Russian painting as a reflection of the worldview of the Russian people and its centuries-old history. The evolution of Russian painting

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

"Evolution of Species" - Carl Linnaeus - the founder of systematization. Evolutionary theory Microevolution Macroevolution. Basic rules of evolution: Basic laws of biological evolution. evolutionary doctrine. The most important concepts of evolution: Species criteria: Such speciation always proceeds rather slowly. Reproductive - genetic isolation of one species from others, even closely related ones.

"Russian painting of the 19th century" - Painters who create paintings on everyday subjects began to be called genre painters. Russian painting of the first half of the 19th century. It spread to various spheres of human activity. "Portrait of a son" 1818 "The appearance of Christ to the people" 1837-1858 In the 18th century, everything that was strange, fantastic, picturesque, and existing in books, and not in reality, was called romantic.

"History of Painting" - In Russia, still life masters were P. Konchalovsky, I. Mashkov, K. Petrov-Vodkin, M. Saryan and others. I. Ostroukhov. Durer reveals to the viewer the value of individuality, awareness of one's own significance. Daemon. Greyhound. Small (45x34 cm) painting "The Adoration of the Magi" is a unique work.

"Factors of evolution" - Hereditary variability Natural selection Isolation. The main provisions of the teachings of Ch. Darwin. Modern interpretation of the main provisions of the theory. Why is population genetics important? Assignment for independent work. French biologist Jean Baptiste Lamarck (1744-1829). The concept of "evolution". Make a conclusion: what are the factors of directed changes in the gene pool and directed.

"Russian landscape painting" - "Savvinskaya Sloboda near Zvenigorod". 1884 K. Korovin. Polenov. "October. Domotkanovo. 1895. "Summer Morning". 1920. Kuindzhi. "Gold autumn". 1893. “Autumn. On Bridge". 1910. "Gurzuf". 1915. Kuindzhi, a bright and talented artist, who occupies a special place. Russian landscape painting. Somov. "Spring". 1917.

"Painting of the 20th century" - Fauvism. Igor Stravinsky. Topic: Aesthetics of experiment and early Russian avant-garde. P. P. Konchalovsky. Albert Matisse. Picasso. In 1910 he became one of the organizers of the art association "Jack of Diamonds". Various kinds of dodecaphone technique are known. Dodecaphony. Velemir Khlebnikov. V. V. Kandinsky.

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 Rus', 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 Rus', 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.

In the second half of the 18th century, the classicism style was formed in Russian art, which is characterized by the strictness of the drawing, following certain rules in the composition, the 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 their native history, that they strove for simplicity, naturalness and humanity. Classicism as a trend in Russian artistic culture was firmly established in the late 18th and early 19th centuries. This period of the heyday of classicism in the Russian history of painting is usually called high classicism. Characteristic for the painters of that time was the romantic statement 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 qualities of a person, but also new possibilities of 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. K. P. Bryullov's (1799-1852) paintings are characterized by a fusion of academic classicism with romanticism, novelty of plots, theatrical effect of plasticity 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. The 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 patterns inherent in academic technology.

In his works, he anticipated many of the searches of Russian realistic painting in the following decades.

The conscious turn of the new Russian painting towards democratic realism was marked at the end of the 50s, along with the revolutionary enlightenment of Chernyshevsky, Dobrolyubov, Saltykov-Shchedrin. On November 9, 1863, 14 graduates of the Academy of Arts, headed by I. Kramskoy, refused to paint a graduation picture on the proposed plot "Feast in Valhalla" and asked to be given a choice of plots for them. 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" with its mythology, decorative landscapes and pompous theatricality. The leading place in their work was occupied by genre (everyday) scenes. The peasantry enjoyed special sympathy for the "Wanderers". At that time - in the 60-70s. 19th century - the ideological side of art was valued higher than the aesthetic. Perhaps the greatest tribute to ideology was given by V. G. Perov (1834-1882). Evidence of this are his paintings such as "Arrival of a police officer for investigation", "Tea drinking in Mytishchi", "Troika", "Old parents at the grave of their son". Perov painted a number of portraits of his famous contemporaries (Turgenev, Dostoevsky). In the work of Kramskoy, the main place was occupied by portraiture. He painted Goncharov, Saltykov-Shchedrin. He owns one of the best portraits of Leo Tolstoy. The writer's gaze does not leave the viewer, from whatever point he looks at the canvas.

