Who are the Wanderers? Russian Wanderers Artists Head of the Association of Traveling Art Exhibitions.

In the 19th century in Russia Imperial Academy of Arts(higher educational institution in the field of fine arts) was actually the only trendsetter in the field of painting, sculpture, architecture and applied arts.

Traditionally, the Academy hosted a competition for the most talented graduates for the Big Gold Medal. The winners were entitled to a 6-year trip to Italy with full board.

In 1863, the Council of the Academy changed the conditions of the competition, equating graduates of the history class and genre painting, without choosing a free topic.

Contestants led by Ivan Kramskoy filed several petitions with a request to revise the conditions of the competition. But these petitions remained unanswered. Then on the day of the contest November 9, 1863 14 out of 15 contestants refused to participate in the competition. This alumni action is called Riot of the Fourteen. This date is considered the beginning of the era of the Wanderers.

The rebels, led by I. Kramskoy, organized Artel of artists, which was the first commercial enterprise of people of art. After 7 years, the Artel collapsed, and on a fundamentally different creative basis, it was organized Association of Traveling Art Exhibitions. Members of the Association began to be called Wanderers.

The Association united Russian artists realistic direction. Russian realism assumed the image of the modern life of the people, the country, the nature of the native land.

During the existence of the Partnership, 48 exhibitions were held in St. Petersburg, Moscow, Kyiv, Kharkov, Odessa, Kazan and other cities.

The first exhibition of the Wanderers opened in St. Petersburg at the Imperial Academy of Arts November 29, 1871. The paintings presented on it amazed the audience with their simplicity and extraordinary expressiveness. There were no lush antique scenes, rich clothes, bright colors of Italian nature. But there were Russian forests, pines, birches, forest edges performed by Ivan Shishkin, portraits of Ivan Kramskoy. Most of the paintings now make up the golden fund of Russian painting. Among them were: Hunters at rest Vasily Perov(1871, oil on canvas. 119x183 cm)

The Rooks Have Arrived Alexey Savrasov(1871, oil on canvas. 62×48.5 cm)



Peter I interrogates Tsarevich Alexei Petrovich in Peterhof Nicholas Ge(1871. Oil on canvas. 135.7 x 173cm)



Starting from the 1900s, the activities of the Association began to decline, many small-town problems began to arise between St. Petersburg and Moscow, conflicts between old members and new ones. So in 1901, 11 artists immediately left the Association.

The last exhibition was held in 1922, and in 1923 the Association ceased to exist.

For all the time, 109 people were members of the Partnership. The full list can be viewed here.

The main merit in founding the Partnership belongs to Ivan Nikolaevich Kramskoy.

The most famous members of the Association:

• Bryullov Pavel Alexandrovich(nephew of the painter Karl Bryullov)
• Vasnetsov Apollinary Mikhailovich
• Vasnetsov Viktor Mikhailovich
• Ge Nikolai Nikolaevich(founding member)
• Kamenev Lev Lvovich(founding member)
• Klodt Mikhail Konstantinovich(founding member)
• Klodt Mikhail Petrovich(Founding member, cousin of Klodt M.K.)
• Korzukhin Alexey Ivanovich
• Kramskoy Ivan Nikolaevich(founding member)
• Kuznetsov Nikolay Dmitrievich(Odessian, the most prominent representative of the Ukrainian Wanderers, one of the founders of the Association of South Russian Artists)
• Kuindzhi Arkhip Ivanovich
• Levitan Isaac Ilyich
• Lemokh Karl (Kirill) Vikentievich(founding member)
• Makovsky Alexander Vladimirovich(son of Makovsky V.E.)
• Makovsky Vladimir Egorovich(the younger brother among the children of Makovsky E.I.)
• Makovsky Konstantin Egorovich(founding member, older brother)
• Makovsky Nikolay Egorovich(founding member, middle brother)
• Myasoedov Grigory Grigorievich(founding member)
• Perov Vasily Grigorievich(founding member)
• Polenov Vasily Dmitrievich
• Pryanishnikov Illarion Mikhailovich(founding member)
• Repin Ilya Efimovich
• Repin Yuri Ilyich(son from the 1st marriage of Repin I.E.)
• Savitsky Georgy Konstantinovich(son of Savitsky K.A.)
• Savitsky Konstantin Apollonovich
• Savrasov Alexey Kondratievich(founding member)
• Serov Valentin Alexandrovich
• Surikov Vasily Ivanovich
• Shishkin Ivan Ivanovich(founding member)
• Jacobi Valery Ivanovich(founding member, did not participate in exhibitions)
• Yaroshenko Nikolai Alexandrovich

Special mention should be made of Konstantin Korovin, who worked in different genres and artistic directions: from realism to impressionism. He was a frequent guest of the Wanderers, participated in exhibitions, did more for the development of the Russian art school of painting, and in particular Russian realism, than many members of the Association, although he himself was never a member of the Association.

More details - here.

In 2008, the Creative Association was registered New Wanderers- Traditions are being revived.

Wandering is such a kind of subculture in Russian painting of the middle - second half of the 19th century. This is an association of artists who considered it their duty not only to paint, but to bring art to the masses, to promote it. The Wanderers believed that art should not only instill a sense of beauty and turn people's eyes to beauty. Art for the Wanderers is a means by which important social issues can be raised, so that it attracts the attention of a public that is indifferent to everything else. The Wanderers on their canvases sought to raise hot social topics, to show the problems and tragedies of contemporary society, to call for a moral understanding of contemporaries. In order for as many people as possible to join the art, saturated with social experiences, the artists arranged traveling exhibitions from which they got their name. Their traveling exhibitions sometimes met not in the most friendly way in the dark corners of the Russian provinces. Nevertheless, the artists continued their work, which turned into a mission for them, a duty to their people.

