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Landscape is one of the genres of painting. Russian landscape is a very important genre for both Russian art and Russian culture in general. The landscape depicts nature. Natural landscapes, natural spaces. The landscape reflects the perception of nature by man.

Russian landscape in the 17th century

Saint John the Baptist in the Wilderness

The first building blocks for the development of landscape painting were laid by icons, the background of which was, in fact, landscapes. In the 17th century, the masters began to move away from icon-painting canons and try something new. It was from this time that painting ceased to "stand still" and began to develop.

Russian landscape in the 18th century

M.I. Maheev

In the 18th century, when Russian art joins the European art system, the landscape in Russian art becomes an independent genre. But at this time it is aimed at fixing the reality that surrounded the person. There were no cameras yet, but the desire to capture significant events or works of architecture was already strong. The first landscapes, as an independent genre in art, were topographical views of St. Petersburg, Moscow, palaces and parks.

F.Ya. Alekseev. View of the Resurrection and Nikolsky Gates and the Neglinny Bridge from Tverskaya Street in Moscow

F.Ya. Alekseev

S.F. Shchedrin

Russian landscape at the beginning of the 19th century

F.M. Matveev. Italian landscape

At the beginning of the 19th century, Russian artists painted mainly Italy. Italy was considered the birthplace of art and creativity. Artists study abroad, imitate the manner of foreign masters. Russian nature is considered inexpressive, boring, therefore even native Russian artists paint foreign nature, preferring it as more interesting and artistic. Foreigners are warmly welcomed in Russia: painters, dance and fencing teachers. Russian high society speaks French. Russian young ladies are taught by French governesses. Everything foreign is considered a sign of high society, a sign of education and upbringing, and manifestations of Russian national culture are a sign of bad taste and rudeness. In the famous opera P.I. Tchaikovsky, based on the immortal story by A.S. Pushkin's "The Queen of Spades", the French governess scolds Princess Lisa for dancing "in Russian", it was a shame for a lady from high society.

S.F. Shchedrin. Small harbor in Sorrento overlooking the islands of Ischia and Procido

I.G. Davydov. Suburb of Rome

S.F. Shchedrin. Grotto of Matromanio on the island of Capri

Russian landscape in the middle of the 19th century

In the middle of the 19th century, the Russian intelligentsia and artists in particular began to think about the underestimation of Russian culture. Two opposite directions appear in Russian society: Westernizers and Slavophiles. The Westerners believed that Russia was part of the global history and excluded its national identity, while the Slavophiles believed that Russia was a special country, rich in culture and history. The Slavophiles believed that the path of development of Russia should be fundamentally different from the European one, that Russian culture and Russian nature were worthy of being described in literature, portrayed on canvases, and captured in musical works.

Below will be presented paintings, which will depict the landscapes of the Russian land. For ease of perception, the paintings will be listed not in chronological order and not by authors, but by the seasons to which the paintings can be attributed.

Spring in the Russian landscape

Savrasov. The Rooks Have Arrived

Russian landscape. Savrasov "The Rooks Have Arrived"

Usually, spiritual uplift, expectation of joy, sun and warmth are associated with spring. But, in Savrasov’s painting “The Rooks Have Arrived”, we do not see the sun or heat, and even the temple domes are painted in gray, as if still unawakened colors.

Spring in Russia often begins with timid steps. The snow is melting, and the sky and trees are reflected in the puddles. Rooks are busy with their rook business - they build nests. The gnarled and bare trunks of birch trees become thinner, rising to the sky, as if reaching for it, gradually coming to life. The sky, at first glance gray, is filled with shades of blue, and the edges of the clouds are slightly lightened, as if the rays of the sun are peeping through.

At first glance, the picture can make a gloomy impression, and not everyone can feel the joy and triumph that the artist put into it. This painting was first presented at the first exhibition of the association of the Wanderers in 1871. And in the catalog of this exhibition it was called "The Rooks Have Arrived!" there was an exclamation point at the end of the name. And this joy, which is only expected, which is not yet in the picture, was expressed precisely by this exclamation mark. Savrasov, even in the title itself, tried to convey the elusive joy of waiting for spring. Over time, the exclamation mark was lost and the picture became simply called "The Rooks Have Arrived."

