Russian fine arts of the first half of the 19th century. Art of the first half of the 19th century

The main movement was towards realism, but it asserted itself in the struggle against the authoritative classicism represented by the Academy and therefore managed to gain ground much later than in literature. While Pushkin had already become the "Poet of Reality" by the age of 25-26, Russian painting had difficulty overcoming the inert influence of the previous era. Initially, the new Russian painting associated itself with romanticism.
Orest Adamovich Kiprensky (1782 - 1836)
This artist stood at the origins of Russian painting of the 19th century. His art is distinguished by passion and impulse, the desire to convey the movement of inner life. He looked for the sublime in a person, depicted heroes in the best moments, conveyed the ability to feel, the desire to live a spiritual life. The best part of his work is portraits of the late 1800-1810s. Kiprensky looked for reflections of the ideal in the faces of people. He is interested in a person who has nothing to do with public service, who lives in the sphere of private interests, in the world of feelings.
Portraits: a portrait of Evgraf Davydov (1809), a portrait of a boy Chelishchev (1808 - 1809), a portrait of the poet V. A. Zhukovsky (1816). The main painting techniques are as follows:
a sharp contrast of light and shadow, sometimes a close gradation of neighboring colors. Predominantly red, blue and white make up the main color chord. Each face of Kiprensky is unique, one can say about such a hero that he is the only one. This is a feature of romanticism.
The most famous portrait by Kiprensky was created in 1827. This portrait of A. S. Pushkin, about which all relatives said that he is closer than others to the original.

Sylvester Shchedrin (1791 - 1830)
Landscape of romanticism. After a trip to Italy, Shchedrin gets rid of the academic raid and gains freedom. He spends 10 years there, experiences the flowering of creativity and dies before he can return to his homeland. He writes Italian views. Nature on his canvases appears radiant, joyful, intoxicating. The colors sparkle. Man and nature form the basis of his worldview. Shchedrin followed the same path as the Constable in England, as Corot in France. The task is to open the inner life to being in harmony with nature. Shchedrin became the first Russian artist to work in the open air - in the open air. "New Rome", "Coast in Sorrento with a view of the island of Capri".
Shchedrin searched for the truth of light and air, their interaction, mastered the laws of the open air. He banished museum "brown" tones. He liked cold silvery, gray. At the end of his life, the artist returned to hot colors. "Terrace by the sea".

The ancestor of the household genre. Alexey Gavrilovich Venetsianov (1780 - 1847).
A simple employee, a land surveyor, took up painting at the beginning of the 19th century. Moved from Moscow to St. Petersburg, took lessons from Borovikovsky. Venetsianov was close to the advanced circles of society. This is what his etching says. "Nobleman". At the turn of the 10-40s. Venetsianov discovered the genre of everyday life, acquired a small estate in the Tver province and took up the image of the peasant world.
He was faced with the task of depicting light pouring from various sources, showing the peasants in various positions. He saw poetry in the most ordinary, in the life of the village. In this he is close to Pushkin. Nothing special happens in Venetsianov's paintings. The action is usually monosyllabic. The artist does not depict conflicts. The man on his canvases is depicted surrounded by nature. Venetsianov was the first to discover the beauty of his native nature. The best creations of Venetsianov “On the arable land. Spring”, “In the harvest, Summer”.

Karl Pavlovich Bryullov (1799 - 1852)
The same age as Pushkin, Bryullov often intersects with the great poet in his work. But if Pushkin was moving swiftly from romanticism to a realistic manner, to "the poetry of reality", then Bryullov could only combine academic cold skill with romantic scope, especially in his most famous painting. He was looking for the ideal, bright and joyful, but did not follow difficult paths in art. After the Academy, Bryullov, as always happened with the best graduates, ended up in Italy. In the paintings of the 20s on the subjects of antiquity, from the Italian Renaissance, from the Bible, decorative elements and external brilliance predominate. In the 30s, a tragic perception of life appears. At this time, the central plan of Bryullov is ripening.
"The Last Day of Pompeii" (1830 - 1833)
In the 30s. Bryullov creates a number of ceremonial portraits. He became an unusually fashionable artist, inundated with commissions. Bryullov seeks to capture some sublime moment. Takova "Rider"- Pupil of Countess Samoilova - Jovanina.
In the 40s. the artist was looking for psychological expressiveness. wonderful "Self-portrait" 1848 painted by the artist after a serious illness. Before us is a tired, disappointed, life-weary person. This portrait is far from cold academicism. It is written in a free manner, the stroke is wide, not licked, which speaks of the future of Russian art.

Alexander Ivanov (1806 - 1858)
He was a man of exceptional strength of thought, character, "golden soul", who knew how to take care of loved ones, and at the same time very strict in home life. He was a real poet and despised all external effects, benefits. He was distinguished by a huge, boundless love for the motherland, a dream of her exaltation. The boundless thirst for self-improvement, constant self-development, dissatisfaction with himself - all this made him an exceptionally bright personality. Alexander Ivanov was appreciated by Herzen and Ogarev, Chernyshevsky, his friend was N.V. Gogol.
Ivanov was born in St. Petersburg in the family of an artist. He graduated from the Academy and in 1830 came to Italy, to Rome. He will return only a month and a half before his death and will bring the “Appearance of Christ to the People”. The tasks that Ivanov set for himself became more and more complicated all the time. First he wanted to understand the Italian school and its spirit, then to connect religion and mythology with the problems of good and evil.
"Appearance of Christ to Magdalene"- the first approach to a new task, still largely academic.
"The Appearance of Christ to the People".
From 1836 to 1848 Ivanov wrote his second and main work. In fact, he continued to work on it until his death. This canvas is full of amazing virtues: the image of nature and people, characters, spiritual manifestations, the movement of the heart, the very idea is brilliant - to depict the truth revealed to people and the hope of salvation. Ivanov did not introduce human figures or genre motifs into his sketches. His landscapes are philosophical and historical. On "Appian Way" shows the road on which there were crosses with crucified slaves after the uprising of Spartacus. In one branch, sparkling in the sun, Ivanov was able to feel the Universe. After 1848, after the revolutions in Europe, money from Russia stopped coming. Father died. Ivanov could not now complete the picture the way he wanted it. And his new ideas were even grander: a cycle of biblical paintings on the wall of a special building. Sketches become freer. Freed from the remnants of academism. But, like Michelangelo, Bazhenov, Rodin, Ivanov failed to realize all his ideas. Ivanov did not receive recognition in Russia, but his work played a huge role in the development of all Russian art of the 19th century.
Pavel Andreevich Fedotov. (1815 - 1852)
Its heyday and death came in the 40s. The 19th century is the time of the triumph of the Nikolaev reaction. Tragic is the fate of the artist, who paid a high price for being the first to boldly peer into the features of Russian life. He graduated from the Moscow cadet corps, ended up in St. Petersburg in the Finnish Guards Regiment, most of his life was connected with the Russian army. If it were not for this knowledge of the army environment, he would not have been able to draw the image of his major so accurately in the famous picture. In the army, Fedotov became interested in drawing, caricature, sketching, often drawing his friends, everyday military scenes, trips to summer military camps, etc. He studied painting on his own, began to take lessons at the Academy. Known for his wonderful drawings “The consequence of the death of Fidelka”, “Husband of a deceived wife”, The girl seduced by an officer at the bedside of a sick mother ”, The very names of these works are reminiscent of a natural school in literature, the meaning of which was a direct depiction of the most typical aspects of Russian life. But Fedotov was not included in the circle of writers associated with the ideologist of the natural school - Belinsky. He went his own way. In the 40s. Fedotov begins to try his hand at oil painting. He delves into the essence of life, his work becomes more and more tragic.
Fedotov created the most significant canvases from 1846 to 1852. Each of his paintings was a milestone on the path of a new system of artistic understanding of reality.
"Fresh Cavalier" 1846. An intriguing idea is presented.

"Major's Matchmaking" 1848
This is the pinnacle of Fedotov's creativity. The essence of the famous canvas is the image of the world of deceit, lies, marriage, which, of course, appears as an ordinary deal. The world on the artist's canvases becomes more and more terrible. Objects are distorted, a strong expression appears. Disappears satire in the picture "Widow", where Fedotov presented himself in the portrait of the woman's deceased husband.
"Players" 1852. The scene is almost unreal, fantastic. Soon Fedotov fell ill with mental illness and ended his days in an insane asylum. He is buried in the cemetery of the Alexander Nevsky Lavra in St. Petersburg. Fedotov himself, as the critic Stasov wrote, would probably be surprised if he knew that his search went in the same direction as the search for the best French artists of the 19th century, who paved the way for the realistic direction. For the courage with which he peered into the Nikolaev reality, he paid a high price, but his achievements, the seriousness of which the academicians did not immediately understand, prepared the way for Russian realist artists - the Wanderers.

