For a long time, A. Losenko was considered the author of the painting “The Young Painter”, a little later, art historians recognized the authorship of the German artist D. Khodovetsky, based on the dissimilarity of the outfits of the characters depicted in the picture with Russian traditional costumes of the middle of the 18th century. Only by 1913, thanks to the activities of the researcher I. Grabar, it was proved that the painting “The Young Painter” was painted by the Russian master Ivan Ivanovich Firsov in 1760.
Firsov can certainly be called the founder of genre painting. Unfortunately, during the life of the artist, this style of art was not popular and was not recognized by the official Academy of Arts for a long time. Perhaps it was precisely in connection with the denial of genre painting by the public of that time that the canvas “Young Painter” is the only painting by I.I. Firsov, which has come down to our days.
It is known for certain that the great artist was a pioneer not only in painting, Ivan Ivanovich was directly involved in the design of the first Russian opera. This respectable, outstanding person was far ahead of the time in which he lived and created his unrecognized masterpieces.
Judging by the surviving historical sources, the painting "Young Painter" was painted by the artist during a trip to France. Even the relatively recently discovered authentic signature of the master is written in French.
The image of a small room, dimly lit by a single window with heavy dark green curtains, immerses the viewer in the creative atmosphere of the workshop of a very young artist. Perhaps a boy of thirteen earns his living by selling portraits, but more likely, he is simply honing the skills he acquired in the gymnasium. It is felt that the young portrait painter devoted quite a lot of time to his painting, he clearly wants to stretch his muscles, stiff from sitting work, and the baby model is clearly tired. A girl in a simple coral dress with a white apron and high hair over a headdress in the tone of the outfit persuades the baby, ready to be capricious at any moment. A girl with wheat-gold hair in a puffy peach-colored dress agrees to pose again, cuddling up to her senior mentor.
The young artist paints a portrait diligently, trying to achieve the greatest similarity, and the visible result of his work is quite good. Judging by the size of the wooden easel, the towel covered in oil-stained fingers, and the open box with art supplies, it can be judged that the young talent is in his studio.
The walls are decorated with two framed portraits, perhaps by a young artist, or by more professional masters, serving as a stimulus and example for him.
Near the window is a table topped with a heavy, plaster or marble mannequin. Often artists use such busts, putting on them luxurious headdresses, popular among wealthy ladies of that time, in order to convey as accurately as possible the grace of numerous laces and folds of expensive fabrics.
Probably, the portrait is very important for the family of the golden-haired baby. For the convenience of the child, even a stand for small legs is brought. The woman, judging by the position of her hand, is clearly saying something instructive, is pregnant, it is definitely hard for her to stand, but despite the inconvenience, she continues to be near the girl, who wants to jump up quickly and see her image on the canvas.
Who knows, maybe Firsov's painting is autobiographical, the artist simply embodied on canvas one of the memories of his creative youth. There is a desire from the bottom of my heart to wish the young painter creative success and public recognition, so that the next picture, which delighted the whole world, belonged to his brush.
Ivan Firsov's painting "Young Painter" is one of the first works of Russian genre painting.
Archival documents testify that the Russian artist Ivan Firsov, decorator of the imperial theaters, lived and worked in Paris in the mid-1760s, where he improved his skills at the Royal Academy of Painting and Sculpture.
There, the painting "Young Painter" was believed to have been painted by Firsov. This is indicated, in particular, by the non-Russian appearance of the characters in the painting.
Upon his return to Russia in 1768, he worked as a decorator for the design of opera performances. Information about this time is extremely scarce, about the last years of I.I. Firsov are absent altogether. But the picture is amazing.
The plot of this picture is simple. In a spacious studio filled with even light, a boy artist sits in front of an easel and enthusiastically paints a portrait of a girl. An adult woman, mother or older sister, persuades the little model to sit still and maintain a pose. At the feet of the artist is an open box of paints, on the table is the usual props of a painting workshop: a marble bust, several books, a papier-mache mannequin depicting a human figure.
The scene written by Firsov seems snatched from life. The artist skillfully conveys the relaxed naturalness of postures and movements. With apt observation, characteristic of a true realist, the calm and affectionate severity of the mother, the cunning and impatience of the little model, the selfless passion of the young painter are depicted.
The true fidelity of the characters creates that sense of poetic charm that permeates the whole picture.
In The Young Painter everything is festive, artistic, unusual; and bright colors of clothes, and a wonderful green curtain, and paintings on the walls, and art attributes on the table. Unusual and beautiful color harmony in general.