V. Pukirev. Unequal marriage (an example of the social painting of the Wanderers)

Wanderers Wanderers

Artists who were members of the progressive Russian democratic art association - the Association of Traveling Art Exhibitions (TPKhV). The partnership was formed in 1870 in St. Petersburg on the initiative of I. N. Kramskoy, G. G. Myasoedov, N. N. Ge and V. G. Perov in the course of the struggle of the country's advanced artistic forces for democratic ideals and in opposition to the official center of art - the St. Petersburg Academy of Arts . Developing the best traditions of the Artel of Artists (whose leader Kramskoy became the ideological leader of the TPHV), experiencing the constant influence of the social and aesthetic views of the revolutionary democrats V. G. Belinsky and N. G. Chernyshevsky, the Wanderers decisively broke with the canons and idealistic aesthetics of academism. Having freed themselves from the regulation and guardianship of the Academy of Arts, they organized the internal life of the TPES on a cooperative basis, launched educational activities. Since 1871, the TPHV has arranged 48 traveling exhibitions in St. Petersburg and Moscow, shown later in Kyiv, Kharkov, Kazan, Orel, Riga, Odessa and other cities.

Having chosen the creative method of critical realism as the basis of their art, the Wanderers turned to a true depiction of the life and history of the people, their native country, its nature; striving to serve the interests of the working people with their creativity, they glorified its greatness, strength, wisdom and beauty, often rising to the merciless denunciation of its oppressors and enemies, the unbearably difficult conditions of its life. From a democratic and humanistic position, the Wanderers resolutely condemned the Russian autocratic order, sympathetically showed the liberation movement of the Russian people. The best works of the Wanderers were distinguished by their great strength of psychologism and social generalization, high mastery of typification, and the ability to represent entire classes and estates through individual images and plots. The leading genres in the art of the Wanderers were the everyday genre and the portrait, which made it possible to most fully show the life of the people, create images of advanced people, and directly affirm democratic ideals. The historical genre and landscape also received significant development; in paintings on religious subjects, actual moral and philosophical problems were embodied. In the 1870-80s, at the time of its heyday, the art of the Wanderers developed towards an ever wider coverage of life, an ever greater naturalness and freedom of depiction. The somewhat constrained and dry manner of painting with dark colors is being replaced by a free, broad manner, the transmission of light and air with the help of a light palette, reflections, colored shadows; the composition of the picture becomes more diverse and freer. In the work of the Wanderers, critical realism in Russian fine art reached its culmination. The innovative, truly folk art of the Wanderers served as an effective means of democratic, social, moral and aesthetic education for many generations and ultimately became an important factor in the development of the Russian liberation movement. V. I. Lenin, the leading figures of the Russian revolutionary movement and Russian culture highly appreciated the work of the Wanderers.

The TPHV united almost all the most talented artistic forces of the country. At different times, it included (in addition to the initiators) I. E. Repin, V. I. Surikov, V. E. Makovsky, I. M. Pryanishnikov, A. K. Savrasov, I. I. Shishkin, V. M. Maksimov, K. A. Savitsky, A. M. Vasnetsov and V. M. Vasnetsov, A. I. Kuindzhi, V. D. Polenov, N. A. Yaroshenko, I. I. Levitan, V. A. Serov M. M. Antokolsky, V. V. Vereshchagin, A. P. Ryabushkin, and others were exhibitors of the TPHV exhibitions. The critic-democrat V. V. Stasov played an important role in the development of the artistic activity of the Wanderers; P. M. Tretyakov, acquiring works of the Wanderers for his gallery, provided them with important material and moral support. The authority and public influence of the TPHV has been steadily growing. Reactionary criticism and the Academy of Arts, forced to abandon their original tactics of clamping down and persecuting the Wanderers, made attempts to subdue their activities, to revive the academic school with their help. In the 1890s The Academy of Arts included prominent Wanderers (Repin, Makovsky, Shishkin, and others). Among the Wanderers were artists of Ukraine (K. K. Kostandi, N. K. Pimonenko), Latvia (K. Gun), Armenia (V. Surenyants) and others who had a great influence on the development of their national schools along the path of realism, nationality and democratic ideals. Of great importance for Russian realistic art was the pedagogical activity of Perov, Repin, Makovsky, Kramskoy, Savrasov. Kuindzhi, Savitsky, Polenov and others.

At the turn of the XIX and XX centuries. the art of a number of the Wanderers began to lose the depth of reflection of life, accusatory pathos. The TPHV was losing its former social influence, but the main core of the Wanderers remained faithful to realism and democratic ideals to the end. In the 1890-1900s. in the work of the advanced group of the Wanderers, socialist ideas appeared, reflecting the development of the working-class movement, and elements of socialist art were born (N. A. Kasatkin, L. V. Popov, S. V. Ivanov, and others). Many Wanderers, having entered the Soviet artistic culture, were the bearers of the great realistic traditions of the 19th century. and helped shape the art of socialist realism. The TPKhV broke up in 1923. Its members merged mainly into the AHRR, continuing to serve the people under new historical conditions.

Literature: G. Burova, O. Gaponova, V. Rumyantseva, Association of Traveling Art Exhibitions, vol. 1-2, M., 1952-59; (A.V. Paramonov), Wanderers. (Album), 2nd ed., M., (1975); Wanderers. Collection of articles, M., 1977; Wanderers, Association of Traveling Art Exhibitions, author of the introductory article and compiler A. K. Lebedev, 2nd ed., L., 1978; A. D. Minchenkov, Memories of the Wanderers, 6th ed., L., 1980.

(Source: "Popular Art Encyclopedia." Edited by Polevoy V.M.; M.: Publishing House "Soviet Encyclopedia", 1986.)

Wanderers

Russian realist artists who were part of the democratic exhibition association - the Association of Traveling Art Exhibitions (TPKhV) and opposed their creative principles academicism. The purpose of the association, organized in 1870 on the initiative of G. G. Myasoyedov, V. G. Perov, I. N. Kramskoy, N. N. Ge etc., was to "liberate art from bureaucratic routine", to develop the accusatory tendencies of painting in the 1860s, to awaken the "public conscience" and at the same time to show a positive image of a contemporary, to give moral guidelines for society. In November 1870, the Charter of the Partnership was approved, proclaiming realism, nationality (expressing the interests of the largest part of society), and revealing the spiritual foundations of Russian culture as the main principles of the artists' work. The first exhibition took place in 1871 in St. Petersburg, from where the paintings were sent for display in other cities. For the first time, the TPHV began to arrange "traveling" exhibitions, presenting their works to the public not only in St. Petersburg and Moscow, but also in Kiev, Kharkov, Odessa, Kazan and other cities. The association existed until 1923, when the last, 48th exhibition was arranged, but the heyday of the art of the Wanderers came in the 1870s and 80s.