Interest in the fine arts covered ever wider sections of society, which was reflected in the creation of various art societies, the growing popularity of exhibitions at the Academy of Arts, the founding of art magazines, and the creation of art museums.

The portrait remained the leading genre in painting, its development was associated with the work of O.A. Kiprensky and V.A. Tropinin. In the works of these artists, one can see the desire to capture the uniqueness of the spiritual and emotional world of contemporaries, romanticism is intertwined with the features of realism. The landscape developed along with the portrait associated with the name of S.F. Shchedrin, which is characterized by a poetic perception of the natural appearance of nature. The everyday genre is represented by the work of A.G. Venetsianov, who deliberately chose it as an independent and full-fledged type of painting, and P.A. Fedotov. The theme of their painting is national and democratic. Historical painting developed under the influence of the war of 1812, the growth of patriotism and national consciousness. This trend was represented by A.A. Ivanov, who painted the famous painting The Appearance of Christ to the People, A.E. Egorov and others. Some artists worked equally well in various genres. Such were F. Bruni, K.P. Bryullov, the largest artist of his time, whose work embodied drama, humanity, brilliant craftsmanship.

Almost the entire development of painting in that period took place within the framework of classicism, which in painting was called academism. Academism was focused on the highest visual technique, mythological and biblical subjects, decorative composition. In general, for the painting of the nineteenth century. characterized by the expansion of genres, plots, improvement of techniques and artistic aspects. Russian fine arts were characterized by romanticism and realism. However, the officially recognized method was classicism.

Classicism in architecture at the beginning of the nineteenth century. reached the highest level of development, creating fertile ground for the expression of civil pathos. A characteristic feature is the creation of large ensembles. Russian architecture was distinguished by high professionalism, the search for new ways.

Among the architects of that time, O.I. Beauvais, who supervised the restoration of Moscow after the fire of 1812. Under his leadership, unique urban ensembles were created: Theater, Voskresenskaya, Red Square; Alexander Garden; the buildings of the Bolshoi Theater and the Manezh were built - structures that transformed the face of the city. In St. Petersburg, classicism retained its official character and reflected the significance of the city as the capital of the empire. Among the outstanding monuments is the Kazan Cathedral (1801-1811) by architect A.N. Voronikhin; the Stock Exchange building (1804-1811) by the architect Thomas de Thomon; urban ensembles K.I. Rossi, who turned the city into a work of art. Project AD. Zakharov, the building of the Admiralty was erected. The rays of St. Petersburg avenues spread from it. According to the project of A.A. Montferrand was the creator of St. Isaac's Cathedral - the tallest building in Russia at that time.

To replace classicism, which had exhausted its possibilities, which came into conflict with the changed aesthetic needs of the era in the 30s. nineteenth century came eclecticism. Its main principle is the use of elements of various architectural styles of the past in a free form. Architect K.A. Tone is one of the brightest representatives of this trend. According to his project, the Cathedral of Christ the Savior (1839-1883) was built in honor of the victory in the Patriotic War of 1812.

The most significant successes were achieved at this time in the field of monumental sculpture. Just as in other areas of artistic culture, the influence of the Patriotic War of 1812 was strong here, the themes of heroism, patriotism, etc. became popular. Sculpture developed within the framework of the classicism style, but realistic features acquire a rather strong influence. A characteristic feature of the development of Russian sculpture in the first half of the century was the synthesis of sculpture and architecture, which was especially pronounced in the creation of urban ensembles and the solution of other urban planning problems.

Among the outstanding monumental sculptors, a special place is occupied by V.I. Demuth - Malinovsky and S.S. Pimenov. Together with the architect Voronikhin, they created the unique decoration of the Kazan Cathedral, then bas-reliefs for the Mining Institute. Several grandiose statues were carved out of stone for the Admiralty building. The sculptors also worked in collaboration with the architect Rossi; the sculpture of the arch of the General Staff Building is considered the pinnacle of their work.

Among the outstanding monuments of the era is the monument to Minin and Pozharsky on Red Square, created by the sculptor I.P. Martos. In the images of the heroes of the XVII century. features of patriotism and national pride are embodied. The work of B.I. Orlovsky, the author of the figure of an angel crowning the Alexander Column, monuments to Field Marshal M.I. Kutuzov and General Barclay de Tolly in front of the Kazan Cathedral in St. Petersburg. The Alexander Column is a menhir, one of the most famous monuments of St. Petersburg. Erected in the Empire style in 1834 in the center of the Palace Square by the architect Auguste Montferrand by decree of the younger brother of Emperor Alexander I, Nicholas I, in memory of the victory over Napoleon. The column is a monolithic obelisk, which stands on a pedestal decorated with bas-reliefs with a dedicatory inscription "Grateful Russia to Alexander I". At the top of the column is a sculpture of an angel by Boris Orlovsky. The face of the angel is given the features of Alexander I. In his left hand, the angel holds a four-pointed Latin cross, and raises his right hand to heaven. The head of the angel is tilted, his gaze is fixed on the ground. The column faces the Winter Palace. It is not only an outstanding architectural monument, but also a great engineering achievement of its era. In the first half of the XIX century. an independent Russian musical art appeared, although the influence of the Italian, German, and French schools was still strongly felt. Russian national musical culture was created on the basis of folk art, as evidenced by the work of A.A. Alyabiev, the creator of the Russian national opera M.I. Glinka. A significant contribution to the development of domestic musical art was made by the innovative operas of A.S. Dargomyzhsky. The combination of folk motifs with romanticism led to the emergence of a special genre - the Russian romance (A.A. Alyabyev, A.E. Varlamov, A. Gurilev). During that period, the role of the drama theater in the cultural life of Russia has seriously increased. In Moscow, the Maly Theater became the center of this type of art, where democratic tendencies were very strong; in St. Petersburg - Alexandrinsky, which retained the significance of the official. Theatrical art of that time developed within the framework of the romanticism style (especially in the work of P.S. Mochalov, who played in the plays of Schiller, Shakespeare; his role of Hamlet was especially successful). Gradually, a realistic direction was established on the Russian stage thanks to the dramaturgy of A.S. Griboedova, N.V. Gogol, A.N. Ostrovsky. Among the actors who created the glory of the Russian stage, M. S. Shchepkina, P.S. Mochalova, E.S. Semenov, and others. There were various types of theaters. Serf theaters belonging to Russian aristocratic families (Sheremetevs, Apraksins, Yusupovs, etc.) were still widespread. There were few state theaters (Alexandria and Mariinsky in St. Petersburg, Bolshoi and Maly in Moscow). Ballet theatrical art occupied a special place in the cultural life of Russia. It developed in close connection and under the influence of Russian literature. The ballets of "pure classicism" were a thing of the past. They were replaced by sentimental melodramas and romantic productions. Ballets appeared in the repertoire, the plot of which was suggested by Russian literature.

The crisis of serfdom hinders the development of the capitalist system. Freedom-loving ideas are born in secular circles, the Patriotic War of 1812 is underway, and Russian troops are participating in the liberation of European states from Napoleon, the Decembrist uprising in 1825 against tsarism, all this has an impact on painting.

What is the difference between painting in the era of the genius A.S. Pushkin?

Probably, the embodiment of the bright and humane ideals of the freedom-loving people...

Along with classicism, a romantic trend develops, and realism is formed.

The romantic direction of Russian painting was the beginning of the development in the following decades - realism. This is how convergence Russian artists, romantics with real life, which was the essence of the movement of artists of this time. The wide distribution of exhibitions at the same time speaks of the rapprochement of the Russian people with the world of art, people of all classes tend to visit exhibitions. It is believed that the picture of K.P. Bryulova "The Last Day of Pompeii" served as such a rapprochement. The people of St. Petersburg of all classes sought to see her.

Russian painting becomes multinational, paintings acquire national shades, students of different nationalities are taken to the Academy. Natives of Ukraine, Belarus, the Baltic States, Transcaucasia and Central Asia study here.

In the first half of the 19th century, painting is represented by all genres: portrait, landscape, still life, historical painting.