One of the most powerful works of Kramskoy is the painting "Christ in the Desert".

But it cannot be said that the Academy of Arts does not put forward talents. The best traditions of academism have found development in the grandiose historical canvases of G. Semiradsky, the works of the early deceased V. Smirnov, ("The Death of Nero"), the magnificent canvases of the marine painter, a representative of romanticism Ivan Aivazovsky. Actually, many outstanding artists came out of the walls of the Academy. This is Repin, and Surikov, and Polenov, and Vasnetsov, and later - Serov and Vrubel.

"Wanderers" 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 their native nature. I. I. Shishkin (1832-1898) became the singer of the Russian forest, the epic latitude of Russian nature. AI 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, the slanting morning rays breaking through the fog and playing in the puddles on the muddy road - these and many other picturesque discoveries are captured on his canvases.

Russian landscape painting of the 19th century reached its peak 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 the landscape he loved.

The provincial town of Ples on the upper Volga has firmly entered the work of Levitan. 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 Ringing", "Quiet Abode".

In the second half of the XIX century. account for the creative flowering of I. E. Repin, V. I. Surikov and V. A. Serov.

IE 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" is the painting "The Religious 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, the common people and the crippled - everything fit on this canvas: the greatness, and strength, and weakness, and pain of Russia. In many of Repin's paintings, revolutionary themes were touched upon ("Refusal of confession", "They did not wait", "The arrest of the propagandist"). A number of Repin's canvases are written on historical themes ("Ivan the Terrible and his son Ivan", "Cossacks composing a letter to the Turkish Sultan", etc.). 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 XX century. he received an order for the painting "The Ceremonial Meeting of the State Council." The artist managed not only to place such a large number of those present on the canvas, but also to give a psychological description of many of them.

VI Surikov (1848-1916) was born in Krasnoyarsk, in a Cossack family. The heyday of his work falls on the 80s, when he created three of his most famous historical paintings: "Morning of the Streltsy Execution", "Menshikov in Berezov" and "Boyar Morozova". Surikov knew the life and customs of past eras well, he knew how to give vivid psychological characteristics. In addition, he was an excellent colorist. Suffice it to recall the dazzlingly fresh, sparkling snow in the painting "Boyar Morozova". If you come closer to the canvas, the snow, as it were, "crumbles" into blue, blue, pink strokes. This painting 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), the son of a composer, painted landscapes, canvases on historical themes, worked as a theater artist. But fame brought him, above all, portraits. In 1887, the 22-year-old Serov was vacationing in Abramtsevo, the dacha near Moscow of the philanthropist S. I. Mamontov. Once, after dinner, two people accidentally lingered in the dining room - Serov and 12-year-old Vera Mamontova. They were sitting at a table on which peaches were left, and during the conversation the girl did not notice how the artist began to sketch her portrait. The work took over a month. In early September, The Girl with Peaches was finished. Despite its small size, the painting, painted in rose gold tones, seemed very "spacious". There was a lot of light and air in it. The girl, who sat down at the table as if for a minute and fixed her gaze on the viewer, enchanted with clarity and spirituality.

Yes, and the whole canvas was covered with a purely childish perception of everyday life, when happiness is not conscious of itself, and a whole life lies ahead. Time has put "Girl with Peaches" among the best portrait works in Russian and world art.

