Arkady Alexandrovich Rylov(January 17 (29), Istobensk village, Vyatka province - June 22, Leningrad) - Russian Soviet landscape painter, graphic artist and teacher.
Biography
Arkady Alexandrovich Rylov grew up in the family of his stepfather - a notary (his own father was mentally ill).
He studied in St. Petersburg, first at the Central School of Technical Drawing of Baron A. L. Stieglitz (1888-1891) and with Konstantin Kryzhitsky. Then, in -1897, he studied at the Academy of Arts with A. I. Kuindzhi. Participated in the creation of associations "World of Art", the Union of Russian Artists. Since 1915 - academician of painting.
In the vicinity of St. Petersburg and in Finland, he created dozens of paintings and sketches in his characteristic colors. In addition, A. A. Rylov successfully worked as an illustrator and wrote essays about nature.
A. A. Rylov was the chairman of the Society of Artists named after A. I. Kuindzhi.
Since 1902, he led the “animal drawing class” at the Drawing School at the Society for the Encouragement of Arts, since 1917 he taught at the Academy of Arts (professor since 1918). Collaborated in the magazine "Chizh".
After the revolution, Rylov continued to actively engage in creative and pedagogical work. A. A. Fedorov-Davydov called Rylov " outstanding Soviet landscape painter", and his painting "In the Blue Space" (1918, State Tretyakov Gallery) was considered in the series " those works with which it is customary to begin the history of Soviet painting". After the formation of the Leningrad Union of Artists in 1932, Rylov participated in all of its major exhibitions, starting with the First Exhibition of Leningrad Artists in 1935. His work largely determined the multifaceted appearance of the Leningrad landscape painting of the 1920-1930s.
Students
- Kosell, Mikhail Georgievich (1911-1993)
- Lekarenko, Andrei Prokofievich (1895-1978)
- Malagis, Vladimir Ilyich (1902-1974)
- Nevelstein, Samuil Grigorievich (1903-1983)
- Serebryany, Joseph Alexandrovich (1907-1979)
- Timkov, Nikolay Efimovich (1912-1993)
- Charushin, Evgeny Ivanovich (1901-1965)
- Shegal, Grigory Mikhailovich (1889-1956)
Works
Rylov Sunset 1917.jpg
Sunset. 1917
Canvas, oil.
A. Rylov. Lenin v Razlive -2.jpg
V. I. Lenin in Razliv in 1917. 1934
Canvas, oil.
State Russian Museum
Rylov's paintings "Green Noise" (1904) and "In the Blue Space" (1918) were most famous. His other works:
- "Wind in the Trees" (Tretyakov Gallery)
- "Green Lace" (Tretyakov Gallery)
- "IN. I. Lenin in Razliv in 1917” (1934) (Russian Museum)
- "November" (1937)
- "Summer day"
- "Summer Landscape"
- "Haymaking"
- "Flowery Meadow"
- "House with a red roof"
- "Field mountain ash" (1922) (State Russian Museum)
see also
- Landscape painting in the fine arts of Leningrad
Write a review on the article "Rylov, Arkady Alexandrovich"
Notes
Sources
- Fedorov-Davydov, A. A. Landscape in Russian painting of the 19th - early 20th centuries // Art. 1957, no. 1.
- Fedorov-Davydov, A. A. Painting by A. Rylov "In the blue space" // Art. 1957, no. 8.
- Fedorov-Davydov A. A. A. A. Rylov. - M .: Sov. artist, 1959. - 220 p.
- Fedorov-Davydov, A. A. Russian and Soviet art. Articles and essays. M.: Art, 1975.
- House of Artists on Bolshaya Morskaya. Author-compiler Yu. M. Ivanenko. St. Petersburg, 2011.
- Painting of the first half of the twentieth century (N-R) / Almanac. Issue. 404. St. Petersburg: Palace Editions, 2013.
Links
An excerpt characterizing Rylov, Arkady Alexandrovich
“Yes, yes, to the war,” he said, “no!” What a warrior I am! And yet, everything is so strange, so strange! Yes, I don't understand myself. I do not know, I am so far from military tastes, but in these times no one can answer for himself.After dinner, the count sat quietly in an armchair and with a serious face asked Sonya, who was famous for her skill in reading, to read.
