Vasily Polenov's painting "Overgrown Pond" was painted in 1879 and has been pleasing peace and tranquility for more than 100 years. The artist depicted a pond, lost in time in the shade of centuries-old trees.
A quiet corner of Russian nature, immersed in greenery. The feeling of coolness is provided by dense crowns, their reflection in the mirror of the reservoir enlivens it and gives it a special charm. Islands of duckweed and floating leaves of water lilies adorn the “photos” of trees like vignettes.
The shores of the pond, the bridge are drawn with great care. The author uses diagonals to create volume and build perspective.
Peering into the depths of the picture, you notice the figure of a woman sitting on a bench. The presence of a stranger is nothing to worry about. Her pleasure from a summer day and a fertile place is transmitted.
You can order a reproduction of this painting in our online store. Looking at it, you will rest your soul.
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Painting by Vasily Polenov Overgrown pond: description, biography of the artist, customer reviews, other works of the author. A large catalog of paintings by Vasily Polenov on the website of the online store BigArtShop.
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Vasily Polenov was born into an old noble family. Vasily's father Dmitry Vasilievich was a famous historian, archaeologist and bibliographer. Mother Maria Alekseevna is a children's writer and amateur artist.
In the St. Petersburg house of the Polenovs, where artists, university professors, musicians, scientists gathered, an intellectual and artistic atmosphere reigned, which contributed to the formation of the personality of the future artist.
The first attempts to depict on canvas what they saw and struck the imagination date back to the mid-1850s, when the Polenov family went to the dacha in Tsarskoye Selo.
In 1855, the Polenovs moved to Imochentsy, Olonets Territory, having received land under the family division. Among the pristine northern nature, the father of the future artist built a spacious house on the banks of the Oyat River. Here Vasily got acquainted with the way of peasant life and folk art. In 1861-1863 Polenov studied at the Olonets gymnasium.
Also, Polenov's work reflected the impressions of trips to the estate of his grandmother on his mother's side in the Tambov province. She, being the daughter of the famous architect Nikolai Lvov, after the death of her parents was brought up in the house of Gabriel Derzhavin, she knew Russian poetry well and loved to tell her grandchildren Russian folk tales and epics.
A decisive role in determining the life path of Vasily was played by a meeting with Pavel Chistyakov, who taught him the basics of painting and drawing in 1859-1861.
Then Vasily studied at the same time at St. Petersburg University and the Academy of Arts. Upon graduation, having successfully completed the program, Polenov received a large gold medal and the right to travel abroad.
Polenov visited a number of private art collections in Moscow, Kiev, then went to Vienna, Munich, Venice, Florence, Naples, Rome.
In Italy, he met a major industrialist and passionate art lover Savva Ivanovich Mamontov, friendship with whom was of great importance in Polenov's life.
"Good feeling for talented people" and himself versatile gifted, Mamontov and his wife Elizaveta Grigorievna, also endowed with a sensitive soul receptive to art and rare kindness, constituted in Italy the center of a kind of artistic circle. Polenov became especially close here with Repin.
Here, in Italy, Polenov fell in love with Marusya Obolenskaya, a participant in many artistic undertakings in Mamontov's house. She died suddenly, having contracted measles from Mamontov's children. In 1873, Polenov, at the cemetery where the girl was buried, painted the sketch "Cemetery with Cypresses", which he presented to Mamontov's wife.
In the same year he took a vacation and returned to Russia. For two months he lived in Imochentsy with his parents.
In the autumn he continued his pensioner business trip in Paris. His stay in Paris coincided with the first appearances of the Impressionists. There was a desire to "start all over again." Polenov goes to the north of France, to Normandy, to the sea, to the small town of Veul. For a month and a half from July to September 1874, Polenov painted many excellent landscapes and studies there.
During his retirement, Polenov also worked on several sketches for various historical subjects.
Summing up the results of his life abroad, Polenov, among the tried and tested genres of painting: historical, genre, landscape, marina, portrait, animals, chose the landscape genre of everyday life, determining that his talent was closest to this.
But in his subsequent paintings, one will also feel closeness to wandering (after a trip abroad, while relaxing in Imochentsy, he painted a portrait of the storyteller of epics Nikita Bogdanov). Participation in 1876 as part of the Russian volunteer army in the struggle of the Serbs for liberation from the Turkish yoke will also affect his work (he will write several battle scenes). In 1880, Polenov turned to architectural creativity: he took part in the design, construction and interior decoration of the church. He made a sketch of the iconostasis and several paintings for it.
