- this is one of the main types visual arts; represents artistic image objective world colored paints on the surface. Painting is divided into: easel, monumental and decorative.

- mainly represented by works done with oil paints on canvas (cardboard, wooden boards or bare). Represents the most mass appearance painting. It is this type that is usually applied to the term " painting".

is a technique of painting on walls when decorating buildings and architectural elements in buildings. Particularly common in Europe fresco - monumental painting on wet plaster with water-soluble paints. This drawing technique has been well known since antiquity. Later, this technique was used in the design of many Christian religious churches and their vaults.

Decorative painting - (from Latin word from decoro - to decorate) is a way of drawing and applying images to objects and interior details, walls, furniture and others decorative items. Refers to decorative and applied arts.

Possibilities pictorial art Easel painting from the 15th century, from the moment of mass use of oil paints, reveals especially clearly. It is in it that a special variety of content and deeply developed form is available. At the heart of the picturesque artistic means colors (the possibilities of paints) lie in inextricable unity with chiaroscuro and line; color and chiaroscuro are developed and developed by painting techniques with a completeness and brightness inaccessible to other types of art. This is due to the inherent realistic painting perfection of volumetric and spatial modeling, vivid and accurate representation of reality, the possibility of realizing the plots conceived by the artist (and methods of constructing compositions) and other visual advantages.

Another difference in the differences between types of painting is the technique of execution according to the types of paints. Not always enough common features for determining. The border between painting and graphics in each individual case: for example, works made in watercolors or pastels can belong to both areas, depending on the artist’s approach and the tasks he sets. Although drawings on paper are related to graphics, the use various techniques Painting sometimes blurs the differences between painting and graphics.

It must be taken into account that the semantic term “painting” itself is a word in the Russian language. It was taken for use as a term during the formation of fine art in Russia during the Baroque era. The use of the word "painting" at that time applied only to a certain type of realistic painting. But originally it comes from the church technique of painting icons, which uses the word “write” (related to writing) because this word is a translation of the meaning in Greek texts (those are “lost in translation”). Development in Russia of its own art school and the inheritance of European academic knowledge in the field of art, developed the scope of the Russian word “painting”, incorporating it into educational terminology and literary language. But in the Russian language a peculiarity of the meaning of the verb “to write” was formed in relation to writing and drawing pictures.

Genres of painting

In the course of the development of fine art, several classical genres of paintings were formed, which acquired their own characteristics and rules.

Portrait- This realistic image a person in whom the artist tries to achieve resemblance to the original. One of the most popular genres of painting. Most customers used the talent of artists to perpetuate their own image or, wanting to get an image loved one, relative, etc. Customers sought to obtain a portrait likeness (or even embellish it) leaving a visual embodiment in history. Portraits of various styles are the most popular part of the exhibition of most art museums and private collections. This genre includes such a type of portrait as self-portrait - an image of the artist himself, painted by himself.

Scenery- one of the popular painting genres in which the artist seeks to depict nature, its beauty or peculiarity. Different types of nature (the mood of the season and weather) have a bright emotional impact on any viewer - this is a psychological feature of a person. The desire to get an emotional impression from landscapes has made this genre one of the most popular in artistic creativity.

- this genre is in many ways similar to landscape, but has a key feature: the paintings depict landscapes with the participation of architectural objects, buildings or cities. A special focus is street views of cities that convey the atmosphere of a place. Another direction of this genre is the depiction of the beauty of the architecture of a particular building - its appearance or images of its interiors.

- a genre in which the main subject of the paintings is historical event or its interpretation by the artist. What’s interesting is that a huge number of paintings on a biblical theme belong to this genre. Since in the Middle Ages, biblical scenes were considered “historical” events and the main customers of these paintings were the church. "Historical" biblical subjects are present in the works of most artists. The second birth of historical painting occurs during neoclassicism, when artists turn to famous historical subjects, events from antiquity or national legends.

