Russian painting as a reflection of the worldview of the Russian people and its centuries-old history. The development of painting in the XIII - XV centuries

From the editor of the Russian edition The publishing house "Text" in different years published the following books related to the life and work of Marc Chagall: Marc Chagall on Art and Culture. Ed. Benjamin Harshava; Marc Chagall. My world. Chagall's first autobiography. Ed. Benjamin

The beginning of the history of Russian painting is considered to be the era of the adoption of Christianity - the end of the 10th century. With the ideology of Christianity in Russia, the traditions of Byzantine pictorial art spread, which will remain dominant until the 15th century. Musiy images (musiy - made on a dyeing tree) are first made by visiting masters from Greece, who train talented Russian youths. One of them is the Monk Alympius of the Caves, the first Russian icon painter.

The strict supervision of church authorities, allowing only the copying of Greek models and suppressing any attempts to deviate from the canon, slows down the development of pictorial art for a long time. Until the 15th century, there was only one school of painting - Korsun (Greek). But in the 15th century, the situation changed due to the spread of European ones, decorated with polytypes and engravings. This period includes the work of Andrei Rublev, a representative of the Byzantine school, the author of the murals of the Moscow Annunciation Cathedral, the cathedrals of the Trinity-Sergius Lavra, etc.

In the 17th century, the backwardness of the Russian icon-painting school became obvious even to the church authorities. Sovereign Alexei Mikhailovich invites Western masters who are able to paint from life to paint the palace chambers - such a skill was absolutely absent in the domestic school. Simon Ushakov, the royal icon painter, is trying to combine Byzantine and European techniques and creates a new icon painting style - Fryazhsky.
XVII century. The beginning of the development of secular painting
From the 17th century, secular painting began to develop in Russia, especially decisively - during the reign of Peter the Great. In Italy and Holland, Matveev, Zakharov, the Nikitin brothers are studying the Western style of writing, engraving and drawing classes are opened at the Academy of Sciences.

Fashion, the desire for luxury became the reason for the high demand for painting during the time of Elizabeth Petrovna. But the works of foreign artists are in demand - Russian painters are far behind in skill.

In 1757, the Academy of Arts was founded in St. Petersburg with 5 departments: painting, sculpture and sculpture, engraving, medal art (making coins and medals), and architecture. People of all classes and even women were accepted into it (with the consent of the father or husband) - such was the need for domestic talents. However, the French teaching leadership for a long time determined the main types of painting - historical and heroic landscape in the style of Poussins and Claude Lorrain, which caused the monotony and high conventionality of images.

But development, albeit slowly, goes on. In the portraits of the best artists of that time, Levitsky, Borovikovsky, Rokotov, Kiprensky, the truthfulness of nature is becoming clearer. D. G. Levitsky becomes the most fashionable portrait painter of the times of Catherine II. His ceremonial, very beautiful works are in great demand in the aristocratic environment, a characteristic example of Levitsky's manner is a full-length portrait of Catherine II. Orest Kiprensky is ranked among the best Russian portrait painters. His best works are the portrait of Thordvalsen, the paintings "Sibyl Tiburtinskaya", "Girl with Fruits", etc.

For a very long time, until the first half of the 19th century, Russian painting remained predominantly imitative. The painters copied the techniques and subjects of the French, Italian (Bologna) masters. The reason was an academic education and a secular request, which, like the church authorities, instilled ideas of imitation.

The first artists who took a step towards independence and liveliness of the image were Basin, Warnek, Bruni. However, a fundamental break from the tradition of classicism is made by Karl Bryullov, who wrote The Last Day of Pompeii. Bryullov managed to arouse interest in living art in society, and his romantic manner of writing became a harbinger of Russian realism.

XIX century. The formation of national painting
The second half of the 19th century is characterized by the constant growth of love and simple interest in art. There are many exhibitions. Wealthy connoisseurs appear, buying up canvases and forming private galleries. There are private drawing schools.

In 1825, a department of Russian painting was organized in open access in the Hermitage. The break with imitative academicism is expressed in the appeal to everyday and peasant life, the plots of simple reality. And although in the paintings of Venetsianov it is rather a search for beauty than, they are of great importance for the formation of the Russian realistic school.

In 1863, a group of artists led by Kramskoy, condemning the policy of the Academy of Arts, left its composition, and in 1872 they formed the "association of traveling exhibitions", in the future - the center of the national Russian school of painting. Over time, the most talented and original artists adjoin them.

During these years, the Tretyakov Gallery appeared, many museums not only in both capitals, but also in provincial cities. The dominant direction is becoming socially tendentious, designed to portray, influencing, fighting, denouncing and preaching. The ideas of literature and social thought inspired the paintings of Perov, Pukirev, Pryanishnikov, Korzukhin, Savitsky, Myasoedov, Klodt.

Time for a change

The end of the 19th - the beginning of the 20th century is the time of revolutionary changes and the expectation of the revival of Russia. During this period, the famous “Bogatyrs” by Vasnetsov and “Cossacks” by Repin, “Suvorov’s Crossing the Alps” by Surikov appeared. The paintings express the patriotic ideas of national greatness and the innermost thought of its revival.

But not only the appeal to the great pages of history is characteristic of a time of great change. The younger Wanderers - S. Korovin, S. Ivanov, N. Kasatkin and others - turn to deaf life, creating sharply social, revolutionary in their truthfulness canvases.

The brilliant flowering of Russian culture in the second half of the 19th century was also clearly manifested in the fine arts, realistic art, truly folk, deeply national. It was humanistic art, permeated with the ideas of the revolutionary liberation movement, reflecting the struggle of the sixties and populists against serfdom and autocracy, which had a great public resonance in the democratic circles of the Russian intelligentsia. Dedicated to the people, it spoke to them in a truthful, simple and clear language. Never before have Russian artists had such a huge and grateful audience.

Fine art was imbued with the ideas of the liberation struggle of the people, responded to the demands of life and actively invaded life. Realism was finally established in the visual arts - a truthful and comprehensive reflection of the life of the people, the desire to rebuild this life on the basis of equality and justice. The second half of the 19th century was an important stage in the development of Russian fine arts. It has become truly great, actively invading life and reflecting it, or solving the problems posed by time.

In Russian painting, there were two main trends, which are usually called "academic", expressing noble-bourgeois views, and "wandering", i.e. democratic.