Famous Russian artists in the first half of the 19th century:

Masterpieces of Russian painting

• Painting Bryullov K.P. "The last day of Pompeii"

• Painting by Aivazovsky I.K. "The Ninth Wave"

• Painting by Bruni F.A. "Copper Serpent"

• Painting Venetsianov A.G. "Humno"

• Painting by Tropinin V.A. "Lacemaker"

In Russian culture of the first half of the 19th century, romanticism has its own specifics. Faith in the enlightenment ideals of reason, progress, elementary rights of the individual - all this was still relevant in Russian public life in the first half of the century.
The image of a man received a deep poetic embodiment in the work of the greatest Russian portrait painter of the 1st third of the 19th century.
Orest Adamovich Kiprensky. (1782-1836).
The largest master of the romantic portrait.
When you look at the portraits of Kiprensky, it seems that you see free people. None of his contemporaries managed to express this feeling of a new person in such a way.
Among the most significant works of Kiprensky are portraits of the military - participants in the anti-Napoleonic campaigns of the beginning of the century.

1809. Timing

Portrait of A.A. Chelishchev. 1808 - early 1809 GTG. refers to the early period of O.A. Kiprensky.
The era of romanticism creates a very special relationship to the concept of childhood. If the portrait painters of the 18th century usually depicted a child as a small adult, then the romantics saw in him a special unique world of personality, which still remained pure and unaffected by the vices of adults.

Portrait of Countess Ekaterina Petrovna Rostopchina. 1809. Tretyakov Gallery.
Some of the female images he created are distinguished by a special charm.
It has no equal in the entire world painting of the 19th century, in terms of the power of expressing spiritual beauty, as if anticipating the image of Pushkin's Tatyana.

Living in St. Petersburg, Kiprensky became close to the most prominent people of his century.
Romantic tendencies in the work of Kiprensky found their embodiment in the portrait of the famous Russian poet V.A. Zhukovsky.

Portrait of E.S. Avdulina. 1822-1823.
- one of the best works of late Kiprensky.
appears before the viewer as a man of great spiritual subtlety and nobility, possessing a deeply hidden inner world.

In the portrait of Pushkin, the artist accurately conveys the features of the poet's appearance, but consistently refuses everything ordinary. Realizing the exclusivity of the task - to capture the image of the great poet, - O.A. Kiprensky harmoniously combined the spirit of romantic freedom and the pathos of high classics.
Creative burning.
« I see myself as in a mirror, but this mirror flatters me».

O. A. Kiprensky. "Self-portrait". 1828

Tropinin, Vasily Andreevich(1776-1857) - Russian artist, academician, master of portraiture. By origin - a serf. Tropinin failed to finish the Academy. Count Morkov interrupted his studies in 1804 by summoning Kukavka to his Ukrainian estate. The young artist had to be a house painter and at the same time perform the duties of a courtyard man. From 1821 he lived permanently in Moscow, where he gained recognition and fame.
The images of people from the people created by Tropinin are widely known.

“Tropinin had few rivals in picturesque talent. In 1818, when he was still a serf and lived with his master on the estate of Kukavka in Ukraine, he painted "Portrait of a Son" - amazing in terms of picturesque charm and free manner of writing. This portrait of a blond, tanned boy glows, lives and breathes. After that, Tropinin worked for another forty years, immortalized a great many people, developed more or less stable methods of portraiture, improved in technique, but the portrait of his son remained unsurpassed, with the possible exception of the portrait of Pushkin, written in the same year as Kiprensky and not inferior to him. "(Dmitrieva N.A. Brief history of arts. Issue III: Countries of Western Europe of the XIX century; Russia of the XIX century. - M .: Art, 1992. S. 198-200.).

The best in the circle of Tropinin's portrait painting of the 1820s
A slightly raised upper lip gives the poet's face a shade of restrained animation.
The purple robe is draped in wide, loose folds; the collar of the shirt is wide open, the blue tie is tied casually.
The coloring is the freshness of direct observation. The reflexes from the white collar of the shirt are convincingly conveyed, highlighting the chin and naked neck of the person being portrayed.

Already a well-known artist, Tropinin created a type of domestic, intimate portrait with elements of genre painting. As a rule, this is a half-length image of a person doing his usual occupation.
The pretty sly girl is full of grace, understood by contemporaries as a special "pleasure", as something that "wins the heart", but "impossible to understand with the mind."
In the year the picture was painted, Vasily Andreevich Tropinin, the serf artist of Count Morkov, received his freedom. He was 47 years old. In the same year, he exhibited his "Lace Maker" at the Academy of Arts, which immediately gained popularity, which has not left it until now.

Venetsianov Alexey Gavrilovich. 1780 - 1847. the first Russian painter who consciously chose the everyday genre as the basis of his work.
It is to him that the merit of establishing the domestic genre in Russian art as an independent type of painting belongs.
He developed a form of multi-figure genre painting, in which the landscape or interior often plays a large role. Venetsianov was also the first to draw attention to individual folk types. His painting is national and democratic.

In 1811, for his self-portrait, he was recognized by the Academy of Arts as "appointed".

The first fundamental work of Venetsianov was the painting "Barn", which opened up new paths in Russian painting.

The artist created an idealized poetic image of peasant life. Working outdoors allowed Venetsianov to use daylight effects and complex palettes.

Bryullov Karl Pavlovich(1799-1852). Painter, draftsman. Master of historical painting, portrait painter, genre painter.
He overcomes the deadness of the canons of classicism with a romantic desire to fill the image with living feelings.

realistic principles underpinned

The joy of life sparkles, a cheerful and full-blooded feeling of life, merging with the environment. The sun's rays pierce the foliage of the vineyard, glide over the hands, face, clothes of the girl; creates an atmosphere of living connection between man and nature. The girl's face with absolutely regular features and huge sparkling eyes is ideally beautiful, it seems almost porcelain (a frequent effect in Bryullov). The Italian type of appearance was then considered perfect, and the artist beats him with pleasure.

The Committee of the Society, having received "Noon", carefully reproached the artist for choosing a model that did not correspond to the classical ideals of St. Petersburg connoisseurs.

Epicurean line

Tragic line in creativity
The last day of Pompeii. 1830-1833. Timing Oil on canvas. 465.5 x 651
For the first time in Russian painting, classicism was combined with a romantic perception of the world. It should be noted that for K.P. Bryullov was important to the truth of historical reality. He studied written sources about the tragedy in Pompeii (Pliny the Younger, Tacitus), as well as scientific research on archaeological excavations.
His heroes at the last moment of their lives show human dignity and greatness of spirit in the face of the blind elements of evil.
Unlike what we see in classic paintings, the compositional center here is given not to the main historical character (who simply does not exist), but to the deceased mother, next to whom is depicted a still living child, seized with horror. In opposition to life and death, the idea of ​​the canvas is revealed.

Thus, for the first time, the people entered Russian historical painting, although they were shown in a rather idealized way.

Portrait of Grand Duchess Elena Pavlovna with her daughter Maria. 1830. Timing In the end, Bryullov came to the image of the Grand Duchess in motion. From now on, in large portraits, he will use this technique, which helps to enhance the expressiveness of the image.

Rider. Portrait of Giovannina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova. 1832. State Tretyakov Gallery
By the beginning of the 1830s, K.P. Bryullov took one of the leading places in Russian and all Western European art. His fame as an outstanding portrait master was reinforced by The Horsewoman, painted in Italy.
Bryullov's ceremonial portrait-picture is marked by innovative features. Unlike the heroes of ceremonial portraits of the 18th century, where the main task was to emphasize the social position of the person being portrayed and his social virtues, Bryullov's characters primarily demonstrate spontaneity, youth, and beauty.

Portrait of the Most Serene Princess Elizabeth Pavlovna Saltykova, born Countess Strogonova, wife of His Serene Highness Prince I.D. Saltykov. 1841. Timing

Portrait of Countess Yulia Pavlovna Samoilova, born Countess Pahlen, leaving the ball with her adopted daughter Amacilia Pacchini. 1842. Timing
the last significant work of K.P. Bryullov and one of his best works in the genre of a ceremonial portrait-painting, which is distinguished by an upbeat, romantic mood.
The artist presented his heroine in a masquerade costume of a queen, against the backdrop of a magnificent theatrical conditional curtain separating her from the participants in the ball.
emphasizes her dominant position in the crowd of people, the exclusivity of her nature.

Ivanov Alexander Andreevich(1806-1858) - painter, draftsman. Master of historical painting, landscape painter, portrait painter. Creativity A.A. Ivanov stands at the center of the spiritual quest of Russian culture of the 19th century.

The highest achievement in Russian historical painting is associated with the work of A. Ivanov. The son of Professor A.I. Ivanov, he studied at the A.Kh., brilliantly mastering composition and drawing (besides his father, his teachers were Yegorov and Shebuev.

In 1824 Ivanov painted the first large oil painting - "Priam asking Achilles for the body of Hector" (TG), for which he received a small gold medal. Already in this early work, Ivanov reveals a desire for psychological expressiveness and archaeological accuracy. When the picture appeared at the exhibition, the critics noted the artist's attentive attitude to Homer's text and the strong expression of the characters in the picture.