- reflects scenes of wars and battles. The peculiarity is not only the desire to reflect a historical event, but also to convey to the viewer the emotional elevation of feat and heroism. Subsequently, this genre also becomes political, allowing the artist to convey to the viewer his view (his attitude) on what is happening. We can see a similar effect of political emphasis and the strength of the artist’s talent in the work of V. Vereshchagin.

is a genre of painting with compositions from inanimate objects, using flowers, products, dishes. This genre is one of the latest and was formed in Dutch school painting. Perhaps its appearance is caused by the peculiarity of the Dutch school. The economic boom of the 17th century in Holland led to a desire for affordable luxury (paintings) among a significant number of the population. This situation attracted a large number of artists, causing intense competition among them. Models and workshops (people in appropriate clothes) were not available to poor artists. When painting paintings for sale, they used improvised means (objects) to compose the paintings. This situation in the history of the Dutch school is the reason for the development of genre painting.

Genre painting - the subject of the paintings are everyday scenes Everyday life or holidays, usually with the participation ordinary people. Just like still life, it became widespread among Dutch artists in the 17th century. During the period of romanticism and neoclassicism, this genre takes on a new birth; paintings strive not so much to reflect everyday life how much to romanticize it, introduce it into the plot certain meaning or morality.

Marina- a type of landscape that depicts sea views, coastal landscapes overlooking the sea, sunrises and sunsets on the sea, ships or even naval battles. Although there is also a separate battle genre, but naval battles still belong to the “marina” genre. The development and popularization of this genre can also be attributed to the Dutch school of the 17th century. He was popular in Russia thanks to the work of Aivazovsky.

— a feature of this genre is the creation realistic paintings, depicting the beauty of animals and birds. One of interesting features This genre is the presence of paintings depicting non-existent or mythical animals. Artists who specialize in images of animals are called animalists.

History of painting

The need for realistic images has existed since ancient times, but had a number of disadvantages due to the lack of technology, systematic schools and education. In ancient times, one can more often find examples of applied and monumental painting with the technique of painting on plaster. In ancient times, greater importance was attached to the talent of the performer; artists were limited in the technology of making paints and the opportunity to receive a systematic education. But already in antiquity, specialized knowledge and works were formed (Vitruvius), which will be the basis for a new flourishing European art during the Renaissance. Decorative painting received significant development during Greek and Roman antiquity (the school was lost in the Middle Ages), the level of which was reached only after the 15th century.

Painting of a Roman fresco (Pompeii, 1st century BC), an example of the level of technology of ancient painting:

The "Dark Ages" of the Middle Ages, militant Christianity and the Inquisition lead to bans on the study of the artistic heritage of antiquity. The vast experience of ancient masters, knowledge in the field of proportions, composition, architecture and sculpture are prohibited, and many artistic values destroyed because of their dedication to ancient deities. A return to the values ​​of art and science in Europe occurs only during the Renaissance (rebirth).

For artists early renaissance(revival) we have to make up for and revive the achievements and level of ancient artists. What we admire in the works of artists early Renaissance, was the level of the masters of Rome. A clear example of the loss of several centuries of development of European art (and civilization) during the " dark ages" the Middle Ages, militant Christianity and the Inquisition - the difference between these paintings of the 14th century!

The emergence and spread of the technology for making oil paints and the technique of painting with them in the 15th century gave rise to the development of easel painting and special kind artists' products - colored oil paintings on primed canvas or wood.

Painting received a huge leap in qualitative development during the Renaissance, largely thanks to the work of Leon Battista Alberti (1404-1472). He was the first to set out the foundations of perspective in painting (the treatise “On Painting” of 1436). The European art school owes to him (his work on systematizing scientific knowledge) the emergence (revival) of realistic perspective and natural proportions in artists’ paintings. Famous and familiar drawing by Leonardo da Vinci "Vitruvian Man"(human proportions) of 1493, dedicated to the systematization of Vitruvius’ ancient knowledge of proportions and composition, was created by Leonardo half a century later than Alberti’s treatise “On Painting”. And Leonardo’s work is a continuation of the development of the European (Italian) art school of the Renaissance.