– “To the capital of our capital, Moscow.
The enemy entered with great forces into the borders of Russia. He is going to ruin our dear fatherland, ”Sonya diligently read in her thin voice. The Count, closing his eyes, listened, sighing impetuously in some places.
Natasha sat stretched out, searchingly and directly looking first at her father, then at Pierre.
Pierre felt her eyes on him and tried not to look back. The countess shook her head disapprovingly and angrily at every solemn expression of the manifesto. She saw in all these words only that the dangers threatening her son would not end soon. Shinshin, folding his mouth into a mocking smile, obviously prepared to mock at what would be the first to be mocked: at Sonya's reading, at what the count would say, even at the very appeal, if no better excuse presented itself.
Having read about the dangers threatening Russia, about the hopes placed by the sovereign on Moscow, and especially on the famous nobility, Sonya, with a trembling voice, which came mainly from the attention with which she was listened to, read the last words: “We ourselves will not hesitate to stand among our people in this capital and in other states of our places for conference and leadership of all our militias, both now blocking the path of the enemy, and again arranged to defeat it, wherever it appears. May the destruction into which he imagines to cast us down upon his head turn, and may Europe, liberated from slavery, glorify the name of Russia!
- That's it! cried the Count, opening his wet eyes and halting several times from snuffling, as if a flask of strong acetic salt was being brought to his nose. “Just tell me, sir, we will sacrifice everything and regret nothing.”
Shinshin had not yet had time to tell the joke he had prepared on the count's patriotism, when Natasha jumped up from her seat and ran up to her father.
- What a charm, this dad! she said, kissing him, and she again looked at Pierre with that unconscious coquetry that returned to her along with her animation.
- That's so patriotic! Shinshin said.
“Not a patriot at all, but simply ...” Natasha answered offendedly. Everything is funny to you, but this is not a joke at all ...
- What jokes! repeated the Count. - Just say the word, we will all go ... We are not some kind of Germans ...
“Did you notice,” said Pierre, “that he said: “for a meeting.”
“Well, whatever it is…
At this time, Petya, whom no one paid any attention to, went up to his father and, all red, in a breaking voice, now rough, now thin, said:
“Well, now, papa, I will say decisively - and mother too, as you wish, - I will say decisively that you let me go into military service, because I can’t ... that’s all ...
The countess raised her eyes to heaven in horror, clasped her hands and angrily turned to her husband.
- That's the deal! - she said.
But the count recovered from his excitement at the same moment.
“Well, well,” he said. "Here's another warrior!" Leave the nonsense: you need to study.
“It’s not nonsense, daddy. Obolensky Fedya is younger than me and also goes, and most importantly, anyway, I can’t learn anything now, when ... - Petya stopped, blushed to a sweat and said the same: - when the fatherland is in danger.
- Full, full, nonsense ...
“But you yourself said that we would sacrifice everything.
“Petya, I’m telling you, shut up,” the count shouted, looking back at his wife, who, turning pale, looked with fixed eyes at her younger son.
- I'm telling you. So Pyotr Kirillovich will say ...
- I'm telling you - it's nonsense, the milk has not dried up yet, but he wants to serve in the military! Well, well, I'm telling you, - and the count, taking the papers with him, probably to read it again in the study before resting, left the room.
- Pyotr Kirillovich, well, let's go for a smoke ...
Pierre was confused and indecisive. Natasha's unusually brilliant and lively eyes incessantly, more than affectionately addressed to him, brought him to this state.
- No, I think I'm going home ...
- Like home, but you wanted to have an evening with us ... And then they rarely began to visit. And this one is mine ... - the count said good-naturedly, pointing to Natasha, - it’s only cheerful with you ...
“Yes, I forgot ... I definitely need to go home ... Things ...” Pierre said hastily.
“Well, goodbye,” said the count, leaving the room completely.
- Why are you leaving? Why are you upset? Why? .. - Natasha asked Pierre, defiantly looking into his eyes.
“Because I love you! he wanted to say, but he did not say it, blushed to tears and lowered his eyes.