The clutter of the scene with objects and figures is also noteworthy: paintings and sculptures are crowded to the left to leave room for the girl with her mother, the easel obscures his model from the artist. There is almost no free space, the interior, which contains the soul of the everyday genre, here ...
And yet, private life at the hearth for the first time in Russian painting appears in this picture.
The painting by I. Firsov, executed in the Sharden style, like the only swallow that does not make spring, did not mark the beginning of everyday painting in Russia - the time has not come yet ..
In terms of artistic skill, Firsov's painting is one of the most perfect works of Russian painting of the 18th century. It is quite obvious that Firsov is a first-class artist, impeccably mastering the means of pictorial expression. His drawing is distinguished by freedom and precision; the space in which the scene unfolds is built with impeccable skill, no deliberate scheme is felt in the composition, it is natural and at the same time rhythmic.
The coloring of the picture, with its pink-gray, silver scale, so well conveys the spiritual atmosphere of Firsov's heroes, is endowed with special poetic expressiveness.
In terms of its content, conception and pictorial form, The Young Painter does not find analogies in Russian art of the 18th century. In addition to Firsov, a short list of Russian artists of the 18th century who worked in the field of everyday genre includes the portrait painter M. Shibanov with the paintings "Peasant Dinner" and "The Celebration of the Wedding Contract" and the historical painter I. Ermenev, the author of an amazingly powerful watercolor series dedicated to image of Russian peasants.
The development of genre painting in the 18th century proceeded at a slow pace. She had almost no demand among customers and did not enjoy the patronage of the Academy of Arts. Among Russian artists there were specialists in portraiture, in historical painting, there were decorators, and by the end of the century landscape painters appeared, but there was not a single master who would devote himself entirely to the everyday genre.
Firsov with his "Young Painter" takes chronologically the first place in this list. Almost no information has come down to us about the fate and further work of the artist. The name of this master appeared in the history of Russian art and took an honorable place in it, in fact, quite recently.
In the 19th century, The Young Painter was considered the work of A. Losenko and even had his fake signature “A. Losenko 1756". True, already at the beginning of the 20th century, it was quite clear to art historians that the picture had nothing to do with the work of Losenko. But her authorship remained conjectural. Various assumptions were made, tending to the fact that the author of this picture should be sought among Western European masters. The name of the famous German engraver and painter D. Khodovetsky was even named. Not all the names of Russian painters have come down to our time. Ivan Ivanovich Firsov, to some extent, was lucky. His authorship of the only painting that has come down to us was finally confirmed only at the beginning of the 20th century.<
In 1913, at the initiative of I. Grabar, Losenko's signature was removed and under it was found a genuine, written in French “I. Firsove".
It is also known that in 1771 Firsov made a number of icons and decorative paintings that have not reached us. The "Young Painter" remains alone in the work of the remarkable Russian master. Apparently, Firsov was most gifted precisely in that area of art, which could find so little application in Russian reality in the second half of the 18th century.
Second half of the 1760s Canvas, oil. 67 X 55. The State Tretyakov Gallery.www.art-catalog.ru
Firsov Ivan Ivanovich (circa 1733 - after 1785), painter. From the end of the 1750s. court painter. He painted icons, theatrical scenery, decorative panels.
Not all the names of Russian painters, especially the beginnings of the formation of domestic fine arts, have survived to our time. Ivan Ivanovich Firsov, an artist of the middle of the 18th century, was lucky to some extent. His authorship of the only painting that has come down to us was finally confirmed only at the beginning of the 20th century.
I. Firsov's ability to draw was hereditary - his grandfather and father painted, worked as wood carvers and were goldsmiths. Having skills in artistic crafts, Ivan Firsov Jr. was sent from Moscow to St. Petersburg to decorate the city and the imperial palaces. His talent was noted, and on the personal instructions of Catherine II, he left for Paris in 1765, where he improved his skills at the Royal Academy of Painting and Sculpture. Apparently, Chardin, the leading master of genre scenes in France of the 18th century, turned out to be the most consonant artist for I. Firsov. The painting by I. Firsov, executed in the Chardin style, in no way detracts from the skill of the artist. Everything is extremely balanced in it and everything, even objects, as they say, is at work.
Ivan Firsov's painting "Young Painter" is one of the earliest, but already perfect examples of Russian everyday genre.
The plot of this picture is simple. In a spacious studio filled with even light, a boy artist sits in front of an easel and enthusiastically paints a portrait of a girl. An adult woman, mother or older sister, persuades the little model to sit still and maintain a pose. At the feet of the artist stands an open box of paints, on the table are the usual props of a painting workshop: a marble bust, several books, a papier-mâché mannequin depicting a human figure.