But bright and mass development painting received, starting from the 16th-17th centuries, when the technique became widespread oil painting, various paint manufacturing technologies appeared and painting schools were formed. It was the system of knowledge and art education (drawing techniques), combined with the demand for works of art among the aristocracy and monarchs, that led to the rapid flourishing of fine art in Europe (the Baroque period).

The unlimited financial capabilities of European monarchies, aristocracies and entrepreneurs became an excellent basis for further development painting in the 17th-19th centuries. And the weakening influence of the church and a secular lifestyle (multiplied by the development of Protestantism) allowed the birth of many subjects, styles and movements in painting (Baroque and Rococo).

In the course of the development of fine arts, artists have formed many styles and techniques that lead to to the highest level realism in works. By the end of the 19th century (with the advent of modernist movements), interesting transformations began in painting. The availability of art education, mass competition and high demands on artists' skills by the public (and buyers) are giving rise to new directions in methods of expression. Fine art is no longer limited only by the level of technique; artists strive to bring special meanings, ways of “looking” and philosophy. What often comes at the expense of the level of performance, becomes speculation or a method of shocking. The variety of emerging styles, lively discussions and even scandals give rise to the development of interest in new forms of painting.

Modern computer (digital) drawing technologies belong to graphics and cannot be called painting, although many computer programs and equipment allow you to completely repeat any painting technique with paints.

In the second half of the 18th century, the style of classicism was formed in Russian art, which is characterized by the rigor of design, adherence to certain rules in composition, conventionality of color, the use of scenes from the Bible, ancient history and mythology. The originality of Russian classicism lay in the fact that its masters turned not only to antiquity, but also to native history that they strived for simplicity, naturalness and humanity. Classicism as a direction in Russian artistic culture undividedly established in late XVIII - early XIX centuries. This period of the heyday of classicism in the Russian history of painting is usually called high classicism. Characteristic of the painters of this time was a romantic affirmation of the beauty of the unique, individual, unusual, but the highest achievement of this era of fine art in Russia can be considered not historical painting, but a portrait (A. Argunov, A. Antropov, F. Rokotov, D. Levitsky, V. Borovikovsky, O. Kiprensky).

O.A. Kiprensky (1782-1836) discovered not only new human qualities, but also new possibilities for painting. Each of his portraits has its own special pictorial structure. Some are built on a sharp contrast of light and shadow. In others, the main pictorial means is a subtle gradation of colors that are close to each other. The paintings of K. P. Bryullov (1799-1852) are characterized by a fusion of academic classicism with romanticism, novelty of subjects, theatrical effectiveness of plastic and lighting, complexity of composition, brilliant virtuosity of the brush. The painting “The Last Day of Pompeii” (1830-1833) was widely known. The sublime beauty of man and the inevitability of his death are reflected in the picture in a tragic contradiction. A romantic character is also inherent in most of Bryullov’s portraits. The greatest master of historical painting was A.A. Ivanov gave his painting the character of sacrificial service to the idea and managed to overcome many of the templates characteristic of academic technique.

In his works he anticipated many of the quests of Russian realistic painting of the following decades.