“Because it’s better for me to visit you less often ... Because ... no, I just have business to do.”
- From what? no, tell me, - Natasha began decisively and suddenly fell silent. They both looked at each other in fear and embarrassment. He tried to smile, but could not: his smile expressed suffering, and he silently kissed her hand and went out.
Pierre decided not to visit the Rostovs with himself anymore.
Petya, after receiving a decisive refusal, went to his room and there, locking himself away from everyone, wept bitterly. Everyone did as if they had not noticed anything when he came to tea silent and gloomy, with tearful eyes.
The next day the Emperor arrived. Several of the Rostovs' servants asked to go and see the tsar. That morning, Petya spent a long time dressing, combing his hair and arranging his collars like the big ones. He frowned in front of the mirror, made gestures, shrugged his shoulders, and finally, without telling anyone, put on his cap and left the house from the back porch, trying not to be noticed. Petya decided to go straight to the place where the sovereign was, and directly explain to some chamberlain (it seemed to Petya that the sovereign was always surrounded by chamberlains) that he, Count Rostov, despite his youth, wants to serve the fatherland, that youth cannot be an obstacle for devotion and that he is ready ... Petya, while he was getting ready, prepared many beautiful words that he would say to the chamberlain.
Rylov Arkady Alexandrovich- (1870 1939), Soviet painter. Honored Artist of the RSFSR (1935). Landscape painter. He studied at the St. Petersburg Academy of Arts (1894-97) under AI Kuindzhi. Member of the association World of Art, Union of Russian Artists, AHRR. In their major in sound and ... ... Art Encyclopedia
Rylov Arkady Alexandrovich- (18701939), painter, Honored Artist of the RSFSR (1935). He studied at the CUTR (188891) and the Academy of Arts (189497; academician since 1915). He taught at the Drawing School of the OPH (190218), PGSHM VKHUTEMAS VKHUTEIN (191829). Member… … Encyclopedic reference book "St. Petersburg"
Rylov Arkady Alexandrovich-, Soviet painter, Honored Artist of the RSFSR (1935). He studied at the St. Petersburg Academy of Arts under AI Kuindzhi. Member of the associations "World of Art", "Union of Russians ... ...
RYLOV Arkady Alexandrovich- (1870 1939) Russian painter, Honored Art Worker of Russia (1935). Epic, imaginatively major landscapes of the painting (Green Noise, 1904; In the blue expanse, 1918) ... Big Encyclopedic Dictionary
Rylov Arkady Alexandrovich- (1870 1939), painter, Honored Artist of the RSFSR (1935). He studied at the CUTR (1888-91) and the Academy of Arts (1894-97; academician since 1915). He taught at the Drawing School of the OPH (1902 18), PGSHM VKHUTEMAS VKHUTEIN (1918 29). Member of the Association "World of Art" ... St. Petersburg (encyclopedia)
Rylov Arkady Alexandrovich- (1870 1939), painter, Honored Artist of the RSFSR (1935). Epico romantic, figuratively major landscapes of the painting (“Green Noise”, 1904; “In the Blue Space”, 1918). * * * RYLOV Arkady Alexandrovich RYLOV Arkady Alexandrovich ... ... encyclopedic Dictionary
Rylov, Arkady Alexandrovich- Genus. 1870, mind. 1939. Painter (landscape painter). Member of the Society named after A. I. Kuindzhi. Canvases: "Green Noise" (1904), "In the Blue Space" (1918) and others. Honored Art Worker of Russia (1935) ... Big biographical encyclopedia
RYLOV- Arkady Alexandrovich (1870-1939), Russian painter. Epico-romantic, imaginatively major landscapes of the painting (Green Noise, 1904; In the Blue Space, 1918) ... Modern Encyclopedia
Rylov- Rylov is a Russian surname. Known bearers: Rylov Rylov, Arkady Alexandrovich (1870-1939), Russian landscape painter. Rylov, Artur Igorevich (b. 1989) Russian football player. Rylov, Vladimir Alekseevich (b. 1947) Russian conductor ... Wikipedia
Rylov- Arkady Alexandrovich, Soviet painter, Honored Artist of the RSFSR (1935). He studied at the St. Petersburg Academy of Arts under AI Kuindzhi. Member of associations ... ... Great Soviet Encyclopedia
Rylov Arkady Alexandrovich - a wonderful Russian Soviet artist. His paintings have a strong emotional impact, causing a feeling of unaccountable joy.
