The canvas belongs to the early stage of the artist's work, but many of its inherent distinctive features have already appeared in it, which determined the style of the painter in the future. The portrait depicts the master's wife, whose marriage was […]
The portrait of the poet and artist Taras Grigoryevich Shevchenko was commissioned by patron Pavel Tretyakov. The image of the Ukrainian poet was supposed to replenish the collection of artistic images of eminent artists. By the time the canvas was created, Taras Shevchenko had already […]
The artist Kramskoy was an outstanding portrait painter. The secret of his success was that he sought to capture not only external resemblance, but also to reveal, guess and convey hidden, deep personality traits. Also Ivan Nikolaevich […]
The great Russian painter Ivan Kramskoy was one of the key figures of Russian culture in the second half of the 19th century. In fact, it was he who transformed the genre of portrait realism, becoming the ideological inspiration of many artists, thanks to him Russian […]
Ivan Nikolaevich Kramskoy was an excellent portrait painter, was fond of genre painting and was a successful critic. Before entering the Academy of Arts, located in the city of St. Petersburg, he was engaged in photo retouching. The master worked on the canvas “Laughter” for […]
For many connoisseurs of art, Kramskoy is associated with peasants. He is one of the few artists who skillfully captured the individual characters of their heroes on canvas. The Peasant with a Bridle of 1883 is one such example. […]
On the page are the most famous paintings of Kramskoy Ivan Nikolaevich.
Kramskoy is one of the founders and main ideologist of the association of the Wanderers.
The main event of the first exhibition of the Wanderers was Kramskoy's painting "Christ in the Desert". But the most famous and popular painting was later on the painting "Unknown".
Kramskoy, like no one else, left us a lot of portraits of the great figures of his time.
Self-portrait of Kramskoy.
Unknown. Kramskoy.
The most mysterious and intriguing picture of Kramskoy. And the most famous.
But the prototype is completely unknown, the woman with whom the artist painted. The face immediately catches the eye. The look of the woman is cold and haughty, dressed in the latest fashion. Sitting in a carriage against the backdrop of winter St. Petersburg with its Alexandrinsky Theater.
In the photo, the painting “Bouquet of flowers. Phloxes. Kramskoy. A rare still life for Kramskoy.
Kramskoy's paintings almost always depict people.
A girl with a loose braid. Kramskoy.
What a sad face the girl has, what a sad look!
Surely Kramskoy himself experienced disappointments in life, emptiness and torment. It is no coincidence that the painting was without an audience for many years, being in the artist's studio.
The girl is sitting and her gaze is turned to nowhere, to the void.
Portrait of Sophia Nikolaevna Kramskoy, the artist's wife. She is reading a book with enthusiasm.
Herodias. Kramskoy.
There is a religious story here. Herodias is guilty of the death of John the Baptist, who openly condemned her marriage to her uncle.
And after the murder of John, Herodias wished to look at his severed head and enjoy the long-awaited victory over the enemy. In the picture all around is poisonous red, the color of blood and murder! And this is not so much a religious plot as a moral one, or rather a plot of immorality.
Peasant with a bridle. Kramskoy. Epic peasant!
Kramskoy's paintings very often depict ordinary people, people from the people! And this picture is a kind of result of numerous portraits of peasants. The real peasant Mina Moiseev became the model. Wise calmness and good humor on his face!
Forest path. Kramskoy.
Rare landscape for Kramskoy without people. Kramskoy's paintings are almost always with people!
Moonlight night. Kramskoy.
The original title of the painting is "Magic Night".
And indeed the night is magical, but it is precisely the magical moon that makes it so! The moon illuminated many details in the night with its bright light. In the center, a beautiful and thoughtful girl in a chic white dress sits on a bench.
In front of her is a pond with water lilies. Behind her is a park with mighty trees! The picture is filled with lyrics and mystery!
Moses' prayer after the Israelites crossed the Red Sea.
Nekrasov in the period of the Last Songs.
At the head of the dying Nekrasov, Kramskoy placed a portrait of Dobrolyubov and a bust of Belinsky. So he portrayed in the name of what the poet lived and created!