A conscious turn of new Russian painting towards democratic realism emerged in the late 50s, together with the revolutionary enlightenment of Chernyshevsky, Dobrolyubov, Saltykov-Shchedrin. On November 9, 1863, 14 graduates of the Academy of Arts, led by I. Kramskoy, refused to paint a graduation picture on the proposed subject of “The Feast in Valhalla” and asked to be given the choice of subjects themselves. They were refused, and they defiantly left the Academy, forming an independent Artel of Artists. The second event was the creation in 1870 of the “Association of Traveling Exhibitions”, the soul of which was the same I. Kramskoy. The Wanderers were united in their rejection of “academicism” by its mythology, decorative landscapes and pompous theatricality. Genre (everyday) scenes occupied a leading place in their work. The peasantry enjoyed particular sympathy with the Wanderers. At that time - in the 60-70s. XIX century - the ideological side of art was valued higher than the aesthetic. Perhaps the greatest tribute to ideology was paid by V. G. Perov (1834-1882). Evidence of this is his paintings such as “The Arrival of the Chief for Investigation”, “Tea Party in Mytishchi”, “Troika”, “Old Parents at the Grave of their Son”. Perov painted a number of portraits of him famous contemporaries(Turgenev, Dostoevsky). Portraiture occupied the main place in Kramskoy’s work. He wrote Goncharov, Saltykov-Shchedrin. He owns one of the best portraits of Leo Tolstoy. The writer's gaze does not leave the viewer, no matter from what point he looks at the canvas.

One of the most strong works Kramskoy - painting "Christ in the Desert".

But it cannot be said that the Academy of Arts does not promote talent. The best traditions of academicism found development in grandiose historical paintings G. Semiradsky, works by the early deceased V. Smirnov, ("The Death of Nero"), magnificent paintings by the marine painter, representative of romanticism Ivan Aivazovsky. In fact, many outstanding artists emerged from the walls of the Academy. These are Repin, and Surikov, and Polenov, and Vasnetsov, and later - Serov and Vrubel.

The Peredvizhniki made genuine discoveries in landscape painting. A.K. Savrasov managed to show the beauty and subtle lyricism of a simple Russian landscape. His painting “The Rooks Have Arrived” (1871) made many contemporaries take a fresh look at native nature. The singer of the Russian forest, the epic breadth of Russian nature, became I. I. Shishkin (1832-1898). A. I. Kuindzhi (1841-1910) was attracted by the picturesque play of light and air. The mysterious light of the moon in rare clouds, the red reflections of dawn on the white walls of Ukrainian huts, slanting morning rays, breaking through the fog and playing in puddles on a muddy road - these and many other picturesque discoveries are captured on his canvases.

Russian at its peak landscape painting XIX century reached in the work of Savrasov’s student

I. I. Levitan (1860-1900). Levitan is a master of calm, quiet landscapes. A shy and vulnerable man, he knew how to relax only alone with nature, imbued with the mood of his favorite landscape.

The provincial town of Plyos on the upper Volga has become firmly entrenched in Levitan’s work. In these parts he created his canvases: “After the Rain”, “Gloomy Day”.

Peaceful evening landscapes were also painted there: “Evening on the Volga”, “Evening. Golden Reach”, “Evening Bells”, “Quiet Abode”.

In the second half of the 19th century. marks the creative flowering of I. E. Repin, V. I. Surikov and V. A. Serov.

I. E. Repin (1844-1930) was a very versatile artist. A number of monumental genre paintings belong to his brush. Perhaps no less grandiose than "Barge Haulers on the Volga" - the canvas " Procession in the Kursk province." The bright blue sky, clouds of road dust pierced by the sun, the golden glow of crosses and vestments, the police, ordinary people and cripples - everything fits on this canvas: the greatness, and strength, and weakness, and pain of Russia. In many paintings Repin touched upon revolutionary themes ("Refusal of Confession", "They Didn't Expect", "Arrest of the Propagandist"). A number of Repin's canvases were written in historical topics(“Ivan the Terrible and his son Ivan”, “Cossacks writing a letter to the Turkish Sultan"and others). Repin created a whole gallery of portraits. He painted portraits of scientists (Pirogov and Sechenov), writers Tolstoy, Turgenev and Garshin, composers Glinka and Mussorgsky, artists Kramskoy and Surikov. At the beginning of the 20th century, he received order for a painting" Ceremonial meeting State Council". The artist managed not only to place such a composition on the canvas big number those present, but also to give psychological characteristics to many of them.