The fee for visiting the exposition was divided among the members of the association, part of the proceeds were kept in the general fund. This made it possible to support financially needy members of the TPES, helping them to focus entirely on creativity. In addition, each artist could count on the sale of his works at traveling exhibitions. The commercial success of the TPHV was the key to the creative independence of its members. The Association did not restrict access to its ranks, which would be contrary to its democratic platform. However, the openness of the association to new members led to the fact that to the con. 1880s there were many weak artists in its ranks, and the lack of fresh ideas led to some stagnation, “shredding” of plots, and the repetition of former motives. In the 1890s many prominent members of the Association (I.E. Repin, V. E. Makovsky, I.I. Shishkin etc.) became part of Petersburg Academy of Arts.

The creative method of the Wanderers was critical realism, the desire to embody the "truth of life". Any fiction, idealization, embellishment were considered a manifestation of the academic "lie". Thanks to the work of the Wanderers, art becomes a public platform in Russia; artists turn to acute social and ethical problems, solve educational problems. The Wanderers thought of their art as a high mission of public service. Their paintings are addressed to an indifferent, reflective and empathetic viewer.

A staunch propagandist of the work of the Wanderers was the critic V.V. Stasov, who proclaimed the importance of creating a "choral" picture, where the main character is the people, captured in all the variety of types ("Religious procession in the Kursk province" by I. E. Repin, 1880-83). An important role in the development of the Wanderers was played by the collecting activity of the merchant and patron P.M. Tretyakova, the founder of the gallery of Russian art, who managed to become not only a buyer of paintings by participants in the Society for Exhibition of Exhibitions, but also a true friend and inspirer of many artists.

Along with the dominant in the 1860s. portrait and landscape are developing as an everyday genre in the work of the Wanderers. The main object of artistic comprehension is the peasantry and people from the bottom, who appear not only as victims of social injustice, but also as the embodiment of beauty and strength. Artists paint everyday scenes from village life (V. M. Maksimov. "The arrival of a sorcerer at a peasant wedding", 1875; G. G. Myasoedov. "The Passionate Time", 1887; THEM. Pryanishnikov."Empty", 1872); portraits of peasants, recreating bright and solid folk types (V. G. Perov. "Wanderer", 1870; I. N. Kramskoy. "Woodsman", 1874, "Mina Moiseev", 1883; I. E. Repin. timid", 1878); landscapes imbued with love for the discreet beauty of Russian nature (A.K. Savrasov, F. A. Vasiliev, I. I. Shishkin, A. I. Kuindzhi and etc.). The landscapes of the Wanderers are characterized by narrative (“Pine Forest” by I. I. Shishkin, 1872), love for depicting transitional states in nature (the first signs of the coming spring in A. K. Savrasov’s painting “The Rooks Have Arrived”, 1871; the earth washed by a thunderstorm, in "Wet Meadow" by F. A. Vasiliev, 1872). In many landscapes there is a note of aching sadness, the pain of artists who feel the discord between the beauty of their native land and the grief that fills it. In historical paintings, the Wanderers sought to convincingly recreate the ancient life, costumes, architecture, to make the depicted event “tangible” for the viewer, to immerse it in the atmosphere of a bygone era (N. N. Ge. “Peter I interrogates Tsarevich Alexei Petrovich in Peterhof”, 1871). In the monumental canvases of V.I. Surikov(“Morning of the Streltsy Execution”, 1881; “Boyarynya Morozova”, 1887) presents the turning points of Russian history, when the most essential features of the national character are revealed in the confrontation of various forces.

A prominent place in the traveling exhibitions was occupied by portraits of figures of Russian culture, who were perceived by society as "rulers of thoughts", selfless prophets, preachers of lofty truths, appealing to souls and hearts. The gallery of “persons dear to the nation” was created largely thanks to the purposeful activity of P. M. Tretyakov, who ordered portraits from artists V. G. Perov (portraits of A. N. Ostrovsky, 1871; F. M. Dostoevsky, V. I. Dahl; I. S. Turgenev; all - 1872), I. N. Kramskoy (portraits of T. G. Shevchenko, M. M. Antokolsky, F. A. Vasiliev; all - 1871; L. N. Tolstoy, 1873; I. A. Goncharova, 1874; N. A. Nekrasova, 1877; M. E. Saltykov-Shchedrin, 1879), I. E. Repin (portraits of I. S. Turgenev, 1876; I. E. Zabelin, 1877) and others . ON THE. Yaroshenko created portraits-types ("Student", 1881; "Cursist", 1883).

An important place in the work of many Wanderers was occupied by gospel stories, experienced with confessional frankness and depth. Kramskoy (“Christ in the Wilderness”, 1872), Ge (“What is Truth?”, 1890) and other artists sought not to create illustrations for the Holy Scriptures, but to approach the resolution of topical moral and philosophical issues. V. M. Vasnetsov turned in his work to the images of Russian folklore. In the 1880s-90s. the color palette in the canvases of many Wanderers becomes brighter and lighter, the manner of writing is freer, compositional techniques are more diverse (I. E. Repin, V. I. Surikov, M. V. Nesterov, I.I. Levitan, V. A. Serov and etc.).
For several decades, the Association united almost all the most talented Russian artists. In addition to the organizers, I.E. Repin, V.I. Surikov, V.E. Makovsky, I.M. Pryanishnikov, A. K. Savrasov, I. I. Shishkin, V. M. Maksimov, K. A. Savitsky, A. M. and V. M. Vasnetsov, A. I. Kuindzhi, V. D. Polenov, N. A. Yaroshenko, I. I. Levitan, V. A. Serov and others. M. M. Antokolsky, A.P. Ryabushkin and others. After the collapse of the TPHV, many Wanderers entered the Association of Artists of Revolutionary Russia.

(Source: "Art. Modern Illustrated Encyclopedia." Under the editorship of Prof. A.P. Gorkin; M.: Rosmen; 2007.)