Insulted Jewish boy
In the photo "Beekeeper". Kramskoy.
Kramskoy's paintings often depict a simple Russian peasant.
Forester. Kramskoy.
Forester is an old word meaning forester.
Other names for the painting are "A Man with a Club" and "A Man in a Shot Cap".
Kramskoy wrote such a formidable and strong forester.
Kramskoy also commented on this portrait with the words that it was from such men that the popular uprisings of Razin and Pugachev were formed.
Portrait of Alexander III
This is no longer a hero from the people, but a hero over the people. However, the king was the best, he only drank a lot.
Portrait of Anatoly Ivanovich Kramskoy, the artist's son.
Portrait of Vera Nikolaevna Tretyakova
Wonderful portraits at Kramskoy!
Portrait of the great doctor Botkin
Portrait of I. I. Shishkin. Kramskoy.
The most famous portrait of Shishkin!
And this is Shishkin against the backdrop of nature. Surely Shishkin admires the trees.
Kramskoy himself hardly separated portraits from paintings. And on this canvas, the mighty and uninhibited Shishkin is depicted against the backdrop of a sunny forest glade. Portraits and paintings of Kramskoy are magnificent!
Portrait of the great Tretyakov
Portrait of Goncharov. Kramskoy.
Possessed not hefty organizational skills. Thanks to Kramskoy, all art formations of the second half of the 19th century were created. Kramskoy was the main Wanderer and a great theorist in art.
The artist's parents were bourgeois. Kramskoy's father was a clerk of the city duma, he died when the boy was 12 years old. At the age of 12, Ivan Kramskoy graduated from the Ostrogozhsk School with honorable mentions in all subjects. Then, until the age of 16, in the duma where his father worked, he was engaged in calligraphy. At the age of 15, he began studying with an icon painter from Ostrogozhsk, studying for about a year. At the age of 16, Ivan leaves Ostrogozhsk with a Kharkov photographer, doing the work of a retoucher and watercolorist. So he traveled around Russia for three years.
Since 1857, I.N. Kramskoy in Petersburg. Having no art education, he enters the Academy of Arts, having successfully passed the exams! The young man spends six years within the walls of the Academy, faced with the difficulties of earning a living. To earn a living I.N. Kramskoy comes to Denier, who has opened his own "daguerreotype institution", where artists were engaged in photography. Kramskoy was known as the "god of retouching".
In 1863, the young painter leaves the Academy with a loud scandal that made him famous. His nature was formed on the writings of the critic and novelist Chernyshevsky. I.N. Kramskoy led the famous "revolt of 14". Fourteen graduates refused to write a competition work on mythological history, wanting to choose a free topic. So refusing to fight for the Big Gold Medal, they slammed the door. They organized the Artel of Artists, the headman and inspirer, which Kramskoy became. The Artel of Artists declared deductions in the amount of 10% of private cash receipts and 25% of earnings for "artel" work, but some artists concealed their income. With the growth of popularity, “appeared,” according to Kramskoy, “for some, a thirst for the spirit, while for others, complete contentment and obesity.” Because of what, in 1870, the artist left the artel, which soon broke up after his departure.
Married I.N. Kramskoy on Sofya Nikolaevna Prokhorova, who lived in a civil marriage with another artist - a certain Popov. Popov was officially married to another woman. He soon goes abroad, and the young woman is left alone. Saving her reputation, Kramskoy extended a helping hand to her, taking upon himself all the negative assessments of the behavior of his chosen one. The marriage was happy, the family had six children (two younger sons died in childhood). Sofia Nikolaevna has always been the artist's guardian angel.
After Kramskoy left the artel, he was inspired by G. Myasoedov's new idea of organizing a new "Moscow-Petersburg" art association. This association is known to us from the history of Russia under the name "Association of Traveling Art Exhibitions". The objectives of the Partnership in accordance with the Charter read: “Arranging traveling art exhibitions in all cities of the empire, in the form of: 1) providing residents of the provinces with the opportunity to get acquainted with Russian art and follow its progress; 2) development of love for art in society; 3) making it easier for artists to market their works.”