V. I. Surikov (1848-1916) was born in Krasnoyarsk, into a Cossack family. The heyday of his work occurred in the 80s, when he created his three most famous historical paintings: “Morning Streltsy execution", "Menshikov in Berezovo" and "Boyaryna Morozova". Surikov knew well the life and customs of past eras, and was able to give vivid psychological characteristics. In addition, he was an excellent colorist. Suffice it to recall the dazzlingly fresh, sparkling snow in the film "Boyaryna Morozova". If you come closer to the canvas, the snow seems to “crumble” into blue, blue, pink strokes. picturesque technique, when two or three different strokes merge at a distance and give the desired color, was widely used by the French impressionists.

V. A. Serov (1865-1911), son of the composer, painted landscapes, canvases on historical themes, worked as theater artist. But it was primarily his portraits that brought him fame. In 1887, 22-year-old Serov was vacationing in Abramtsevo, the dacha of philanthropist S.I. Mamontov near Moscow. One day after lunch, two people accidentally lingered in the dining room - Serov and 12-year-old Vera Mamontova. They sat at the table, on which there were peaches, and during the conversation the girl did not notice how the artist began to sketch her portrait. The work lasted for a month. At the beginning of September, "Girl with Peaches" was completed. Despite its small size, the painting, painted in rose-golden tones, seemed very “spacious”. There was a lot of light and air in it. The girl, who sat down at the table for what seemed like a minute and fixed her gaze on the viewer, enchanted with her clarity and spirituality.

And the whole canvas was covered with a purely childish perception of everyday life, when happiness does not recognize itself, but ahead - whole life. Time has placed “Girl with Peaches” among the best portrait works in Russian and world painting.

Appeal to national themes led to an unprecedented flourishing of historical and battle painting. True masterpieces in these genres were created by V. Surikov, I. Repin, N. Ge, V. Vasnetsov, V. Vereshchagin, F. Roubaud. During these years, the first national art galleries; works of Russian artists begin to appear regularly at international exhibitions and in foreign art salons. Many paintings by Repin, Surikov, Levitan, Serov and other Peredvizhniki ended up in the Tretyakov collection. P. M. Tretyakov (1832-1898), representative of the ancient Moscow merchant family, was an unusual person. Thin and tall, with thick beard and in a quiet voice, he sounded more like a saint than a merchant. He began collecting paintings by Russian artists in 1856. His hobby grew into the main business of his life. In the early 90s. the collection reached the level of a museum, absorbing almost the entire fortune of the collector. Later it became the property of Moscow. Tretyakov Gallery has become worldwide famous museum Russian painting, graphics and sculpture. In 1898, the Russian Museum was opened in St. Petersburg, in the Mikhailovsky Palace (the creation of K. Rossi). It received works by Russian artists from the Hermitage, the Academy of Arts and some imperial palaces. The opening of these two museums seemed to crown the achievements of the Russian paintings of the 19th century century. At the end of the 1890s, leading masters were still working fruitfully critical realism- I. E. Repin,

V.I. Surikov, V.M. Vasnetsov, V.E. Makovsky, but at this time a different tendency appeared in art. Many artists now sought to find in life, first of all, its poetic sides, therefore, even in genre paintings they included landscape. They often turned to ancient Russian history. These trends in art can be clearly seen in the works of such artists as A.P. Ryabushkin and M.V. Nesterov.

A major artist of this time, B. M. Kustodiev (1878-1927), depicts fairs with multi-colored spoons and piles of colorful goods, Russian Maslenitsa with riding in troikas, scenes from merchant life.

IN early work M. V. Nesterov most fully revealed the lyrical sides of his talent. In his paintings there is always big role The landscape played: the artist sought to find joy in the silence of eternally beautiful nature. He loved to depict thin-trunked birch trees, fragile stems of grass and meadow flowers. His heroes are thin youths, inhabitants of monasteries, or kind old men who find peace and tranquility in nature. The paintings dedicated to the fate of the Russian woman are filled with deep sympathy ("On the Mountains", 1896, "Great tonsure", 1897-1898).