The personification of routine was seen in the Academy of Arts, dependent on court circles, which turned out to be aloof from the rise of public consciousness. The Academy stood guard over obsolete traditions, "high" style and "high" themes - from ancient mythology, religious, pseudo-historical. She was afraid of the close contact of art with modern life.

In paintings from Russian reality, which have been appearing in increasing numbers since the late 1950s and early 1960s, accusatory features are intensifying; there is a growing critical realism, a desire to interfere in life and to influence it in the interests of the people.

The second half of the 19th century is the time of the formation of a realistic, national, democratic direction in the visual arts, this is the time of the life and work of outstanding Russian artists who have made a huge contribution to the development of Russian fine arts.

Typical for the painting of the 60s was the figure of V. G. Perov (1833-1882). He is the brightest representative of the accusatory trend in painting. His role in the development of national realistic art was very significant both before and especially after the 1960s. Perov's name has become popular since the last pre-reform years, when one after another his canvases began to appear, dedicated to different aspects of Russian life, depicting various social types, sharply denouncing the bureaucracy, the clergy ("Arrival of the policeman for investigation", 1857; "First rank", 1860 ; in 1861-1862 - "Rural religious procession for Easter", "Sermon in the village", "Tea drinking in Mytishchi"). In 1865-1868. Perov’s paintings “Seeing the Dead Man”, “Troika”, “Arrival of the Governess to the Merchant’s House”, “The Drowned Woman”, “The Last Tavern at the Outpost” appeared, where the artist’s attention was drawn to the hard lot of the peasantry, to the victims of social injustice. The sympathy of the artist is undoubtedly on the side of the peasant, whose image is clearly idealized. Later, Perov moved on to genre themes that were neutral in the public sense (“Bird-catcher”, “Hunters at Rest”), he also proved to be an excellent portrait painter (portraits of A. N. Ostrovsky, V. I. Dahl, M. P. Pogodin, I. S. Turgenev, the famous portrait of F. M. Dostoevsky is one of the pinnacles of portraiture). The work of V. G. Perov is distinguished by incorruptible truthfulness, deep feeling, the gift of psychological penetration.

The ideological and social atmosphere of the era affected the memorable events of 1863, which led to a break with the Academy of Arts of a group of gifted young artists.

The group of artists consisted of thirteen painters (I. N. Kramskoy, A. I. Korzukhin, A. I. Morozov, F. S. Zhuravlev, K. E. Makovsky and others) and one sculptor (V. P. Kreytan) . I. N. Kramskoy (1837-1887) was its inspirer and leader.

The "rebellion" of the fourteen, their decision to organize themselves into a free artistic artel, alerted the government. By the "highest command", the "actions of these young people" and "the direction of the society composed by them" were monitored. The artel of St. Petersburg artists was a professional association that carried out all kinds of orders, and at the same time a household commune and, most importantly, an ideological and artistic center; here, as it were, the public opinion of the artistic environment was formed at that stage. Artel arranged exhibitions of paintings, which were very popular with the public.

The work of the artel turned out to be difficult and complex: economic motives for some of its members eventually became predominant, while the principled side receded into the background. Friction began to arise within the artel. In 1870, Kramskoy left the artel; it lasted a few more years, but no longer had its former significance. It is noteworthy that in the mid-60s in St. Petersburg for some time there was a second artistic artel, which arose following the example of the initiative of Kramskoy and his comrades. V. M. Maksimov, A. A. Kiselev (future Wanderers), N. A. Koshelev and others belonged to it.

Members of both artels, the first in particular, largely determined the nature of the painting of the 60s, turned to Russian reality, imbued with heartfelt attention to the life and experiences of ordinary people. But they do not exhaust the circle of artists of the sixties of the new realistic school. The best paintings by N. V. Nevrev (1830-1904), who are kindred in spirit to Perov, such as “Torg” (the sale of a young peasant woman by a landowner) and a series of paintings belong to the 60s. In the same period, the work of the satirist artist, the everyday writer of the urban poor L. I. Solomatkin (1837-1883) unfolded. V. G. Schwartz (1838-1869) blazed new trails in historical painting, introducing into it the features of realism, psychologism, and, to a certain extent, accusation; he owns the outstanding painting "Spring train of the queen on a pilgrimage under Tsar Alexei Mikhailovich" (1868), a number of works about the time of Ivan IV. Another historical painter K.D. Flavitsky (1830-1866), who remained within the framework of the academic direction, nevertheless, in the sensational painting “Princess Tarakanova” (1864), was influenced by the democratic school of painting.

The art movement of the 1960s paved the way for the formation of a fellowship of traveling art exhibitions.

The initiative to create this association, which played a huge role in Russian culture, belonged to G. G. Myasoedov (1834 or 1835-1911). In November 1870, the charter of the Association was approved, a year later its first exhibition opened in St. Petersburg. The scope of the Association's activities gradually expanded. The number of cities visited by the exhibition of the Wanderers increased several times by the 80s. The idea, important in itself, of moving exhibitions, bringing art closer to more or less broad sections of the population, and not only Russian, but also Ukrainian, Lithuanian, Latvian, etc., far from exhausted the tasks of a new, still unprecedented in nature, association, which , not distinguished by the complete internal unity of all participants, nevertheless was formed and acted in fact on the basis of certain essential general principles and aspirations. The Association consistently defended the principles of critical realism and nationality.

The people were the protagonist of many Wanderers paintings. Some Wanderers paid great attention to the life of the city. Since the mid-1970s, works devoted to the labor of workers and working types have appeared in Wanderer art. Advanced social circles met with exceptional interest and sympathy the formation of the Association of the Wanderers. Reactionary circles, on the contrary, showed an unfriendly attitude towards the Wanderers. The most successful exhibitions turned into major not only artistic, but also social events. During the first quarter of a century of their existence, traveling exhibitions were visited by more than a million people.

In the field of genre, such Wanderers as Myasoedov (mainly at the first stage of their work), Maksimov, Savitsky and others worked, and the most prominent place in genre paintings belonged to the peasant theme.

Unlike Maksimov or Myasoedov, V. E. Makovsky (1846-1920) devoted himself mainly to the urban genre. The name of the artist N. A. Yaroshenko (1846-1898) is also associated with the development of the urban genre. He was one of the ideological leaders of the Association. He belonged to those artists who most closely connected their work with the socio-political movement of the era.