The scene written by Firsov seems snatched from life. The artist skillfully conveys the relaxed naturalness of postures and movements.
With apt observation, characteristic of a true realist, the calm and affectionate severity of the mother, the cunning and impatience of the little model, the selfless passion of the young painter are depicted. The true fidelity of the characters creates that sense of poetic charm that permeates the whole picture.
In terms of artistic skill, Firsov's painting is one of the most perfect works of Russian painting of the 18th century. It is quite obvious that Firsov is a first-class artist, impeccably mastering the means of pictorial expression. His drawing is distinguished by freedom and precision; the space in which the scene unfolds is built with impeccable skill, no deliberate scheme is felt in the composition, it is natural and at the same time rhythmic. The coloring of the picture, with its pink-gray, silver scale, so well conveys the spiritual atmosphere of Firsov's heroes, is endowed with special poetic expressiveness.
In terms of its content, conception and pictorial form, The Young Painter does not find analogies in Russian art of the 18th century.
The development of genre painting in the 18th century proceeded at a slow pace. She had almost no demand among customers and did not enjoy the patronage of the Academy of Arts. Among Russian artists there were specialists in portraiture, in historical painting, there were decorators, and by the end of the century landscape painters appeared, but there was not a single master who would devote himself entirely to the everyday genre.
This state of affairs is, of course, by no means accidental. Disregard for everyday subjects is typical for the court and noble culture. It is known that Louis XIV ordered to remove the paintings of the great Dutch genre painters from the walls of the Palace of Versailles, calling them "freaks". The successes of the everyday genre in the world art of the 18th century are directly related to the development of bourgeois ideology and the rise of the social and political role of the third estate. In the Russian reality of the Elizabethan and Catherine's times, there were no conditions for the flourishing of genre painting, since the leadership of the cultural life of the country remained completely in the hands of the nobility. Everyday themes, addressed to living modernity, contradicted the official artistic guidelines with their demand for "sublime" and "heroic" in art.
Even the portrait, which was so necessary in the life of the nobility and developed despite official non-recognition, was not ranked among the “high” art. And everyday painting occupied the last, lowest place in the hierarchy of genres developed by academic theorists.
This explains the extreme paucity of everyday paintings in Russian art of the 18th century. It is noteworthy, however, that the quantitative deficiency is fully compensated for by the unusually high artistic quality of what was done by Russian masters in the field of the genre. What is the reason for this amazing phenomenon? Is it not that works on everyday topics despised by the noble society were created by artists “for themselves”, with all the sincerity arising from the inner need for creativity, without regard to the tastes of the customer and the official requirements of the Academy?
In addition to Firsov, a short list of Russian artists of the 18th century who worked in the field of everyday genre includes the portrait painter M. Shibanov with the paintings "Peasant Dinner" and "The Celebration of the Wedding Contract" and the historical painter I. Ermenev, the author of an amazingly powerful watercolor series dedicated to image of Russian peasants.
Firsov with his "Young Painter" takes chronologically the first place in this list. Almost no information has come down to us about the fate and further work of the artist. The name of this master appeared in the history of Russian art and took an honorable place in it, in fact, quite recently.
In the 19th century, "The Young Painter" was considered the work of A. Losenko and even had his fake signature "A. Losenko 1756". True, already at the beginning of the 20th century, it was quite clear to art historians that the picture had nothing to do with the work of Losenko. But her authorship remained conjectural. Various assumptions were made, tending to the fact that the author of this picture should be sought among Western European masters. The name of the famous German engraver and painter D. Khodovetsky was even named. But in 1913, at the initiative of I. Grabar, Losenko's signature was removed and under it was found - a genuine one, written in French “I. Firsove".
Archival documents testify that the Russian artist Ivan Firsov, decorator of the imperial theaters, lived and worked in Paris in the mid-1760s. It can be assumed that The Young Painter was also painted in Paris: this is indicated, in particular, by the non-Russian appearance of the characters in the picture.
One more work, signed by Ivan Firsov, has been preserved - a decorative panel "Flowers and Fruits", dated 1754 and once adorned the Catherine Palace. But in this work, rough and student-like, it is difficult to find a resemblance to the virtuoso painting of The Young Painter. It is also known that in 1771 Firsov made a number of icons and decorative paintings that have not reached us. The "Young Painter" remains alone in the work of the remarkable Russian master. Apparently, Firsov was most gifted precisely in that area of art, which could find so little application in Russian reality in the second half of the 18th century.