Artist's life
Rylov Arkady Alexandrovich was born in 1870 in the village of Istobensk, Orlovsky district. This happened on the way to Vyatka, where his parents were heading. The future artist was brought up by his stepfather, a notary who worked in Vyatka, since his own father suffered from a mental disorder. A small quiet town and the nature around it evoked poetic feelings in the child, who asked to capture them in paints.
After graduating from the gymnasium, at the age of 18 he went to St. Petersburg and entered the Central School of Technical Drawing of Baron A.L. Stieglitz, where he studied for three years. At the same time, Rylov Arkady Alexandrovich studied at the Drawing School at the Society for the Encouragement of Artists. He, apparently, wanted to quickly comprehend all the technical possibilities that would help him open up as a painter. But the student is suddenly drafted into the army. After serving in it, Rylov is accepted into it. He also dreams of studying with the brilliant innovator-experimenter A. Kuindzhi, whose name then thundered both in Russia and abroad. His "Moonlight Night on the Dnieper" (1880) made a splash among the public and caused ambiguous statements from his fellows in the shop. In 1894, Rylov Arkady Alexandrovich began to study in the workshop of Arkhip Ivanovich, who was a wonderful teacher. With his own money (he spent very little on his family), A. Kuindzhi took his students to the Crimea and abroad, paid scholarships to the poor (remembering his own disastrous beginning of his studies). What did training in this workshop give Rylov? He learned to create romantic holistic images, paying attention to the effects of lighting, and tried to work as much as possible in the open air, so Arkhip Ivanovich believed that nature is the most important teacher.
In 1897, he completed his studies at the Academy, and Rylov received the title of artist. Then Arkady Alexandrovich made a trip abroad, visiting Germany, France and Austria. He meets the beginning of the new century as a well-formed landscape painter. Near Vyatka and St. Petersburg, he writes a lot of sketches and devotes two years to working on the painting "Green Noise" (1904).
landscape element
This work of a young but already experienced master can now be admired in the Russian Museum.
In the foreground is a green hillock descending to an incredible winding blue river. On it, the green crowns of white birches, old and young, tremble under strong gusts of wind. Above them, cumulus white clouds with blue shadows run across the blue sky. Saturated color combinations of color. Only an old pine tree with a thick trunk stands steadily, giving balance to the composition. In the gap between the trees - an immense distance. This achieves the dynamic solution of space. Three white triangles can be seen on the river. Are these boats of fishermen? The joy of belonging to the landscape opened for him by the painter comes to the viewer, and he sees the wonderful moments of life.
Further work
Drawing attention to Rylov's pedagogical talents, he was invited to teach an animalistic class (1902 - 1918) at the Drawing School under the Society for the Encouragement of Artists. So combined the work of the painter and teacher Rylov Arkady Alexandrovich, whose biography we present. In it, the painter arranged a real living corner where squirrels, a monkey, hares, and birds lived. There were even two anthills. Isn't it interesting? A beautiful self-portrait with a squirrel has already been placed at the beginning of the article, but now I want to look at his forest landscape.
"Forest dwellers" (1910)
In the wilderness of a corner of the forest, where there is no one but the silent and motionless artist, squirrels frolic merrily, jumping from branch to branch. Something has caught the attention of a curious animal that is in the corner on the left. He stretched out all over, froze for a moment and carefully looks.
A few more seconds, and the squirrel will again begin to run across the fluffy paws of old fir trees. If you follow the direction of her gaze and mentally draw a straight line, then we will see a white-breasted woodpecker with black wings, who works hard, getting larvae from under the bark on a tree trunk that stands on a mossy carpet. The triangular composition is created by the second squirrel sitting on the branches above. The color of the canvas is extremely saturated with all shades of green and the red summer skins of funny animals that contrast with it.