Portraiture, it must be emphasized, occupied a significant, in some cases, the main place in the work of a number of Wanderers. The outstanding master of the portrait was I.N. Kramskoy. The work on the portrait opened before him, like other Wanderers, the possibility of showing a positive figure of our time - prominent representatives of culture in the first place.

At the beginning of the 70s, the great artist I. E. Repin (1844-1930) made his first major works. A brilliant master of drawing and composition, constantly striving for improvement, an artist of great temperament, Repin especially emphasized the role of ideas, content in art.

A number of Repin's genres are imbued with sincere sympathy for the feat of revolutionary fighters ("Under guard", 1876; "The arrest of a propagandist", 1878-1892; "Refusal of confession", 1879-1885; "They did not wait", 1883 and 1884-1888, etc. .). The great psychological gift of Repin was reflected in the huge and diverse gallery of portraits he created. Repin, a portrait painter, with inimitable depth, strength, accuracy, captured the appearance of the most prominent representatives of literature and the public, music, painting and theater. The ruling elite of tsarist Russia at the turn of the two centuries was depicted with merciless truthfulness by Repin in the group portrait “The Ceremonial Meeting of the State Council” and in sketches for it. Repin belongs to the remarkable Russian historical painters.

By the beginning of the 90s, the painting “Cossacks composing a letter to the Turkish Sultan” was completed (in the most famous version) (the second painting on the same topic was completed by the artist in 1896). The idea of ​​​​the artist when creating the picture was to glorify the love of freedom of the people, the uplift of spirit and energy experienced by them in the struggle for independence and liberty.

The history of Russian painting knows many highly talented artists. But there was not a single one in whose paintings the depth of thoughts and feelings would be combined with such pictorial skill as Repin's. Repin is the most profound, the most exciting among all the masters of Russian painting of the recent past, and in the history of our art he has taken a very special place. Stasov described him as follows: “He has his own, special look and feeling, and only then is he strong and significant when he expresses this feeling. And this feeling consists in comprehending and transmitting the masses of people.

Historical painting was given mainly to the work of another great artist, V. I. Surikov (1848-1916). The highest flowering of his creative forces belongs to the 80-90s. 19th century ladies Surikov was an artist of the masses. The mass, the crowd of Surikov was never faceless, he endowed each of the participants with deeply individual features.

Long before the appearance of battle-historical paintings by Surikov, V. V. Vereshchagin (1842-1904) won worldwide fame in battle painting. Vereshchagin personally participated in the operations of Russian troops in Central Asia in the 60s, in the Balkans in the late 70s. He created cycles of paintings dedicated to military operations in Turkestan and the Russian-Turkish war. The work of Vereshchagin marked a new stage in Russian and world battle painting. Stasov described him as follows: "... a painter of such a warehouse that no one had seen or heard of him before either here or in Europe." He set himself the goal of exposing war as an instrument of violence, a terrible disaster for mankind.

The new thing that Vereshchagin introduced, of course, also consisted in the fact that he was primarily interested not in the army tops, but in the rank and file. Vereshchagin made the people the hero of his paintings. His work denouncing the war had a serious impact on the minds. Of considerable interest is the series of paintings created by Vereshchagin in the 90s about the Patriotic War of 1812. Previously painted by Vereshchagin paintings and sketches of the Indian cycle.

V. M. Vasnetsov (1848-1926) said his special word in Russian painting, in particular historical painting. He entered the history of painting as an artist of the Russian folk epic, epic, fairy tales. Based on The Tale of Igor's Campaign, the painting "After the Battle of Igor Svyatoslavich with the Polovtsy" (1878-1880) was painted, followed by "The Battle of the Russians with the Scythians" (1879-1881), "The Knight at the Crossroads" (1878-1882). The famous “Alyonushka”, one of the most sincere creations of painting, appeared at a traveling exhibition in 1881. For about two decades, Vasnetsov worked on the painting “Bogatyrs” (completed in 1898), which gave a particularly complete personification of the beauty, power, meaning of our native images , our Russian nature and man, the expression of which the artist recognized as the task of art. By 1882-1885. Vasnetsov's outstanding work in the field of monumental and decorative painting belongs to the painting of the Stone Age hall in the Historical Museum in Moscow. For a number of years (1885-1896) Vasnetsov was busy painting the Vladimir Cathedral in Kyiv. And in this discount, the high skill of the artist was manifested.

A rich section of the fine arts of the era was landscape painting. Outstanding values ​​in the field of landscape were created by many artists who were not "specialists" in landscape painting, for whom the landscape usually played the role of the background of the picture. Sometimes the landscape turned out to be the most generally recognized side in the artist's work. At the same time, the landscape was an independent branch of art, to which many figures gave their all or their strength.

A place of honor in the development of landscape painting was taken by the realistic landscape of the Wanderers. They are characterized by an appeal to their native nature. Instead of exotic, “ceremonial” landscapes (Italian, Swiss, etc.), to which academic artists gravitated, the Wanderers established a national theme in the landscape, they revealed beauty in the simple and natural that surrounded them everyday. In the landscapes of the Wanderers, a kind of social subtext was often felt and perceived. The viewer, following the artist, saw and felt those people, that mass of people who lived surrounded by nature painted on canvas.

One of the founders of the itinerant landscape was I. I. Shishkin (1832-1898). The most important representative of the epic line in landscape painting, Shishkin, with exceptional knowledge and skill, painted with rare love mainly the forest of central and northern Russia, revealed the wealth, breadth, power of the nature of the Motherland. "Pine Forest" (1872), "Rye", (1878), "Among the Flat Valley" (1883), "Pine Trees Illuminated by the Sun" (1886), "Morning in a Pine Forest" (1889), "Ship Grove" ( 1898) belong to the most popular paintings by Shishkin, people's artist was seen in cathars.

Another of the founders of landscape painting, the Wanderers, A. K. Savrasov (1830-1897). Savrasov opened the lyrical line of the Russian landscape. His painting “The Rooks Have Arrived!”, shown at the 1st traveling exhibition, was perceived as a revelation due to its unprecedented sincerity, poetry, modest and natural beauty. The paintings "Country Road" (1873), "Rainbow" (1875) supported the fame of the artist-poet, at the same time a talented teacher who played a big role in educating a whole galaxy of painters.