I.N. Kramskoy became close friends with patron P.M. Tretyakov, becoming his adviser and executor of a number of his orders. However, the execution of orders often resembled "bondage". In the early 1870s, Kramskoy met the talented landscape painter Fyodor Vasiliev, the friendship had a tragic end. The young painter burned down from consumption.
Despite the fact that Kramskoy had been abroad, he remained indifferent to the search for new painting, considering them "fleeting". Kramskoy felt like a prophet sounding the alarm. Starting from the first itinerant exhibition (1871) and up to the 16th, Kramskoy was one of its main exhibitors. Not only success accompanied Kramskoy, in recent years the Partnership has subjected Kramskoy to harsh criticism. “Almost everyone turned away from me ... I feel offended,” Kramskoy lamented at the end of his life.
In 1884, living in a small French town, he treated the heart under the supervision of Russian doctors, and in his spare time from treatment he gave drawing lessons to his daughter Sonya - in the future, at the turn of the century, a fairly sought-after artist. His life ended at work, he then painted a portrait of Dr. K. Rauchfus.
Famous works of Kramskoy Ivan Nikolaevich
The painting "Mermaids" was painted by the artist in 1871, is in the State Tretyakov Gallery, in Moscow. Kramskoy showed this picture at the first Wanderer exhibition, which he himself organized. The picture is written on the plot of the story by V. Gogol "May Night". Kramskoy said that he wanted to portray "not something fantastic", "to catch the moon". The plot, in comparison with the literary source of inspiration, is freely executed. The picture depicts all the grace, immensity, silvery light of the Ukrainian night.
The painting “N.A. Nekrasov during the Last Songs” (1877-78), State Tretyakov Gallery, Moscow. The portrait of Nekrasov, who became seriously ill in 1877, was commissioned by P. Tretyakov, who wanted the poet and writer to leave a trace in the history of Russia. P. Tretyakov placed the portrait in his gallery. According to the original plan, Nekrasov was supposed to be shown in pillows. However, contemporaries argued that it was impossible to imagine a “great wrestler” even in a dressing gown. Thus, Kramskoy painted a bust portrait of Nekrasov with crossed arms. The portrait was completed in March 1877, but a few days later the artist began a new portrait, in accordance with the original plan, and completed it after the death of the poet in 1878. In the process of work, Kramskoy increased the size of the canvas, sewing it on from all sides. He created the image of a "hero", from which he removed Nekrasov's beloved dog and his gun cabinet from his field of vision, reminiscent of the poet's hunting passion. The painting “N.A. Nekrasov in the period of the "last songs" "combines the intimacy of the image and the monumentality of the image of a person with extraordinary spiritual strength.
In the back of the room is a bust of the great critic Belinsky, who played a major role in the life of the poet, giving him a worldview. On the wall, portraits of Dobrolyubov and Mickiewicz reveal Nekrasov's convictions. On the shelf at the death bed of the hero of the canvas is the Sovremennik magazine, edited by N.A. Nekrasov. The author falsely dated the painting - March 3, 1877. On this day, Nekrasov read the poem "Bayushki-bai" to the artist, which the artist spoke of as "the greatest work."
“Sleep, patient sufferer!
Free, proud and happy
You will see your homeland
Bye-bye-bye-bye!"
The picture "Unknown" Kramskoy wrote in 1883, the canvas is in the State Tretyakov Gallery, in Moscow. Kramskoy in his works endows the heroines with the image of femininity. This painting received wide publicity at the 11th exhibition of the Society for Contemporary Art, accompanied by almost a scandal. A contemporary did not like the name of the picture, we know it as "The Stranger". With extraordinary passion, the audience solved the hidden riddle of the artist! Ultimately, she was called the "lady of the demi-monde" (a rich kept woman). V. Stasov wrote: "Kokotka in a stroller." Stasov's opinion was confirmed by a sketch for a painting with characteristic vulgarity that became famous. Russian commitment to literary illusions made "Unknown" first Natalia Filippovna from Dostoevsky's "Idiot", then - Anna Karenina - then Blok's stranger, and then completely - the embodiment of femininity. P. Tretyakov did not buy this work. And the picture appeared in the gallery during the nationalization of private collections in 1925.
