Nikolai Kasatkin. The meaning of Nikolai Alekseevich Kasatkin in a brief biographical encyclopedia

In the world, Ivan Dmitrievich Kasatkin was born on August 1, 1836 in the village of Bereza, Smolensk province. Having brilliantly graduated from the Smolensk Theological Seminary, in 1857 he was admitted to the St. Petersburg Theological Academy. Graduating from the academy, he discovered the calling of God - to preach Orthodox faith in Japan. Having submitted a corresponding petition, on June 24, 1860, John was tonsured a monk with the name Nicholas. In July 1860, Hieromonk Nikolai left for his place of service in the city of Hokodate.

At first, preaching the gospel in Japan seemed completely unthinkable. It took eight years to study the country: the people, language, manners and customs. In 1869, a decision was made: “To form a special Russian Spiritual Mission for the preaching of the word of God among the Japanese pagans,” the head of which was appointed Father Nikolai, elevated to the rank of archimandrite. In 1871, the persecution of Christians began in Japan, and many of them were persecuted. In 1873, when the persecution lessened somewhat, Archimandrite Nicholas set about building a church in Tokyo, and then - religious school. By 1874, four schools operated under the Mission in Tokyo: catechism, seminary, women's and clergy, and in Hokodate there were two schools - for boys and girls. In the second half of 1877, the Mission began to publish regularly the journal Church Bulletin. By 1878 there were 4,115 Christians in Japan. Worship in the communities and teaching was carried out on mother tongue. Spiritual and moral books began to be published.

In 1880, on March 30, in the Trinity Cathedral of the Alexander Nevsky Lavra, the consecration of Archimandrite Nikolai as Bishop of Tokyo took place. Saint Nicholas, with even greater zeal, began to continue his apostolic labors. He completed the construction of the Cathedral of the Resurrection of Christ in Tokyo, and also set about new translation liturgical books, compiled on Japanese Orthodox Theological Dictionary.

During Russo-Japanese War In 1905, severe trials fell to the lot of the saint and his flock, but he endured them with honor. He helped Russian prisoners of war in their difficult conditions. For these ascetic labors, the saint was elevated to the rank of archbishop.

In 1911, when St. Nicholas completed half a century of missionary work, there were already 266 communities of the Japanese Orthodox Church, which included 33,017 Orthodox laity, 1 archbishop, 1 bishop, 35 priests, 6 deacons, 14 singing teachers, 116 catechist preachers.

The saint himself throughout his life was an example of a true spiritual leader, wholly devoted to his service.

On February 3, 1912, at the age of 76, the Enlightener of Japan, Archbishop Nicholas, peacefully reposed in the Lord. On April 10, 1970, Saint Nicholas was canonized as a saint for his Equal-to-the-Apostles labors in enlightening the Japanese people. In Japan, Saint Nicholas is revered as a great righteous man and a special prayer book before the Lord.

Troparion 1 to Nicholas, Archbishop of Japan, tone 4

The apostles are of the same morals and the throne, / a faithful and God-wise servant of Christ, / the chosen flower of the Divine Spirit, / a vessel overflowing with the love of Christ, / the land of Japan to the enlightener, / Saint Nicholas, hierarch Equal to the Apostles, / pray to the Life-giving Trinity / for all your flock // and for everything the world.

Troparion II Equal-to-the-Apostles Nicholas of Japan, tone 4

The apostles are of the same morals and the throne, / a faithful and God-wise servant of Christ, / the chosen flower of the Divine Spirit, / a vessel overflowing with the love of Christ, / the land of Japan to the enlightener, / Saint Nicholas, hierarch Equal to the Apostles, / pray Life-Giving Trinity// about your whole flock and about the whole world.

First Kontakion Equal-to-the-Apostles Nicholas, Archbishop of Japan, Tone 4

The country of Japan welcomes the wanderer and the stranger, / equal to the apostles of St. Nicholas, / in it you first recognized yourself as a stranger, / both exuding the warmth and light of Christ, / you turned your enemies into spiritual sons, / even distribute the grace of God, you created the Church Christ, / now pray for her, / and her sons and daughters cry out to you: // Rejoice, our good shepherd.

Kontakion II Equal-to-the-Apostles Nicholas, Archbishop of Japan, Tone 2

The firm and divinely prophesied preacher of Thy Gospel, O Lord, / Thou didst avenge Godly /, Thou didst accept his labors and illnesses more than all lawful sacrifices and burnt offerings. // Keep us from enmity with prayers.