II Levitan (1860-1900) belongs to a younger generation of artists. Levitan enthusiastically loved his native nature, deeply felt the "infinite beauty of the environment." With all-conquering power, he conveyed the feelings and moods aroused by nature in man. The most complex range of experiences is expressed in his canvases. Levitan understood the feelings of the progressive people of his era, their pain for the suffering of their homeland. The civic theme found a particularly vivid, although peculiar in nature of landscape painting, reflection in the famous painting “Vladimirka” (1892), inspired by the fate of thousands of exiles. Levitan's favorite works by the people also include "Evening on the Volga" (1888), "At the pool" (1892), "Above Eternal Peace" (1894), "Golden Autumn" (1895), "Summer Evening" (1899), " Lake. Russia" (1899-1900).

During the second half of the XIX century. the activity of the famous marine painter I. K. Aivazovsky, which began in the 1930s, continued. Under his influence, the talent of another artist of the sea developed, at the same time the artist-historiographer of the Russian fleet A.P. Bogolyubov (1824-1896).

The achievements of landscape painting delighted art lovers. But, on the other hand, the constant increase towards the end of the century in the proportion of the landscape inspired some anxiety. Anxiety was expressed in the press, especially in connection with the more or less noticeable impoverishment of the social genre. In the impoverishment of the genre, in the fact that sharp, exciting pictures from modern life now appeared less often at traveling exhibitions, a certain lowering of the ideological and social level of the activity of the Association of the Wanderers had its effect. In turn, the latter circumstance depended on the entire socio-political situation. The Association of the Wanderers showed hesitation, a passion for "neutral" topics. If some of the old Wanderers were confused to one degree or another, then among the young Wanderers generation there appeared artists who were sensitive to new social phenomena. They did not limit themselves to what their predecessors had achieved and sought to expand and renew the range of themes and images.

S. A. Korovin (1858-1908), an artist of a peasant and partly a soldier theme, in the famous painting “On the World” and numerous sketches and sketches for it (1883-1893) artistically and convincingly reflected the social stratification in the post-reform village. The peasant theme dominated the work of one of the greatest masters of the late 19th and early 20th centuries. A. E. Arkhipov (1862-1930), genre and landscape painter. In the young generation of artists associated in a certain period with the Association of the Wanderers, the figure of V.A. Serov (1865-1911) stood out very early. Valentin Serov, already at the age of 22-23, created such masterpieces as “Girl with Peaches” (portrait of Vera Mamontova, 1887), “Girl, Illuminated by the Sun”, authentic poems about bright youth. Serov is a brilliant master who worked in various fields of art.

The era of the "Wanderers" was late compared to the beginning of artistic realism in literature; but it ends at about the same time, in the 80s and 90s, and before the same pressure of the new generation. A new break in traditions and the revolt of the youth of the 1990s. repeats the rebellion of the Wanderers themselves against the generation of academicians that preceded them. But that uprising took as its slogan the creation of a Russian national school. Youth uprising in the 90s becomes under the banner of cosmopolitanism. It must be said that the Wanderers themselves greatly facilitated the protest against themselves, which was brewing in the new generation. In the mid-70s, they were no longer those provocative Protestants and fighters, which were the organizers of the "Artel" of the 60s. Their ardor subsided along with their success.

However, the sympathies of the advanced Russian society were invariably on the side of the Wanderers, because in their work the Russian intelligentsia and the common people saw spokesmen for their interests. The achievements and conquests of Russian painting in the second half of the 19th century, in which Russian artists showed themselves, are of great importance and unique value in Russian fine art. Picturesque works created by Russian artists have enriched Russian culture forever.

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Great names of Russian painting

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In the discipline "Culturology"

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2011

1. Introduction ………………………………………………………………...2
2. The development of art in XIII…………………………………………………4
3. Art at the turn of XI V-XV ………………………………………....5
4. Art XVI…………………………………………………………..7
5. Development of art in X V II century………………………………………..7
6. Art in XV III……………………………………………………...10
7. Art XIX - early XX century………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………
8. The development of art in the revolutionary era of the USSR…………………16
9. Conclusion…………………………………………………………………17
10. References………………………………………………………..18

Introduction

Love painting, poets!

Only she, the only one, is given

Souls of changeable signs

Transfer to canvas.

Nikolay Zabolotsky.

Nikolai Zabolotsky quite rightly notes that any changes in the social space are reflected in the works of poets, writers, painters, public figures

Among the many types of art, there are three special ones, the most, in my opinion, the main ones: literature, music, fine arts. Word, sound, image - all other forms of art are impossible without them: neither a performance, nor a film, nor a variety concert. They listen to music, readers imagine the heroes of literary works mentally, in their imagination. And we see works of fine art with our eyes. It is the oldest of the three main ones people did not yet know how to speak, but images were already created, rock paintings, for example. Fine art is created by artists. They depict the world as we all see it, and as it is seen by a single person, the artist himself. Everything can be depicted: the visible world of objects, people, animals, and the invisible world of feelings - joy and sorrow, truth and lies, good and evil. . The history of our state can be studied not only on the basis of documents, on the basis of artifacts, but also on the artistic heritage of great ancestors. Painting is no exception. To write the essay, I used "Essays on Russian culture IX-XVIIcenturies" (authors A.V. Muravyov, A.M. Sakharov), "Essays on the history of Russian culture of the XVIIIcentury" B.I. Krasnobaeva, "History of Russian art" V.N. Alexandrova. These books give the main stages of the history of the culture of our country, their features and distinctive features. The development of culture is considered as part of history, which helps to reveal the objective patterns of the historical process. In different eras in Russia, such outstanding painters as Andrey Rublev, Dionisy, Levitsky and Rokotov, Kiprensky and Fedotov, Bryulov and Ivanov, Repin and Surikov, Vrubel and Serov and many other masters who brought the Russian artistic culture genuine and indisputable glory.

Russian painting has undergone many changes during its formation, but has retained its originality, within the framework of this project, I consider it necessary to trace the process of the formation of the Russian tradition in painting.