At the exhibition in 1827. Ivanov's second painting appeared - "Joseph Interpreting Dreams of the Baker and the Butler" (RM), which was awarded a large gold medal from the Society for the Encouragement of Artists. Here, the expression of faces and the incomparable plasticity of the figures far surpassed “Priam”, testifying to the exceptional talent of the artist and his rapid development. Illuminated figures on a dark background give the impression of statues. The smooth folds of Joseph's antique clothes are interpreted with amazing perfection. Joseph broadcasts a terrible account to the baker, pointing him to the relief depicting the execution, carved on the wall of the dungeon. The butler waits impatiently with bright hope for what the soothsayer will say about him. The baker and the cupbearer are like brothers, the more distinctly, therefore, the expressions of opposite feelings appear on their faces: despair and hope. The Egyptian relief, composed by Ivanov, shows that even then he was familiar with Egyptian archeology and had a fine sense of style. In all his early works, Ivanov strove for strong spiritual movements, expressed in an extremely clear form.

However, this picture almost led to the collapse of Ivanov's career, so brilliantly begun. The image (in the form of a bas-relief) of the execution on the wall of the dungeon was interpreted as a daring allusion to the reprisal of Nicholas I with the Decembrists. Hood barely escaped Siberia. And despite the fact that Ivanov was awarded a large gold medal, the issue of his assignment abroad dragged on. The Society for the Encouragement of Artists, having the intention of sending Ivanov to Italy for improvement, decided to once again test his abilities by setting a new theme: “Bellerophon goes on a campaign against the Chimera” (1829, Russian Museum).

Nevertheless, he was awarded a business trip abroad. At this time, Ivanov was already the author of several paintings, completed huge drawings from antique statues - “Laocoön”, “Venus Medicea”, “Borghesian Fighter” (all in the State Tretyakov Gallery), many drawings from academic sitters. His early albums also contain a number of sketches in pencil and sepia on historical and antique themes, among which a few sketches from nature flicker; portraits are even rarer. By the time preceding his departure abroad, there is a small self-portrait (1828, State Tretyakov Gallery), painted with oil paints.

As a tribute to classicism, Ivanov began in Rome a painting in the spirit of Poussin “Apollo, Hyacinth and Cypress, engaged in music and singing” (1831-1834, State Tretyakov Gallery), using the monuments of ancient sculpture. The painting was left unfinished. Despite this, it is one of the most perfect works of Russian classicism. The beautifully grouped figures seem like animated statues.

Tree foliage wonderfully contrasts with the color of naked bodies: the delicate color of the body of Hyacinth, the swarthy color of Cypress, and the figure of Apollo, as if carved from ivory. The picture is a musically coordinated, harmonic composition. Comparison of sketches shows that Ivanov consciously sought the musical beauty of smooth lines and plastic perfection of form. Wonderfully inspired face of Apollo. Taking the head of Apollo Belvedere as the basis of the image, Ivanov breathed new life into it - the life of feeling. This method of processing ancient images became the main one for Ivanov throughout the first half of his work.

Rereading the gospels, Ivanov finally found a plot that none of the hoods had taken up before him: the first appearance of the Messiah (Christ) before the people, waiting for the fulfillment of their cherished aspirations, predicted by John the Baptist. Ivanov took this story as containing the whole meaning of the gospel. In his opinion, this plot could embody the high moral ideals of all mankind in the way that their contemporaries understood them. Work on sketches of the painting began in the autumn of 1833.

From the very beginning of his work, the thin-k thought of the plot as historical rather than religious, eliminating all the features of its mystical interpretation. He drew up a plan for a decade, in accordance with the extreme complexity of the design. This plan frightened the incredulous St. Petersburg "benefactors" of Ivanov by its duration and high cost. Despite threats from the Society for the Encouragement of Thins to deprive him of all means of subsistence, Ivanov did not give up. He deeply studied the monuments of ancient art and monumental painting of the Italian Renaissance. Unable to make a trip to Palestine in order to get acquainted with folk types and landscapes of places associated with the gospel legend, Ivanov looked for the appropriate nature in Italy.

In 1835 Ivanov finished and sent to St. Petersburg for the academic exhibition “The Appearance of Christ to Mary Magdalene after the Resurrection” (RM); the success of the picture exceeded the expectations of thin-ka: he was given the title of academician and extended his stay in Italy for another three years.

In the statuary nature of the figures in this picture (especially Christ, reminiscent of a statue by Thorvaldsen), in the conditional draperies and landscape, which serves as an almost neutral background for the figures, Ivanov paid the last tribute to academicism. This fully corresponded to the original intent of the picture, in which the artist intended to show his ability to depict a naked human body and draperies. However, along with this, he was fascinated here by the task of depicting a weeping beautiful female face and the movement of a figure. He did not dare to make more radical changes in the picture, although the compositions of Giotto he saw in Italy on the same plot prompted the idea to completely abandon the “official piece of nudity”.

The complex facial expression of the Magdalene (a smile through tears) and the well-found position of Christ's legs (based on a deep knowledge of anatomy and giving his figure the illusion of movement) are the most realistic features of the picture in its general academic structure.

Having finished this work, the hood again devoted himself entirely to the development of the main idea. Work on "The Appearance of Christ to the People" (1837-1857, State Tretyakov Gallery) occupied most of Ivanov's life. The surviving numerous materials (sketches, sketches, drawings) and the extensive correspondence of the artists make it possible to restore the main stages of the enormous work. The first sketches date back to 1833, therefore, they were made even before the first trip to Italy.

In 1837 the composition of the painting was already so developed that the artist was able to transfer it to a large canvas, and the next year he shaded it and painted it with terdesienoy.

K1845 “The Appearance of Christ to the People” was, in essence, over, with the exception of some particulars (the face of a slave, the figures emerging from the water, the middle group).

Further work went in two directions - the ultimate concretization of the characters of the characters and the second - the study of the landscape on individual topics, due to the composition of the picture (primary trees, earth, stones, water, distant trees and mountains). It is possible that all this work was preceded by a search for the general tone of the picture, for the solution of which Ivanov wrote in Venice, in close proximity to the great Venetian colorists, a small sketch (“Sketch in Venetian tones”, 1839, State Tretyakov Gallery), which largely predetermined the color of the picture “ Appearance of Christ to the people.

At the end of 1838 there was a break in work. At this time, Ivanov met N.V. Gogol, who then arrived in Rome. They became friends. Their friendship was marked by Ivanov's unexpected appeal to the themes of folk life. Under the influence of the writer, Ivanov created a number of genre watercolors depicting scenes from the life of the common people. They are poetic, vital and imbued with spiritual warmth. Complex multi-figure compositions are united by the action of light. The moon sheds its calm light on a group of children and girls singing Ave Maria (“Ave Maria”, 1839, Russian Museum) in chorus, the warm lights of the candles are reflected by reflections on faces and clothes. Under the burning rays of the southern sun, a sweet scene is played out (“The Groom Choosing Earrings for the Bride”, 1838, State Tretyakov Gallery), The figures of girls in the watercolor “October Holiday in Rome. At the Ponte Mole” (1842, Russian Museum). In watercolor “October holiday in Rome. Scene in the Loggia” (1842, State Tretyakov Gallery) depicts a playful dance. The quick movements of the people surrounding the lanky Englishman are expressed in a complex and beautiful silhouette. Without the influence of Gogol, the appearance of these genre scenes is inexplicable.

In all Ivanov's watercolors, the principle of psychological connection between human figures prevails over the principle of classical architectonic composition. Hood-k clearly aspired in them to the life-like truthfulness of the movements of the figures, their relationships.

In the first two genre watercolors, Ivanov practically faced lighting issues. This task was especially difficult in the watercolor "Ave Maria", in which the cold and even moonlight is combined with the warm and quivering light of candles and the soft light of a lantern in front of the image of the Madonna.

The problem of transmitting sunlight, which especially occupied the artist at the end of the 40s, was first posed by him in the aforementioned watercolor “The Groom Choosing Earrings for the Bride”. A comparison of two versions of this drawing (the State Tretyakov Gallery and the Russian Museum) shows that Ivanov sought to use lighting as a unifying principle.

K1845 “The Appearance of Christ to the People” was, in essence, over, with the exception of some particulars (the face of a slave, the figures emerging from the water, the middle group). To the right and left of the picture are people baptized in the waters of the Jordan, behind John is a group of future apostles, in the center and to the right are crowds of people excited by the words of John. In the foreground, the artist painted a slave who is preparing to dress his master. The action takes place in the Jordan Valley, the distant hills are covered with trees. A huge old tree overshadows the foliage of the central group.