Nikolai Alekssevich Kasatkin - Russian realist painter, the first of the prominent artists to turn his creative attention to Donbass. This happened after the first visit to our region in 1894. In the future, Kasatkin visited the Donetsk steppes more than once, communicated with people, got acquainted with the work of miners and metallurgists. In 1936, the Literary Donbass magazine published an article by V. Zolotarev about Kasatkin, in which the author talks about the proletarian side of the artist's work. Let's learn a little more about Nikolay Kasatkin and his paintings dedicated to Donbass together.

The first artist of Donbass

On December 17, 1930, one of the last representatives of the Wanderers, the artist N. A. Kasatkin, left us. The merit of Kasatkin lies in the fact that he was one of the first to show in full growth, in the conditions of developing capitalism, the worker tsarist Russia and especially Donbass. The artist Kasatkin for the first time managed to artistically and truthfully show the worker, his life, work, way of life. None of the artists before Kasatkin showed due interest in the proletariat. The Wanderers, closely associated with populism, focused on the peasantry ... It was for them the central historical figure, the arbiter of the historical destinies of Russia.

Wanderer Kasatkin, artistic activity which began in the 80s, following his teacher - the inspirer of the “wanderers”, Perov, at the beginning of his creative work, also pays a certain tribute to peasant hobbies (“Rival”, “Repurchase”, etc.). But at the same time, in the works of Kasatkin in the 90s, it is planned new topic teak. Increasingly, workers are beginning to appear in his canvases. What prompted Kasatkin to do this? Is the new starting point in his work accidental? To trace the many years of artistic and creative activity of Kasatkin means to link his work with the events of the 90s, when Kasatkin took shape and became stronger as an artist. Frequent trips of the artist Kasatkin to the Donbass during these years were of decisive importance in all his further creative work.

In the Donbass, Kasatkin saw the hard labor of the miners, saw how they were mercilessly exploited by the capitalists (, Pastukhovs, etc.). Donbass, enslaved by capitalism, then made Kasatkin strong impression: the themes of miner's life and work worried him until the end of his creative activity. Having chosen the mining theme, Kasatkin remained faithful to it until his death. He establishes the closest and most organic connection with the Donbass. Throughout the 1990s, the artist came almost every year to sketch, to collect materials for new paintings. Kasatkin shows big interest to the hard life of the miners, to their hard labor; the life of miners becomes close to him. Great importance here it also has the fact that the artist himself once went through a difficult labor path.

Born into the family of a master lithographer, Kasatkin himself experienced poverty and various hardships as a child. All this contributed more to bringing Kasatkin closer to the proletariat. If now the work theme, creative trips of artists from Moscow, Kiev, Kharkov to working-class areas are a common phenomenon, then Kasatkin’s trips to the workers’ Donbass in those years should be considered as a phenomenon of undoubtedly revolutionary significance. In the Donbass, the artist Kasatkin had to work in the most unfavorable conditions: endure various hardships and failures.

The owners of the mines looked suspiciously when some “outsider” appeared on the territory of their mines with a sketchbook over his shoulder; for some reason he made countless sketches of dirty miners covered with coal dust, and had some conversations with them. All this worried them: "Nothing would come of it ... away from sin." And they did not particularly willingly let him into their possessions. In almost all of his letters to his family, Kasatkin complains about the difficult conditions he has to work in the Donbass. Here he writes from his last trip in 1899 (Sofia mine, Khartsizsk station): “It is so hard at the mine that I could not stay to work. In Yuzovka we were arrested (there is a labor movement and a strike! ..). Everything is locked up and the plant is standing still.” But difficulties and failures do not stop Kasatkin, and soon the results of his hard work begin to show.

Frequent stay of the artist in the midst of mining life, stubborn creative work ensure its success works of art. Acquaintance with the Donbass contributes to the fact that Kasatkin's paintings are truthful, reach the viewer, excite him and draw attention to the artist's work, especially since showing the worker, as a new topic, was perceived in a new way.

True, ten years earlier famous artist"Wanderer" Repin gave his exciting "Barge Haulers". But there before us are not yet representatives of the working class.