See what "Wanderers" is in other dictionaries:

Wanderers- Wanderers, artists who were part of the democratic art association Association of Traveling Art Exhibitions (TIHV). It was founded in 1870 on the initiative of I. N. Kramskoy, N. N. Ge, G. G. Myasoedov, and V. G. Perov. United... ... Encyclopedic reference book "St. Petersburg"

Realist artists who were part of the Russian democratic art association - Creativity of Traveling Art Exhibitions (formed in 1870). Breaking with academicism, the Wanderers were guided by the method of critical realism, ... ... Encyclopedia of cultural studies

Wanderers- Wanderers. I.E. Repin. Religious procession in the Kursk province. 1880 83. Tretyakov Gallery. Wanderers, artists who were part of the Russian art association Association of Traveling Art Exhibitions, formed in 1870. ... ... Illustrated Encyclopedic Dictionary

The artists who were part of the Russian art association, the Association of Traveling Art Exhibitions, formed in 1870. Turned to the image of the everyday life and history of the peoples of Russia, its nature, social conflicts, denunciation ... Big Encyclopedic Dictionary

Artists who were members of the democratic art association Association of Traveling Art Exhibitions (TIHV). It was founded in 1870 on the initiative of I. N. Kramskoy, N. N. Ge, G. G. Myasoedov, and V. G. Perov. Bringing artists together... St. Petersburg (encyclopedia)

Artists who were members of the Russian art association "Association of Traveling Art Exhibitions". The partnership was formed in 1870 in St. Petersburg on the initiative of I.N. Kramskoy, G.G. Myasoedova, N.N. Ge and V. G. Perov, as opposed to ... ... Russian history

The Association of Traveling Art Exhibitions (Vedvizhniki) is a creative association of Russian artists that existed in the last third of the 19th century. In aesthetic terms, the participants of the Partnership, or Wanderers, purposefully ... ... Wikipedia

a term denoting a group of artists who defended the traditions of realism, nationality and democratic ideals in art, united in the Association of Traveling Art Exhibitions (1870 - 1923). Ideological leaders: I. N. Kramskoy and V. V. Stasov. The main representatives are I. E. Repin, V. I. Surikov, V. G. Perov, V. M. Vasnetsov, I. I. Levitan, I. I. Shishkin and others.

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Wanderers

Russian realist artists who were part of the democratic exhibition association - the Association of Traveling Art Exhibitions (TPKhV) and opposed their creative principles to academicism. The purpose of the association, organized in 1870 on the initiative of G. G. Myasoedov, V. G. Perov, I. N. Kramskoy, N. N. Ge and others, was “to free art from bureaucratic routine”, to develop accusatory tendencies in painting 1860s, to awaken the "public conscience" and at the same time show a positive image of a contemporary, give moral guidelines for society. In November 1870, the Charter of the Partnership was approved, proclaiming realism, nationality (expression of the interests of the largest part of society), and the identification of the spiritual foundations of Russian culture as the main principles of the artists' work. The first exhibition took place in 1871 in St. Petersburg, from where the paintings were sent for display in other cities. For the first time, the TPHV began to arrange "traveling" exhibitions, presenting their works to the public not only in St. Petersburg and Moscow, but also in Kiev, Kharkov, Odessa, Kazan and other cities. The association existed until 1923, when the last, 48th exhibition was arranged, but the heyday of the art of the Wanderers came in the 1870s and 80s.

The fee for visiting the exposition was divided among the members of the association, part of the proceeds were kept in the general fund. This made it possible to support financially needy members of the TPES, helping them to focus entirely on creativity. In addition, each artist could count on the sale of his works at traveling exhibitions. The commercial success of the TPHV was the key to the creative independence of its members. The Association did not restrict access to its ranks, which would be contrary to its democratic platform. However, the openness of the association to new members led to the fact that to the con. 1880s there were many weak artists in its ranks, and the lack of fresh ideas led to some stagnation, “shredding” of plots, and the repetition of former motives. In the 1890s many prominent members of the Association (I. E. Repin, V. E. Makovsky, I. I. Shishkin and others) became members of the St. Petersburg Academy of Arts.

The creative method of the Wanderers was critical realism, the desire to embody the “truth of life”. Any fiction, idealization, embellishment were considered a manifestation of the academic "lie". Thanks to the work of the Wanderers, art becomes a public platform in Russia; artists turn to acute social and ethical problems, solve educational problems. The Wanderers thought of their art as a high mission of public service. Their paintings are addressed to an indifferent, reflective and empathetic viewer.

A staunch propagandist of the work of the Wanderers was the critic V. V. Stasov, who proclaimed the importance of creating a “choral” picture, where the main character is the people, captured in all its variety of types (“The procession in the Kursk province” by I. E. Repin, 1880–83). An important role in the development of the Wanderers was played by the collecting activity of the merchant and philanthropist P. M. Tretyakov, the founder of the gallery of Russian art, who managed to become not only a buyer of paintings by participants in the Society for Contemporary Art Exhibition, but also a true friend and inspirer of many artists.

Along with the dominant in the 1860s. portrait and landscape are developing as an everyday genre in the work of the Wanderers. The main object of artistic comprehension is the peasantry and people from the bottom, who appear not only as victims of social injustice, but also as the embodiment of beauty and strength. Artists paint everyday scenes from village life (V. M. Maksimov. “The arrival of a sorcerer at a peasant wedding”, 1875; G. G. Myasoedov. “A Passionate Time”, 1887; I. M. Pryanishnikov. “Parozhnyaki”, 1872); portraits of peasants, recreating bright and solid folk types (V. G. Perov. "Wanderer", 1870; I. N. Kramskoy. "Woodsman", 1874, "Mina Moiseev", 1883; I. E. Repin. timid", 1878); landscapes imbued with love for the discreet beauty of Russian nature (A. K. Savrasov, F. A. Vasiliev, I. I. Shishkin, A. I. Kuindzhi, etc.). The landscapes of the Wanderers are characterized by narrative (“Pine Forest” by I. I. Shishkin, 1872), love for depicting transitional states in nature (the first signs of the coming spring in A. K. Savrasov’s painting “The Rooks Have Arrived”, 1871; the earth washed by a thunderstorm, in "Wet Meadow" by F. A. Vasiliev, 1872). In many landscapes there is a note of aching sadness, the pain of artists who feel the discord between the beauty of their native land and the grief that fills it. In historical paintings, the Wanderers sought to convincingly recreate the ancient way of life, costumes, architecture, to make the depicted event “tangible” for the viewer, to immerse it in the atmosphere of a bygone era (N. N. Ge. “Peter I interrogates Tsarevich Alexei Petrovich in Peterhof”, 1871). In the monumental canvases of V. I. Surikov (“Morning of the Streltsy Execution”, 1881; “Boyar Morozova”, 1887) the turning points of Russian history are presented, when the most essential features of the national character are revealed in the confrontation of various forces.