In 1881, Polenov began work on the painting "Christ and the Sinner". To recreate the historically true situation of events related to the life of Christ, Polenov travels to Egypt, Syria, Palestine, and visits Greece along the way. During the journey, he created many sketches that have an independent character. They reflect the artist's individual perception of architectural or landscape motifs, they are filled with emotional power, thanks to which natural motifs have acquired an almost symbolic sound. Etudes of 1881-1882 were exhibited as a single collection at the XIII exhibition of the Wanderers in 1885.
In the winter of 1883-1884, Polenov lived in Rome, creating sketches of Roman Jews. In 1885, in the estate near Podolsk, where the artist spent his summers, he worked on a charcoal drawing on canvas in the size of a future painting. The picture itself was painted during 1886-1887 in Moscow, in the office of Savva Mamontov in the house on Sadovo-Spasskaya.
In parallel with the work on the creation of the picture from 1882, Polenov taught at the Moscow School of Painting, Sculpture and Architecture, replacing Savrasov, and led his class until 1895.
In 1899, Polenov began work on a series of paintings from the life of Christ.
He made a second trip to the East. The main theme of almost all the paintings of the cycle is the atmosphere of harmony in an ideally beautiful country, the harmony of human relations among the harmony of nature.
Polenov sought to bring art and beauty into life, to introduce them to all people living on the planet. This united the artist with Savva Mamontov; in 1900, together with him, he set about creating the Section for Assistance to Factory and Village Theaters at the Moscow Society of People's Universities.
In 1908, his work on the paintings of the gospel series, which he considered "the main work of his life," was completed. 58 paintings of the cycle were shown in St. Petersburg, then 64 paintings were exhibited in Moscow and other cities. The exhibitions were a great success.
It was sometimes difficult for the artist, and sometimes impossible, to convey his thoughts and feelings by means of fine arts, and in parallel with working on a series of paintings from the life of Christ, he worked on the manuscript "Jesus from Galilee", as well as on a literary and scientific work - an explanation for the painting "Among teachers." During the period of work on the gospel cycle, he created spiritual musical compositions - the Vespers and the Liturgy.
In 1915, according to the project of Polenov, a house was built on Presnya for a section of folk theaters with scenery and costume workshops and a theater hall (in 1921 it received the name Vasily Dmitrievich Polenov House of Theater Education). The artist worked in the section until the October Revolution.
Polenov's educational activities are also connected with his manor house, built according to his own design on the banks of the Oka. The compositional-spatial solution of the house had no analogies to the Russian estate architecture of the 19th century. Each of the interiors of the house is just as individual - a portrait room, a library, a dining room, an office, a workshop. The taste and skill of the artist, his creative individuality, his aestheticism were invested in the decoration of each of them, in any of its details. The originality of the interiors was emphasized by ancient musical instruments from the collection, which the artist painstakingly collected throughout his life. Thus, painting and architecture, music and theater, and applied arts were combined in Polenov's house.
From the very beginning, the house was intended not only to accommodate the large family of the artist and friends and students who came to visit him, but was built as a museum and an art gallery, which was to house the collections of several generations of the Polenov family. The house was supposed to become the cultural center of the entire district, a kind of folk academy of arts. All equipment for the museum (cabinets, showcases, shelves) was made by local craftsmen according to Polenov's drawings and drawings.
The museum was opened to visitors, and the artist himself liked to lead tours of it, showing numerous art galleries in which one could see Polenov's works from different years, the works of his friends and students. After the revolution, Polenov organized a number of theater circles among the peasants in Borka and Tarusa. Performances were regularly staged in the manor house.
The last great artistic work of the seventy-seven-year-old Polenov was a diorama - a small light theater with illuminated paintings of a round-the-world trip, to create which the artist used his sketches, brought from trips to different countries and Russia. He designed and made with his own hands a portable folding box for the diorama and himself showed it to schools in the area.
In Bork in 1924 Polenov celebrated his eightieth birthday. The news came here that he had been awarded the title of People's Artist. Vasily Dmitrievich Polenov died in 1927.
The texture of the canvas, high-quality paints and large-format printing allow our reproductions of Vasily Polenov to be as good as the original. The canvas will be stretched on a special stretcher, after which the picture can be framed in a baguette of your choice.
overgrown pond
1 option for writing a description
V. Polenov's painting "Overgrown Pond" brings peace, harmony and tranquility. When creating it, the artist used dark tones, but this does not make it gloomy, rather, on the contrary, it is lively and open. Most of all on the canvas there is a green color.