After the revolution
The artist supported the power of the Soviets and was a member of the art association AHRR, participated in exhibitions of revolutionary artists. In memory of A. Kuindzhi, a society was created in which Rylov was not only the founder, but also the chairman. The painter received the title of Honored Artist of the RSFSR in 1935. Recognized by the authorities and the people, Rylov Arkady Aleksandrovich, whose brief biography is coming to an end in our article, died in Leningrad in 1939.
"Field rowan"
So Arkady Alexandrovich called a modest landscape painted in 1922.
The diagonal is set by a quiet ultramarine purest river. On the left, thin openwork birch branches peep out. In the foreground is a lawn overgrown with yellow tansy with dark green leaves and dense umbrellas of white, honey-scented flowers. A quiet river corner was found by Rylov Arkady Alexandrovich. "Field Rowan" became a song to the world that came after the wars that shook the country. No human has set foot here. The high dense grass is not flattened, the bushes stand quietly along the steep banks of the river, behind which again, as the artist loves, the vast Russian spacious and free distances come off, where one can breathe deeply and calmly. The horizon is covered by a barely visible strip of bluish-green forest. On the field behind the river, the trees grown in the clearing were huddled together. There is a stack nearby. There was the first mowing. Above the classical compositional triangle that forms the river and the far field, fluffy white clouds froze in the windless sky, through which azure peeps through in some places. This is a favorite Central Russian landscape, which is dear to the heart and soul. The emotional impact is great. He intensifies love for such a simple native nature and, in general, for his small homeland. Shows the hidden corners Rylov Arkady Alexandrovich. "Field Rowan" - an essay that is taught to write at school, then, with age, will lead to one's own vision of the discreet beauty of the Russian expanse.
"The Little House with the Red Roof" (1933)
The landscape was dominated by two birch trees, huge to the sky, standing exactly in the center of the picture, and the majestic blue summer sky with snow-white clouds occupying two-thirds of the canvas.
Next to them, not trying to compete, a corner of a coniferous forest peeps out to the left. The abundance of all shades of green that the artist found on his palette on this sultry summer day is striking: the greenish-yellow color of the mowed meadow, the dark green forest, the joyful fresh green of the birches, the light green of the bushes and fruit trees at the foot of the forest and covering the cozy house on the other side of the canvas. Arkady Alexandrovich Rylov sang a magnificent song for the crown of summer. The house with a red roof, with white pipes and whitewashed walls, excites the imagination: who created this beauty and who was lucky enough to live in it. We see one character, a charming woman in a white dress, who slowly removes hay. Joy - this is the definition that brings all the paintings that Rylov wrote Arkady Alexandrovich, a landscape painter.
most famous painting
The painting "In the Blue Space" (1918) enchants and bewitches once and for all. A flock of swans in the sky, a blue sea with a sailboat are calling for a romantic distance.
The artist painted it in the cold gray Petrograd, where there was not even firewood to heat the room. But the picture is full of bright light, delight, jubilation. In the viewer, it causes a slight euphoria, turning into amazement at the skill of the author.
"Green Lace" (1928)
A delicate green clearing in the spring forest is slightly opened to the viewer by the painter.
On the left, it is limited by a dense forest, but for us it looks through delicate, fragile, graceful bushes covered with whitish greenery. There are no sharp contrasts in the color combination. Their relationships are smooth and natural. The airiness that permeates the image caresses the eye and makes one wonder how such a beautiful place can be kept intact and virgin. I would like to protect it from the rough touches of a person and, with bated breath, endlessly admire the splendor of nature, transferred to the canvas with such skill.
In a fairy tale - "The Wilderness" (1920)
Now the multifaceted talent of the painter has led us to the magical forest lake.
Its dark, green waters, surrounded by a mysterious forest along the shore, where goblin lives, where the sorcerer lives, do not frighten, but fascinate. Arkady Alexandrovich Rylov himself is a magician and a sorcerer, since he found this place hidden from everyone. The lake, which occupies a third of the picture, comes close to the frame, and on the opposite shore it is overgrown with sedge and moss. One can see bare roots and the remains of whitening trunks that have fallen into black waters. The feeling of expectation does not leave that someone should now go out to the water and sit down, thinking in sadness. Masterfully, as in all his landscapes, he uses green, collecting all its shades on the canvas, the artist. The picture leads to ancient Rus', where there has always been a place for a sorcerer and a miracle worker who can save from grief and sadness with his powerful knowledge. The work awakens a fantasy that has disappeared in the hustle and bustle of city life.