The young painter is the first Russian painting about the life of ordinary people. The painting has an interesting history. Before us on canvas is the artist's workshop. Soft light pours in through the window. There are paintings on the wall, one is a portrait, the other depicts a corner of the forest. On the table is a white plaster sculpture-bust and a doll with movable arms and legs - a mannequin. Such a doll helps the artist to correctly convey the different positions of the human body. On a wooden tripod stand - an easel - a canvas stretched on a stretcher is fixed.
And here is the artist himself. He is still just a boy. I am fourteen years old. Or even less. How passionate he is about his work! And how confidently, boldly works! In his hands he has brushes and a palette - a board for mixing paints. In front of him is a restless girl. He paints her portrait on canvas. The mother persuades the girl to sit quietly.
The artist grabbed the right paint on the brush, resolutely and accurately puts a stroke on the canvas. It is felt that this boy is a skilled craftsman. The painting is called "Young Painter".
The paintings by I. Firsov depict heroes of the distant past. The artist learned about their exploits from ancient books and legends. The picture "Young Painter" shows people who lived at the same time as the artist and, probably, were well acquainted with him. And they are busy with the most ordinary business. Although no important incidents occur on the canvas, it is very attractive to viewers. The picture is written with great feeling. It does not make you think about serious things, but the cordiality with which it is written is conveyed to the audience. The artist loves the people he painted, their unremarkable life. This boy-painter is dear to him, his cozy, modest workshop is pleasant, his occupation is close.
When one art connoisseur saw The Young Painter next to solemn canvases about the miraculous deeds of the gods and ancient heroes, he well said that this picture was like a small neglected lawn, overgrown with chamomile and dandelions, in a grand, festively well-groomed park.
The name of the author of The Young Painter remained a mystery for a long time. True, in the lower part of the picture, on the lid of the box with paints, there was a signature - "Losenko", but scientists doubted that the signature was correct. Some dates did not match. The author of The Young Painter differed from Losenko in some ways of working. And, of course, it was difficult to assume that the solemn, slightly theatrical historical canvases and this simple scene were the creations of one master.
Already in this century, scientists have decided to wash off the signature "Losenko". And here is the joy! Under it was another, in Latin letters: "I. Firsove" - "I. Firsov." Probably, one of the first owners of the painting wanted to add to its price:
Scientists managed to learn something about the life of Ivan Firsov. He served in St. Petersburg, at the court. Then he was sent to Paris "for the best painting and theatrical science training." He returned to his homeland and became an apprentice decorator in the imperial theaters.
An essay (including a miniature) is evaluated with two marks: the first mark is given for the ability to reveal the theme and express the main idea (realize one’s intention) within the framework of a well-thought-out composition, as well as for the ability to correctly and appropriately use the appropriate language means for this purpose; the second - for the observance of language norms.
The grading scheme can be as follows: L - F - R, where L - logical errors, F - actual, R - speech errors and shortcomings; І - ν - Г, where І - the number of spelling errors, ν - the number of punctuation errors, Г - grammatical errors. When checking, the teacher also pays attention to violations of the sequence in the presentation of the content, to the correspondence of all parts of the essay to the topic and the task of expressing the main idea, and to the completeness of the disclosure of the topic. When analyzing the speech design of the work, we take into account the diversity and expressiveness of the language means used and the grammatical structure of speech, the stylistic unity of the composition.
Subject. Preparation for an essay based on the painting by Ivan Ivanovich Firsov "The Young Painter".
Lesson Objectives: 1) develop the ability to describe a work of art;
2) to form the ability to use in written speech various constructions of phrases that are different in meaning;
3) to achieve awareness of the role of phrases in artistic speech.
I . Preparation for writing(consideration of the picture, drawing up a plan).
The painting “Young painter” by I. I. Firsov is one of the mysterious monuments of Russian genre painting. This is one of the earliest and at the same time the most perfect examples of the everyday genre.
Little is known about the artist: Ivan Firsov studied painting in Moscow at his own expense and was mainly engaged in theatrical scenery and decoration of palace interiors in Moscow and St. Petersburg. Already one of the most famous Russian artists, he went to Paris to study at the Academy of Fine Arts. The painting The Young Painter is believed to have been painted by Firsov during his stay in Paris.
Let's ask the fifth graders to remember what works of painting they have already met in the Russian language lessons, and try to name the genres of these works. Fifth-graders can name the landscapes of A. A. Rylov (“Field mountain ash”), V. D. Polenov (“Autumn in Abramtsevo”), portraits of M. A. Vrubel (“The Swan Princess”), V. L. Borovikovsky (“ Portrait of E. N. Arsenyeva”) and others.
