History of Russian painting. Architecture and painting of Ancient Rus'

From the editor of the Russian edition In the publishing house "Text" in different years went out following books related to the life and work of Marc Chagall: Marc Chagall on Art and Culture. Ed. Benjamin Harshava; Marc Chagall. My world. Chagall's first autobiography. Ed. Benjamin

The main trends in the development of painting in the XIII - XV centuries

The development of painting in the $XIII$ - $XV$ centuries continued in line with the development of Russian art in the pre-Mongolian period. After Tatar-Mongol invasion centers of painting moved from the south to the northern cities of Yaroslavl, Rostov, Pskov and Novgorod. In which not only monuments of old art have been preserved, but also bearers of cultural traditions have survived. The isolation of Rus' from Byzantium, as well as the feudal fragmentation of Russian lands, stimulated the flowering of local trends in art. In $XIII$ c. there was a final registration of the Novgorod, and in the $XIV$ century. - Moscow School of Painting. The heyday of painting in $XIII$ - $XV$ centuries. is more clearly seen in the Novgorod monuments, which have been preserved in greater numbers than in other cities. In Novgorod icons, the drawing acquires color, becomes more graphic and is based on contrast. bright colors. The red-backed icons created in Novgorod became a real "revolt" against Byzantine traditions ( "The Savior on the Throne with Etimasia" and "Saints John of the Ladder, George and Blasius").

Novgorod school. Theophanes the Greek

14th century - the heyday of painting in Novgorod, which was greatly influenced by Theophanes the Greek arrived in the $70$-ies. $XIV$ c. to Rus' from Byzantium. In $1378$ he completed the painting of the Church of the Savior on Ilyin. According to the surviving fragments of this painting, it can be said that this master is characterized by wide strokes of the brush, confident reflections, the predominance of yellow and red-brown colors. Theophan's influence, for example, can be traced in the frescoes of the Church of Fyodor Stratilat, created by Russian masters in the late $70s - $80s.

Unlike the fresco, it developed more slowly in the $XIV$ - $XV$ centuries. Novgorod icon painting. All monuments of that time that have come down to us are characterized by an archaic style originating in the $13th century.

Example 1

In icons where the features of the local style are already traced, one can attribute the icon "Fatherland" , in the "New Testament" version, interpreting the Trinity - not in the form of three angels, but anthropomorphically, i.e. God the Father as a gray-haired old man, God the Son as a boy, and the Holy Spirit as a dove.

A new iconographic form appeared in Novgorod when the church led the fight against heresy, which rejected the Christian dogma of the Holy Trinity. A new type of icon, which reflected historical plots, appears in the $XV$ century.

Remark 1

For example, an icon "Miracle from the Icon of the Sign Holy Mother of God» (or "Battle of Suzdalians with Novgorodians"), which depicts the victory of the Novgorodians over the superior forces of the Suzdalians in $1169$, reflects a certain freedom Novgorod icon painters, who were interested not only in sacred history, but also in their own.

Moscow school. Andrey Rublev

The rise of Moscow painting $XIV$ - $XV$ centuries. knew no equal in scope and branching. Approximately in $1390 Theophanes the Greek moved to Moscow from Novgorod.

With his direct participation, the main monuments of painting were created: the murals of the Church of the Assumption of the Virgin, the Arkhangelsk and Annunciation Cathedrals of the Moscow Kremlin, etc. The most reliable work of Theophanes himself in Moscow is $7$ of icons of the Annunciation Cathedral early. $XV$ c. ( "Savior", "Our Lady", "John the Baptist" and etc). Several icons of the iconostasis of the Annunciation Cathedral are associated with the name of one of the greatest icon painters Rus' Andrey Rublev. Little reliable information about his creative life has been preserved.

Example 2

For example, for the first time Andrei Rublev was mentioned in $1405, then he, together with Feofan Grek and Prokhor from Gorodets, worked on the painting of the Kremlin Cathedral of the Annunciation. In addition, the name of Rublev was mentioned in $1408, when the icon painter, together with Daniil Cherny, created the painting of the Assumption Cathedral in Vladimir, from the frescoes of which the scenes depicting the Last Judgment are best preserved to this day.

