered to take part in the creation of the Millennium of Russia monument in Novgorod, a large-scale project at that time. Of course, cooperation with Mikeshin had a serious impact on Opekushin. However, at the same time, it weighed heavily on the sculptor. The style of the young sculptor was largely formed under the influence of the work of the Russian realist sculptor Mark Antokolsky, in particular, his statues of Ivan the Terrible and Peter I.
Works
Over the entire career Opekushin created several dozen masterpieces. For some of them, the Russian sculptor received awards and titles. But, unfortunately, a large part of the monuments was demolished during the revolutionary period. Such, for example, was the monument to Alexander II. It was opened in 1898. The bronze monument stood at the southern Kremlin wall.
Opekushin became widely known for his works demonstrated at the World Exhibition in Paris. These include a chased dish depicting historical scenes, which was made according to the model of the master.
It is impossible to deny the huge contribution that Opekushin Alexander Mikhailovich made to the development of Russian and world sculpture. His sculptures are distinguished by a simple, restrained, but at the same time deeply individual manner of execution. The list of works includes monuments to famous poets A.S. Pushkin and M.Yu. Lermontov, naturalist Karl von Baer and Admiral Greig, a bust of Countess Shuvalova and Tsarevich Nikolai Alexandrovich.
However, the later work of the sculptor is regarded by critics as less successful and expressive. So, for example, the monument to Emperor Alexander III was not highly appreciated by contemporaries.
Statue of Peter I
Opekushin liked to work with famous portrait sculptures. His work dedicated to Peter I was especially successful. The statue depicts the king sitting on a chair in a uniform and over the knee boots.
The sculptor was amazingly able to capture the impulsiveness and mobility of character that Peter the Great possessed. However, as already mentioned, this is far from the only portrait masterpiece created by the master.
Monument to Pushkin
One of the most significant works that Opekushin created is the monument to Pushkin. The sculptor began to create it in 1872, abandoning all other projects. It took three long years to develop a sketch of the monument. To do this, the master had to study more than a dozen portraits of the poet and his work. After Opekushin's candidacy was approved in 1875, he proceeded to implement the sketch. As an assistant, the sculptor took the architect I. Bogomolov.
Only five years later all the work was completed. And on June 6, 1880, a monument to the great Russian poet A.S. was officially opened in Moscow. Pushkin. The bronze monument stood majestically on a pedestal and immediately aroused mass enthusiasm among the townspeople.
And today, a Russian poet in bronze is thoughtfully standing on one of the main streets of the capital in an elegant frock coat, over which a wide-brimmed cloak is thrown over. In his posture, one feels ease, liveliness. A slight tilt of the head and Pushkin's gaze express inspiration and noble grandeur.
Opekushin himself considered the monument to Pushkin one of the most serious and grandiose works, in the implementation of which he invested not only his time and effort, but also part of his soul, love for poetic art.
Monument to Lermontov
In 1889, he turned to the work of another famous Russian poet and erected. In his composition, the source of inspiration and endless thoughts of the poet, the Caucasus, is also partially captured.
Looking at the monumental Lermontov, you involuntarily catch yourself thinking that the poet, after some wanderings, sat down on a rock and, bowing his head, admires the snow-white caps of the mountains. His gaze expresses deep thoughtfulness and inspiration. Some lovers of sculpture felt that the monument to Lermontov captured the poet rather sad and ugly, with sharp features. While his portraits speak more of softness. However, this creation of the artist in an individual manner and perception remained the decoration of the city.
Monument to Muravyov-Amursky
The largest building in pre-revolutionary Russia and in the work of Opekushin (16 meters high) was the monument to Count Muravyov-Amursky, the governor of Eastern Siberia. After his death in 1881, Emperor Alexander III decided to perpetuate the memory of his close associate. Therefore, in 1886 he announced a competition for sculptors. Among them was the "golden trinity" Mikeshin, Antokolsky and Opekushin.
The project of Alexander Mikhailovich was recognized as the best. The laying of the monument took place in 1888, and three years later it was officially opened in Khabarovsk and installed on the Khabarovsk cliff. The figure of the count towered on a pedestal, his gaze was directed towards China. The pedestal was decorated with five commemorative plaques with the names of officers and civilians who actively participated in the annexation of the Amur region to Russia. However, in 1925, in connection with the "Decree on Monuments", the monument was demolished and given to the local history museum, and later cut into scrap metal.
decorative sculpture
A special place in the work of Opekushin was occupied by decorative sculpture. It was she who was the subject of his tireless attention, improvement and the main source of income. It was thanks to her that Alexander Mikhailovich, already at a young age, was recognized as a talented sculptor.
After the skillful execution of the bas-reliefs and the famous seven figures for the monument to Catherine II in St. Petersburg, Opekushin was instructed to design for the iconostasis in the Resurrection Cathedral. And he did it masterfully.
The portrait busts, which were created by the sculptor, noted a realistic approach with a subtle reflection of individual features. In the rest of the author's works of decorative sculpture, art critics emphasize the artistic expressiveness of the images and the elegance and softness of the lines.
Awards and titles
- In 1978, in memory of the sculptor (on his 140th birthday), an illustrated (artistic) envelope was issued with his portrait on the front side.
- In 1986, astronomer Lyudmila Chernykh discovered an asteroid, which she named after a Russian sculptor.
- Since 1993, the Opekushin Yaroslavl Prize has been awarded annually to outstanding cultural figures.
- In 2013, a book by Olga Davydova about the life and work of the sculptor was published. By the way, the author published essays about Opekushin several times. This book contains a description of the most significant periods of the life and works of the great master. It took almost 30 years to create it. And the reason for the publication was two dates at once: the 175th anniversary of the birth of Opekushin (born 1833 according to sources) and the 90th anniversary of his death.
P.S.
The example that Alexander Mikhailovich Opekushin showed to the world, his biography and achievements in art, is truly a feat of a serf. He was one of the first to go against the social system and proved that neither social status nor any other restrictions prevent a person from doing what he loves and creating something beautiful, forever leaving a memory of himself on this planet. And even if the Russian sculptor was forgotten for several years after numerous praises and titles, art historians are sure that his trace in monumental sculptural art is definitely deep and has no boundaries of memory.