A prominent place in the traveling exhibitions was occupied by portraits of figures of Russian culture, who were perceived by society as "rulers of thoughts", selfless prophets, preachers of lofty truths, appealing to souls and hearts. The gallery of “persons dear to the nation” was created largely thanks to the purposeful activity of P. M. Tretyakov, who ordered portraits from artists V. G. Perov (portraits of A. N. Ostrovsky, 1871; F. M. Dostoevsky, V. I. Dahl; I. S. Turgenev; all - 1872), I. N. Kramskoy (portraits of T. G. Shevchenko, M. M. Antokolsky, F. A. Vasiliev; all - 1871; L. N. Tolstoy, 1873; I. A. Goncharova, 1874; N. A. Nekrasova, 1877; M. E. Saltykov-Shchedrin, 1879), I. E. Repin (portraits of I. S. Turgenev, 1876; I. E. Zabelin, 1877) and others N. A. Yaroshenko created portraits-types (“Student”, 1881; “Cursist”, 1883).

An important place in the work of many Wanderers was occupied by gospel stories, experienced with confessional frankness and depth. Kramskoy (“Christ in the Wilderness”, 1872), Ge (“What is Truth?”, 1890) and other artists sought not to create illustrations for the Holy Scriptures, but to approach the resolution of topical moral and philosophical issues. V. M. Vasnetsov turned in his work to the images of Russian folklore. In the 1880s–90s. the color palette in the canvases of many Wanderers becomes brighter and lighter, the manner of writing is freer, compositional techniques are more diverse (I. E. Repin, V. I. Surikov, M. V. Nesterov, I. I. Levitan, V. A. Serov and etc.).

Creativity of Wanderers

Plan.

1. Brief description of the direction of the Wanderers.

2. V.A. Serov is an outstanding representative of the Wanderers.

3. The value of creativity of the Wanderers.

Literature.

The Wanderers are painters of a realistic direction, who were part of the largest Russian progressive democratic association - the Association of Traveling Art Exhibitions (1870-1923). Created on the initiative of G.G. Myasoedova, N.N. Ge, V.G. Perov, the Association included in its membership the advanced forces of Russian democratic artistic culture, in particular a number of members of the Artel of Artists, which was already disintegrating by that time; it developed the best traditions of this association. The partnership was a fundamentally new, original creative organization of artists, the emergence of which, however, was prepared by the previous development of Russian realistic art and especially the art of the 50-60s of the 19th century.

The Wanderers set themselves the task of social and aesthetic education of the masses and sought to widely popularize their art. In this regard, starting from 1871, they arranged 48 exhibitions in St. Petersburg and Moscow, which then usually moved them to Kiev, Kharkov, Odessa, Chisinau, Riga, Kazan, Orel and other large cities of the country. Hence the name "wanderers".

I.N. was the ideological and organizational leader of the Wanderers for many years. Kramskoy. Of great importance for the development and popularization of the art of the Wanderers was the activity of V.V. Stasov, in particular, his critical articles, who, although he was not formally a member of the Association, in essence, along with Kramskoy, was the ideologist of this association.

The partnership at different times included A.M. and V.M. Vasnetsov, I.I. Levitan, V.E. Makovsky, V.M. Maksimov, V.D. Polenov, I.E. Repin, K.A. Savitsky, A.K. Savrasov, V.A. Serov, V.I. Surikov, I.I. Shishkin, N.A. Yaroshenko. M.M. took part in the exhibitions of the Wanderers. Antokolsky, V.V. Vereshchagin, S.A. Korovin. Prominent Ukrainian, Armenian, Latvian, Mordovian artists were also members of the Association: K.K. Kostandi, P.A. Levchenko, V.Ya. Surenyants, K.F. gong.

In their work, the Wanderers, on the basis of a realistic method, deeply and comprehensively reflected, first of all, the contemporary life of the working people of Russia. A truly folk everyday genre, the best examples of which were distinguished by combative publicism, was the leading one in their work. An important place was also occupied by the art of portraiture, remarkable for the content of its socio-psychological characteristics. They portrayed mainly advanced cultural figures and representatives of the working people. Many works of the Wanderers are devoted to Russian history, in which their attention was especially attracted by the dramatic popular movements. These works were marked by the depth of historical knowledge of the past. In landscape works, the Wanderers turned to simple, ordinary motifs of their native nature, creating paintings imbued with a patriotic feeling and great social content. A significant number of works of the Wanderers reproduced images of folk art and literature. Based on the materialistic aesthetics of V.G. Belinsky, N.A. Dobrolyubova and N.G. Chernyshevsky and expressing the ideas of a broad democratic movement of the 2nd half of the 19th and early 20th centuries, the Wanderers created the art of critical realism.

Truly depicting events and scenes from life and following the requirements of revolutionary and educational aesthetics, in their works they passed judgment on the surrounding reality, denounced the barbarism and savagery of the autocratic-serf-owning order, poverty, and the cruel oppression of the people. At the same time, the Wanderers showed the people's heroic struggle for social and national liberation, wisdom, beauty, the strength of a working man, the diversity and poetic charm of their native nature.

Defending and developing the principles of realism, nationality and nationality of art, the organization of the Wanderers very soon turned into the largest center of the artistic life of Russia, into the stronghold of the new realistic trend in painting, and the Imperial Academy of Arts, although it remained the official governing body in the field of art, was increasingly losing its authority. and this role of the main center.

The Wanderers fought both against the Academy of Arts, which cultivated abstract, idealized art, far from the needs and demands of the working people, and against all kinds of decadent, aesthetic trends that proclaimed the idealistic slogan "art for art's sake."