It is this picture that begins the assertion of landscape painting as an equal, and in some periods the leading genre of Russian painting.

I. Levitan. March

Russian landscape. I. Levitan. March

March is a very dangerous month - on the one hand, the sun seems to be shining, but on the other, it can be very cold and dank.

This spring of air filled with light. Here, the joy of the arrival of spring is already more clearly felt. It is still as if it is not visible, it is only in the title of the picture. But, if you look closely, you can feel the warmth of the wall, warmed by the sun.

Blue, saturated, sonorous shadows not only from trees and their trunks, but also shadows in the snow ruts along which a person walked

M. Claude. On arable land

Russian landscape. M. Claude. On arable land

In the painting by Mikhail Claude, a person (unlike a modern urban dweller) lives in the same rhythm with nature. Nature sets the rhythm of life for a person who lives on earth. In the spring, a person plows this land, in the fall, he harvests. The foal in the picture is like a continuation of life.

Russian nature is characterized by flatness - you rarely see mountains or hills here. And this lack of tension and pathos Gogol amazingly accurately characterized as "the indissolubility of Russian nature." It was this “continuity” that Russian landscape painters of the 19th century sought to convey in their paintings.

Summer in the Russian landscape

Palenov. Moscow courtyard

Russian landscape. Palenov "Moscow courtyard"

One of the most charming paintings in Russian painting. Business card of Polenov. This is an urban landscape in which we see the ordinary life of Moscow boys and girls. Even the artist himself does not always understand the significance of his work. Here is depicted both a city estate and an already collapsed barn and children, a horse, and above all this we see a church. Here and the peasantry and the nobility and children and work and the Temple - all the signs of Russian life. The whole picture is permeated with air, sun and light - that's why it is so attractive and so pleasant to look at. The painting "Moscow Yard" warms the soul with its warmth and simplicity.

US Ambassador's Spass House

Today, on Spaso-Peskovsky Lane, on the site of the courtyard depicted by Palenov, there is the residence of the American ambassador Spass House.

I. Shishkin. Rye

Russian landscape. I. Shishkin. Rye

The life of a Russian person in the 19th century was closely connected with the rhythms of the life of nature: sowing grain, cultivating, harvesting. In Russian nature there is breadth and space. Artists try to convey this in their paintings.

Shishkin is called the "king of the forest", because he has most of all forest landscapes. And here we see a flat landscape with a sown rye field. At the very edge of the picture, the road begins, and, winding, runs among the fields. In the depths of the road, among the tall rye, we see peasant heads in red scarves. In the background, mighty pine trees are depicted, which, like giants, are striding through this field, on some we see signs of wilting. This is the life of nature - old trees wither, new ones appear. Overhead, the sky is very clear, and closer to the horizon, clouds begin to gather. A few minutes will pass and the clouds will move closer to the leading edge and it will rain. We are also reminded of this by birds that fly low above the ground - they are nailed there by air and atmosphere.

Initially, Shishkin wanted to call this painting "Motherland". While writing this picture, Shishkin thought about the image of the Russian land. But then he left this name so that there would be no unnecessary pathos. Ivan Ivanovich Shishkin loved simplicity and naturalness, believing that it was in simplicity that the truth of life was.

Autumn in the Russian landscape

Efimov-Volkov. October

Russian landscape. Efimov-Volkov. "October"

"There is in the autumn of the original ..."

Fedor Tyutchev

Is in the autumn of the original
Short but wonderful time -
The whole day stands as if crystal,
And radiant evenings ...

Where a peppy sickle walked and an ear fell,
Now everything is empty - space is everywhere -
Only cobwebs of thin hair
Shines on an idle furrow.

The air is empty, the birds are no longer heard,
But far from the first winter storms -
And pure and warm azure pours
On the resting field…

Efimov-Volkov's painting "October" conveys the lyrics of autumn. In the foreground of the picture is a young birch grove painted with great love. Fragile birch trunks and brown earth covered with autumn leaves.