Subject doomsday, had a significant impact on the work of Russian icon painters. However, in its interpretation by the artists of the Moscow school, an enlightened motive is noted, which is most characteristic of Andrei Rublev. He portrayed the Last Judgment with the unconventional optimism characteristic of Russian hesychasm. This was due to both popular expectations (the belief in universal forgiveness, characteristic of a significant number of believers), and the attitude of the artist himself, who predicted the coming revival of Rus' after the Tatar-Mongol invasion. The Last Judgment depicted by Andrei Rublev and Daniil Cherny does not give rise to a sense of fear and impending retribution. This is not a judgment in anticipation of punishment, but the final triumph of goodness, the victory of justice, a reward to humanity for the suffering it has endured. In addition, for the Assumption Cathedral, icon painters created a grandiose three-row iconostasis that includes $61$ icons, including - "Vladimir Mother of God". His most important work is an icon "Trinity ”, Rublev created in the $10$-$20$-s. $XV$ c. for the Trinity Cathedral of the Trinity-Sergius Monastery. Deeply overestimating the Byzantine composition, Andrei Rublev abandoned genre details and focused on the images of angels. The bowl with the head of a calf placed in the center of the icon symbolizes the expiatory sacrifice of Jesus Christ. The three angels depicted by Rublev are one, but not the same. Their agreement is achieved by a single rhythm, a circular motion. The circle, symbolizing harmony since antiquity, is formed by the poses, movements of angels, the correlation of their figures. Thus, Rublev managed to solve the most difficult creative task, expressing two complex theological ideas about the sacrament of the Eucharist and the trinity of the deity. Andrey Rublev died between $1427 and $1430$ and was buried in the Spaso-Andronikov Monastery in Moscow.

In $XIV$ -$XV$ centuries. in the most difficult conditions of the national liberation struggle, and the strongest patriotic upsurge, the unification of North-Eastern Rus' was carried out. Moscow becomes the political and religious center of the rising united Russian state, the center of the formation of the Great Russian people. The rise of national self-consciousness, the idea of ​​unity, the tendency to overcome centrifugal tendencies in social thought, literature, art - all this testified to the emergence of an all-Russian (Great Russian) culture.

Federal Agency for Railway Transport

Siberian State Transport University

Chair " Philosophy and cultural studies»

(name of department)

Great names of Russian painting

Essay

In the discipline "Culturology"

Head Designed

Student gr. D-113

Bystrova A.N. ___________ Fitkova I.V.

(signature) (signature)

_______________ ______________

(date of inspection) (date of submission for inspection)

2011

1. Introduction ………………………………………………………………...2
2. The development of art in XIII…………………………………………………4
3. Art at the turn of XI V-XV ………………………………………....5
4. Art XVI…………………………………………………………..7
5. Development of art in X V II century………………………………………..7
6. Art in XV III……………………………………………………...10
7. Art XIX - early XX century………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………
8. The development of art in the revolutionary era of the USSR…………………16
9. Conclusion…………………………………………………………………17
10. References………………………………………………………..18

Introduction

Love painting, poets!

Only she, the only one, is given

Souls of changeable signs

Transfer to canvas.

Nikolay Zabolotsky.

Nikolai Zabolotsky quite rightly notes that any changes social space are reflected in the works of poets, writers, painters, public figures

Among the many types of art, there are three special ones, the most, in my opinion, the main ones: literature, music, fine arts. Word, sound, image - all other forms of art are impossible without them: neither a performance, nor a film, nor a variety concert. Listen to music, heroes literary works readers imagine mentally, in the imagination. And we see works of fine art with our eyes. It is the oldest of three main people did not yet know how to speak, but images were already created, cave drawings, For example. Fine art is created by artists. They depict the world as we all see it, and as it is seen by a single person, the artist himself. You can depict everything: the visible world of objects, people, animals, and invisible world feelings joy and sorrow, truth and falsehood, good and evil. . The history of our state can be studied not only on the basis of documents, on the basis of artifacts, but also on the artistic heritage of great ancestors. Painting is no exception. To write the essay, I used "Essays on Russian culture IX-XVIIcenturies" (authors A.V. Muravyov, A.M. Sakharov), "Essays on the history of Russian culture of the XVIIIcentury" B.I. Krasnobaeva, "History of Russian art" V.N. Alexandrova. These books give the main stages of the history of the culture of our country, their features and distinctive features. The development of culture is considered as part of history, which helps to reveal objective patterns historical process. IN different eras in Russia they created, expressing folk dreams and aspirations, such outstanding painters as Andrei Rublev, Dionysius, Levitsky and Rokotov, Kiprensky and Fedotov, Bryulov and Ivanov, Repin and Surikov, Vrubel and Serov and many other masters who brought genuine and indisputable glory to Russian artistic culture.