In 1894, Kasatkin gives his best capital picture "Coal Miners" (Change), which then made, perhaps, no less an impression than Repin's "Barge Haulers". For the first time in art, Kasatkin confidently depicts a worker to his full height, which the Wanderers overlooked.

The painting "Coal Miners" depicts the moment of change of miners: one part, tired and exhausted - exhausting work underground, with lamps not yet extinguished, leaves the tub; waiting near the crate new shift workers, with butts and jelongs in their hands. The dark tones in which the picture is painted enhance its emotional expressiveness. With extraordinary truthfulness, Kasatkin managed to depict the hard labor conditions of these harsh-looking, exhausted miners.

The painting "Coal Miners" immediately put forward Kasatkin for that special place which he occupies until his death. “Here we have another job. This is the miner "Luka Khromoy", already physically crippled by merciless capitalist exploitation, with twisted, shaking knees, with the butt of a "God help you" smoke lamp ... - He is ready to go further. to continue his work in the mine, where injury, and perhaps death, awaits him at every step because of the criminal attitude of the owner of the mine to the working conditions of the miner.

Here we have another picture - "Puller" (Sledger), where the artist depicts a teenager crawling in a mine, who drags a heavy sled loaded with coal attached to the hook of his belt-straps. The picture gives a vivid idea of ​​the work of lugers. The luger, who in the conditions of Soviet reality left the stage, in the old Donbass was one of the central figures coal production. Being twelve or fifteen hours underground, the luger dragged on all fours along the face a sledge loaded to capacity with coal.

Only one "Miner" stands out from a number of these gloomy pictures of the same type. In Shakhtarka, Kasatkin gives the appearance of a healthy, smiling girl, obviously recently arrived to work from the village. Need, adversity had not yet had time to leave their mark on her. These paintings were a huge contribution to Russian art and made Kasatkin widely popular among the working people. The bourgeoisie, on the contrary, coldly and reservedly met each new work of Kasatkin, especially where he showed the proletariat. Well-known, for example, the owner art gallery in Moscow, capitalist Tsvetkov, after inspection the best picture Kasatkin's “Coal Miners”, was not satisfied with it and advised the artist to paint more sun, give joyful colors and less black coal and some “chimney sweeps” in his paintings.

The bourgeois press hushed up in every possible way, ignored the work of Kasatkin. She more willingly encouraged and supported those artists of the "Wanderers" who had lost all elements of revolutionism, smoothed out in the paintings social contradictions and tried to make their paintings acceptable, pleasing to the bourgeois consumer. But the artist Kasatkin was a little embarrassed by such an assessment, such an attitude. He did not retreat before his plans, which were associated with the epic of labor. To do this, he continued his trips to the mines of Donbass, where he tirelessly collected material for new ideas. In order to better understand and appreciate the work of the artist Kasatkin, it is necessary to be more familiar with some biographical data from his life.

N. A. Kasatkin, born in 1859, went through a difficult life path. Having been addicted to drawing since childhood, Kasatkin entered the Moscow School of Painting at the age of fourteen. After leaving school, in 1878, he dreams of entering the Academy of Arts. But it remained a dream for him. Fame also did not come immediately. Nobody buys his paintings. Only in 1888, finally, the capitalist Tretyakov, the owner of the art gallery, buys the painting "Rivals". In the same year, Kasatkin became a permanent member of the partnership traveling exhibitions.

The revolutionary upsurge of 1905 is vividly reflected in his work. He gives a number of paintings consonant with the time (“After the search”, “ Last way spy"). The reaction that followed after 1905 temporarily suspended the creative scope of the artist. Kasatkin is temporarily silent.

The October Revolution causes a new upsurge of Kasatkin's creative forces. His intense work October revolution is even more organically connected with the working class. Among his favorite subjects, the artist includes the type of new young Komsomol pioneers; he creates a whole series of paintings, for example, "Our Komsomol Youth". This is one of his successful works of the post-October period.

In 1924, Kasatkin once again returned to his favorite mining theme. This time he travels to England and brings back a whole cycle of sketches, sketches from the life and struggle of English miners. Kasatkin, one of the first artists (1922), deservedly received the title of People's Artist of the Republic. Staying true to the vows artistic realism, public artist A. Kasatkin throughout his fifty years of activity, right up to his death, gave his strength to the proletariat.