L. Kamenev. Winter road

Russian landscape. L. Kamenev . "Winter road"

In the picture, the artist depicted an endless expanse of snow, a winter road along which a horse drags firewood with difficulty. A village and a forest can be seen in the distance. No sun, no moon, just a dull twilight. In the image of L. Kamenev, the road is covered with snow, few people drive along it, it leads to a village covered with snow, where there is no light in any window. The picture creates a dreary and sad mood.

I. Shishkin. In the wild north

M.Yu.Lermontov
"In the Wild North"
Stands alone in the wild north
On the bare top of a pine tree,
And dozing, swaying, and loose snow
She is dressed like a robe.

And she dreams of everything that is in the distant desert,
In the region where the sun rises
Alone and sad on a rock with fuel
A beautiful palm tree is growing.

I. Shishkin. "In the Wild North"

Shishkin's painting is an artistic embodiment of the motive of loneliness, sung by Lermontov in the poetic work "Pine".

Elena Lebedeva, website graphic designer, computer graphics teacher.

I took a lesson on this article in high school. The children guessed the authors of the poems and the names of the paintings. Judging by their answers, schoolchildren know literature much better than art)))

Below is a selection of paintings by Russian landscape painters of the 19th century. Polenov, Repin, Levitan and other old masters. Let's start with Kuindzhi. Never been a fan of it, but this thing is great, IMHO.

Arkhip Kuindzhi, "Crimea. Sea". 1898

Arkhip Kuindzhi was a Pontic Greek and what is called a self-made man. The son of a poor shoemaker from Mariupol tried to become a student of Aivazovsky, but could not. The Armenian did not help the Greek. Then Kuindzhi went to St. Petersburg, where on the third attempt he entered the Imperial Academy of Arts. And at the end of his life, he became a professor and a major sponsor in it. In 1904, Kuindzhi donated 100,000 rubles to his native Academy (with an average salary in the country of 300-400 per year).

Unlike Kuindzhi, Ivan Ivanovich Shishkin was the son of a merchant from Vyatka and it was easier for him. Moreover, the father-merchant helped his son's hobbies in every possible way. But dad-dad, but you also need talent. Shishkin turned out to be just a landscape genius. Below is his chic painting “Pine in the Sand”. Summer!

Ivan Shishkin. "Pine on the sand". 1884

More pines from Shishkin.

Ivan Shishkin. "Sestroretsky Bor". 1896

And oak trees too.

Ivan Shishkin. "Oak Grove". 1887
Notice how the shadows are drawn on the tree trunks. This is not a "black square" for you 🙂

And this is Fyodor Vasiliev, "The Village" (1869). Another great landscape painter of the 19th century, who died at the age of 23 (!) from tuberculosis. In the picture below, of course, there is blatant devastation, an undeveloped road network, but the landscape as a whole is beautiful. Huts with leaky roofs, a washed-out road, logs thrown at random do not spoil the view of nature bathed in the summer sun at all.

Fedor Vasiliev. "Village". 1869

Ilya Repin. "On the bridge in Abramtsevo". 1879.
And this is a landscape near the dacha of the then oligarch Mamontov, with whom Repin visited in the summer. Polenov, Vasnetsov, Serov, Korovin were also there. Who is now visiting the villas of the richest people in Russia? ... By the way, pay attention to what outfit the lady is wearing. She went out for a walk in the forest.

Vasily Polenov. "Gold autumn". 1893
The Oka River near Tarusa, next to the estate of Vasily Polenov. About the benefits of landownership: it’s good, after all, when an artist has his own estate, where you can take a walk in nature.

And here is another version of the "Golden Autumn". Author - Ilya Semenovich Ostroukhov, 1887. Ostroukhov was a versatile person, a Moscow merchant, artist, collector, friend of Tretyakov. He was married to one of the representatives of the Botkin family of tea magnates, spent a lot of money on the purchase of paintings, icons, and had his own private museum.