Russian painting has undergone many changes during its formation, but has retained its originality, within the framework of this project, I consider it necessary to trace the process of the formation of the Russian tradition in painting.

Target: to review the work of great Russian artists (from the 14th to the 20th century) in the context of the socio-cultural characteristics of the period of creativity of an artist. Theoretical object of study: representatives of Russian painting represented by artists, schools, trends

Development of art in XIII

Russian art in general, and Russian painting in particular, emerged from art Kievan Rus, which cannot yet be called completely original, because together with Christianity, Prince Vladimir brought artistic traditions from Byzantium. They are intricately intertwined with pagan culture, gradually changing over time. The most important sources of Russian art at the stage of its formation were folk decorative and fine arts, as well as Byzantine samples. The rapid social, political and cultural development of the Russian lands leads to the creative processing of these sources and to the emergence of an original and majestic style in architecture, fresco, decorative arts Rus'. The development of original Russian icon painting begins. But in the XIII century, in connection with the Mongol-Tatar invasion, these processes in culture slowed down, and even stopped, a significant part of the monuments of pre-Mongolian Russian culture was irretrievably lost. The Mongol invasion, destroying many Russian cities, caused enormous damage to Russian urban culture, but from the middle of the XI V centuries are marked by signs of rebirth. At the turn of XI V-XV centuries, Moscow knew not only the works of Constantinople masters, but the works of South Slavic artists: one of the the greatest painters of that time Theophanes the Greek, who came from Novgorod, was already a well-established master. The skill of Theophan the Greek caused the desire of Moscow painters to imitate him. Many works by Theophanes the Greek have not come down to us, except for the icons of the Annunciation Cathedral.

Art at the turn of XI V-XV

The rise of Moscow art prepared the work of the great Russian artist Andrei Rublev. milestone in the art of the turn of the XI V-XV centuries was the formation of the Moscow school of painting, which was headed by the outstanding artist Andrei Rublev. In his icons and paintings, Rublev developed such a perfect artistic language that during the 15th century his style became the leading one.

Unfortunately, it is not known exactly when Andrei Rublev was born. Most researchers conditionally consider 1360 as the date of birth of the artist. Andrei Rublev was a monk of the Trinity-Sergius, and then the Spas-Andronikov monasteries. In 1405, together with Theophan the Greek and Prokhor from Gorodets, he painted the Cathedral of the Annunciation. The domineering, stern, emotionally rich pictorial language of Theophan, violating traditional iconographic schemes, an extraordinary change of images, could not but make a deep impression on Rublev. It is significant that the name of Rublev in the annals of that time is mentioned in third place. From this we can conclude that at that time Andrei Rublev was not only the youngest, but also the least known author.

Andrei Rublev and under his leadership painted many temples, and also painted a number of deesis, holiday and prophetic icons.

In 1425 14 27 Rublev together with Daniel Cherny and other masters paintedTrinity Cathedral of the Trinity-Sergius Monasteryand created the icons of its iconostasis. The icons have been preserved; they are executed in different manners and are unequal in artistic qualities. The time when new internecine wars were brewing in Rus' and the harmonious ideal of man, which had developed in the previous period, did not find support in reality, and affected the work of Rublev. In a number of works, Rublev managed to create impressive images, they feel dramatic notes that were not previously characteristic of him (“The Apostle Paul”). Some sources call the painting of the Spassky CathedralAndronikov Monastery(in the spring of 1428; only fragments of ornaments have survived) latest work Rublev.

A number of works are also attributed to him, the belonging of which to Rublev’s brush has not been definitely proven: frescoesCathedral of the Assumption on the "Gorodok"in Zvenigorod (end of the 14th beginning of the 15th centuries; fragments have been preserved), icons Our Lady of Vladimir (ca. 1409 , Assumption Cathedral, Vladimir), "The Savior in the Force" ( 1408 , Tretyakov Gallery), part of the icons of the festive rite (“Annunciation”, “Nativity of Christ”, “Meeting”, “Baptism”, “Resurrection of Lazarus”, “Transfiguration”, “Entrance to Jerusalem” all about 1405 ) Annunciation Cathedral of the Moscow Kremlin (the iconostasis of this cathedral, according to latest research, comes fromSimonov Monastery), part of the thumbnails "Gospel Khitrovo"(about 1395, Russian state library , Moscow).