Kramskoy perfectly painted light and air, and in this picture he brilliantly depicted a frosty pink haze that brings a feeling of cold. The woman's clothes correspond to the fashion of 1883, the heroine is wearing a Francis hat with an ostrich feather, a Skobelev-cut coat, and Swedish gloves. The background of the picture is Nevsky Prospekt in St. Petersburg. Despite their sketchiness, the buildings depicted by Kramskoy are quite recognizable. The gypsy type of the heroine's face, a somewhat contemptuous expression, a sensual look. What is the secret of beauty?
Painting "Inconsolable grief" (1884), State Tretyakov Gallery, Moscow. The heroine of the canvas is endowed with the features of the artist's wife, Sophia Nikolaevna. In the picture, the Russian artist reflected a personal tragedy - the loss of his youngest son. Kramskoy could not build the composition of the picture for a long time, having painted three canvases. At the same time, the heroine herself grew old and, as it were, “rose” to her feet: at first she sat by the hearse; then - on a chair; and finally - she stood near the coffin. The work of the artist was long and painful. This is the only work of the 1880s, bought by P. Tretyakov. However, P. Tretyakov was not very interested in acquiring the painting, as he was sure that it would not find a buyer.
There is dead silence in this work. All internal movement is concentrated in the eyes of the heroine, full of inescapable longing, and hands pressing a handkerchief to her lips - these are the only bright spots in the composition, the rest seems to fade into the shadows. On the wall is Aivazovsky's painting "The Black Sea". It brings the life of a person closer to the life of the sea element, in which storms are replaced by calm. The red flower symbolizes the fragile human life. The wreath placed on the coffin contrasts vividly with the mourning dress of the inconsolable mother.
Masterpiece of Kramskoy I.N. - "Christ in the Wilderness"
The work of the artist was executed in 1872, it can be seen in the State Tretyakov Gallery, in Moscow. The first hobbies of Kramskoy with the theme of the temptation of Christ date back to the period of the artist’s life, when he studied at the Academy, in the 1860s. Then the first sketch of the composition was made. This painting has been in the making for ten years. 1867 - the first unsuccessful version of the picture. The end result was distinguished by its stone boundless desert behind Christ. In order to find the right composition, the Russian artist traveled abroad in 1869 to see the paintings of other artists who revealed the same topic. For this picture, the Academy wanted to give Kramskoy the title of professor, which he refused. This painting was one of the favorite paintings of P. Tretyakov, who bought it without bargaining for 6,000 rubles. Not many of the artists could risk writing the theme of the temptation of Christ. Among them are Duccio, Botticelli, Rubens, Blake. Realism allowed the artist to move away from the academic construction inherent in secular painting until the middle of the 19th century. So Christ was humanized, and the picture conveyed his soul in unison with modernity. Kramskoy rediscovered the theme of Christ, V. Polenov, V. Vasnetsov, I. Repin, V. Vereshchagin followed in his footsteps.
The pink dawn is a symbol of new life, the emergence of Christianity. The plot of the picture is the life of the spirit, reflected in the face of Christ. In Kramskoy's portraiture, the emphasis is on the hero's face, the mirror of the soul, which the artist achieved by painting clothes without detailing them and hiding them. The intensity of Christ's inner struggles is conveyed in His clasped hands. The landscape painted by Kramskoy is so deserted and wild that it seems as if no human has ever set foot here. He, immersed in heavy thoughts, does not notice this hostility. The feet of Christ are streaked with stones and oozing blood. In the imagination of the viewer, a long road appears, preceding the morning thoughts of the hero of the picture.