Target: to review the work of great Russian artists (from the 14th to the 20th century) in the context of the socio-cultural characteristics of the period of creativity of an artist. Theoretical object of study: representatives of Russian painting represented by artists, schools, trends

Development of art in XIII

Russian art in general, and Russian painting in particular, emerged from the art of Kievan Rus, which still cannot be called completely original, because together with Christianity, Prince Vladimir brought artistic traditions from Byzantium. They are intricately intertwined with pagan culture, gradually changing over time. The most important sources of Russian art at the stage of its formation were folk decorative and fine arts, as well as Byzantine samples. The rapid social, political and cultural development of the Russian lands leads to the creative processing of these sources and to the emergence of an original and majestic style in architecture, fresco, and decorative art in Russia. The development of original Russian icon painting begins. But in the XIII century, in connection with the Mongol-Tatar invasion, these processes in culture slowed down, and even stopped, a significant part of the monuments of pre-Mongolian Russian culture was irretrievably lost. The Mongol invasion, destroying many Russian cities, caused enormous damage to Russian urban culture, but from the middle of the XI V centuries are marked by signs of rebirth. At the turn of XI V-XV For centuries, Moscow knew not only the works of Constantinople masters, but the works of South Slavic artists: one of the greatest painters of that time, Theophanes the Greek, who arrived from Novgorod as a well-established master, worked here. The skill of Theophan the Greek caused the desire of Moscow painters to imitate him. Many works by Theophanes the Greek have not come down to us, except for the icons of the Annunciation Cathedral.

Art at the turn of XI V-XV

The rise of Moscow art prepared the work of the great Russian artist Andrei Rublev. The most important milestone in the art of the turn of the XI V-XV centuries was the formation of the Moscow school of painting, which was headed by the outstanding artist Andrei Rublev. In his icons and paintings, Rublev developed such a perfect artistic language that during the 15th century his style became the leading one.

Unfortunately, it is not known exactly when Andrei Rublev was born. Most researchers conditionally consider 1360 as the date of birth of the artist. Andrei Rublev was a monk of the Trinity-Sergius, and then the Spas-Andronikov monasteries. In 1405, together with Theophan the Greek and Prokhor from Gorodets, he painted the Cathedral of the Annunciation. The domineering, stern, emotionally rich pictorial language of Theophan, violating traditional iconographic schemes, an extraordinary change of images, could not but make a deep impression on Rublev. It is significant that the name of Rublev in the annals of that time is mentioned in third place. From this we can conclude that at that time Andrei Rublev was not only the youngest, but also the least known author.

Andrei Rublev and under his leadership painted many temples, and also painted a number of deesis, holiday and prophetic icons.

In 1425 14 27 Rublev together with Daniel Cherny and other masters paintedTrinity Cathedral of the Trinity-Sergius Monasteryand created the icons of its iconostasis. The icons have been preserved; they are executed in different manners and are unequal in artistic qualities. The time when new internecine wars were brewing in Russia and the harmonious ideal of man, which had developed in the previous period, did not find support in reality, and affected the work of Rublev. In a number of works, Rublev managed to create impressive images, they feel dramatic notes that were not previously characteristic of him (“The Apostle Paul”). Some sources call the painting of the Spassky CathedralAndronikov Monastery(in the spring of 1428; only fragments of ornaments have survived) by Rublev's last work.

A number of works are also attributed to him, the belonging of which to Rublev’s brush has not been definitely proven: frescoesCathedral of the Assumption on the "Gorodok"in Zvenigorod (end of the 14th beginning of the 15th centuries; fragments have been preserved), icons Our Lady of Vladimir (ca. 1409 , Assumption Cathedral, Vladimir), "The Savior in the Force" ( 1408 , Tretyakov Gallery), part of the icons of the festive rite (“Annunciation”, “Nativity of Christ”, “Meeting”, “Baptism”, “Resurrection of Lazarus”, “Transfiguration”, “Entrance to Jerusalem” all about 1405 ) Annunciation Cathedral of the Moscow Kremlin (the iconostasis of this cathedral, according to the latest research, comes fromSimonov Monastery), part of the thumbnails "Gospel Khitrovo"(about 1395, Russian State Library, Moscow).

Rublev's work is one of the pinnacles of Russian and world culture. The most famous work of Rublev is the icon "Trinity", written in 1425-1427 for the Trinity-Sergius Monastery. The plot is based on a biblical legend that tells how three beautiful young men appeared to the elder Abraham, and how he, together with his wife Sarah, treated them under the canopy of the Mamrian oak. In Rublev's icon, everything secondary and insignificant is discarded, there are no figures of Abraham and Sarah, numerous dishes, only three figures of angels remain. The middle of the angels is Christ. All three figures form a circle. The picture is very calm, but at the same time, a consistent and clear rhythm of circular motion, to which the whole composition is subordinated, the colors are pure and harmonious. The combination of green, blue and yellow chosen by Rublev, as well as the color of ripe rye, has never before sounded so bright in Russian painting.

Thus, the Moscow school of icon painting differs from the Novgorod icons in the spirituality of images, the flexibility of figures, and the harmonic consistency of color. Unlike the energetic reds, yellows, whites, navy blues, and olive greens that Novgorod masters constantly resort to, Moscow painting is dominated by light transparent tones and shades of blue, golden brown, pale green, cherry brown and lilac.

In the work of Andrei Rublev, Russian art took a huge and very important step towards the formation of a realistic beginning with individual freedom of artistic creativity, the harsh ascetic tradition of Byzantine art was overcome. The works of Andrei Rublev are humanistic, they reveal the beauty and strength of the human soul, they are imbued with love for man.

Art XVI

In the 80s XV century, a Russian centralized state is formed and the remnants of dependence on the Mongol-Tatar khans disappear, Moscow becomes the capital of a large state. Its importance as a center uniting the cultural heritage of the reunited lands is growing. The main task of art is the glorification of Russia, which gives political meaning to many works of art. X V I century. Leading position in painting at the end of X V century was occupied by the Moscow school. The centralization of power and the strengthening of the role of the church in the life of the state led to an even greater subordination of art to the official ideology. These phenomena manifested themselves to a certain extent in the work of the largest Moscow master of the late X V beginning X V I century - Dionysius. He was most likely born in 1440, unlike Andrei Rublev, he was not a monk. His two sons Vladimir and Theodosius were also painters and helped him in his work. The creative activity of Dionysius was closely connected with the highest secular and spiritual circles of the state. The master fulfilled the most important orders of the Metropolitan and the Grand Duke, in particular in connection with the victory won in 1480 over the army of the Tatar Khan Akhmat. With the greatest completeness of Dionisy's creativity, it was reflected in the murals of the Ferapontov Monastery, this painting is dedicated to the theme of praise of the Mother of God. Bright combinations of colors, colorful patterns of clothes, a lot of herbs and flowers depicted create a festive and solemn impression. The art of Dionysius, with all its splendor, loses some remarkable qualities compared to the Rublev era: if Rublev was primarily interested in the inner, spiritual world of a person, Dionysius has a desire for external beauty and decorative splendor.