Rublev's work is one of the pinnacles of Russian and world culture. The most famous work of Rublev is the icon "Trinity", written in 1425-1427 for the Trinity-Sergius Monastery. The plot is based biblical legend, telling how three beautiful young men appeared to the elder Abraham, and how he, together with his wife Sarah, treated them under the canopy of the Mamrian oak. In Rublev's icon, everything secondary and insignificant is discarded, there are no figures of Abraham and Sarah, numerous dishes, only three figures of angels remain. The middle of the angels is Christ. All three figures form a circle. The picture is very calm, but at the same time, a consistent and clear rhythm of circular motion, to which the whole composition is subordinated, the colors are pure and harmonious. The combination of green, blue and yellow chosen by Rublev, as well as the color of ripe rye, has never before sounded so bright in Russian painting.

Thus, the Moscow school of icon painting differs from the Novgorod icons in the spirituality of images, the flexibility of figures, and the harmonic consistency of color. Unlike the energetic reds, yellows, whites, navy blues, and olive greens that Novgorod masters constantly resort to, Moscow painting is dominated by light transparent tones and shades of blue, golden brown, pale green, cherry brown and lilac.

In the work of Andrei Rublev, Russian art has made a huge and very important step along the path of becoming a realistic beginning with individual freedom of artistic creativity, the harsh ascetic tradition of Byzantine art was overcome. Andrei Rublev's works are humanistic, they reveal beauty and strength human soul they are imbued with love for man.

Art XVI

In the 80s XV century, a Russian centralized state is formed and the remnants of dependence on the Mongol-Tatar khans disappear, Moscow becomes the capital of a large state. Its importance as a center uniting the cultural heritage of the reunited lands is growing. The main task of art is the glorification of Rus', which gives political meaning to many works of art. XV I century. Leading position in painting at the end of X V century was occupied by the Moscow school. The centralization of power and the strengthening of the role of the church in the life of the state led to an even greater subordination of art to the official ideology. These phenomena manifested themselves to a certain extent in the work of the largest Moscow master of the late X V beginning X V I century - Dionysius. He was most likely born in 1440, unlike Andrei Rublev, he was not a monk. His two sons Vladimir and Theodosius were also painters and helped him in his work. The creative activity of Dionysius was closely connected with the highest secular and spiritual circles of the state. The master fulfilled the most important orders of the Metropolitan and the Grand Duke, in particular in connection with the victory won in 1480 over the army of the Tatar Khan Akhmat. With the greatest completeness of Dionisy's creativity, it was reflected in the murals of the Ferapontov Monastery, this painting is dedicated to the theme of praise of the Mother of God. Bright combinations of colors, colorful patterns of clothes, a lot of herbs and flowers depicted create a festive and solemn impression. The art of Dionysius, with all its splendor, loses some remarkable qualities compared to the Rublev era: if Rublev was primarily interested in the inner, spiritual world of a person, Dionysius has a desire for external beauty and decorative splendor.

Development of art in X V II century.

In Russian painting X VI century is noticed glad innovations favorable for the further development of art. Russian masters for the first time begin to reproduce pictures of everyday life, nature and people in their modern form. Thus, in the painting of the 16th century, features appear that prepared the development realistic beginnings X V II century.

For a long time in the literature, the view of X V II century as the time of the decline of ancient Russian painting, the art of this time, when compared with the time of Andrei Rublev and Theophan the Greek, was considered as lower in terms of strength and means of artistic depiction.Indeed in painting X V II century there are no works marked by such perfection of the composition of pictorial skill and spirituality as in the work of the great masters of the X V-XV I centuries. The Time of Troubles, the “rebellious age”, the church schism, all these events influenced the development of Russian art X V II century.

XV The 2nd century is a turning point in history in the field of painting, then extremely important processes took place, primarily the desire for “secularization”, the strengthening of secular elements, and the trend towards realism.

The highest stage of development of pictorial art in X VII century is associated with the activities of the outstanding artist Simon Ushakov (1626-1686). A native of the townspeople, Simon Ushakov worked in the Armory and was elevated to the rank of nobility. The significance of this master is not limited to the numerous works he created, in which he sought to overcome artistic dogma and achieve a truthful image - "as it happens in life."

Evidence of the advanced views of Ushakov is written by him, obviously, in the 60s, "Word to the lover of icon painting." In this treatise, Ushakov highly appreciates the appointment of an artist who is able to create images of "all smart creatures and things ... to create these images with different perfection and through various arts to make the intention easily visible."