- Country house in France
- forest path
- In the park. Portrait of wife and daughter
- Mermaids
- ON THE. Nekrasov during the "last songs"
Self-portrait. 1867
Ivan Nikolaevich Kramskoy(1837-1887) - an outstanding artist of the second half of the 19th century, occupies one of the leading places in the history of Russian artistic culture. Having matured early, thoughtful and well-read, he quickly gained authority among his comrades and, naturally, became one of the leaders of the "rebellion of fourteen" in 1863, when a group of graduates refused to paint graduation pictures on a given mythological plot. After the rebels left the Academy of Arts, it was Kramskoy who headed the Artel of Artists, created on his initiative. Kramskoy is one of the main founders of the Wanderers association, a subtle art critic, passionately interested in the fate of Russian art, he was the ideologist of a whole generation of realist artists. He took part in the development of the charter of the Partnership and immediately became not only one of the most active and authoritative members of the board, but also the ideologist of the Partnership, who defended and substantiated the main positions. From other leaders of the Association, he was favorably distinguished by his independence of outlook, a rare breadth of views, sensitivity to everything new in the artistic process and intolerance to any dogmatism.
The work of Ivan Nikolaevich Kramskoy coincided with the brightest period in the history of Russian realistic art, when critical realism in painting and literature reaches its highest level and becomes of great importance in the world culture of the 19th century. However, the role of the artist in the history of Russian art is not limited to his personal work: with his gift as a teacher, ideologist of a new direction, with all his social activities, Kramskoy had a huge impact on the minds of his contemporaries.
A girl with a loose braid. 1873
Kramskoy was born in the city of Ostrogozhsk, Voronezh province. The future artist's early interest in art turned over time into a persistent attraction to creativity. The young Kramskoy worked for some time as a retoucher for the photographer Danilevsky and, as an assistant, wandered endlessly through the provincial cities of Russia. Finally, once in St. Petersburg, he fulfills his dream - he enters the Academy of Arts. However, the bright hopes of familiarizing with the secrets of great art were not destined to be realized, since at that time the main principles of academic teaching remained the ideas of classicism that had already outlived themselves, and did not correspond at all to the new time. Advanced social circles set before the artists the task of being a broad and truthful father of living reality. The appearance at that time of N. G. Chernyshevsky’s dissertation “The Aesthetic Relationship of Art to Reality” gave special weight to the issues of art.
In the autumn of 1863, fourteen academicians were offered a “program” on a theme from the Scandinavian sagas “Feast in Valhalla”. Young artists refused to write on this topic and left the Academy. The break with the Academy was led by Kramskoy. This decisive step threatened the former students with political mistrust from the state and material need, and therefore required great courage. Having led this movement, Kramskoy assumed responsibility for the future fate of Russian art. For the purpose of mutual assistance and material support, the Artel of Artists was created, which later became the base of the Association of Traveling Art Exhibitions. A public figure by vocation, Kramskoy becomes one of the most active members of this organization. One of the main objectives of the Partnership was the development of democratic art, not only in the form of organization, but also in the ideological direction. In the Russian Wandering movement, democratic realism, as a phenomenon of world art, reached high peaks. The first traveling exhibition was opened on November 21, 1871 in the building of the Academy of Arts. In the spring of 1872, she was transported to Moscow, and then to Kyiv. Unlike academic exhibitions, traveling exhibitions "moved" from city to city, everywhere arousing keen interest in themselves. Thus began the activity of this public organization, which for a number of decades united all the leading artists of Russia.
Mermaids. 1871
At the first traveling exhibition, Kramskoy participated in a large painting "Mermaids" based on the plot of N.V. Gogol's story "May Night". Here the artist was attracted by the opportunity to convey the moonlight in the language of painting, so poetically changing everything around. Kramskoy wrote: “I am glad that with such a plot I didn’t finally break my neck, and if I didn’t catch the moon, something fantastic came out.”