Symbolism, neoclassicism, and modernism have a noticeable influence on M.A. Vrubel, artists from the "World of Art" (A. Benois, K. A. Somov, L. S. Bakst, M. V. Dobuzhinsky, E. E. Lanceray, A. P. Ostroumova-Lebedeva.) and "Blue Rose "(S. Sudeikin, N. Krymov, V. Borisov-Musatov). The activities of these groups were very versatile, the artists published their own magazine “World of Art”, organized interesting art exhibitions with the participation of many outstanding artists.

In the 1910s The Russian avant-garde is born as a desire to rebuild the foundations of art, even to the point of denying art itself. A number of artists and creative associations create new schools and trends that have had a decisive influence on the development of world fine art - Suprematism (K. Malevich), “improvisational” style and abstractionism (W. Kandinsky), Rayonism (Larionov), etc. All movements of avant-garde art are characterized by the substitution of spiritual content pragmatism, emotionality - sober calculation, artistic imagery - simple harmonization, aesthetics of forms, composition - design, big ideas - utilitarianism. New art captivates with its unbridled freedom, captivates and captivates, but at the same time it testifies to degradation, the destruction of the integrity of content and form. The atmosphere of irony, play, carnival, and masquerade inherent in some movements of avant-garde art does not so much mask as reveal the deep inner discord in the artist’s soul. The concept of “avant-garde” conventionally unites a variety of art movements of the 20th century. (constructivism, cubism, orphism, op art, pop art, purism, surrealism, fauvism). The main representatives of this movement in Russia are V. Malevich, V. Kandinsky, M. Larionov, M. Matyushin, Yakulov, A. Ekster, B. Ender and others.

In the 1910s There has also been a revival of interest in icon painting. Artistic principles Icon painting was creatively used by individual Russian (V. Vasnetsov, M. Nesterov, K.S. Petrov-Vodkin) and foreign (A. Matisse) artists, as well as entire movements and schools of avant-garde.

Since the late 20s, the principle has been established in Russia socialist realism. Ideology becomes the main determining force in artistic creativity. Despite the strong influence of ideology, real world-class works of art were created. The work of landscape painters S.V. Gerasimov, V.N. Baksheeva, A.A. Plastov, creativity of P.D. Korina, A.N. Witty-Lebedeva, I. Glazunov, K. Vasilyev, A. Shilov, A. Isacheva are convincing proof of this. Since the 1960s The revival of the Russian avant-garde is coming. The “permitted” but not official part of Soviet art in the 1960s. presented by the works of masters " harsh style"(T. Salakhov, S. Popkov). In the 1970-1980s, creativity received recognition Soviet artists- R. Bichunas, R. Tordia, D. Zhilinsky, A. Zverev, E. Steinberg, M. Romadin, M. Leis, V. Kalinin and others, representatives of not only “officially permitted art”. Russian postmodernism of the 90s of the twentieth century is an example of the creativity of the group "SVOI" (Hyper-Pupper-Kuznetsov V., Veshchev P., Dudnik D., Kotlin M., Maksa-Maksyutina, Menus A., Nosova S., Podobed A. , Tkachev M.). The very fact of uniting diverse artists into a single living organism, not limited by conceptual or stylistic boundaries, most closely corresponds to the basic principle of postmodernism about parallelism and equivalence of artistic trends.

art classicism painting

The history of Russian painting begins with Kievan Rus. True, like many other phenomena, painting did not become an original Russian achievement. The appearance of painting in Rus' is associated with the name of Prince Vladimir and Byzantium. Along with Christianity, the Russian prince brought painting traditions to Russia. The first works of fine art were associated with temples. These are traditional ones that were used to decorate the walls of churches.