Development of art in X V II century.

In Russian painting X VI century is noticed glad innovations favorable for the further development of art. Russian masters for the first time begin to reproduce pictures of everyday life, nature and people in their modern form. Thus, in the painting of the 16th century, features appear that prepared the development of the realistic beginnings of the 10th century. V II century.

For a long time in the literature, the view of X V The 2nd century, as at the time of the decline of ancient Russian painting, the art of this time, when compared with the time of Andrei Rublev and Theophan the Greek, was considered as lower in terms of strength and means of artistic representation.Indeed in painting X V II century there are no works marked by such perfection of the composition of pictorial skill and spirituality as in the work of the great masters of the X V-XV I centuries. The Time of Troubles, the “rebellious age”, the church schism, all these events influenced the development of Russian art X V II century.

X V The 2nd century is a turning point in history in the field of painting, then extremely important processes took place, primarily the desire for “secularization”, the strengthening of secular elements, and the trend towards realism.

The highest stage of development of pictorial art in X VII century is associated with the activities of the outstanding artist Simon Ushakov (1626-1686). A native of the townspeople, Simon Ushakov worked in the Armory and was elevated to the rank of nobility. The significance of this master is not limited to the numerous works he created, in which he sought to overcome artistic dogma and achieve a truthful image - "as it happens in life."

Evidence of the advanced views of Ushakov is written by him, obviously, in the 60s, "Word to the lover of icon painting." In this treatise, Ushakov highly appreciates the appointment of an artist who is able to create images of "all smart creatures and things ... to create these images with different perfection and through various arts to make the intention easily visible."

Above all the “arts existing on earth”, Ushakov considers painting, which “because it surpasses all other types, because it depicts the object represented more delicately and more vividly, conveying all its qualities more clearly ...”.
Ushakov likens painting to a mirror reflecting life and all objects

“A Word to the Lover of Icon Painting” was dedicated by the Ushakovs to Joseph Vladimirovich, a Moscow painter, a native of Yaroslavl, who enjoyed considerable fame in the 1940s and 1960s. Iosif Vladimirov is the author of an earlier treatise on icon painting, in which he, although not as clearly as Ushakov, also declared himself: a supporter of innovations and demanded greater vitality in art.

Ushakov - an artist, scientist, theologian, teacher - was a man of a new era, a new type of thinker and creator. Being an innovator in art, he at the same time understood the value of the ancient traditions of Russian culture and carefully guarded them. It was precisely because of these qualities, marked by a rare breadth of views, that he was able to stand at the head of Russian art for more than thirty years.

Being engaged in the education of students and in every possible way trying to convey his knowledge to them, he even conceived the publication of a detailed anatomical atlas. “Having the talent of icon painting from the Lord God ... I didn’t want to hide it in the ground ... but I tried ... to fulfill with skillful icon painting that alphabet of art, which includes all the members of the human body, which are required in various cases in our art, and decided to carve them on copper boards...” Ushakov wrote about his plan, but the atlas, apparently, was not published.

From the first years of independent creativity, Ushakov's interest in depicting a human face was determined. The famous work of Ushakov is his “The Savior Not Made by Hands”, in which the artist depicted a classically correct face, its volume is very well conveyed, the fabric on which, according to church giving, the image of Christ arose.

Persistently repeating this theme, the artist strove to get rid of the conventional canons of the icon-painting image and achieve a flesh-colored complexion, a restrained but clearly expressed three-dimensional construction and almost classical regularity of features. True, the icons of the Savior by Ushakov lack the spirituality of Russian icons of the XIV-XV centuries, but this is to a certain extent redeemed by the sincere effort of the artist to recreate a living human face on the icon as believably as possible.

Ushakov painted an icon of Our Lady of Vladimir, called "The Planting of the Tree of the Russian State" (1668). This icon should be considered a picture of the triumph of Russian statehood. In the lower part of it are depicted - the wall of the Moscow Kremlin, behind it the Assumption Cathedral, the main shrine of the Russian state. At the foot of the cathedral, Prince Ivan Kalita, the collector of Russian lands, and Metropolitan Peter, who was the first to transfer the metropolitan see from Vladimir to Moscow, are planting the tree of the Russian state. On its branches there are medallions with portraits of all the most significant political figures of Ancient Russia. In the central, largest medallion, there is an icon of Our Lady of Vladimir, revered as the patroness of Moscow. Below, on the Kremlin wall, are Tsar Alexei Mikhailovich and Tsarina Maria Ilyinichna with Tsarevich Alexei and Fyodor. Portraits of the king and queen Ushakov tried to make, perhaps, more similar.

Information about a number of portraits painted by Ushakov has been preserved. Some of them were executed in the technique of oil painting, new to ancient Russian art. Unfortunately, so far none of these portraits have been found. To characterize the extremely versatile personality of Ushakov, it should be noted that he was not only a theoretician, painter, draftsman - “signner”, the author of many drawings for engravings reproduced by Russian engravers of the second half of the 17th century, but, apparently, he engraved: he is credited with sheets “Fatherland” (Trinity) and “Seven deadly sins” engraved in the 60s on copper with a dry needle.

Ushakov had a great influence on the development of Russian painting at the end of X V II century, when his students Grigory Zinoviev, Tikhon Filatiev, Fyodor Zubov performed a number of works in the spirit of Ushakov's traditions. A remarkable phenomenon in the history of Russian art X V II century was the school of Yaroslavl masters. Here the influence of secular, townsman culture was clearly manifested. The range of plots has expanded, the secular beginning resolutely invades the church-dogmatic. Artists boldly use familiar images of Russian life in scenes of sacred history: a peasant horse is depicted in the scene of Cain plowing, reapers in pink and blue shirts are waving Russian sickles. The Church fiercely resisted the new direction in painting, but this could no longer prevent her from being freed from church icon painting traditions.