For the next exhibition of the Wanderers, Kramskoy paints the painting “Christ in the Desert” (1872), which was conceived as the first in a series (and never realized) of paintings on gospel stories. The artist wrote that his task was to show the inner struggle of a person immersed in deep thoughts about choosing a life path. The painting "Christ in the Wilderness" was perceived by contemporaries as a symbol of a person of high civic duty
Christ in the wilderness. 1972
In the summer of 1873, Kramskoy and his family settled in the Tula province, not far from the estate of Leo Tolstoy. Taking advantage of this neighborhood, Kramskoy paints a portrait of Tolstoy. The strength and solidity of the personality, a clear and energetic mind - this is how the writer appears in this portrait. From the whole gallery of portraits of L. N. Tolstoy, written by N. N. Ge, I. E. Repin, L. O. Pasternak, the portrait of Kramskoy is one of the best. In turn, the artist himself served as a prototype for the artist Mikhailov in the novel Anna Karenina. Almost at the same time, portraits of I. I. Shishkin and N. A. Ne-krasov were created. The portrait of “Nekrasov from the period of the Last Songs” (1877) was painted at a time when Nekrasov was already seriously ill, so the sessions lasted 10-15 minutes. The strongest impression from the portrait is the contrast between the clarity of mind, creative inspiration and the physical weakness of the dying poet.
Among the works of Kramskoy there are a number of poetic female images, such as "Girl with a loose braid" or the famous "Stranger", which was said to be the prototype of Anna Karenina. Back in 1874, the artist created a whole series of peasant types, the most powerful in character among them - "Woodsman" (1874).
In the 80s, Kramskoy painted the painting “Inconsolable Grief”, which is largely autobiographical: the artist survived the death of two children. Kai and in "The Widow" by Fedotov, the theme of human grief sounds mournful here. The face and the very image of the mother who lost her child are striking.
This woman, killed by an irreparable misfortune, exists, as it were, outside of time, it seems to have stopped. Since 1883, the artist's health has deteriorated, and Kramskoy's last years were extremely difficult. Constant household chores and work on orders did not allow him to finish work on the painting “Laughter” (“Christ before the people”), the idea of which involved the development of the theme “Christ in the Desert”, the theme of the sacrificial fate of man.
On March 25, 1887, while working on a portrait of Dr. Rauchfus, Kramskoy died unexpectedly.
Ivan Kramskoy painted many portraits; Of these, the portraits of S. P. Botkin, I. I. Shishkin, Grigorovich, Mrs. Vogau, the Gunzburg family (portraits of women), a Jewish boy, A. S. Suvorin, an unknown person, Count L. N. Tolstoy, Count Litke deserve special mention. , D. A. Tolstoy, Goncharov and ... They are distinguished by their complete resemblance and talented characterization of the face from which the portrait was painted.
Kramskoy was also engaged in engraving on copper with strong vodka; among the etchings he performed, the best are portraits of Emperor Alexander III, when he was his heir, Tsarevich, Peter the Great and Taras Shevchenko.
Kramskoy did not have a great education, he always regretted it and made up for this lack by constant serious reading and a community of intelligent people, as a result of which he himself was a useful interlocutor for artists (Kramskoy is known for his teaching activities, as a teacher since 1862 in the drawing school of the Society for the Encouragement of Artists) .
Without Ivan Nikolaevich Kramskoy, it is impossible to imagine the democratic artistic culture of the second half of the 19th century. He was rightfully the ideological leader, conscience and brain of the Wanderers.It is difficult to overestimate the importance of Kramskoy's artistic and literary heritage for Russian culture. The main focus of his artistic activity is a deep interest in the knowledge of the man of his era, whether the artist depicted him in the guise of a gospel legend or in the guise of his contemporary. Social activities of Kramskoy, his work became a school for a whole generation of Russian artists.
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Self-portrait. 1874.
Contemplator, 1876
Nekrasov in the period of the Last Songs. 1877-1878
Prayer of Moses after the passage of the Israelites through the Black Sea. 1861
Herodias. 1884-1886
For reading. Portrait of Sophia Nikolaevna Kramskoy, the artist's wife. 1866-1869
Female portrait. 1884
Female portrait. 1867
A girl with linen on a yoke among the grass. 1874
Peasant's head. 1874
Convalescent. 1885
Bouquet of flowers. Phloxes. 1884
Actor Alexander Pavlovich Lensky as Petruchio in Shakespeare's comedy The Taming of the Shrew. 1883
Portrait of Vera Nikolaevna Tretyakova. 1879
Portrait of Vera Nikolaevna Tretyakova. 1876
Portrait of Anatoly Ivanovich Kramskoy, the artist's son. 1882
Portrait of the artist Viktor Mikhailovich Vasnetsov. 1874
Portrait of the artist Mikhail Klodt. 1872
Portrait of the artist K.A.Savitsky.