With their creativity and activities to popularize it, the Wanderers actively participated in the broad general democratic movement of the era, in the struggle of progressive social forces against autocracy and the remnants of serfdom in tsarist Russia. That is why the Wanderers were supported by the advanced part of society. At the same time, the Wanderers were subjected to all sorts of restrictions on the part of the official institutions of tsarist Russia, direct harassment and persecution by the reactionary press.

During the 70-80s of the 19th century, the work of the Wanderers deepened and improved. Their organization grew stronger, gained more and more authority and popularity among the general public.

2. V.A. Serov is an outstanding representative of the Wanderers.

An outstanding representative of the Wanderers is V.A. Serov, who was born in 1865 in St. Petersburg. From the age of 9 he was a student of I.E. Repin; together with him made a trip to Zaporozhye in 1880, during which he worked next to the teacher, directly getting acquainted with the life of the people.

In 1880-1885, Serov studied at the St. Petersburg Academy of Arts and went through a strict school of drawing and painting under the guidance of P.P. Chistyakov. The creative friendship that linked Serov with his teachers played an important role in the continuity of the development of the traditions of Russian realism.

Of great importance to Serov was his constant, thoughtful study of Russian and Western European museums. Democracy, truthfulness and sincerity, close attention to man and native nature, a keen sense of modern life, combined with a deep assimilation of the artistic heritage, are the characteristic features of Serov's work.

Already at the age of 22-23, he created classic works of Russian painting: the paintings “Girl with Peaches” (1887), “Girl, Illuminated by the Sun” (1888), “Overgrown Pond. Domotkanovo" (1888). With these works, Serov, creatively developing the realistic achievements of his predecessors, opened a new page in the history of Russian painting. “Girl with Peaches” and “Girl in the Sunshine” are poems about youth, imbued with a cheerful, optimistic attitude of the artist, who perceives the world in its colorful richness and diversity.

In the early period of creativity (1880-90s), Serov liked to paint portraits in the sun, among nature, tracing the play of sunlight - a portrait of O.F. Serova "Summer", (1895).

Landscapes of the early period - “Autumn Evening. Domotkanovo", "Winter in Abramtsevo" are distinguished by the accuracy and objectivity of observations, the clarity of the compositional construction, the rich, finely developed range, and the materiality of painting.

In 1894, Serov became a member of the Association of the Wanderers. In the second half of the 90s, under the influence of the rise of revolutionary sentiment in the country, Serov created a number of truthful and sincere works dedicated to the Russian village: the paintings “October. Domotkanovo" (1895), "In Winter" (1898), pastel "In the village. A Woman with a Horse" (1898), "A Woman in a Cart" (1899), a watercolor "Grey Day" (1897), a dramatic drawing "Horseless" (1899). The landscapes of the 1990s, painted in a sparse tonal range, are distinguished by their simplicity and typicality: these are images of peasant Russia, full of deep mood, painted with harsh and sad lyricism. A direct response to the revolutionary events was a small painting “Meeting. The arrival of the wife to the exiled ”(1898). The pastel "Pushkin in the Village" (1899) and the watercolor "Pushkin in the Park" (1899) are also associated with this group of works, which clearly reveal Serov's democratic tendencies, recreating the heartfelt image of the great poet.

Late 1890-1900 - a period of new diverse creative searches of the artist. He creates numerous portraits, deep in conception, various in genres - from intimate-lyrical to monumental, from sharp sketches to portrait-paintings. Serov acts at this time as a master of artistic typification, revealing character. Each portrait for Serov, in his words, is “a whole disease” - with such creative passion he deepens into the study of nature, looks for new means of artistic expression, achieves a vivid disclosure of the socio-psychological essence of a person, seeks to express his attitude towards him. Charming female portraits by S. M. Lukomskaya (watercolor, 1999) and M.N. Akimova (1908), marked by the spirituality of the image, the high skill of drawing and painting, conveying the subtlest shades of the state of mind. During this period, Serov willingly draws children, subtly noticing the features of child psychology: "Children" (1899), "Mika Morozov" (1901).

A new upsurge in creativity and social activity of Serov was due to the revolution of 1905-1907. In 1905, Serov created a wonderful gallery of portraits of prominent figures of Russian culture - M. Gorky, M.N. Ermolova, F.I. Chaliapin. In the same period, Serov showed interest in monumental classical art: he made panels, paintings on antique themes, sketches for murals based on the myth of Diana and Actaeon.

Systematically improving his skills in the field of drawing, Serov developed a peculiar individual style, distinguished by the accuracy and sharpness of fixing phenomena, laconicism and expressiveness of the line. Serov painted with pencil, charcoal, watercolor, ink, gouache. The main works of Serov are kept in the Tretyakov Gallery in Moscow and the Russian Museum in St. Petersburg.

Description of the presentation Association of Traveling Art Exhibitions Association of Traveling Art Exhibitions on slides

Association of Traveling Art Exhibitions The largest progressive democratic art association The Association of Traveling Art Exhibitions (1870-1923) was created by Russian painters and sculptors of the realistic direction. The emergence of the Partnership was largely due to the crisis of salon academic art, the general rise of democratic culture in the 50s and 60s of the XIX century and was prepared by the activities of the St. Petersburg Artel of Democratic Artists headed by Kramskoy, who in 1870 became one of the founder members of the Partnership, its leader and ideological inspirer.

Artistic principles The paintings of the Wanderers were characterized by a heightened psychologism, social and class orientation, high mastery of typification, realism bordering on naturalism, and a generally tragic view of reality. The leading styles in the art of the Wanderers were impressionism and realism.

Kramskoy Ivan Nikolaevich Famous painter, one of the main reformers in art, known for his anti-academic activities, advocating for the free development of young artists. Kramskoy is the main founder and founder of the TPHV. Without Kramskoy, it is impossible to imagine all those undertakings of artistic culture with its latest transformations, which revealed to the masses the whole truth of life in art.

This work of Kramskoy is often called the Painting of the Unknown, but despite the fact that this name is considered not entirely correct, because Kramskoy voiced his work as, Portrait of an Unknown.