To solve the problem: to portray humanity, waiting for its liberation, Ivanov considered himself in the right to use everything that had previously been achieved by world art. He drew samples of plasticity from ancient Greek sculpture, studying ancient originals in Rome and Florence, studied Renaissance painting: Leonardo da Vinci, Fra Bartolomeo, Ghirlandaio, and most of all Raphael.

Obviously, from the very first steps of working on the composition of the picture, Ivanov felt the need to organize human figures into groups that are interconnected by a commonality or, conversely, compared in deliberate contrasts. These groups were defined as follows: an old man and a young man emerging from the water, a group of disciples, headed by the Baptist and closed on the left by the figure of a skeptic, the foreground group of a rich man and a slave, and, finally, a group - a trembling father and son - flanking the entire composition to the right. In addition, many figures are placed in the shadows, in the middle of the picture in the crowd of people occupying the upper right side of the canvas. These figures are also organized into groups.

The figure of John the Baptist is of decisive importance. It is located almost in the center and organizes the whole composition with its mighty power. In the image of the Baptist, Ivanov used the monuments of Italian painting and, above all, Raphael, which by no means deprived the image of its own expressiveness. John in the picture is filled with a fiery temperament; he burns the hearts of people with the verb. With a gesture of tremendous power, he points to the approaching Messiah. He was the first to see and recognize the Messiah. His gesture determines the movement of the entire compositional structure of the picture.

Hood-k set as his goal to achieve in each of the characters the most typical expression of each person. character. He succeeded especially in the images of the Baptist, the apostles John, Andrew, Nathanael and the slave, the studies of which are among the best. No wonder Kramskoy considered the Ivanovo Baptist "an ideal portrait."

It is characteristic that a real portrait underlies each character, each type included in the picture. At the next stage, the hood attracts the heads of ancient sculptures, as if shaping them with the classical features of living nature.

“The Appearance of Christ to the People” combines the lofty idea of ​​the liberation of mankind with a monumental form.

By 1845 include sketches of the murals "The Resurrection of Christ", intended for the Cathedral of Christ the Savior, which was being built by K.A.Ton. During this period, Ivanov came up with the idea of ​​creating a whole cycle of paintings on biblical subjects. These murals were supposed to cover the walls of a special public building (not a church, as the artist himself always emphasized). Their themes and sequence were more in line with the book “The Life of Jesus” by D. Strauss, but were based on a deep and independent study of the primary sources by the artist himself. Ivanov decided to present here the evolution of the beliefs of mankind in their close relationship and historical conditioning. In a cycle of sketches that embodied this idea, the problems of the historical fate of the people, the relationship between the people and the individual, so typical of romantic historicism, received the most profound solution compared to all Russian historical painting of the 2/3 century. The abundance and endless variety of watercolor sketches on biblical subjects made by Ivanov is striking (almost all of them are kept in the State Tretyakov Gallery).

It is difficult to point out the best among the sketches. Therefore, we should focus only on the more characteristic ones. Such, for example, is the sketch “Three wanderers announce to Abraham the birth of Isaac”, the composition of which is striking in its monumentality, the fusion of man and nature, and the expressiveness of the figures. No less interesting is the Gathering of Manna in the Wilderness, a mass scene in which fleeing people are captured by a joyful whirlwind, or the Procession of the Prophets, full of powerful, amazing rhythm. Despite the fact that Ivanov's idea remained only in sketches, these sketches belong to the greatest assets of art.

Its landscapes are wonderful. "Appian Way" (1845, State Tretyakov Gallery). “The Gulf of Naples at Castellammare” (1846, State Tretyakov Gallery). Ivanov resolutely entered the path of the plein air. In his painting, nature is not through myth, as in the works of the classics, but through reality.

Ivanov's work, going far beyond the romantic ideals of the era, is the most powerful expression of the realistic orientation of Russian art in the mid-19th century.

In the early years of his retirement in Italy, in the early 1830s, Ivanov painted a beautiful painting "Apollo, Cypress and Hyacinth Making Music and Singing."

Brilliant sketches of murals for the "Temple of Humanity" conceived by him In "Biblical Sketches" Ivanov sought to organically combine the gospel truth with historical truth, the legendary mythical with reality, the sublime with the ordinary, the tragic with everyday life.

Art of the middle (40s - 50s) of the 19th century - the "Gogol" period of Russian culture

In the work of Fedotov, for the first time in Russian art, a program of critical realism was implemented. The "accusatory orientation" also affected the "Breakfast of an Aristocrat".

The picture "The Widow" Fedotov performed in several versions, consistently moving towards the goal - to show human misfortune as it really is.

The painting "Anchor, more anchor!" holistic in color - muddy red, and an ominous emotional mood. The canvas is truly tragic: in it, the melancholy of unsightly routine and the meaninglessness of existence comes to the fore.

Culture of the 19th century is a culture established bourgeois relations. By the end of the XVIII century. capitalism as a system is fully formed. It covered all branches of material production, which led to corresponding transformations in the non-productive sphere (politics, science, philosophy, art, education, everyday life, social consciousness).
The culture of this period is characterized by a reflection of the internal contradictions of bourgeois society. The clash of opposing tendencies, the struggle of the main classes - the bourgeoisie and the proletariat, the polarization of society, the rapid rise of material culture and the beginning of the alienation of the individual determined the nature of the spiritual culture of that time.

In the 19th century a revolution is taking place t associated with the emergence of a machine that alienates a person from nature, breaking the usual ideas about his dominant role, and turns a person into a creature dependent on the machine. Under the conditions of intensifying mechanization, a person goes to the periphery of spiritual life, breaks away from spiritual foundations. The place of handicraft work associated with the personality and creativity of the master was taken by monotonous work.

Spiritual culture of the XIX century. developed and functioned under the influence of two most important factors: success in the field of philosophy and natural science. The leading dominant culture of the XIX century. was science.
Various value orientations were based on two initial positions: the establishment and approval of the values ​​of the bourgeois way of life, on the one hand, and the critical rejection of bourgeois society, on the other. Hence the appearance of such dissimilar phenomena in the culture of the 19th century: romanticism, critical realism, symbolism, naturalism, positivism, and so on.

Features of the worldview European culture of the XIX century. is a reflection of those contradictory principles that a developed bourgeois society represents, but, nevertheless, it has no equal in terms of the depth of penetration into the being and the spiritual world of a person in terms of creative tension in science, literature, philosophy and art.

In the first half of the 19th century Russian art develops within the academic school painting. The historical and battle genres are widely spread, which is associated with the victory in the Patriotic War of 1812 and the rise of national self-consciousness. Since the mid-60s of the 19th century, Russian artists turn to the themes of folk life, a social genre appears in the visual arts. In the last decades of the century, it is partly replaced by an Impressionist landscape, in paintings by Russian artists features of neoclassicism and modernity appear.

academic school painting at the beginning of the 19th century, she occupied a strong position as a trendsetter in artistic styles and trends. The main method was classicism, the main genres were portrait, decorative landscape and historical painting. Young artists were dissatisfied with the implacable conservatism of the Academy and, in order not to write paintings on biblical and mythological subjects, turned to the portrait genre and landscape. They increasingly appeared features of romanticism and realism.

In the portrait painting O. A. Kiprensky there are many romantic images: a portrait of a boy A. A. Chelishchev (1810-1811), spouses F. V. and E. P. Rostopchins (1809), spouses V. S. and D. N. Khvostov ( 1814), E. S. Avdulina (1822)

Portraits of V. A. Tropinin written in a realistic manner. The depicted person is the central image in them, all attention is focused on him. Figures and facial features are written out with anatomical clarity and reliability (portraits of Counts Morkovs, 1813-1815; "Bulakhov", 1823; "K. G. Ravich", 1823).

Brushes by V. A. Tropinin belongs to one of the most famous portraits of A. S. Pushkin - the one where the poet put his hand on a stack of paper and seemed to listen to his inner voice.
IN picture K. P. Bryullov "The Last Day of Pompeii", written according to all the canons of the academic school painting, reflected the development of Russian social thought, the expectation of change, which was associated with the rise of national consciousness. Painting symbolized the courage of people looking into the eyes of a terrible catastrophe. Among other famous paintings by K. P. Bryullov, one can name “Italian Morning”, “Italian Noon”, “Horsewoman”, “Bathsheba”. In these and many others paintings to the artist equally talented managed to capture the beauty of the human body and the beauty of nature.