The appeal to national themes led to an unprecedented flourishing of historical and battle painting. Genuine 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 were opened; 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 Wanderers ended up in Tretyakov's collection. P. M. Tretyakov (1832-1898), a representative of an old Moscow merchant family, was an unusual person. Thin and tall, with a bushy beard and a quiet voice, he looked more like a saint than a merchant. He began collecting paintings by Russian artists in 1856. The 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. The Tretyakov Gallery has become a world famous museum of Russian painting, graphics and sculpture. In 1898, in St. Petersburg, in the Mikhailovsky Palace (the creation of K. Rossi), the Russian Museum was opened. It received works by Russian artists from the Hermitage, the Academy of Arts and some imperial palaces. The opening of these two museums, as it were, crowned the achievements of Russian painting of the 19th century. In the late 1890s, the leading masters of critical realism were still fruitfully working - I. E. Repin,

V. I. Surikov, V. M. Vasnetsov, V. E. Makovsky, but at that time another trend also appeared in art. Many artists now sought to find in life, first of all, its poetic sides, therefore, even in genre paintings, they included the landscape. Often turned to ancient Russian history. These trends in art are clearly seen in the work 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 carnivals with riding on troikas, scenes from merchant life.

In the early work of M. V. Nesterov, the lyrical aspects of his talent were most fully revealed. The landscape has always played an important role in his paintings: the artist sought to find comfort in the silence of eternally beautiful nature. He liked to depict thin-stemmed birch trees, fragile stalks of grasses and meadow flowers. His heroes are thin youths, inhabitants of monasteries, or kind old men who find peace and tranquility in nature. Paintings devoted to the fate of a Russian woman ("On the Mountains", 1896, "Great tonsure", 1897-1898) are fanned with deep sympathy.

Symbolism, neoclassicism, modernity 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. Lansere, 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 "The World of Art", arranged interesting art exhibitions with the participation of many outstanding masters.

In the 1910s Russian avant-garde is born - as a desire to rebuild the foundations of art up to the denial of art itself. A number of artists and creative associations create new schools and trends that decisively influenced the development of world fine art - Suprematism (K. Malevich), "improvisational" style and abstractionism (V. Kandinsky), Rayonism (Larionov), etc. All trends avant-garde art is characterized by the substitution of spiritual content with pragmatism, emotionality with sober calculation, artistic imagery with simple harmonization, aesthetics of forms, composition with construction, big ideas with utilitarianism. The new art conquers with unbridled freedom, captivates and captivates, but at the same time testifies to degradation, destruction of the integrity of content and form. The atmosphere of irony, play, carnivalism, and masquerade inherent in some trends in avant-garde art not only masks, but rather reveals a deep inner discord in the artist's soul. The concept of "avant-garde" conventionally unites the most diverse trends in the art of the twentieth century. (constructivism, cubism, orphism, op art, pop art, purism, surrealism, fauvism). The main representatives of this trend in Russia are V. Malevich, V. Kandinsky, M. Larionov, M. Matyushin, Yakulov, A. Exter, B. Ender and others.

In the 1910s there is also a revival of interest in iconography. The artistic principles of icon painting were creatively applied both by individual Russian (V. Vasnetsov, M. Nesterov, K.S. Petrov-Vodkin) and foreign (A. Matisse) artists, as well as by entire trends and schools of the avant-garde.

Since the late 1920s, the principle of socialist realism has been established in Russia. Ideology becomes the main determining force in artistic creativity. Despite the strong influence of ideology, real world-class works of art were created. Creativity of landscape painters S.V. Gerasimov, V.N. Baksheeva, A.A. Plastov, creativity P.D. Korina, A.N. Ostroumoma-Lebedeva, I. Glazunov, K. Vasiliev, A. Shilov, A. Isachev are convincing proof of this. Since the 1960s the revival of the Russian avant-garde is coming. "Permitted", but not official part of Soviet art in the 1960s. represented by the works of masters of the "severe style" (T. Salakhov, S. Popkov). In the 1970s-1980s. the work of Soviet artists - R. Bichunas, R. Tordia, D. Zhilinsky, A. Zverev, E. Steinberg, M. Romadin, M. Leys, V. Kalinin and others, representatives of not only "officially permitted art" was recognized. Russian postmodernism of the 90s of the twentieth century is an example of the work of the "SVOI" group (Hyper-Pupper-Kuznetsov V., Veshchev P., Dudnik D., Kotlin M., Max-Maksyutina, Menus A., Nosova S., Podobed A. , Tkachev M.). The very fact of combining diverse artists into a single living organism, not limited by conceptual or stylistic framework, most accurately corresponds to the basic principle of postmodernism about the parallelism and equivalence of artistic trends.

art classicism painting