Russian painting flourished in the 15th century. This is exactly the time when it appears. This type of creativity is inextricably linked with the heritage of Russia and the names of many original masters. Many creators remained unknown, but the name of the great icon painter Andrei Rublev became the standard in the technique of painting icons for many centuries.

The first realistic paintings appeared in Russia in the seventeenth century. Russian artists, as well as European painters, are beginning to turn to certain genres -,. The activities of Peter I played a role in this, who opened a “window to Europe” and made European traditions available in Russia.

Peter the First

The history of the Russian people is full of heroic and vibrant social events. The Russian soul was distinguished by its special sensitivity, receptivity, and imagination. Therefore in Russian painting observes a variety of themes, plots, images. Russian artists were progressive people, and in their works one can find a reflection of all the changes taking place in society.

Russian painters achieved outstanding results in depicting man and his internal state. The paintings often contain scenes from the lives of ordinary people, their suffering, hopes and aspirations. Russian nature in all its splendor was also a theme of inspiration for Russian artists. Moreover, if at first landscapes were simply images of natural beauties, then later artists learned to convey their feelings through nature.

Marc Chagall

At the beginning of the 20th century, modernism came to Russian painting. Here, too, Russia was in no way inferior to other countries, giving the world bright works by avant-garde artists - Wassily Kandinsky, Marc Chagall, Kazimir Malevich.

It is difficult to list all the outstanding Russian artists, but the most famous names these are I. Shishkin, V. Savrasov, I. Repin, V. Surikov, K. Bryullov and many others. They are the pride of Russian painting, their works have received worldwide recognition.

Name: History of Russian painting - XVIII century.

The rapid development of Russia during the time of Peter the Great makes it partly similar to Western Europe Renaissance. The art of portraiture began to develop rapidly; By the middle of the century, thanks to the general rise of culture, Russian fine art became professional. After Peter, still lifes and desudeportes became popular themes in painting. Classicism became the symbol of Catherine's reign in art. Developing history painting, and the art of portraiture ceases to be elitist. At the end of the century the birth takes place everyday genre and highlighting the landscape in a separate direction.

Name: History of Russian painting - First half of the 19th century.

Name: History of Russian painting - First half of the 19th century.

For fine arts, the first decades XIX century- the beginning of the golden age. It was at this time Russian artists achieved the highest skill, which allowed them to stand on a par with the best masters of European art. The works collected in this volume reflect the rise of classicism, the spread of romanticism and the emergence of realism in all aspects of Russian painting.

Name: History of Russian painting - The turn of the 19th and 20th centuries.

The balance of power was fading into oblivion artistic life Russia in the second half of the 19th century: on the one hand, the routine art of the Academy of Arts, on the other, the Wanderers.
IN late XIX century, young artists began to look for their own paths in painting. At the same time, the Abramtsevo circle was formed, which put forward new tasks that were not inherent in the Partnership’s program. And then - in the 1900s - for the first time in Russian artistic life, an abundance of different associations arose: they all came out with their own programs, manifestos, and platforms.

In the history of Russian art, the 17th century was a period of struggle between two painting schools and the formation of new genres. Orthodox Church still had a huge influence on cultural life person. Artists also experienced some restrictions in their activities.

Iconography

During times late Middle Ages The center of concentration of artists and craftsmen in Russia was the Kremlin, or rather the Armory Chambers. They worked there the best masters architecture, painting and other types of creativity.

Despite the rapid development of art throughout Europe, painting in Russia in the 17th century had only one genre - icon painting. Artists were forced to create under the vigilant supervision of the church, which strongly opposed any innovations. Russian icon painting was formed under the influence of the pictorial traditions of Byzantium and by that time had clearly formed canons.

Painting, like culture in Russia in the 17th century, was quite self-contained and developed very slowly. However, one event entailed a complete reform of the icon painting genre. During a fire in 1547, many ancient icons burned in Moscow. It was necessary to restore what was lost. And in the process, the main stumbling block was the dispute over the nature of the faces of the saints. Opinions were divided; adherents of the old traditions believed that the images should remain symbolic. While artists of more modern views were in favor of giving saints and martyrs greater realism.