Spiritual Awakening Ideas people were reflected in the work of A. A. Ivanov. Above the most famous painting, "The Appearance of Christ to the People", he worked for about twenty years. Jesus on picture depicted in the distance, and John the Baptist is brought to the fore, pointing to the people at the approaching Savior. The faces of people waiting for Jesus brighten as he approaches, their souls are filled with joy.

Artists A. G. Venetsianov and P. A. Fedotov in the first half of the 19th century laid the foundations of the social genre in painting. A. G. Venetsianov in his pictures idealized the life of the peasants, emphasizing the beauty and nobility of people, regardless of social status (“Threshing floor”, “On the harvest. Summer”, “On the arable land. Spring”, “Peasant woman with cornflowers
Since the 50s of the 19th century, the main direction Russian fine art realism becomes, and the main theme is the image of the life of the common people. The approval of the new direction took place in a stubborn struggle with the adherents of the academic school painting. They argued that art should be higher than life, there is no place in it for Russian nature and social topics. However, academicians were forced to make concessions. In 1862 all genres visual arts were equalized in rights, which meant that only artistic merit was evaluated paintings, regardless of subject matter.

17. Russian art of the first half - the middle of the 19th century. Romanticism, sentimentalism - the direction of classic art.

After the Patriotic War of 1812.: growing interest in folk life; to human individuality led to the formation of a new ideal, which was based on the idea of ​​a spiritually independent person, deeply feeling and passionately expressing his feelings. This ideal was reflected in the work of representatives of a new creative concept - romanticism, the establishment of which took place simultaneously with the death of classicism.

In painting, it was observed the withering away of classicism and the establishment of romanticism and realism

Romanticism- a direction in the art of the first half of the 19th century, which brought individuality to the fore, endowing it with ideal aspirations.

But the true successes of painting lay, however, in a different vein - romanticism. The best aspirations of the human soul, ups and downs of the spirit were expressed by the romantic painting of that time, and above all by the portrait. In the portrait genre, the leading place should be given to Orest Kiprensky (1782-1836).

Kiprensky studied, starting with the Educational School, at the Academy of Arts, where he studied in the class of historical painting. The artist uses bold color effects to model the form; impasto painting contributes to the expression of energy, enhances the emotionality of the image. On a fair note D.V. Sarabyanova, Russian romanticism has never been such a powerful artistic movement as in France or Germany. There is neither extreme excitement nor tragic hopelessness in it. In the romanticism of Kiprensky, there is still much from the harmony of classicism, from a subtle analysis of the “windings” of the human soul, which is so characteristic of sentimentalism. “The current century and the past century”, colliding in the work of the early Kiprensky, who was formed as a creative person in the best years of military victories and bright hopes of Russian society, and made up the originality and inexpressible charm of his early romantic portraits.

In the late Italian period due to many circumstances of his personal fate, the artist rarely managed to create anything equal to his early works. But even here one can name such masterpieces as one of the best lifetime portraits Pushkin(1827, Tretyakov Gallery), painted by the artist during the last period of his stay at home, or a portrait of Avdulina (c. 1822, Russian Museum), full of elegiac sadness.

An invaluable part of Kiprensky's work- graphic portraits, made mainly with a soft Italian pencil with a hint of pastel, watercolor, colored pencils. The appearance of quick pencil sketch portraits is in itself significant, characteristic of the new time: any fleeting change in the face, any spiritual movement is easily recorded in them. But in Kiprensky's graphics, a certain evolution is also taking place: in later works there is no immediacy and warmth, but they are more virtuosic and refined in execution (portrait of S.S. Shcherbatova, it. car., State Tretyakov Gallery).

Pole A.O. can be called a consistent romantic. Orlovsky(1777-1832), who lived in Russia for 30 years and brought to Russian culture themes characteristic of Western romantics (bivouacs, horsemen, shipwrecks. “Take your quick pencil, draw, Orlovsky, sword and battle,” Pushkin wrote). He quickly assimilated on Russian soil, which is especially noticeable in graphic portraits. In them, through all the external attributes of European romanticism, with its rebelliousness and tension, something deeply personal, hidden, secret lurks (Self-portrait, 1809, State Tretyakov Gallery). Orlovsky, on the other hand, played a certain role in “breaking through” the paths to realism thanks to his genre sketches, drawings and lithographs depicting St. Petersburg street scenes and types, which brought to life the famous quatrain

Finally, romanticism finds its expression in the landscape.. Sylvester Shchedrin (1791-1830) began his creative career as a student of his uncle Semyon Shchedrin with classic compositions: a clear division into three plans (the third plan is always architecture), on the sides of the wings. But in Italy, where he left the St. Petersburg Academy, these features were not consolidated, they did not turn into a scheme. It was in Italy, where Shchedrin lived for more than 10 years and died in the prime of his talent, that he revealed himself as a romantic artist, became one of the best painters in Europe along with Constable and Corot. He was the first to open plein air painting for Russia. True, like the Barbizons, Shchedrin painted only sketches in the open air, and completed the picture (“decorated”, as he defined it) in the studio. However, the motive itself changes emphasis. So, Rome in his canvases is not the majestic ruins of ancient times, but a living modern city of ordinary people - fishermen, merchants, sailors. But this ordinary life under Shchedrin's brush acquired a sublime sound.

Harbors of Sorrento, embankments of Naples, the Tiber at the castle of St. Angels, people fishing, just talking on the terrace or relaxing in the shade of trees - everything is conveyed in the complex interaction of the light and air environment, in a delightful fusion of silver-gray tones, usually united by a touch of red - in clothes, and a headdress, in the rusty foliage of trees , where any one red branch was lost. In the last works of Shchedrin, an interest in chiaroscuro effects was increasingly evident, heralding a wave of new romanticism by Maxim Vorobyov and his students (for example, "View of Naples on a moonlit night"). Like the portrait painter Kiprensky and the battle painter Orlovsky, the landscape painter Shchedrin often paints genre scenes.

O.A. Kiprensky(1782-1836), portrait painter, most vividly embodied the romantic ideal. His style absorbed the features of classical harmony and sentimentalism. Portraits reveal everything that is best and significant in a person: an active and romantic nature; the thoughtfulness and ardor of a young man who is just learning about the world. In the last period, the best lifetime portrait of A.S. Pushkin - the portrait of the great poet is historically specific and at the same time there is a desire to give a collective image of an ideal creative personality.

S.F. Shchedrin(1791-1830), landscape painter. He was the first to open "plein air painting", "New Rome"; "View of Sorrento near Naples".

V.A. Tropinin, introduces elements of romanticism into genre portraits. Brought up on the sentimentalist traditions of the late 18th century. Experienced the Romanesque influence of the early 19th century. (portraits of the son; A.S. Pushkin; self-portrait). He embodied in the images of the peasants not only spiritual purity, but also nobility. Details of everyday life and labor activity bring them closer to genre painting ("Lacemaker", "Golden stitcher").

Historical painting of the 30-40s: the intersection of classicism and romanticism.

Russian historical painting of the 30-40s developed under the sign of romanticism. “The genius of compromise” between the ideals of classicism and the innovations of romanticism was called by one researcher (M.M. Allenov) Karl Pavlovich Bryullov (1799-1852). Fame came to Bryullov while still at the Academy: even then Bryullov’s ordinary studies turned into finished paintings, as was the case, for example, with his Narcissus (1819, Russian Museum). After completing the course with a gold medal, the artist left for Italy. In pre-Italian works, Bryullov turns to biblical subjects (“The Appearance of Three Angels to Abraham at the Oak of Mamre”, 1821, Russian Museum) and antique (“Oedipus and Antigone”, 1821, the Tyumen Regional Museum of Local Lore), is engaged in lithography, sculpture, writes theatrical scenery, draws costumes for performances. The paintings “Italian Morning” (1823, location unknown) and “Italian Noon” (1827, Russian Museum), especially the first, show how close the painter came to the problems of the open air. Bryullov himself defined his task as follows: “I illuminated the model in the sun, assuming backlighting, so that the face and chest are in shadow and reflected from the fountain illuminated by the sun, which makes all the shadows much more pleasant compared to simple lighting from the window.”

The tasks of plein air painting thus interested Bryullov, but the path of the artist, however, lay in a different direction. Since 1828, after a trip to Pompeii, Bryullov has been working on his equal work - The Last Day of Pompeii (1830-1833). The real event of ancient history is the death of the city during the eruption of Vesuvius in 79 AD. e. - gave the artist the opportunity to show the greatness and dignity of man in the face of death. Fiery lava is approaching the city, buildings and statues are collapsing, but children do not leave their parents; the mother covers the child, the young man saves his beloved; the artist (in which Bryullov portrayed himself) takes away the colors, but, leaving the city, he looks with wide eyes, trying to capture a terrible sight.