But what is shown in this picture? Why is she so eye-catching? The plot is pretty simple. An old pond with lilies floating in it and a bridge going forward, to which a path leads. From all sides it is surrounded by tall, dense and green crowns of trees.
But what conclusion can be drawn, arguing about the picture depicted in the painting by V. Polenov "Overgrown Pond"? What season did the author want to show? What is the meaning of this canvas? The pond, temptingly gleaming with the smooth surface of the water, beckons a casual passer-by to itself. Judging by the lush greenery, we can conclude that now is the very beginning of summer or the end of spring. It is at this time that nature reaches its apogee. Most likely, it is dear to the heart, calm, quietly fumbling with foliage, a summer evening. The picture of Russian nature, the very one that surrounds us from childhood, is close to every person and evokes deep thoughts about life and naive, romantic dreams about the future.
Option 2 essay 6th and 5th grade.
In 1879, the great Russian artist Vasily Dmitrievich Polenov painted the painting "Overgrown Pond". And so far it is considered the most popular work of this author. Most striking in this picture is the amazingly accurately conveyed beauty and tranquility of pristine nature. For a moment it may seem that you are now there: you breathe in the fresh air, feel the warmth from the sun, listen to the birds sing and enjoy the incredible beauty of this place.
In the foreground of the picture is a shore covered with young green grass and white flowers. Next to it is a pond with dark green opaque water. This is an old pond. And on its surface grow water lilies with already blossoming flowers. If you look closely, you can see how reeds, trees, a bridge and even the blue sky are reflected on the smooth surface of the water like in a mirror. It is amazing how accurately the author conveys the beauty of nature.
In the background of the picture is the other side. It is overgrown with reeds and it is impossible to approach it. Behind him is a dense and dense forest. When you look at it, the first thing that catches your eye is an old and mighty poplar that grows away from other trees. Near the poplar there is a bridge. It is made very skillfully and you can immediately see the person who made it a jack of all trades. Probably, in those days when water lilies did not yet grow in the water, and the pond was clean and not abandoned, children came here to swim and jump from this bridge.
The only person depicted in the picture is a girl. She is sitting on a bench with an open book in her hands. Probably, the girl wanted to retire with her thoughts and therefore came to this abandoned place. Or she just wanted to enjoy nature. Or maybe this is a meeting place for a romantic date, and she is waiting for someone. This is the beauty of this picture, everyone comes up with its description.
When you look at the painting “Overgrown Pond”, you involuntarily begin to feel calm and peaceful. Perhaps this is exactly what the author of the picture was trying to achieve. And that's why he uses green so much. With the help of this picture, the author tries to show his feelings: delight in the landscape, love for nature, thirst for life.
I really liked this picture. This is exactly the work of Polenov, which you want to look at for hours. The incredible accuracy with which the author conveyed the beauty of this place and makes this picture especially beautiful.
6, 5 grade.
- Composition on the painting by Kustodiev Maslenitsa 5, grade 7 description
- Composition based on the painting by Tolstoy Flowers, fruits, bird Grade 5 (description)
The painting by the Russian artist and Count Fyodor Tolstoy “Flowers, fruits, a bird” is a still life by genre. A famous artist painted his work in St. Petersburg
Composition based on the painting by V. D. Polenov “Overgrown Pond”
Vasily Dmitrievich Polenov is known as a talented artist, an outstanding painter, the author of paintings that have gained worldwide fame. According to one of the critics of that time, "Polenov has an excellent command of the art and technique of depicting nature ...". Versatilely gifted, having received a good education, he could become both a historian and a musician, but he chose the career of an artist for himself. He painted historical themes, panoramic views, portraits and, of course, landscapes. The painting "Overgrown Pond" was painted in 1879 based on a sketch made in 1877 near Kiev in the village of Petrushki. The plot with a pond, a reservoir and a number of growing trees was often used by Polenov in writing canvases.
At first glance, it seems that the picture is made only in green of various shades. The predominance of green in the landscape - this was the feeling of the artist when writing the sketch. So it happened at that moment: the position of the sun, the falling shadow, the abundance of greenery, the viewpoint. The lyrical mood evoked by the landscape was created by a poetically minded author. The romantic artist was able to convey his love for the beauties of nature, his elegiac mood, the charm of a sunny summer day. All Polenov's landscapes are connected by the presence of a person, real or possible. So this picture shows a small part of the pond, a forest on the shore, bridges and in the depths of the picture - a bench with a girl sitting on it. The girl has an open book in her hands. This detail adds romanticism to the plot. Once the pond was clean, well-groomed, adults and children came here to swim. A trodden sandy path running out of the forest, a bench for rest, wooden bridges for tying boats and for diving, the remains of some kind of structure in the form of a crossbar. But without proper care, the pond began to overgrow and now no one wants to swim in it.