Let us draw the students' attention to the fact that now they have a picture in front of them, which belongs to a genre with which the students are still unfamiliar - to the genre of everyday life. Let's decipher this concept for fifth graders. Everyday genre is a genre of fine art dedicated to the reflection of events and scenes from everyday life. We will invite the children to consider and describe the everyday sketch of I. I. Firsov.
First of all, we will ask the fifth graders to outline the plot of the artistic canvas and try to achieve a clear definition of it. The answer might be something like this.
I. I. Firsov depicted a young artist who creates a portrait of a little girl. The little model is playful and restless, she cannot sit in one place for a long time, and her mother presses her to herself with her hand so that the girl calms down.
After that, we develop the ability to describe in more detail the location of the figures in the artistic space, as well as the facial expression of each of the characters in the picture.
The artist sits freely behind a high easel and runs his brush over the canvas, writing out the details. In his left hand he holds a palette and brushes, a box of paints is on the floor. His gaze is focused on the canvas, strands of hair have come out of his hair, but the young man does not notice this. The young artist is seized with inspiration, he creates selflessly, enthusiastically.
The model is still small, so she herself sits on a chair, and her legs are on a bench. It is difficult for her to sit still for so long, she obediently folded her arms, but a sly smile plays on her face. The girl pressed her head against her mother, who hugs the baby and persuades her to sit still. The artist managed to skillfully convey the calm and affectionate severity of a young woman, patiently explaining to her daughter the need to maintain the desired posture.
The painter's studio is flooded with even light, which pours from the window located to the left of the artist. The artist set up the easel so that the light fell directly on the canvas, and he himself turned a little towards the window and threw back his head so that the play of light and shadow would not interfere with the creation of the portrait.
In the background, the paintings are the usual attributes of an art workshop: a marble bust, a mannequin, several books, and two paintings on the wall.
In the painting “The Young Painter”, the artist simultaneously managed to convey the charm of everyday, everyday life and the poetic charm of the process of free creativity.
The young artist depicted behind the portrait and the woman with the girl are truly simple. The poses of the characters in the picture are relaxed, facial expressions are natural and consistent with the moment in which they are captured. At the same time, the main theme of the painting can be considered the creative process, and the creator of the canvas “Young Painter” managed to convey the poetic atmosphere that prevails in the studio of the artist, the main character of the painting.
The gray-pink scale corresponds to the general character of the picture. I. E. Grabar wrote about the artist’s skill as follows: “Firsov paints freely and softly... The pink, lingonberry-red, white and pale yellow colors that prevail in the first part of the canvas are softly combined with the greenish tint of the boy’s camisole on the left. This shade finds its echo in the more deaf green tone of the curtain in the depths.
Such a modest, carefully thought-out, colorful gamut contributes to the restrained poetry of the picture and the atmosphere of moral purity that is poured into it.
II . Planning.
It will be useful to make a plan together. It could be something like the following.
I. The painting by I. I. Firsov “Young painter” is one of the best examples of the everyday genre.
II. Description of the picture.
1. The plot of the picture.
2. Characters of the painting.
3. Image of an art workshop.
4. Color range.
III. Artist's skill.
III . Vocabulary work.
1. Definition of lexical meanings of unfamiliar words.
Interior- the interior space of a room.
Dummy- a wooden doll with movable arms and legs, which artists use as nature to depict human poses.
Easel- a stand on which a canvas is placed on a stretcher, or a board for the artist's work.
Palette- a thin board with a hole for putting on the thumb of the left hand, which is used by artists to mix paints.
Color spectrum- selection of colors for the picture.
2. Lexical analysis of data in exercise. 336 phrases.
We read phrases and determine the possibility of their use in the essay.
3. Recording the phrases used in the course of the oral description of the picture to characterize its characters and the interior of the depicted art workshop.
A monument of Russian genre painting, a playful and restless model, a box of paints, a concentrated look, inspired, selflessly and enthusiastically creates, a sly smile, skillfully convey, calm and affectionate severity, patiently explain, flooded with even light, pours from the window, turn around to the window , throw back the head, the play of light and shadow, the attributes of an art workshop, a marble bust, a mannequin, the charm of everyday, everyday life, poetic charm, the process of free creativity, relaxed poses, a poetic atmosphere, gray-pink colors.
4. In a strong class, students can be offered a presentation or a free dictation according to the statement of I. E. Grabar and a discussion of this statement.
D. h.: an essay based on the painting by I. I. Firsov “Young painter” (ex. 336).