Ivanovich Shishkin The greatest landscape painter, an amazing master of writing forest landscapes, and to this day he remains the undisputed leader in Russian landscape painting in creating an incredible number of canvases with forest views. A real connoisseur of forest vegetation, colorful forms of tree trunks, velvety foliage, forest glades with bright grass lit through the trees by the sun's rays, picturesque stumps overgrown with moss and surrounded by various mushrooms.

Artist Viktor Vasnetsov Artist painter. The creative direction of the artist is mostly associated with historical and fairy-tale themes, Russian epics.

Ilya Efimovich Repin One of the most prominent founders of Russian art of the 19th century, who left for all mankind a wealth of picturesque and unique images that truly reflect various periods of Russian history. The artist lived a long and fruitful life, creating one masterpiece after another during his life, and only today in our time we understand and realize how much this brilliant artist enriched our culture, revealing in his works the path to goodness and justice.

Savrasov Alexey Kondratievich (1830 - 1897) Russian landscape painter, one of the founding members of the Association of the Wanderers. The fate of A. K. Savrasov in Russian art is quite tragic. One of the finest masters of the lyrical landscape, he was known to the general public as the author of one painting - The Rooks Have Arrived. But it was precisely with Savrasov, as his student and successor I. Levitan wrote, that “lyricism appeared in landscape painting and boundless love for their homeland.” Even while studying at the Moscow School of Painting, Sculpture and Architecture, the artist chose landscape as his specialty. From the very beginning, he was looking for new principles of depiction and landscape construction, the most important of which were the introduction of the viewer into the space of the picture and a special luminous emotional color system. The artist's works, his perception of life were characterized by a very special musicality. Savrasov's highest skill allowed him to capture the very moment of including his spiritual world in a harmonious system, "complete consonance in nature." The artist called it the soul of the landscape. He dreamed of a bright and spiritual harmony between a free man and nature. Hence his favorite themes - a multi-colored rainbow, rain-washed water meadows, weeping willows, evening dawns, flocks of migratory birds over compressed fields (“Country Road”; “Rainbow”; “Rural View”; “Spring Day”).

"Rural View". 1867 "Rainbow". 1873 "The Rooks Have Arrived". 1871 "Spring Day". 1873 "Monastery Gates". 1875

Ge Nikolay Nikolaevich (1831 - 1894) N. N. Ge is an outstanding master of portraiture, plot, historical and religious painting, who updated its language on the eve of symbolism and avant-garde. He worked in Rome and Florence, in St. Petersburg, and since 1876 - on the Ivanovsky farm in the Chernihiv region. He was one of the founders of the Association of Traveling Art Exhibitions. The first, in his own words, "an independent picture", which also caused a stormy public outcry, was The Last Supper. Ge abandoned here the academically idealized interpretation of the religious plot, presenting it as a real psychological drama. Paying tribute to romanticism, Ge over the years occupies a unique position in Russian art of the 19th century. , - first of all, due to the increasing expression of its color, sensitively expressing the dynamics of the master's inner spiritual searches. Ge's expressionism, the powerful expressiveness of a large, shimmering brushstroke, reaches its climax in the paintings "Christ and Nicodemus" and "Golgotha". At the same time, the master creates wonderful portraits full of inner spirituality - in particular, a portrait of Leo Tolstoy at his desk, which is considered one of the best lifetime images of the writer. The talent of Ge-landscape painter, a poet of plein-air painting, is remarkable (landscape as a sonorous, lyrically passionate background or as an independent image in general plays a very important role in his art).

"The Last Supper". 1863 "Peter I interrogates Tsarevich Alexei Petrovich in Peterhof" 1871 Portrait of Leo Tolstoy. 1884 "The Bridge at Vico" "What is truth? (Christ and Pilate) 1890 Calvary. 1893

Shishkin Ivanovich (1832 - 1898) Russian landscape painter, painter, draftsman and engraver. Founding member of the Association of Traveling Art Exhibitions. Among Russian landscape painters, Shishkin undoubtedly belongs to the place of the most powerful draftsman. In all his works, he is an amazing connoisseur of plant forms. A close study of nature, comparable in thoroughness and painstakingness to scientific study of nature, honed the artist's talent and promoted him to the ranks of the best landscape painters. But the strength of Shishkin's canvases is not that they reproduce the familiar landscapes of Central Russia with almost photographic accuracy. The art of the artist is much deeper and more meaningful. He creates a generalized, epic image of Russian nature. I. Kramskoy, noting the realism of his works, pointed out that the artist "constructs a landscape, theatricalizes it, offering a kind of" natural performance "". The motif of the natural cycle in nature, the change of generations, acquired extraordinary poetry in Shishkin's landscape. From under his brush came images that became symbols of Russia, "Russian expanse with golden rye, rivers, groves and Russian expanses." Amazing knowledge of the forest also affected Shishkin's graphics. His numerous drawings, etchings depicting individual plants or entire compositions remain unsurpassed examples of the graphic landscape.

"Rye". 1878 Pines. 1885–1892 "Morning in a pine forest" . 1886 “Mountain path. Crimea" . 1879 "A stream in a birch forest". 1883

Perov Vasily Grigorievich (1833 - 1882) Russian painter, one of the founding members of the Association of Traveling Art Exhibitions. The author of genre paintings ("Rural Procession at Easter"), imbued with sympathy for the people ("Seeing the Dead", "Troika"), psychological portraits ("A. N. Ostrovsky"; "F. M. Dostoevsky"). The early paintings of the painter are imbued with an anecdotally “accusatory” mood, representing picturesque caricatures, including those of the clergy (“Tea Party in Mytishchi”); the artist carefully wrote out the characters of the characters in his paintings and the setting, striving for a moralizing effect. The satirical mood, however, weakens over the years, giving way to dramatic expression or good-natured humor. Perov's coloring gained a new, sharper expressiveness in such paintings as "Seeing the Dead Man" and "Troika. Apprentice artisans are carrying water” are no longer just a social satire, but a drama about the “humiliated and insulted”, in its meaning universal to all mankind. Perov's characters are full of special inner significance, regardless of their social and cultural status; bright individuality is sometimes combined in them with an unprecedented (for the Russian portrait tradition of those years) intensity of spiritual life, sometimes on the verge of painful tragedy.