Above all the “arts existing on earth”, Ushakov considers painting, which “because it surpasses all other types, because it depicts the object represented more delicately and more vividly, conveying all its qualities more clearly ...”.
Ushakov likens painting to a mirror reflecting life and all objects

“A Word to the Lover of Icon Painting” was dedicated by the Ushakovs to Joseph Vladimirovich, a Moscow painter, a native of Yaroslavl, who enjoyed considerable fame in the 1940s and 1960s. Iosif Vladimirov is the author of an earlier treatise on icon painting, in which he, although not as clearly as Ushakov, also declared himself: a supporter of innovations and demanded greater vitality in art.

Ushakov - artist, scientist, theologian, teacher - was a man new era, a new type of thinker and creator. Being an innovator in art, he at the same time understood the value of the ancient traditions of Russian culture and carefully guarded them. It was precisely because of these qualities, marked by a rare breadth of views, that he was able to stand at the head of Russian art for more than thirty years.

Being engaged in the education of students and in every possible way trying to convey his knowledge to them, he even conceived the publication of a detailed anatomical atlas. “Having the talent of icon painting from the Lord God ... I didn’t want to hide it in the ground ... but I tried ... to fulfill with skillful icon painting that ABC of art, which contains all the members human body, which in various cases are required in our art, and decided to carve them on copper boards ... ”- Ushakov wrote about his plan, but the atlas, apparently, was not published.

From the first years independent creativity Ushakov's interest in the image was determined human face. The famous work of Ushakov is his “The Savior Not Made by Hands”, in which the artist depicted a classically correct face, its volume is very well conveyed, the fabric on which, according to church giving, the image of Christ arose.

Persistently repeating this theme, the artist strove to get rid of the conventional canons of the icon-painting image and achieve a flesh-colored complexion, a restrained but clearly expressed three-dimensional construction and almost classical regularity of features. True, the icons of the Savior by Ushakov lack the spirituality of Russian icons of the XIV-XV centuries, but this is to a certain extent redeemed by the sincere effort of the artist to recreate a living human face on the icon as believably as possible.

Ushakov painted an icon of Our Lady of Vladimir, called "The Planting of the Tree of the Russian State" (1668). This icon should be considered a picture of the triumph of Russian statehood. In the lower part of it are depicted - the wall of the Moscow Kremlin, behind it the Assumption Cathedral, the main shrine of the Russian state. At the foot of the cathedral, Prince Ivan Kalita, the collector of Russian lands, and Metropolitan Peter, who was the first to transfer the metropolitan see from Vladimir to Moscow, are planting the tree of the Russian state. On its branches are medallions with portraits of all the most significant politicians Ancient Rus'. In the central, largest medallion, there is an icon of Our Lady of Vladimir, revered as the patroness of Moscow. Down on Kremlin wall, are Tsar Alexei Mikhailovich and Tsarina Maria Ilyinichna with Tsarevich Alexei and Fedor. Portraits of the king and queen Ushakov tried to make, perhaps, more similar.

Information about a number of portraits painted by Ushakov has been preserved. Some of them were executed in a technique new to ancient Russian art. oil painting. Unfortunately, so far none of these portraits have been found. To characterize the extremely versatile personality of Ushakov, it should be noted that he was not only a theoretician, painter, draftsman - “signner”, the author of many drawings for engravings reproduced by Russian engravers of the second half of the 17th century, but, apparently, he engraved: he is credited with sheets “Fatherland” (Trinity) and “Seven deadly sins” engraved in the 60s on copper with a dry needle.

Ushakov had a great influence on the development of Russian painting at the end of X V II century, when his students Grigory Zinoviev, Tikhon Filatiev, Fyodor Zubov performed a number of works in the spirit of Ushakov's traditions. A remarkable phenomenon in the history of Russian art X V II century was the school of Yaroslavl masters. Here the influence of secular, townsman culture was clearly manifested. The range of plots has expanded, the secular beginning resolutely invades the church-dogmatic. Artists boldly use the usual images of Russian life in scenes of sacred history: a peasant horse is depicted in the scene of Cain plowing, reapers in pink and blue shirts are waving Russian sickles. The Church fiercely resisted the new direction in painting, but this could no longer prevent her from being freed from church icon painting traditions.

Art in X V III

At the end of X V II beginning of X V III century, Russian art is undergoing a decisive turning point, there is a transition from medieval religious forms to secular ones, close to the European art of modern times. Russian artists, quickly mastering European models, introducing their understanding of form and national content into them. In 1757, the Imperial Academy of Arts was established, which took up the education of highly qualified artists who combined in their work the experience and artistic heritage of previous generations with the needs of the Russian artistic life. The Baroque style is becoming widespread in the art of Russia, the leading genre of painting and graphics is becoming a portrait, historical and landscape genres are also developing significantly.