Art in X V III

At the end of X V II beginning of X V III century, Russian art is undergoing a decisive turning point, there is a transition from medieval religious forms to secular ones, close to the European art of modern times. Russian artists, quickly mastering European models, introducing their understanding of form and national content into them. In 1757, the Imperial Academy of Arts was established, which took up the education of highly qualified artists who combined in their work the experience and artistic heritage of previous generations with the needs of Russian artistic life. The Baroque style is becoming widespread in the art of Russia, the leading genre of painting and graphics is becoming a portrait, historical and landscape genres are also developing significantly.

I would like to dwell in more detail on the work of Dmitry Grigorievich Levitsky (1735-1822).Already in his early works, he showed himself to be a first-class master of the formal portrait, able to find an expressive pose and gesture, to combine the intensity of color with tonal unity and richness of shades.

Fame came to the artist in 1770, when at an exhibition at the St. Petersburg Academy of Arts, the public saw 6 first-class portraits of his brush. Among them, special attention was drawn to the ceremonial portrait of the architect A.F. Kokorinov (1769), the author of the project for the building of the Academy of Arts and its first director.

For this portrait, Levitsky was awarded the title of academician of painting. Then he was offered to head the portrait class of the Academy of Arts, the head of which he remained until 1788. The gallery of portraits of his contemporaries created by the artist brought him well-deserved fame.

In the 1780s, the artist created a unique portrait gallery of figures of Russian culture. The intimate portraits of Levitsky, created during the heyday of the artist's work (mid-1770s early 1780s), are especially warm. Also in 1773 the master painted a portrait of D. Diderot, which impressed his contemporaries with his lifelike persuasiveness, exceptional truthfulness in recreating the image of the philosopher. The encyclopedist, writer and critic is shown by Levitsky very simply: Diderot is depicted without a wig, bald, with folds of skin under his eyes, but the strong and complex nature of a person hidden behind external features comes to the fore. The face testifies to creative talent, courage, fortitude and inquisitive mind. One of Levitsky's best creations is the portrait of the young M. Dyakova (1778), poetic, cheerful, painted in a rich range of warm colors.

Realism and humanistic character of advanced Russian art XVIII centuries were fully manifested in the work of D.G. Levitsky.

Art 19th - early 20th century

In the first half of the 19th century, the development of art in Russia was significantly influenced by socio-historical processes - the national patriotic upsurge associated with the victory over Napoleon in the Patriotic War of 1812, and the emergence of the anti-monarchist movement, which resulted in the Decembrist uprising in 1825. Romantic tendencies appeared in painting (portrait, historical genre), and by the middle of the century, the democratic orientation of art (everyday genre) was intensifying. In the genre system of the Academy of Arts, everyday painting was given a third-rate importance, but the progressive Russian artist Venetsianov Alexei Gavrilovich (1780-1847) approved the everyday genre and realistic painting in general as an equal and important field of art.

Venetsianov's brush belongs to the portrait gallery of his contemporaries: the artist painted N. V. Gogol (1834), V. P. Kochubey (1830s), N. M. Karamzin (1828). For the title of academician, Venetsianov was asked to paint a portrait of the inspector of the Educational School of the Academy, K. I. Golovachevsky. A. G. Venetsianov depicted him surrounded by three boys, symbolizing the union of the “three most noble arts”: painting, sculpture and architecture. However, A. G. Venetsianov was most famous for the images of peasants he painted. "Reapers""Sleeping Shepherd", "Zakharka", "Threshing Floor", "In the Harvest". One of the best peasant portraits of Venetsianov is "Girl with cornflowers". With penetrating lyricism, Venetsianov touches the subtlest notes of a person's intimate experience, reveals his quivering spiritual world. This makes the image created by him spiritual and beautiful.

The most important place in the painting of Russia is the middle XIX century is occupied by the artist Karl Pavlovich Bryullov, who created portraits of Countess Samoilova, E.P. Saltykova, O.P. Ferzen, K.A. Tonna, A.N. Lvov, he painted more than 80 portraits. His characteristic dramatic perception of life was embodied in the painting "The Last Day of Pompeii" (1830-1833).

The spread of democratic ideals among the Russian intelligentsia led to the development of new aesthetic views. Artists joined the struggle for a just social order, critical realism became widespread in painting.

An important role in the artistic life of the country in the second half of the 19th century was played by the Association of Traveling Art Exhibitions, founded in 1870.

The partnership united around itself all the best painters and sculptors of the second half of the 19th - early 20th century. These are Perov and Kramskoy, Myasoedov and V. Makovsky, Savitsky and Maximov, Pryanishnikov and Ge, Savrasov and Shishkin, Kuindzhi and Dubovskoy, V. Vasnetsov and Polenov, Kostandi and Pimonenko, Gun and Nevrev, Repin and Surikov, Serov and Levitan, Yaroshenko and Nesterov, Kasatkin and S. Ivanov, Pozen and Andreev, Popov and Arkhipov, Baksheev and Byalynitsky-Birulya and many others. Antokolsky, Vereshchagin, K. Korovin, S. Korovin, Malyavin and others participated as exhibitors at some exhibitions of the Wanderers.
In the 1970s and 1980s, the activity of the Partnership reached its peak. The leading place in the traveling exhibitions belonged to the paintings of Repin, as well as Surikov, Kramskoy, Polenov, Nesterov, Myasoedov, Makovsky, Perov. In their work they reflected the most significant phenomena of the surrounding reality in all their complexity and contradiction. The Wanderers had a huge impact on all aspects of the artistic life of Russia, on the formation of national art schools. Among the members of the Association and exhibitors were artists of various nationalities. Many of them became the founders of the realistic, democratic art of their peoples.

At the beginning of the 70s, for the first time, the talent of one of the great painters of the 19th century clearly and strongly manifested itself.Repin Ilya Efimovich (1844-1930). One of the first paintings by Repin, which received wide recognition, was a large group portrait Slavic composers, commissioned by the entrepreneurA. A. Porokhovshchikova.

In 1872 for the program work "The Resurrection of the Daughter of Jairus" he received the Big Gold Medal and the right to 6-year studies in Italy and France, where he completed his art education.

Since 1873 Repin travels abroad aspensioner of the Academy. In Paris he writes "Paris Cafe" and fabulous "Sadko".