Arkady Alexandrovich Rylov left us an invaluable legacy - his soul, embodied in canvases.
Rylov Arkady Alexandrovich (1870-1939)
A. A. Rylov entered the history of Russian painting primarily as the author of two famous landscapes - "Green Noise" and "In the Blue Space", although he left a legacy of a large and very high artistic level.
Rylov was born on the way, when his parents were going to Vyatka. To this city, where the future artist grew up, to the surrounding nature, Rylov dedicated wonderful pages of his memories to his childhood.
In 1888, he came to St. Petersburg and, on the advice of his relatives, entered the CUTR. At the same time, he studied at the Drawing School at the OPH. In the midst of hard work, Rylov was unexpectedly drafted into the army. After serving his term, he returned to St. Petersburg.
In 1893, Rylov entered the Academy of Arts, and a year later he was invited to his studio by A. I. Kuindzhi, whose training had long been a cherished dream of a young artist. Rylov in the full sense of the word can be considered a student and follower of Kuindzhi. They are surprisingly close in the nature of artistic talent. Rylov forever retained his attachment to romantically elevated and generalizing, holistic images, lighting effects, and a decorative understanding of color, but at the same time he strictly followed the teacher's precept to work in nature as much as possible. "Kuindzhievskaya" - romantic, dynamic, with a blaze of a night fire - was Rylov's diploma painting "The evil Tatars came running" (1897). The artist himself was annoyed later: why did he turn to such a "crackling" plot and not take "a modest Russian landscape, familiar nature"?
By the beginning of the 1900s. Rylov's skill reached maturity. In 1904 "Green Noise" appeared. The artist worked on the painting for two years, painting it in the studio, using the experience of observing nature and a lot of sketches made in the vicinity of Vyatka and St. Petersburg. Contemporaries were struck by the young, joyful feeling that pervaded the landscape. This is an image of an eternally triumphant, ever-changing life, when one moment quickly replaces another and they are all equally beautiful. Color is based on a combination of saturated color relationships. A dynamic spatial solution is the opposition of a very close foreground and the boundless distance that opens behind it.
The same joyful feeling and a similar spatial construction - in the painting "In the Blue Space" (1918). It depicts a windy spring morning over a surging sea, streams of the golden rays of the rising sun, white swans flying home, the earth with the remnants of falling snow, and a light sailing ship rushing towards the sun's rays. This image, full of faith in vitality, was later used for ideological purposes.
The picture was declared the first Soviet landscape, and Rylova - the founder of Soviet landscape painting. But he also had landscapes with a different mood - for example, "Wilderness" (1920). A swamp with black water fills the entire foreground, and behind it is a gloomy, disturbing forest. True, the artist has much more life-affirming works: "Hot Day", "Field Rowan", "Island" (all 1922), "Birch Grove" (1923), "Old Spruces by the River" (1925), "Forest River" ( 1928), "House with a Red Roof" (1933), "On the Green Banks" (1938), etc.
Rylov had another rare gift - teaching. Before the revolution, he taught the "animal drawing class" at the Drawing School at the OPH, and after 1917 he taught at the Academy of Arts. His advice and guidance was appreciated not only by students, but also by venerable artists. His rare spiritual purity and love for people were equally appreciated. In general, he loved the whole living world, and this world paid him the same. He was loved by birds and animals, and the manifestations of such love and trust aroused the surprise of those around him. In his workshop, he arranged a corner of the forest. Birds lived here without a cage - robins, wrens, kinglets, nuthatches, gulls, oystercatchers... He bought them in the market or picked them up somewhere, sick and weakened, nursed them, fed them, and set them free in the spring. There were also two anthills. Rylov also had hares, squirrels, Manka the monkey and other animals. Many shy animals and birds were not afraid of him, they came and flew to his summer forest workshop without fear. "Nature releases Rylovs very, very sparingly," wrote the artist's friend M. V. Nesterov after the sad news of his death.