"Troika. Apprentice craftsmen carry water. 1866 "Tea drinking in Mytishchi, near Moscow". 1862 "Rural religious procession at Easter". 1861 "The last tavern at the outpost". 1868 "Portrait of the writer F. M. Dostoevsky" 1872

Kramskoy Ivan Nikolaevich (1837 - 1887) I. N. Kramskoy - Russian painter and draftsman, master of genre, historical and portrait painting; art critic. Under the influence of the ideas of Russian democrats, Kramskoy defended the view of the high social role of the artist, the principles of realism, the moral essence and nationality of art. He became one of the main organizers and ideologists of the society of mobile art exhibitions (Wanderers). Kramskoy created a number of portraits of prominent Russian writers, artists and public figures (such as: L. V. Tolstoy; I. I. Shishkin; P. M. Tretyakov; M. E. Saltykov-Shchedrin; Botkin), in which the expressive simplicity of the composition , the clarity of the figure emphasize the leading part of the deep psychological characteristics. Kramskoy's democratic views were reflected in his portraits of peasants. Kramskoy had a painting technique - a subtle finish, which was sometimes considered by some to be superfluous or excessive. Nevertheless, Kramskoy painted quickly and confidently: in a few hours, the portrait acquired a similarity. Kramskoy, as a critic, was very demanding of artists, his remarks and opinions about art were not only personal convictions, but were usually conclusive, as far as possible in matters of aesthetics. Kramskoy played a decisive role at all stages of the development of advanced Russian painting in the 1860s-1870s.

"Unknown". 1883 "Christ in the Wilderness". 1872 Portrait of Sophia Kramskoy. 1873 "Inconsolable Sorrow". 1884 Moonlight Night. 1880 "Woodsman". 1874

Makovsky Konstantin Yegorovich (1839 - 1915) Russian artist, the eldest of the Makovsky brothers of artists. The eldest of the brothers of artists Makovsky. In 1870 he became one of the founders of the Association of Traveling Art Exhibitions. Makovsky is also a representative of academicism. Many of his historical paintings show an idealized view of life in Russia in previous centuries. A major portrait master, Makovsky paid special attention to genre painting, writing a huge number of human types, scenes of folk life. In the late 1870s, there was a turn in Makovsky's work towards a departure from the themes of modernity. His favorite genre was historical, embodied in paintings from Russian life of the 16th-17th centuries, which brought awards and international recognition to the author. Makovsky was one of the most popular and fashionable artists in Russia. In the work of Makovsky, a special genre subspecies was born: hawthorn heads. Black-browed, with long lowered eyelashes, melancholy or perky, in kokoshniks of various shapes, with bows, earrings, necklaces, they made up a whole gallery of Russian beauties. Makovsky immersed a person in the element of beauty, in the world of elegant objects and refined feelings. Against the background of the general ethical orientation of Russian art of the 19th century, he reserved for painting the right to be picturesque.

"A Wedding Feast in a Boyar Family in the 17th Century". 1883 Portrait of the artist's children. 1882 "People's festivities during Shrove Tuesday on Admiralteyskaya Square in St. Petersburg". 1869 "Children running from a thunderstorm". 1872 "Alekseich". 1881 "The Girl with the Pearl Necklace". Late 1880s - 1890s

Vereshchagin Vasily Vasilyevich (1842 - 1904) Russian painter and writer, one of the most famous battle painters. All his life Vereshchagin was a tireless traveler. In an effort (in his own words) "to learn from the living chronicle of the history of the world", he traveled to Russia, Western Europe, the countries of the East and the USA. He took part in the colonial campaigns of Russian troops in Turkestan. In 1877–1878 participated in the Russian-Turkish war in the Balkans. The impressions from the trips were embodied in large cycles of sketches and paintings. In Vereshchagin's battle paintings, the underside of the war is revealed in a journalistic way, with harsh realism. The famous symbol of the "Turkestan series" was the painting "The Apotheosis of War", depicting a pile of skulls in the desert; on the frame there is an inscription: "Dedicated to all the great conquerors: past, present and future". The "Turkestan" series of paintings by Vereshchagin is not inferior to the "Balkan" series. The canvas “Defeated. Panikhida, where under a cloudy sky a field of soldiers' corpses is spread, sprinkled with a thin layer of earth. His series "Napoleon in Russia" (1887-1900) also gained wide popularity. The artist Vereshchagin was also a gifted writer, the author of the book “At War in Asia and Europe. Memories" (1894); Of great interest are also the "Selected Letters" of the artist.

"Apotheosis of War". 1870 -1871 "Taj Mahal". 1874 -1876 "Afghan". 1867 -1868 "Napoleon on the Borodino Heights". 1897 “The Defeated. Panikhida". 1878

Polenov Vasily Dmitrievich (1844 - 1926) Russian artist, master of historical, landscape and genre painting, teacher. Since 1879 he was a member of the Association of Wanderers. In his work, he organically combined fidelity to the traditions of realism of the 19th century. with features of symbolism and modernity. Polenov's early paintings ("The Right of the Master", 1874) are solved in the spirit of salon romanticism. But fame was brought to him by much more natural and sincere images, where the influence of I. E. Repin and A. P. Bogolyubov was combined with rich experience in landscape nature. The mastery of plein-air painting, certain features of impressionism are combined in these paintings (Moscow Courtyard; Grandmother's Garden, 1878; Overgrown Pond, 1879) with thoughtful lyrics, consonant with the "mood landscape" of Savrasov and Levitan. Over the years, Polenov strives to give his palette more and more psychological expressiveness (“Sick”, 1886, ibid.); his numerous - Russian and foreign - sketches from nature are full of sincere warmth of feeling. Polenov was the first among artists to introduce into the Russian landscape pure bright colors, a free light stroke, color light and shade contrast, and the immediacy of a plein air look. He managed to convey all this to his students, among whom were I. I. Levitan and K. A. Korovin. In addition to landscape painting, the master also turned to biblical subjects (“Christ and the Sinner”, “Dreams” 1888), worked a lot in the field of theatrical and decorative art.

"Old mill". 1880 "Moscow courtyard". 1878 "Grandma's Garden". 1878 Dreams. 1894 "Sick". 1886