Portrait of the artist I.K. Aivazovsky
Portrait of the artist I. E. Repin
Portrait of the artist Grigory Myasoedov
Portrait of the artist Alexei Bogolyubov. 1869
Portrait of the philosopher Vladimir Sergeevich Solovyov. 1885
Portrait of Sophia Ivanovna Kramskoy, the artist's daughter. 1882
Portrait of the sculptor Mark Matveyevich Antokolsky. 1876
Portrait of the poet Yakov Petrovich Polonsky. 1875
Portrait of the poet Nikolai Alekseevich Nekrasov. 1877
Portrait of the poet and artist Taras Grigoryevich Shevchenko. 1871
Portrait of the writer Sergei Timofeevich Aksakov. 1878
Portrait of the writer Mikhail Evgrafovich Saltykov (N. Shchedrin). 1879
Portrait of the writer Leo Tolstoy. 1873
Portrait of the writer Ivan Aleksandrovich Goncharov. 1874
Portrait of the writer Dmitry Vasilyevich Grigorovich. 1876
Portrait of the singer Elizaveta Andreevna Lavrovskaya, on the stage in the Nobility Assembly. 1879
Portrait of Nikolai Ivanovich Kramskoy, the artist's son. 1882
Portrait of Empress Maria Feodorovna
Portrait of the publisher and publicist Alexei Sergeevich Suvorin. 1881
Portrait of I.I. Shishkin. 1880
Portrait of the artist Ivan Shishkin. 1873
Laughter (Hail, king of the Jews). Late 1870s - 1880s
Poet Apollon Nikolaevich Maikov. 1883
Portrait of the artist F. A. Vasiliev. 1871
Ivan Nikolaevich Kramskoy (May 27, 1837, Ostrogozhsk - March 24, 1887, St. Petersburg) - Russian painter and draftsman, master of genre, historical and portrait painting; art critic.
Self-portrait. 1874
Kramskoy was born on May 27 (June 8, according to a new style), 1837 in the city of Ostrogozhsk, Voronezh province, in the family of a clerk.
After graduating from the Ostrogozhsk district school, Kramskoy was a clerk in the Ostrogozhsk Duma. From 1853 he was a photo retoucher; first, the future artist was taught in several steps to “finish photographic portraits with watercolors and retouching” by his fellow countryman M. B. Tulinov, then he worked for the Kharkov photographer Ya. P. Danilevsky. In 1856 he came to St. Petersburg, where he was engaged in retouching in the then famous photograph of Aleksandrovsky.
In 1857, Kramskoy entered the St. Petersburg Academy of Arts as a student of Professor Markov.
In 1863, the Academy of Arts awarded him a gold medal for the painting Moses Spouts Water from a Rock. Before graduating from the Academy, it remained to write a program for a big medal and get a pension abroad. The Council of the Academy offered the students a theme from the Scandinavian sagas "Feast in Valhalla" for the competition. All fourteen graduates refused to develop this topic, and petitioned to be allowed to each choose a topic of their choice. The subsequent events went down in the history of Russian art as the "Riot of the Fourteen". The Council of the Academy refused them, and Professor Ton noted: “if this happened before, then all of you would be soldiers!” On November 9, 1863, Kramskoy, on behalf of his comrades, told the council that they, "not daring to think about changing academic regulations, humbly ask the council to release them from participating in the competition." Among these fourteen artists were: I. N. Kramskoy, B. B. Venig, N. D. Dmitriev-Orenburgsky, A. D. Litovchenko, A. I. Korzukhin, N. S. Shustov, A. I. Morozov , K. E. Makovsky, F. S. Zhuravlev, K. V. Lemokh, A. K. Grigoriev, M. I. Peskov, V. P. Kreitan, and N. V. Petrov. The artists who left the Academy formed the "Petersburg Artel of Artists", which existed until 1871.