In 1918 this museum was nationalized by the Bolsheviks. However, Ostroukhov himself was not injured, he was appointed "lifelong keeper" of the museum and even left the mansion in Trubnikov Lane, where all this was located, for use. Now it has become known as the Museum of Icon Painting and Painting named after I. S. Ostroukhov. One can say that the person is lucky. In 1929, Ostroukhov died, the museum was liquidated, the exhibits were distributed to other places, a communal apartment was arranged in mansions, and later - a branch of the Literary Museum. Ilya Ostroukhov was, as they say, "an artist of one picture", but what a one!

Ilya Ostroukhov. "Gold autumn". 1887

Another famous landscape painter is Mikhail Klodt (nephew of the one who "horses on the bridge in St. Petersburg"). Painting "Forest Distance at Noon", 1878. On the benefits of imperialism and selective tolerance: the ancestors of the Klodt family, German barons from the Baltic, fought against Russia in the Northern War. But after it, they were integrated into Russian society. That is, in exchange for faithful service to the new Fatherland, the barons were left the right to continue to spread rot on their Latvian and Estonian laborers. This, of course, created some problems (in 1917) in the person of the Latvian riflemen, but Klodt, Alexy II and Admiral Ivan Fedorovich Kruzenshtern appeared in Russia.

Michael Klodt. "Forest distance at noon." 1878

Another forest landscape and again a lady on a walk. Repin was in white, here - in black.

Isaac Levitan. "Autumn Day. Sokolniki". 1879

The picture was painted by 19-year-old Levitan after he, as a Jew, was evicted from Moscow in 1879. Sitting on the "101st kilometer" and being in a nostalgic mood, the artist drew the Sokolniki recreation park from memory. Tretyakov liked the picture, and the general public first learned about Levitan.

By the way, Levitan was soon returned to Moscow. But in 1892 they were evicted again, then three months later they returned again. The last zigzag was explained by the fact that the deportation of Jews from Moscow in 1892 was led by the governor, Grand Duke Sergei Alexandrovich, uncle of Nicholas II. Like many Romanovs, the prince was a major collector of paintings. When it turned out that he had evicted Levitan from Moscow…. Well, in short, the authorities made concessions.

By the way, with his nephew - Nicholas II - the prince was not on the best of terms, considering him soft-bodied, unable to protect the monarchy. In 1905, the prince will be torn to pieces by a bomb thrown by Ivan Kalyaev, a member of the Fighting Organization of the Socialist-Revolutionaries.

Isaac Levitan. "Gold autumn". 1895

And now - the one who, in fact, taught Levitan to draw: Alexei Savrasov, master of winter landscapes, teacher, itinerant. The picture is called: "Winter Landscape" (1880-90). The colors of the winter sky in the Middle lane are brilliantly rendered. Evening sky, most likely.

The picture is gloomy, written by Savrasov in the last, worst period of his life. When he left the family, he drank heavily and begged. The artist became an inhabitant of Khitrovka, a slum quarter, the Moscow bottom. Gilyarovsky recalled how one day he and Nikolai Nevrev (the author of the famous accusatory painting “Torg”, where one gentleman imposingly sells a serf girl to another), decided to go to Savrasov and invite him to a tavern. What they saw horrified them. " The old man was completely drunk ... It's a pity for the poor fellow. If you put it on, it will drink everything again ... "

Alexey Savrasov. "Winter landscape". 1880-90s

And of course, where the landscape is, there is Kryzhitsky. Painting "Landscape" (1895). Sad season, nasty weather, and you can't take your eyes off. The master was great. Later, for one of these paintings, envious people (by the way, the future “masters of socialist realism”) will spread slander against the artist, unreasonably accuse him of plagiarism. Konstantin Kryzhitsky, unable to withstand the persecution, hangs himself in his St. Petersburg apartment.

Konstantin Kryzhitsky. "Scenery". 1895

Born in Yoshkar-Ola in 1964. He graduated from the Kazan Aviation Institute, during his studies where he continued to get involved in painting - a favorite pastime since childhood.

Not having official diplomas of art education, Sergei polished his skills on his own. Now Basov's works are welcome guests in the famous Valentin Ryabov Gallery in the capital, and indispensable participants in the International Art Shows in the Central House of Artists and the Art Manege. The artist continues the tradition of Russian classical landscape painting of the 19th century. Art critics call Sergei Basov one of the best representatives of modern Russian realism, noting his impeccable taste, amazing poetic perception of the world and perfect painting technique. He is a member of the International Art Foundation and the Professional Union of Artists.