The old Donbass with its hard labor is a thing of the past. A new socialist Donbass has grown in its place. New cities, mines, factories are being created. The riches of the depths of the Donbass are revealed more widely. A new, proletarian culture is growing. New people are growing.

The October Revolution unleashed everything creative possibilities the proletariat. If before the October Revolution we knew only one artist depicting the Donbass - Kasatkin, then after October we see something completely different. On the one hand, under Soviet conditions in the Donbass, young talented artists are emerging and growing: Golovaty, Kravtsov, Grushkin, Mishchenko, Bendrik, Kozodoev and others, and, on the other hand, artists from Moscow, Leningrad, Kiev, Kharkov come here.

If Kasatkin's trips to the Donbass were an unusual phenomenon in the old days, then the trips of Soviet artists to industrial areas our country and in particular in the Donbass are no longer surprising. This is one of the combat, regular works, standing in terms of all creative activity. Soviet artist. Here it is necessary to separately indicate the artists of Moscow: Zhuravlev V., Petrov I., who, following the example of Kasatkin, periodically visit the Donbass, and for a long time on the spot study the new, changing environment, new people of the Donbass. Of the artists of Ukraine, Azovsky, Kozik, Cherkassky and others can be noted. An indicator of the general upsurge of the socialist culture of Donbass should be the forthcoming exhibition "Donbass in Painting". The socialist Donbass must find its own artistic display in canvases best artists USSR, participants of this exhibition.

In connection with the preparation, one cannot pass by the artist Kasatkin. It is necessary to pay great attention to the legacy left by the artist. It is necessary that the working people of Donbass become more familiar with the works of Kasatkin, where the old Donbass, which has gone irrevocably into the distant past, with its inhuman exploitation, rude morals, the political lack of rights of workers and "dogs" is shown so vividly, truthfully, with artistic persuasiveness. In the exhibition being prepared, the works of the first singer of the proletariat of the old Donbass, the People's Artist of the Republic, N. A. Kasatkin, should be widely presented.

• V. Zolotarev, "Literary Donbass", - 1936. - No. 1 (January - February)

Kasatkin Nikolai Alekseevich (1859-1930)

N. A. Kasatkin for the first time in the history of Russian traditional painting created, back in the early 1900s, a kind of gallery of images-types of workers, revolutionary proletarians, for which he was valued and protected by the young Soviet power, elevated to the patriarchs of the picturesque socialist realism, one of the first to be awarded the title (1923)" folk artist republics".

The son of a prominent Moscow engraver A. A. Kasatkin, he studied at the MUZhVZ (since 1873) under V. G. Perov and I. M. Pryanishnikov. Received in 1883 the highest award schools - a large silver medal and the title of artist for the painting "Beggars on the church porch".

After graduating from college, Kasatkin was invited to work in his publishing house by the largest Russian book publisher I. D. Sytin, where the artist worked for about thirty years, participating in the creation of "Russian History in Pictures", the first desktop calendar, etc.

The artist, of course, was greatly influenced by Leo Tolstoy, whom he met in the early 1880s. Warm friendly relations were sealed by mutual interest and attention to each other's work, to social aspects the life of society. Probably, this can also explain the indispensable literary nature of the plots of Kasatkin's works.

Since 1891, the artist has become a member of the TPES and a regular participant in the exhibitions of this association. It is during this period that main topic in the work of Kasatkin - the life of workers and the urban poor. He paints the paintings "Worker's Family" (1891), "Heavy (Petrel)" (1892), "In the Corridor of the District Court" (1897, awarded a silver medal for world exhibition in Paris in 1900), "The prisoners on a date" (1899) and others.

Since 1894 began teaching activity Kasatkin at MUZhVZ, which lasted more than twenty years (until 1917). The artist enjoyed the love and respect of students. Among his students are such later famous masters as B. V. Ioganson, V. V. Meshkov and others. "(1894), "Coal miners. Change" (1895), "Coal Miner" (1896), "Forge" (1897), "Ural Worker" (1899), "In the Worker's Family" (1890s), etc. .

The artist responds to the events of the 1905 revolution by writing a number of revolutionary-romantic works: "Anxious", "A militant worker", "The Last Path of a Spy", "The Selfless Victim of the Revolution", "Student", "After the Search" (all 1905) . These and other works by Kasatkin became for a long time models for artists - adherents of socialist realism.