I would like to dwell in more detail on the work of Dmitry Grigorievich Levitsky (1735-1822).Already in his early works, he showed himself to be a first-class master of the formal portrait, able to find an expressive pose and gesture, to combine the intensity of color with tonal unity and richness of shades.

Fame came to the artist in 1770, when at an exhibition at the St. Petersburg Academy of Arts, the public saw 6 first-class portraits of his brush. Among them, particular attention was formal portrait architect A.F. Kokorinov (1769), the author of the project for the building of the Academy of Arts and its first director.

For this portrait, Levitsky was awarded the title of academician of painting. Then he was offered to head the portrait class of the Academy of Arts, the head of which he remained until 1788. The gallery of portraits of his contemporaries created by the artist brought him well-deserved fame.

In the 1780s, the artist created a unique portrait gallery of figures of Russian culture. The intimate portraits of Levitsky, created during the heyday of the artist's work (mid-1770s early 1780s), are especially warm. Also in 1773 the master painted a portrait of D. Diderot, which impressed his contemporaries with his lifelike persuasiveness, exceptional truthfulness in recreating the image of the philosopher. The encyclopedist, writer and critic is shown by Levitsky very simply: Diderot is depicted without a wig, bald, with folds of skin under his eyes, but the strong and complex nature of a person hidden behind external features comes to the fore. The face testifies to creative talent, courage, fortitude and inquisitive mind. One of best creatures Levitsky portrait of the young M. Dyakova (1778), poetic, cheerful, painted in a rich range of warm colors.

Realism and humanistic character of advanced Russian art XV III centuries were fully manifested in the work of D.G. Levitsky.

Art 19th - early 20th century

In the first half of the 19th century, the development of art in Russia was significantly influenced by socio-historical processes - the national patriotic upsurge associated with the victory over Napoleon in the Patriotic War of 1812, and the emergence of the anti-monarchist movement, which resulted in the Decembrist uprising in 1825. In painting appeared romantic tendencies(portrait, historical genre), and by the middle of the century, the democratic orientation of art (everyday genre) is intensifying. In the genre system of the Academy of Arts, everyday painting was given a third-rate importance, but the progressive Russian artist Venetsianov Alexei Gavrilovich (1780-1847) approved the everyday genre and in general realistic painting as an equal and important field of art.

Venetsianov's brush belongs to the portrait gallery of his contemporaries: the artist painted N. V. Gogol (1834), V. P. Kochubey (1830s), N. M. Karamzin (1828). For the title of academician, Venetsianov was asked to paint a portrait of the inspector of the Educational School of the Academy, K. I. Golovachevsky. A. G. Venetsianov depicted him surrounded by three boys, symbolizing the union of "three the noblest arts»: painting, sculpture and architecture. However, A. G. Venetsianov was most famous for the images of peasants he painted. "Reapers""Sleeping Shepherd", "Zakharka", "Threshing Floor", "In the Harvest". One of the best peasant portraits of Venetsianov is "Girl with cornflowers". With penetrating lyricism, Venetsianov touches the subtlest notes of a person's intimate experience, reveals his quivering spiritual world. This makes the image created by him spiritual and beautiful.

The most important place in the painting of Russia is the middle XIX century is occupied by the artist Karl Pavlovich Bryullov, who created portraits of Countess Samoilova, E.P. Saltykova, O.P. Ferzen, K.A. Tonna, A.N. Lvov, he painted more than 80 portraits. His characteristic dramatic perception of life was embodied in the painting "The Last Day of Pompeii" (1830-1833).

The spread of democratic ideals among the Russian intelligentsia led to the development of new aesthetic views. Artists joined the struggle for a just social order, critical realism became widespread in painting.

Important role In the artistic life of the country in the second half of the 19th century, the Association of Traveling Art Exhibitions, founded in 1870, played.