The work that immediately put forward Repin in the first row of Russian artists was the painting "Barge haulers on the Volga" (1870-1873), which aroused compassion for the people oppressed by slave labor. Upon the return of Repin in 1876 from France, the period of the highest flowering of his work begins. He acts as a portrait painter, a master of everyday and historical painting. The portrait was not only the leading genre, but also the basis of Repin's work in general. Creates a gallery of images of prominent representatives of Russian social thought, science and culture. In his best portraits of V.V. Stasov, L.N. Tolstoy, M.P. Mussorgsky Repin achieves life fullness and versatility of characterization due to the amazing compositional figurativeness and activity of pictorial means. The tendency to psychological drama in depicting situations is also reflected in Repin's historical painting: "Ivan the Terrible and his son Ivan", "The Cossacks write a letter to the Turkish Sultan."

Clarity and accessibility of the most pictorial language, the highest realistic skill, the truth of characters, interest in the burning issues of our time the guarantee of the enduring value of Repin's artOf course, the history of Russian painting does not end there. The end of the 19th beginning of the 20th century was a turning point in all spheres of the social, political and spiritual life of Russia. All types of art were in favor of updating the artistic language, a style was formed that affected all the plastic arts, which was called Art Nouveau. An important role in the popularization of domestic and Western European art was played by the artists of the association "World of Art" (1898-1924), "Union of Russian Artists" (1903-1923). At the beginning of the 20th century, the latest tendencies of the West penetrated into Russian art - symbolism, primitivism, various trends in modernist art. Avant-garde associations of artists “Blue Rose”, “Jack of Diamonds”, “Donkey's Tail” appear, cubo-futurism and abstractionism are spreading.

Let us dwell on the work of Malevich Kazimir Severinovich (1878-1935). K.S. Malevich - Russian avant-garde artist , teacher, art theorist, philosopher, founder Suprematism direction in abstract art, a combination of colored simple geometric shapes (square, circle, triangle), as well as volumetric forms superimposed on a plane.

Malevich was fond of impressionism. An example is the seriespictures of the spring garden: "Blossoming apple trees", "Spring", "Spring blooming garden".In the work of Malevich at the end of the first decade XX century coexist different trends. This is impressionism, combined with Cezanneism ("River in the Forest"), and Art Nouveau, which manifested itself in sketches of fresco painting ("The Triumph of the Sky"), and ever-increasing expressionist and fauvist elements. This compaction, layering of various styles and manners on top of each other is characteristic of both the latest Russian art and Malevich's work.

At the second "Last Futuristic Exhibition of Paintings" in 1915, called "0.10 (zero-ten)" held in Petrograd, Malevich showed 39 new paintings. These were non-objective works presented under the title "New pictorial realism". Among the paintings was the famous Black Square. The “Black Square”, as conceived by Malevich, embodies the idea of ​​a new spirituality, is a kind of icon, a plastic symbol of a new religion. This was the beginning of Suprematism.

Malevich died on May 15, 1935. The urn with his ashes was buried near the dacha in Nemchinovka. The location is marked with a white cube with a black square on it.

The art of the pre-revolutionary years in Russia is marked by the unusual complexity and inconsistency of artistic searches, but along with experimenters in the field of abstract forms, the “World of Art”, “Blue Bears”, “allies” continued to work in Russian art of that time. There was also a powerful stream of neoclassical currents, an example of which is the work of Zinaida Evgenievna Serebryakova. It has its roots in the high national traditions of Russian art, primarily Venetsianov - "Peasants" (1914), "Harvest" (1915), "Whitening of the Canvas" (1917)

The development of art in the revolutionary era of the USSR

The revolutionary era occupies a special place in the history of Russian art. The total transformation of socio-economic and political life contributed to the entry into the arena of artistic life of the most radical areas of art. Numerous groups and individual masters have made experiment the main principle of their work. This art later received the general name of the Russian avant-garde. (Works by P.N. Filonov, A.M. Rodchenko).

By the beginning of the 1930s, the authorities had established tight control over art. The years of Stalinism are one of the most tragic periods in the history of Russia and its art. The freedom of expression of the artist was violated, the method of socialist realism was formed, the artists had to glorify the idea of ​​socialism, the triumph of collective consciousness. At the same time, with the beginning of the Great Patriotic War, artists take an active part in the fight against the enemy, showing their civic stand and patriotism. This period includes the work of such artists as A.A. Plastov, S.V. Gerasimov, A.A. Deineka. In the last years of the war, one of their best paintings was created by the Kukryniksy (the union of three artists M.V. Kupriyanov, P.N. Krylov, N.A. Sokolova) “The Flight of the Nazis from Novgorod”.

As a reaction to the rejection of socialist realism in the early 1960s, a "severe style" was formed in painting. Artists P. Nikonov, N. Andronov, V. Popkov, O. Filatchev, M. Savitsky and others, in search of the truth of life, turned to a restrained conditional form, rejecting any descriptiveness. The heroic beginning in the works of the "severe style" is born from truthfulness in the transmission of harsh working days from here and the name. V. Popkov "Builders of the Bratsk Hydroelectric Power Station". P. Nikonov "Our everyday life" and others.

Conclusion

Having studied the indicated literature, I got acquainted with the creative activity of the great Russian artists of the 15th-20th centuries, and came to the conclusion:

The obsolete forms of social organization have gone forever into the past, the structure of life and the views of people have changed, but just like several hundred years ago, modern man is excited by the marvelous creations of spiritual culture created a long time ago;

A characteristic feature of Russian artists, and above all the great masters, was the close inseparable connection of their art with social life, progressive scientific thought;

They enriched the traditions of Russian art, asserted its nationality and humanism, high moral ideals;

Russian art has always been distinguished by its citizenship and patriotism.

I believe that to know and love everything priceless that the outstanding masters of Russia have created with their talent is not only a duty, but also a duty of every modern educated person.

Thanks to the work on this topic, I became closer to the world of art.

Bibliography

1. B.I. Krasnobaev. "Essays on the history of Russian culture of the 18th century" Moscow: Education, 1987.

2. A.V. Muravyov, A.M. sugars. "Essays on the History of Russian Culture in the 9th-17th Centuries" Moscow: Enlightenment, 1984

3. V.N. Alexandrov. "History of Russian Art" Minsk: Harvest, 2007.