Even in death, a person remains beautiful how beautiful the woman thrown from the chariot by mad horses is in the center of the composition. One of the essential features of his painting was clearly manifested in Bryullov's painting: the connection between the classicist style of his works and the features of romanticism, with which Bryullov's classicism is united by faith in the nobility and beauty of human nature. Hence the amazing "accommodation" of the plastic form that preserves the clarity, the drawing of the highest professionalism, prevailing over other expressive means, with romantic effects of pictorial lighting. And the very theme of inevitable death, inexorable fate is so characteristic of romanticism.

as a certain standard, a well-established artistic scheme, classicism in many ways limited the romantic artist. The conventions of the academic language, the language of the “School”, as the Academies were called in Europe, were fully manifested in Pompeii: theatrical poses, gestures, facial expressions, lighting effects. But it must be admitted that Bryullov strove for historical truth, trying as accurately as possible to reproduce specific monuments discovered by archaeologists and astonished the whole world, to visually fill in the scenes described by Pliny the Younger in a letter to Tacitus. Exhibited first in Milan, then in Paris, the painting was brought to Russia in 1834 and was a resounding success. Gogol spoke enthusiastically about her. The significance of Bryullov's work for Russian painting is determined by the well-known words of the poet: "And the "Last Day of Pompeii" became the first day for the Russian brush."

K.P. Bryullov- a representative of historical painting, in whose work elements of classicism and romanticism were intertwined. "The last day of Pompeii"

"Horsewoman", Self-portrait.

P.A. Fedotov- genre painter He is inherent in the depth of comprehension of life, its dramatic essence. The talent was most fully revealed in genre painting, where he went from caricature plots ("The Fresh Cavalier"; "The Picky Bride"), to tragic and laconic images ("The Widow"), to the metaphorical figurative system. His art served as a model for several generations of artists: the Wanderers perceived and developed the critical pathos of his work, artists of the turn of the 19th - 20th centuries. attracted drama and metaphor;

A.A. Ivanov- “The Appearance of Christ to the People” - a picture on which all subsequent generations of Russian artists studied, reflected the most intimate meaning of the Gospel and the essence of the spiritual aspirations of the people.

A.E. Martynov, landscape painter and engraver, made one of the first lithographed series "Collection of views of St. Petersburg and its environs."

Since the beginning of the XIX century. in Russian fine arts develops in such a way as sentimentalism(from English sentimental - sensitive) - a trend in the art of the 18th century. It was prepared by the crisis of enlightenment rationalism. However, elements of sentimentalism in the work of Russian masters were usually combined with elements of classicism or romanticism. The most complete features of sentimentalism were embodied in the works of a remarkable artist A.G. Venetsianova, who lovingly painted Central Russian rural landscapes, portraits of peasants.

Characteristic features of Russian sentimentalism:

Attention to the human person;

Cult of feeling and imagination;

Development of family psychological stories;

Image of nature.

Alexei Gavrilovich Venetsianov was the real founder of the genre(1780-1847). A land surveyor by education, Venetsianov left the service for the sake of painting, moved from Moscow to St. Petersburg and became a student of Borovikovsky. He made his first steps in the “arts” in the portrait genre, creating amazingly poetic, lyrical, sometimes fanned with romantic mood images in pastel, pencil, oil (portrait of V.C. Putyatina, State Tretyakov Gallery). But soon the artist left portraiture for the sake of caricature, and for one action-packed caricature "The Nobleman", the very first issue of the "Magazine of Caricatures for 1808 in Persons" he had conceived was closed. The etching by Venetsianov was, in fact, an illustration to Derzhavin's ode and depicted petitioners crowding in the waiting room, while a nobleman was visible in the mirror, who was in the arms of a beauty (it is assumed that this is a caricature of Count Bezborodko).

At the turn of the 10-20s, Venetsianov left St. Petersburg for the Tver province where he bought a small estate. Here he found his main theme, devoting himself to depicting peasant life. In the painting "The Barn" (1821-1822, Russian Museum), he showed a labor scene in the interior. In an effort to accurately reproduce not only the poses of the workers, but also the lighting, he even ordered to saw out one wall of the threshing floor. Life as it is - that's what Venetsianov wanted to portray, drawing peasants peeling beets; a landowner giving a task to a courtyard girl; sleeping shepherdess; a girl with a beetroot in her hand; peasant children admiring a butterfly; scenes of harvest, haymaking, etc. Of course, Venetsianov did not reveal the sharpest conflicts in the life of the Russian peasant, did not raise the "sore questions" of our time. This is a patriarchal, idyllic way of life.

But the artist did not bring poetry into it from the outside, did not invent it, but scooped it up in the very life of the people depicted by him with such love. In the paintings of Venetsianov there are no dramatic plots, a dynamic plot, they, on the contrary, are static, “nothing happens” in them. But man is always in unity with nature, in eternal labor, and this makes the images of Venetsianov truly monumental. Is he a realist? In the understanding of this word by artists of the second half of the 19th century - hardly. In his concept, there is a lot of classicistic ideas (it is worth remembering his "Spring. On Plowed Field", State Tretyakov Gallery), and especially from sentimental ones ("On the Harvest. Summer", State Tretyakov Gallery), and in his understanding of space - from romantic ones. And, nevertheless, the work of Venetsianov is a certain stage on the way of the formation of Russian critical realism of the 19th century, and this is also the enduring significance of his painting. This determines his place in Russian art as a whole.

Venetsianov was an excellent teacher. Venetsianov's school, the Venetians - is a whole galaxy of artists of the 20-40s who worked with him both in St. Petersburg and in his estate Safonkovo. This is A.V. Tyranov, E.F. Krendovsky, K.A. Zelentsov, A.A. Alekseev, S.K. Zaryanko, L.K. Plakhov, N.S. Krylov and many others. Among the students of Venetsianov there are many peasants. Under the brush of the Venetians, not only scenes of peasant life were born, but also urban ones: St. Petersburg streets, folk types, landscapes. A.V. Tyranov also painted interior scenes, portraits, landscapes, and still lifes. The Venetians were especially fond of “family portraits in the interior” - they combined the concreteness of the images with the detail of the narrative, conveying the atmosphere of the environment (for example, Tyranov’s painting “The Chernetsov Brothers Artists Workshop”, 1828, which combines a portrait, a genre, and a still life).

18. The problem of academicism in Russian painting of the second third of the 19th century.

Academicism- a direction in European painting of the 17th-19th centuries. Academic painting arose during the development of art academies in Europe. The stylistic basis of academic painting at the beginning of the 19th century was classicism, in the second half of the 19th century - eclecticism. Academism grew up following the external forms of classical art. Followers characterized this style as a reflection on the art form of the ancient antiquity and the Renaissance. Academism helped the layout of objects in art education, replenished the traditions of ancient art, in which the image of nature was idealized, while compensating for the norm of beauty.

For Russian academicism of the first half of the XIX century are characterized by sublime themes, high metaphorical style, versatility, multi-figure and pomposity. Biblical scenes, salon landscapes and ceremonial portraits were popular. Despite the limited subject matter of the paintings, the works of the academicians were distinguished by their high technical skill. Representative - K. Bryullov ("Rider").

In the middle of the 19th century realism began to take hold in a stubborn struggle against academicism, represented by the leadership of the Academy of Arts. The academy workers inspired the students that art is higher than life and put forward only biblical and mythological themes for creativity. Fourteen students of the history class did not want to paint on the proposed theme from Norse mythology and filed a petition to withdraw from the academy. The rebels united in the kamunnu, headed by Kramskoy.

And in 70, a society of Wanderers was formed. Wanderers" were united in their rejection of "academicism" with its mythology, decorative landscapes and pompous theatricality. They wanted to portray living life. The leading place in their work was occupied by genre (everyday) scenes. The peasantry enjoyed special sympathy for the Wanderers. Perov ("Troika", "Old parents at the grave of their son", "Tea drinking in Mytishchi"). S. A. Korovina "On the World" Myasoedov "Mowers". Kramskoy - portraits of Nekrasov, Tolstoy, "Christ in the Desert", also Myasoedov, Savrasov, Ge.

19. Association of Traveling Exhibitions

In the 70s, progressive democratic painting wins public recognition. She has her own critics - I.N. Kramskoy and V.V. Stasov and his collector - P.M. Tretyakov. The time has come for the flowering of Russian democratic realism in the second half of the 19th century.