In 1865, Markov invited him to help paint the dome of the Cathedral of Christ the Savior in Moscow. Due to Markov's illness, Kramskoy, together with the artists Venig and Koshelev, made the entire main painting of the dome.
In 1863-1868 he taught at the drawing school of the Society for the Support of Applied Arts. In 1869, Kramskoy received the title of academician.
In 1870, the "Association of Traveling Art Exhibitions" was formed, one of the main organizers and ideologists of which was Kramskoy. Under the influence of the ideas of Russian democratic revolutionaries, Kramskoy defended the view of the high social role of the artist, the principles of realism, the moral essence and nationality of art.
Ivan Nikolayevich Kramskoy created a number of portraits of prominent Russian writers, artists and public figures (such as: Lev Nikolayevich Tolstoy, 1873; I. I. Shishkin, 1873; Pavel Mikhailovich Tretyakov, 1876; M. E. Saltykov-Shchedrin, 1879 - all are in the Tretyakov Gallery; portrait of Botkin[specify] (1880) - private collection, Moscow).
One of Kramskoy's most famous works is "Christ in the Desert" (1872, Tretyakov Gallery).
The successor of the humanistic traditions of Alexander Ivanov, Kramskoy created a religious turning point in moral and philosophical thinking. He gave the dramatic experiences of Jesus Christ a deeply psychological life interpretation (the idea of heroic self-sacrifice). The influence of ideology is noticeable in portraits and thematic paintings - “N. A. Nekrasov during the Last Songs period, 1877-1878; "Unknown", 1883; "Inconsolable grief", 1884 - all in the Tretyakov Gallery.
The democratic orientation of Kramskoy's work, his critical insightful judgments about art, and persistent research into objective criteria for evaluating the features of art and their influence on it, developed democratic art and the worldview of art in Russia in the last third of the 19th century.
Prayer of Moses after the passage of the Israelites through the Black Sea. 1861
Reading Portrait of Sophia Nikolaevna Kramskoy, the artist's wife. 1866–1869
Female portrait. 1867
Portrait of the artist K. A. Savitsky. 1871
Mermaids. 1871
Portrait of the artist M. K. Klodt. 1872
Christ in the wilderness. 180 x 210 cm. 1872
Portrait of A. I. Kuindzhi. 1872
Beekeeper. 1872
A girl with a loose braid. 1873
Portrait of I. I. Shishkin. 1873
Portrait of the writer Leo Tolstoy. 1873
Insulted Jewish boy. 1874
Forester. 1874
Portrait of the writer Ivan Aleksandrovich Goncharov 1874
Head of a Peasant 1874
Portrait of Sofya Nikolaevna and Sofya Ivanovna Kramskoy, the artist's wife and daughter. 1875
Portrait of the writer Dmitry Vasilyevich Grigorovich 1876
Portrait of Pavel Mikhailovich Tretyakov. 1876
Portrait of the sculptor Mark Matveyevich Antokolsky. 1876
N. A. Nekrasov during the period. Latest songs. 1877–1878
Portrait of the writer Mikhail Evgrafovich Saltykov (N. Shchedrin). 1879
Portrait of Adrian Viktorovich Prakhov, art historian and art critic. 1879
Moonlight night 1880
Portrait of Dr. Sergei Petrovich Botkin 1880
Portrait of the actor Vasily Vasilyevich Samoilov. 1881
Portrait of the publisher and publicist Alexei Sergeevich Suvorin. 1881
Portrait of Anatoly Ivanovich Kramskoy, the artist's son. 1882
Portrait of Sophia Ivanovna Kramskoy, the artist's daughter. 1882
Girl with a cat. 1882
Unknown. 1883
Peasant with a bridle Mina Moiseev. 1883
Actor Alexander Pavlovich Lensky as Petruchio in Shakespeare's comedy The Taming of the Shrew. 1883
Bouquet of phlox flowers. 1884
Inconsolable grief. 1884
Kramskoy, painting a portrait of his daughter, Sophia Ivanovna Kramskoy, married Juncker. 1884
Portrait of the philosopher Vladimir Sergeevich Solovyov. 1885
Portrait of Alexander III. 1886
Children in the forest. 1887
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