Once a favorite place of rest is falling into disrepair. But for solitude it is remarkably convenient here, so the girl is alone on an old bench in an abandoned park, she reads a book and indulges in dreams. Perhaps she came to visit for the summer, walking, wandered to the shore of the pond. Perhaps this place is familiar to her since childhood, here she bathed and walked once. It is known that his sister posed for the artist.
In the foreground of the picture is a part of the shore of the reservoir with carefully traced details. Each blade of grass, each flower, each petal of a camomile is meticulously detailed by the artist. Next is the water surface of the old pond. On the surface of the dark, opaque water, there are green, yellow, reddish leaves of water lilies with blooming flowers, islands of duckweed, mud, and a log nailed to the shore. Water lilies are perfectly traced on all planes of the picture to emphasize the contrast of dark water and light colors. The far shore is overgrown with reeds (more precisely, it is not reeds, but calamus - a marsh root) so that there is absolutely no approach to it. The surface of the water is so calm and smooth that trees, reeds, grass, a piece of the sky and even footbridges are reflected in it, like in a mirror. In the background of the picture is a dense forest with old trees, which the park has turned into over time. A mighty hollow poplar grows near the walkways, around which young poplar shoots grow. The trees have grown so large that they become crowded, those growing on the shore leaned towards the water, as if the forest was pushing them out. The elements of this plan are vague, the image of very distant trees is blurred. The image is real, because from afar it is impossible to see the details, the details merge, and the artist reflected what he saw. Using different shades of green, the artist skillfully applied chiaroscuro, which form the outlines of trees. Behind the contour of the forest, you can see a piece of blue sky, over which white clouds float. The sunny haze of a summer day hides between the crowns of trees. Polenov used blue and purple as transitional colors from blue to green. An airy haze of a bluish color spreads between the branches, plays blue foliage from the sun's rays. The grass on the shore is saturated with sunlight, it casts an emerald. The canvas is saturated with air, Polenov managed to fill the picture with light and freedom of space. Looking at the canvas, I want to take a deep breath and feel the charm of fresh air and sunlight. The sounds hidden in the canvas are echoed by the singing of birds, the knock of a woodpecker on a tree, the rustle of leaves, the buzzing of insects, the croaking of frogs. They can be heard while admiring the wonderful painting by Polenov.
The landscape breathes peace and tranquility. The day seems to be created for relaxation and enjoyment of the beauties of nature. A woman immersed in reading and a park with a pond become one, in which the mysterious world of nature and the world of the female soul are intertwined. At the same time, while maintaining their personal secret, they harmoniously complement each other, the forest under the green cover protects the fragile woman, accepts her as part of her.
Later, Polenov painted another painting, Pond in the Park, similar in theme to Overgrown Pond.
The painting is exhibited at the State Tretyakov Gallery in Moscow.
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The canvas struck with its lyricism and a feeling of sincere love for Russian nature, silence and tranquility. The painting "Overgrown Pond" was painted by the great Russian artist Vasily Polenov in 1879 and at the same time was demonstrated at the seventeenth traveling exhibition, falling in love with all connoisseurs of true art.
When painting a picture, Polenov, with his inherent great talent, uses all sorts of shades of rich emerald green, depicting a mysterious corner of a century-old park. The dark green color in the shade of the park freely shimmers into the most delicate range, illuminated by the rays of the midday sun, the tops of the trees in the distance. Shades of green-emerald range are distinguished by their peculiar beauty and many incredible nuances. On the canvas of the artist you will not find two identical shades.
The paintings of Vasily Polenov fascinate with a philosophical outlook on life, love for the world and Russian nature. They teach us to appreciate the beauty of the world around us.
Mysteriousness and tranquility are inherent in the pond, overgrown with delicate water lilies and green tentacles of algae. You look at the landscape and imagine how late in the evening, around midnight, mermaids sit on a wooden bridge, lowering their scaly tails into the darkness of the water, combing their long silky hair with slow smooth movements and patiently waiting for a lost passerby.
The other bank, although overgrown with tall grass and modest wildflowers, is illuminated by bright rays that have broken through the crowns of tall trees. There is an irresistible desire to take off your shoes and walk on the grass, feeling an inextricable connection with your native land.