There is no impressionistic transience and avant-garde frills in his works. There is only one enchanting simplicity, understandable and valuable at all times. Critics consider Basov one of the best representatives of contemporary Russian realism.

His landscapes are called "picturesque elegies". In the most ordinary and unsophisticated scenes - a lake lost in the forests, an unnamed river, a grove on the edge of the field - he is able to open to the viewer a whole world rich in emotions and sensual sensations. At the same time, Sergei Basov has long established himself as a mature painter with an individual, original manner of painting and an attentive, interested look at the world, observations of which he generously shares with others.

“... One of the best representatives of modern Russian realism, Sergei Basov has been actively working since the early 90s of the last century. Perfectly mastering painting technique, possessing impeccable taste and sense of style, he creates amazingly poetic works that invariably find a heartfelt response in the hearts of grateful spectators - people of very different tastes and views, very different from each other in their worldview and temperament. The visual world that the artist creates and in which he lives is, first of all, the nature around us. Simple and even mundane motifs chosen by the artist, such as forest lakes and streams, ravines, forest paths and country roads, are transformed into very subtle, quivering works, original pictorial elegies. At numerous art exhibitions in metropolitan and provincial cities, one can see excellent works in a realistic, academic manner. And, of course, there is a deep inner relationship between the positive developments in contemporary Russian art and the revival of the country. The artist Sergei Basov is making a worthy contribution to this noble cause. The landscapes of the master are valuable exhibits of many private and corporate collections in Russia and abroad ... ”Many of our compatriots, leaving for a long time abroad, take away a piece of Russia captured in Basov’s landscapes as a gift to foreign friends or just for themselves as a keepsake. The artist conveys the inexplicable charm of the corners of Russian nature in the middle lane on his canvases in a subtle, lyrical manner, with amazing warmth and love.

Autumn in the painting of Russian artists is quite common. This is not surprising, because the beauty of autumn nature is very picturesque, combines many bright colors and has a special mood.

Isaac Brodsky - Golden Autumn

As mentioned above, autumn nature, which begins to transform, turn into shades of yellow and red, looks very picturesque. It would be really strange if the greatest Russian landscape painters did not turn their attention to the transformation of the autumn nature. To our happiness, artists try to convey in their work all the faces of nature - snow-white winter, green spring, hot summer and colorful autumn. It is also worth noting that the famous artists whose paintings you can see here became so famous not only due to the fact that they could accurately and realistically convey landscapes on their canvases, but also due to the fact that in their works they could display the nature of the weather and even the mood.

Efim Efimovich Volkov - Autumn

Autumn, as you know, is a time of happy sadness, a peaceful mood, when summer heat gives way to coolness and rain, when trees begin to change colors, and to the brightest colors, when leaves begin to fall to the ground, a pleasant smell of fallen leaves spreads in the air, when there is feeling of coming cold weather, but there is still time to enjoy the last warm days.

Grigory Myasoedov - Autumn morning

In the paintings of great artists who turned their attention to autumn nature, in particular, the emotional state in the midst of autumn is also displayed. The viewer can feel familiar sensations, whether outside the window is autumn or another season. This is the skill and high art of Russian painters. Next, you can see 15 paintings that today are considered a real treasure of Russian and world art.

Pictures of great Russian artists about autumn

Vasily Polenov - Golden autumn
Alexey Savrasov - Autumn
Apollinary Vasnetsov - Autumn. 1910s
Arkhip Kuindzhi - Autumn thaw

Ivan Ivanovich Shishkin - Autumn
Ivan Ivanovich Shishkin - Early autumn
Ilya Ostroukhov - Golden Autumn Isaac Brodsky - Fallen Leaves
Isaac Levitan - Golden autumn
Mikhail Nesterov - Autumn landscape
Fedor Vasiliev - Swamp in the forest. Autumn
Stanislav Zhukovsky - Autumn. Veranda