The partnership united around itself all the best painters and sculptors of the second half of the 19th - early 20th centuries. These are Perov and Kramskoy, Myasoedov and V. Makovsky, Savitsky and Maximov, Pryanishnikov and Ge, Savrasov and Shishkin, Kuindzhi and Dubovskoy, V. Vasnetsov and Polenov, Kostandi and Pimonenko, Gun and Nevrev, Repin and Surikov, Serov and Levitan, Yaroshenko and Nesterov, Kasatkin and S. Ivanov, Pozen and Andreev, Popov and Arkhipov, Baksheev and Byalynitsky-Birulya and many others. Antokolsky, Vereshchagin, K. Korovin, S. Korovin, Malyavin and others participated as exhibitors at some exhibitions of the Wanderers.
In the 1970s and 1980s, the activity of the Partnership reached its peak. Leading place on traveling exhibitions belonged to the paintings of Repin, as well as Surikov, Kramskoy, Polenov, Nesterov, Myasoedov, Makovsky, Perov. In their work, they reflected the most significant phenomena surrounding reality in all their complexity and contradiction. The Wanderers had a huge impact on all aspects of the artistic life of Russia, on the formation of national art schools. Among the members of the Association and exhibitors were artists of various nationalities. Many of them became the founders of the realistic, democratic art of their peoples.

At the beginning of the 70s, for the first time, the talent of one of the great painters 19th century Repin Ilya Efimovich (1844-1930). One of the first paintings by Repin, which received wide recognition, was a large group portrait Slavic composers, commissioned by the entrepreneurA. A. Porokhovshchikova.

In 1872 for the program work "The Resurrection of the Daughter of Jairus" received the Big gold medal and the right to 6 years of study in Italy and France, where he completed his art education.

Since 1873 Repin travels abroad aspensioner of the Academy. In Paris he writes "Paris Cafe" and fabulous "Sadko".

The work that immediately put forward Repin in the first row of Russian artists was the painting "Barge haulers on the Volga" (1870-1873), which aroused compassion for the people oppressed by slave labor. Upon the return of Repin in 1876 from France, the period of the highest flowering of his work begins. He acts as a portrait painter, a master of everyday and historical painting. The portrait was not only the leading genre, but also the basis of Repin's work in general. Creates a gallery of images of prominent representatives of Russian social thought, science and culture. In his best portraits of V.V. Stasov, L.N. Tolstoy, M.P. Mussorgsky Repin achieves life fullness and versatility of characterization due to amazing compositional figurativeness and activity visual means. The propensity for psychological drama in depicting situations is also reflected in Repin's historical painting: "Ivan the Terrible and his son Ivan", "The Cossacks write a letter to the Turkish Sultan."

Clarity and accessibility of the most pictorial language, the highest realistic skill, the truth of characters, interest in the burning issues of our time the guarantee of the enduring value of Repin's artOf course, the history of Russian painting does not end there. The end of the 19th beginning of the 20th century was a turning point in all spheres of the social, political and spiritual life of Russia. All types of art were in favor of updating the artistic language, a style was formed that affected all the plastic arts, which was called Art Nouveau. an important role in the popularization of domestic and Western European art artists of the association "World of Art" (1898-1924), "Union of Russian Artists" (1903-1923) played. At the beginning of the 20th century, the latest tendencies of the West penetrated into Russian art - symbolism, primitivism, various trends in modernist art. Avant-garde associations of artists appear “Blue Rose”, “ Jack of Diamonds”,“ Donkey tail ”, Cubo-futurism and abstractionism are spreading.

Let us dwell on the work of Malevich Kazimir Severinovich (1878-1935). K.S. Malevich - Russian avant-garde artist , teacher, art theorist, philosopher, founder Suprematism direction in abstract art, a combination of colored protozoa geometric shapes(square, circle, triangle), as well as three-dimensional forms superimposed on the plane.

Malevich was fond of impressionism. An example is the seriespictures of the spring garden: "Blossoming apple trees", "Spring", "Spring blooming garden".In the work of Malevich at the end of the first decade XX century coexist different trends. This is impressionism, combined with Cezanneism ("River in the Forest"), and Art Nouveau, which manifested itself in sketches of fresco painting ("The Triumph of the Sky"), and ever-increasing expressionist and fauvist elements. This compaction, layering of various styles and manners on top of each other is characteristic of both the latest Russian art and Malevich's work.

At the second "Last Futuristic Exhibition of Paintings" in 1915, called "0.10 (zero-ten)" held in Petrograd, Malevich showed 39 new paintings. These were non-objective works presented under the title "New pictorial realism". Among the paintings was the famous Black Square. "Black Square", as conceived by Malevich, embodies the idea new spirituality, is a kind of icon, a plastic symbol of the new religion. This was the beginning of Suprematism.

Malevich died on May 15, 1935. The urn with his ashes was buried near the dacha in Nemchinovka. The location is marked with a white cube with a black square on it.