In 1906 Kasatkin visited Finland, Norway and Sweden. In 1908-10. traveled through Italy and Turkey, working a lot and fruitfully. After the October Revolution, Kasatkin was actively involved in social and cultural activities: he designed mass festivities, was an artist-instructor of the department of public education of the Sokolniki district council (since 1918), created a regional art studio for workers, taught.

In the 1920s painted portraits-types: "For study" (1925), "Hero of Defense of the USSR", "Komsomol-pioneer leader", "Komsomol-worker's faculty" (all late 1920s). In 1930, giving explanations in the Museum of the Revolution to his new painting"Carian tragedy", Kasatkin died suddenly. In history Soviet art there remained a legend about an artist who created "the right way", an artist - a symbol of socialist realism.

Artist's paintings

In a working family

The girl at the fence

Female portrait

Kasatkin Nikolai Alekseevich

Nikolai Alekseevich Kasatkin(December 13 (25), Moscow - December 17, Moscow) - Russian realist painter, member of the Association of Wanderers since 1891, the first people's artist of the RSFSR (1923), one of the founders of socialist realism. He graduated (1873-1883), where his main mentor was V. G. Perov.

Biography

Nikolai Alekseevich Kasatkin was born in Moscow on December 13 (25), 1859 in the family of the lithographer A. A. Kasatkin. In 1873-1883 he studied at the School of Painting, Sculpture and Architecture, where his mentors were the Wanderers Vasily Perov and Illarion Pryanishnikov. Since 1891 he became a member of the Association of the Wanderers. In 1883, Kasatkin received the highest award of the school - a large silver medal and the title of an artist for the painting "Beggars on the church porch". In 1894 and 1895 he visited the Donbass. In 1894-1917 Kasatkin worked as a teacher in his native School. In addition, after graduating from the college, Kasatkin was invited to work in his publishing house by the largest Russian book publisher I. D. Sytin, where the artist worked for about thirty years, participating in the creation of Russian History in Pictures, the first desktop calendar, etc.

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See what "Kasatkin Nikolai Alekseevich" is in other dictionaries:

- (1859 1930), Soviet painter. People's Artist of the Republic (1923). He studied at the MUZhVZ (1873-83) under V. G. Perov: he taught there (1894-1917), among the students of B. V. Ioganson, V. V. Meshkov. Wanderer (since 1891), member of the AHRR (since 1922). Started with... ... Art Encyclopedia

Russian painter, People's Artist of the Republic (1923). Studied at the Moscow School of Painting, Sculpture and Architecture (1873‒83) under V. G. Perov, taught there (1894‒1917). Pupils: B. V. Ioganson, V. ... ... Big soviet encyclopedia

- (1859 1930) Russian painter. Wanderer. Member of the Association of Artists of Revolutionary Russia (since 1922), People's Artist of the Republic (1923). One of the first Russian artists who realistically depicted the life and struggle of the proletariat (Coal miners. ... ... Big Encyclopedic Dictionary

Kasatkin, Nikolai Alekseevich genre painter (born in 1859), teacher at the Moscow School of Painting, Sculpture and Architecture, permanent member traveling exhibitions. IN Tretyakov Gallery there are his works: Rivals (1890), Jokes ... Biographical Dictionary

Wikipedia has articles about other people with that surname, see Kasatkin. Kasatkin, Nikolai Alekseevich ... Wikipedia

- (1859 1930), painter, People's Artist of the Republic (1923). Wanderer. One of the first among the artists of Russia turned to the life of workers, embodying bright characters in the so-called miner’s workshop created as a result of trips to the Donbass and the Urals ... ... encyclopedic Dictionary

Genus. 1859, mind. 1930. Wanderer artist, realist. Among the canvases "Coal miners. Change" (1895), "Worker militant" (1905). Member of the AHRR (Association of Artists of Revolutionary Russia) (1922), People's Artist of the Republic (1923) ... Big biographical encyclopedia

Kasatkin, Nikolai Alekseevich Date of birth: December 13 (25), 1859 Place of birth: Moscow Date of death: December 17, 1930 ... Wikipedia

Wikipedia has articles about other people with that surname, see Kasatkin. Kasatkin, Nikolai: Kasatkin, Nikolai Alekseevich (1859 1930) Russian painter; Kasatkin, Nikolai Ivanovich (born 1932) artist. See also Nikolai (Kasatkin) (1836 ... ... Wikipedia