Division into two schools

As a result, painting in Russia in the 17th century was divided into two camps. In the first there were representatives of the “Godunov” school (on behalf of Boris Godunov). They sought to revive the icon-painting traditions of Andrei Rublev and other medieval masters.

These masters worked on orders for the royal court and represented the official side of art. Characteristics for this school there were canonical faces of saints, simplified images of a crowd of people in the form of many heads, golden, red and blue-green tones. At the same time, one can notice the artists’ attempts to convey the materiality of some objects. The Godunov school is best known for its wall paintings in the chambers of the Kremlin, in the Smolensk Cathedral, and the Trinity Cathedral.

The opposing school was the Stroganov school. The name is associated with the Stroganov merchants, for whom it was made most of orders and who acted as “sponsors” in the development of painting in Russia in the 17th century. It was thanks to the masters from this school that the rapid development of art began. They were the first to make miniature icons for home prayers. This contributed to their spread among ordinary citizens.

Stroganov’s masters more and more went beyond the framework of church canons and began to pay attention to the details of the environment, appearance saints So the landscape slowly began to develop. Their icons were colorful and decorative, and the interpretation of biblical characters was closer to the images of real people. The most famous surviving works are the icons “Nicetas the Warrior” and “John the Baptist”.

Yaroslavl frescoes

A unique monument in the history of painting of the 17th century in Russia are the frescoes in the Church of the Prophet Elijah in Yaroslavl, on which artists from the Armory Chambers worked. A special feature of these frescoes are scenes from real life, which prevail over biblical stories. For example, in the healing scene, the main part of the composition is occupied by the image of peasants during the harvest. This was the first monumental image in the everyday genre.

Among these frescoes you can find fairy-tale and mythological scenes. They amaze with their bright colors And complex architecture.

Simon Ushakov

At each stage of the country’s cultural development, its own significant persons appear. The man who advanced painting in Russia in the 17th century in a new direction and contributed to its partial liberation from religious ideology was Simon Ushakov.

He was not only a court painter, but also a scientist, teacher, theologian, and person open-minded. Simon was carried away Western art. In particular, he was interested in a realistic depiction human face. This is clearly visible in his work “The Savior Not Made by Hands.”

Ushakov was an innovator. He was the first Russian artist to use oil paint. Thanks to him, the art of copper engraving began to develop. Being the chief artist of the Armory for thirty years, he painted many icons, engravings, as well as several treatises. Among them is “A Word to a Lover of Icon Painting,” in which he expressed his thoughts that the artist should, like a mirror, truthfully reflect the world. He adhered to this in his works and taught this to his students. His notes contain references to an anatomical atlas, which he wanted to write and illustrate with engravings. But, apparently, it was not published or has not survived. Main merit master in that he laid the foundations portrait painting 17th century in Russia.

Parsuna

After significant transformations in icon painting, the portrait genre. At first it was carried out in an icon-painting style and was called “parsuna” (from Latin - person, personality). Artists are working more and more with living nature, and parsuns are becoming more realistic, their faces gaining volume.

Portraits of Boris Godunov, Tsars Alexei Mikhailovich, Fyodor Alekseevich, Tsarinas Evdokia Lopukhina, Praskovya Saltykova were painted in this style.

It is known that foreign artists also worked at the court. They also contributed significantly to the evolution of Russian painting.

Book graphics

Printing also came quite late to Russian lands. However, in parallel with its development, engravings, which were used as illustrations, also gained popularity. The images were of both a religious and everyday nature. Book miniatures of that period are distinguished by complex ornaments, decorative initial letters, and there are also portrait images. Masters of the Stroganov school made a great contribution to the development of book miniatures.

Painting in Russia in the 17th century turned from highly spiritual to more worldly and closer to the people. Despite the opposition church leaders, artists defended their right to create in the genre of realism.