The art of the pre-revolutionary years in Russia is marked by the unusual complexity and inconsistency of artistic searches, but along with experimenters in the field of abstract forms, the “World of Art”, “Blue Bears”, “allies” continued to work in Russian art of that time. There was also a powerful stream of neoclassical currents, an example of which is the work of Zinaida Evgenievna Serebryakova. It has its roots in the high national traditions of Russian art, primarily Venetsianov - "Peasants" (1914), "Harvest" (1915), "Whitening of the canvas" (1917)

The development of art in the revolutionary era of the USSR

The revolutionary era occupies a special place in the history of Russian art. Total transformation of the socio-economic and political life contributed to the entry into the arena of artistic life of the most radical areas of art. Numerous groups and individual masters have made experiment the main principle of their work. This art later received common name Russian avant-garde (Works by P.N. Filonov, A.M. Rodchenko).

By the beginning of the 1930s, the authorities had established tight control over art. The years of Stalinism are one of the most tragic periods in the history of Russia and its art. The freedom of expression of the artist was violated, a method was formed socialist realism, the artists had to glorify the idea of ​​socialism, the triumph of collective consciousness. However, with the beginning of the Great Patriotic War artists take an active part in the fight against the enemy, showing their civic stand and patriotism. This period includes the work of such artists as A.A. Plastov, S.V. Gerasimov, A.A. Deineka. In the last years of the war, one of their best paintings was created by the Kukryniksy (the union of three artists M.V. Kupriyanov, P.N. Krylov, N.A. Sokolova) “The Flight of the Nazis from Novgorod”.

As a reaction to the rejection of socialist realism in the early 1960s, a "severe style" was formed in painting. Artists P. Nikonov, N. Andronov, V. Popkov, O. Filatchev, M. Savitsky and others, in search of the truth of life, turned to a restrained conditional form, rejecting any descriptiveness. The heroic beginning in the works of the "severe style" is born from truthfulness in the transmission of harsh working days from here and the name. V. Popkov "Builders of the Bratsk Hydroelectric Power Station". P. Nikonov "Our everyday life" and others.

Conclusion

Having studied the indicated literature, I got acquainted with creative activity great Russian artists of the 15th-20th centuries, and came to the conclusion:

Gone forever obsolete forms public organization, the structure of life and the views of people have changed, but just like several hundred years ago, modern man is worried about the marvelous creations of spiritual culture created a long time ago;

A characteristic feature of Russian artists, and above all the great masters, was close inseparable bond their arts with social life, progressive scientific thought;

They enriched traditions domestic art, asserted its nationality and humanism, high moral ideals;

Russian art has always been distinguished by its citizenship and patriotism.

I believe that to know and love everything priceless that the outstanding masters of Russia have created with their talent is not only a duty, but also a duty of every modern educated person.

Thanks to the work on this topic, I became closer to the world of art.

Bibliography

1. B.I. Krasnobaev. "Essays on the history of Russian culture of the 18th century" Moscow: Education, 1987.

2. A.V. Muravyov, A.M. sugars. "Essays on the History of Russian Culture in the 9th-17th Centuries" Moscow: Enlightenment, 1984

3. V.N. Alexandrov. "History of Russian Art" Minsk: Harvest, 2007.

Name: History of Russian painting - XVIII century.

The rapid development of Russia during the Petrine era partly makes it related to Western Europe of the Renaissance. The art of portraiture began to develop rapidly; by the middle of the century, thanks to the general rise in culture, Russian fine arts become professional. After Peter, still lifes and desudeportes became a popular subject of painting. Classicism became the symbol of Catherine's reign in art. Historical painting develops, and the art of portraiture ceases to be elitist. At the end of the century, the birth household genre and highlighting the landscape in a separate direction.

Name: The history of Russian painting - the first half of the XIX century.

Name: The history of Russian painting - the first half of the 19th century.

For fine arts, the first decade XIX century - the beginning of the golden age. It was at this time that Russian artists achieved the highest mastery, which allowed them to stand on a par with the best masters of European art. The works collected in this volume reflect the rise of classicism, the spread of romanticism and the birth of realism in all aspects of Russian painting.

Name: The History of Russian Painting - The Turn of the 19th and 20th Centuries.

The alignment of forces in the artistic life of Russia in the second half of the 19th century went into oblivion: on the one hand, the routine art of the Academy of Arts, on the other, the Wanderers.
At the end of the 19th century, young artists began to look for their own paths in painting. At the same time, the Abramtsevo circle was formed, which put forward new tasks that were not inherent in the program of the Partnership. And then - in the 1900s - for the first time in Russian artistic life, an abundance of various associations arose: they all came out with their programs, manifestos, platforms.