In the depths, a bright female figure is visible. The girl sits on a bench, and in her solitude does not notice anything around, having gone into her memories of the past, or maybe she is already thinking about the future. What does it bring to her? Who knows? What will the quiet breeze whisper to her, quietly slipping between the trees, in this corner of the park by the pond overgrown with mud?
The place is really conducive to reflection: hidden calmness and only a barely audible splash of a fish that has gone into the depths, or a quiet call of birdies are easily woven into a sensitive silence. Even a light breeze does not disturb this peace. There are no ripples on the water, neither a leaf nor a blade of grass stirs. Everything seemed to freeze.
Looking into the corner of a long-term shady park, you seem to be imbued with a sense of the harmony of life, admiring the beauty and grandeur of nature. A dreamy mood descends on the soul. This mood also corresponds to the figure of a woman in a light dress, which, like a ray, can be seen in the background of the picture. The age-old trees that seemed to surround her, as if offering her refuge from the gloomy thoughts of life. The lyrics of the picture are expressed in the unity of nature and the female soul, their silent inner dialogue.
From the depths of memory, lines from A.S. Pushkin's poems involuntarily arise. - "My sadness is bright."
The landscape is built on a highly emotional and visual impression. A brightly lit green lawn, with daisies, illuminated by a dim sun, is located next to the mystery of parkland.
Through the haze-covered trees, you can see the blueness of the high sky with the lambs of clouds, as a contrast to the centuries-old trees of the ancient park.
Now the canvas "Overgrown Pond" by the truly Russian artist Vasily Polenov is on display at the State Tretyakov Gallery in Moscow.
This Polenov landscape is one of three paintings that represent a lyrical-philosophical trilogy created in 1878-79, which includes the following paintings: Grandmother's Garden, Moscow Courtyard and Overgrown Pond.
Polenov spends the summer of 1877 in the village of Petrushki near Kiev. A sketch was written here, which became the basis of the picture.
The sketch lay until the autumn of 1878. At this time, Polenov moved from the Arbat to the then Moscow outskirts, to Khamovniki. A little later, Leo Tolstoy also settled here, having bought a manor nearby. Many who know about Tolstoy's ideas, which were so to Polenov's liking, call this coincidence prophetic. But they met much later.
Khamovniki, with the beauty of the old garden, struck the imagination of the artist. These impressions were reflected in the picture.
Old footbridges with a path trampled down almost to whiteness give the image of the pond a nostalgic sound. The model for the figure of a woman was the artist's sister, V. D. Khrushchev.
Academic tradition makes itself felt in the compositional construction of the picture. In accordance with this tradition, the artist builds two plans - a background, written rather "approximately", and a detailed front.
In the image of the old park, solemn in its monumental majesty, an elevated dreamy mood prevails. It is emphasized by the fragile, motionless, thoughtful figure of a woman, standing out alone against the background of dark trees, spread out in a mighty tent and, as it were, serving her as a safe haven. The lyrics of the landscape motif become more distinct due to the unified mood of the mysterious world of nature and the world of the female soul, their peculiar dialogue.
One of the critics of Moskovskie Vedomosti wrote about the painting: “Polenov has an excellent command of the art and technique of depicting nature, the ideal center for him is still a person, and his presence is felt everywhere. So in the picture “Overgrown Pond” it is not a pond at all ... This pond has its own history ... In this picture, the romantic again affected. It would be very difficult to determine with accuracy the category under which Mr. Polenov's painting should be placed ... Polenov's painting is what the Germans call Stimmungsbild, such paintings are designed to give you, first of all, a mood and make up painting is about the same as an elegy in poetry.
In the landscape, Polenov's desire for emotional and visual contrasts is noticeable. Bright green, with detailed daisies in the foreground, the sunny lawn is adjacent to the mysterious depth of the dark masses of trees. Through the trees covered with an airy haze, the blue of the sky with white clouds opens up, serving as a contrast to the dark trees of the park. The diversity of the landscape, close to the style of landscapes of the early 19th century, its romantic mystery, the unexpectedness of combinations of its bright sunny and shaded parts, were based on a system of plein air painting, built to the finest nuances, developed by the artist in the etude “Pond in the Park”. (1876).
Water lilies, as well as the details of the coast, are spelled out very carefully; these everyday images contrast with the solemn image of the park, which is lost outside the picture. At the heart of the picture are gradations of the same green color masterfully played by the artist. In its finest nuances, Polenov again acts as an unsurpassed master colorist.
The painting was shown in 1879 at the 17th traveling exhibition, the audience was delighted. Polenov's student Isaac Levitan painted a similar picture, calling it the same.