Artist's paintings
Self-portrait. 1939
wild wind
In the blue space
Spring in Finland
thundering river
Sunset
green lace
green noise
Swans over Kama
forest river
On Guard
Autumn landscape. golden birches
Landscape with a river
Painter, graphic artist.
Born in the family of an employee. In 1888-1891 he studied at the Central School of Technical Drawing of Baron A. L. Stieglitz under K. Ya. Kryzhitsky and the Drawing School of the Society for the Encouragement of Arts. In 1894 he entered the Higher Art School of Painting, Sculpture and Architecture at the Imperial Academy of Arts, studied in the workshop of AI Kuindzhi. In 1897, for the painting "Pecheneg raid on the Slavic village" received the title of artist. A year later, together with other students of Kuindzhi, he traveled to Germany, France, Austria, organized and financed by Kuindzhi. From 1898 he participated in the Spring Exhibitions in the halls of the Academy of Arts.
Lived in St. Petersburg (Petrograd, Leningrad). In 1901, for the work "From the banks of the Vyatka" he was awarded a gold medal at the International Art Exhibition in Munich. In 1902 he entered the "World of Art". He also exhibited his paintings at the exhibitions "36 Artists" (since 1901), the Vienna Secession (1902), the New Society of Artists (since 1905), the Moscow Association of Artists (1908), the V. A. Izdebsky Salon (1909-1910). In 1906–1907 he took part in exhibitions of Russian art organized by S. P. Diaghilev in Paris and Berlin. In 1909 he was one of the founders of the Kuindzhi Society. In 1911 he became a member and permanent exhibitor of the Union of Russian Artists.
He worked in the field of magazine graphics, under the pseudonym Arkan he made drawings for the Theater and Art magazine. He was a participant in the drawing evenings of E. S. Zarudnoy-Kavos. In the 1900s-1910s, he repeatedly made trips to the Crimea, the Caucasus, Finland, Vitebsk, Voronezh, Samara, Oryol provinces. In 1912 he visited Stockholm. From 1902 to 1918 he taught an animalistic class at the Drawing School of the Society for the Encouragement of Arts. In 1915 he was elected an academician.
After the October Revolution of 1917, he taught at the Petrograd free art workshops, from 1923 - at VKHUTEMAS, from 1925 - at VKHUTEIN. In parallel, in 1919-1923 he taught at the Naval School, in 1923-1926 he taught at the Leningrad Art and Industrial College.
In 1920, the first personal exhibition of the artist took place in Petrograd, followed by exhibitions in 1934-1935 in Leningrad and Moscow. In 1924–1925, Rylov's works were exhibited at an exhibition of Russian art in New York. From 1923 he was a member of the "Community of Artists", in 1925 he joined the Association of Artists of Revolutionary Russia (AHRR). In 1925–1928 he was chairman of the Kuindzhi Society.
In 1935 he was awarded the title of Honored Artist of the RSFSR.
In 1936-1937 he created illustrations for the books by V. V. Bianchi "Teremok" and "Tales of the Trapper". In 1936 he wrote a book of essays on nature, As It Happens, which he accompanied with his own watercolors (published in 1946).
Retrospective exhibitions of Rylov's works were organized at the State Russian Museum (1940, 1962), the Research Museum of the USSR Academy of Arts (1970). In 1990, a retrospective of the master took place in Kirov.
Rylov is one of the greatest masters of the first half of the 20th century, who continued in his work the traditions of the Russian landscape school, in particular Kuindzhi. The distinctive features of his art are the romantically sublime, often epic, motif of the image, attention to the effects of lighting, decorative understanding of color. The artist worked a lot from nature, but in the open air, as a rule, he created only sketches, preferring to paint a picture in the studio. The color of his paintings is mostly dense, saturated.
In different periods of his artistic activity, Rylov was influenced by impressionism and modernity. The heyday of his work falls on the 1900s - 1910s, when the most famous works were created - “From the Banks of Vyatka” (1901), “Green Noise” (1904), “Birches” (1916), “In the blue expanse” ( 1918) and others.
Rylov's works are in many museum and private collections in Russia, among them the State Tretyakov Gallery, the State Russian Museum, the Kiev Museum of Russian Art