At this time in the center of the official school- St. Petersburg Academy of Arts - the struggle for the right of art to turn to real, real life is also brewing, which resulted in the so-called "rebellion of 14" in 1863. A number of graduates of the Academy refused to write a programmatic picture on one theme of the Scandinavian epic, when there are so many exciting modern problems around, and, not having received permission to freely choose a theme, left the Academy, founding the "Petersburg Artel of Artists" (F. Zhuravlev, A. Korzukhin, K Makovsky, A. Morozov, A. Litovchenko and others). "Artel" did not last long. And soon Moscow and St. Petersburg advanced artistic forces united in the Association of Traveling Art Exhibitions (1870). These exhibitions were called mobile because they were arranged not only in St. Petersburg and Moscow, but also in the provinces (sometimes in 20 cities during the year). It was like "going to the people" of artists. The partnership existed for over 50 years (until 1923). Each exhibition was a huge event in the life of a provincial town. Unlike Artel, the Wanderers had a clear ideological program - to reflect life with all its acute social problems, in all its topicality.

Myasoedov claimed that the success of the first performance should predetermine in many respects the future fate of the Partnership, and he turned out to be right. The first general meeting of the Association, which took place on December 6, 1870, scheduled the opening of the exhibition "September 15 of the future, 1871 and no later than October 1." But this deadline could not be met: the first exhibition opened only on November 29, 1871 and closed on January 2 of the new year, 1872. Thus, it was available for viewing a little more than a month. But this month was crucial to the evaluation of the new organization. The exhibition immediately brought recognition, although only 16 artists performed at it in St. Petersburg, showing 47 works. This alone distinguished it from the more extensive academic exhibitions in terms of the number of exhibits.

“Partnership has an aim,” says § 1 of the Charter, - the organization, with proper permission, of traveling art exhibitions in the form of: a) providing an opportunity for those who wish to get acquainted with Russian art and follow its progress, b) developing a love for art in society, c) making it easier for artists to market their works.

The art of the Wanderers was an expression revolutionary democratic ideas in the national artistic culture of the second half of the 19th century. The social orientation and high citizenship of the idea distinguish it in European genre painting of the 19th century.

The partnership was created on the initiative of Myasoedov, supported by Perov, Ge, Kramskoy, Savrasov, Shishkin, the Makovsky brothers and a number of other "founding members" who signed the first charter of the Partnership. In the 1970s and 1980s, younger artists joined them, including Repin, Surikov, Vasnetsov, Yaroshenko, Savitsky, Kasatkin, and others. Since the mid-1980s, Serov, Levitan, and Polenov have taken part in exhibitions. The generation of the "senior" Wanderers was mostly diverse in social status. His worldview was formed in the atmosphere of the 60s. The leader, the theoretician of the movement was Ivan Nikolaevich Kramskoy(1837-1887), who in 1863 also led the "revolt of 14", a wonderful organizer and an outstanding art critic. He was characterized by an unshakable faith, primarily in the educational power of art, designed to form the civic ideals of the individual and improve it morally. The themes of Kramskoy's own work, however, were not typical of the Wanderers.

He rarely wrote genre paintings, turned to gospel stories. But him " Christ in the desert" - a meditation of a deeply lonely person sitting against the backdrop of a desert rocky landscape Christ, his readiness to sacrifice himself in the name of the highest goal - all this was clear to the populist intelligentsia of the 70s. In the portrait genre, he is also occupied by a sublime, highly spiritual personality. Kramskoy created a whole gallery of images of the largest figures of Russian culture - portraits of Saltykov-Shchedrin, Nekrasov, L. Tolstoy. For the artistic manner of Kramskoy, a certain protocol dryness, monotony of compositional schemes is characteristic. The best characteristic in terms of brightness is the portrait of L.N. Tolstoy, commissioned by Tretyakov, in which the viewer is struck by the penetrating, all-knowing and all-seeing look of calm gray-blue eyes. The portrait of A. G. Litovchenko is distinguished by picturesque richness. Kramskoy was an artist-thinker. He is conservative in his work.

In addition to Kramskoy, among those who signed the Charter of the Partnership, there was another artist who was occupied with Christian subjects - Nikolai Nikolaevich Ge(1831-1894). He graduated from the Academy, having received the Big Gold Medal for the painting "Saul at the Fairy of Endor." In 1863 he published his first large independent work, The Last Supper. Light and shadow, good and evil, the clash of two different principles underlie Ge's work. This is emphasized by light and shade contrasts and dynamics of expressive poses. The Last Supper expressed the artist's desire for a generalized art form, for its monumentalization, for great art based on the traditions of the great masters of the past. It is no accident that he was awarded the title of professor for this painting.

Ge did a lot of portraiture. His portraits differ from the works of Kramskoy in their emotionality, sometimes drama, as, for example, the portrait of Herzen: the bitterness of doubt, the torment of reflection, reaching the point of pain, are read on the face of the model. An unusually temperamental, fresh, free portrait of the historian N. I. Kostomarov was painted. Ge, like Kramskoy, is one of the organizers of the Association. At the first exhibition in 1871, he shows the historical painting "Peter I interrogates Tsarevich Alexei Petrovich in Peterhof." The artist sought to convey the ultimate concreteness of the situation. All of Ge's works of recent years are permeated with the moral and religious idea of ​​rebuilding the world. He also solves formal problems in a peculiar way, in a new way - the search for color, light, texture. He boldly violates academic canons, often uses fragmentary compositions, sharp light and color contrasts, and writes emotionally and expressively. ("Golgotha", "What is truth? Christ and Pilate")

The organizers of the Kramskoy movement and Ge in their work follow a different path than their comrades in the association, genre painters. They turn to Christian subjects, they have a different figurative and pictorial-plastic structure, gravitating more towards the traditions of art of the first half of the 19th century: for Ge - for romantic ones, for Kramskoy - for rational-classic ones.

Vasily Maksimovich Maksimov(1844-1911) already in the first multi-figure composition - "The sorcerer's arrival at a peasant wedding" - comes to his main theme - the image of peasant life, which he himself, a native of the peasants, knew very well. Subsequent paintings are devoid of a festive feeling. In them, in all their nakedness, the image of impoverished post-reform Russia arises (“Family Division”, “Dashing Mother-in-Law”, “Everything is in the Past”).

The Wanderers of the 70s within genre were able to raise the most important, most acute problems of public life, as did Grigory Grigorievich Myasoedov(1834-1911) in the painting Zemstvo is having lunch. The sincerity of the faith of the Russian peasants was shown by Konstantin Apollonovich Savitsky (1844-1905) in the large painting "Meeting the Icon". Master of multi-figured compositions. "Repair work on the railway", "To the war".

Nikolai Alexandrovich Yaroshenko(1846-1898): “Stoker” and “Prisoner”, of which “Stoker” is the first image of a worker in Russian painting, and “Prisoner” is the most relevant image during the years of the violent populist revolutionary movement. "Cursist" - portrait-type.

Vladimir Egorovich Makovsky- "In the waiting room at the doctor", "Visit the poor", "Waiting", "Condemned", "The collapse of the bank", "Date", "On the Boulevard". Makovsky managed to respond to many topics. His paintings reveal the dramatic destinies not only of individuals, but of entire strata and generations. Makovsky did not always avoid sentimental and melodramatic situations (for example, his “I won’t let you in!”), But in his best works he remained true to the truth of life and amazed at the completeness of the picturesque story, the completeness of the picture that grew out of everyday life scenes noticed by his keen eye.

20. Household genre

In medieval art, genre scenes, specific observations of everyday life arose, as a rule, with the development of secular humanistic tendencies within the framework of the dominant religious worldview and were often woven into religious and allegorical compositions. They are common in paintings, reliefs and miniatures - Russian paintings of the 17th century.

In Russia, the development of the everyday genre in the 2nd half of the 18th century. associated (with the exception of the "home scene" by I. Firsov's "Young Painter") with an interest in the peasant; and here the idyllic idealized rural scenes (I. M. Tankov) were opposed by the loving and accurate depiction of traditional peasant life in the paintings of M. Shibanov, the harsh, uncompromising truthfulness of showing peasant poverty in the watercolors of I. A. Ermenev.

In the 19th century democratic artists addressed to the everyday genre as a program art, which made it possible to critically evaluate and expose the social relations and moral norms that prevailed in the bourgeois-noble society, and their manifestations in everyday life, to defend the rights of working, oppressed people, to make the viewer a direct eyewitness to the social contradictions that filled everyday life and conflicts. In the first half of the 19th century, an important role in the aesthetic affirmation of everyday life was played by a truthful, but one-sided, captivating poetic simplicity and touching sincerity, the image of the bright, cloudless aspects of the life of the peasantry and urban democratic strata (A. G. Venetsianov and the Venetian school in Russia).

In the everyday genre of Russian critical realism the satirical exposure of the serfdom and sympathy for the disadvantaged were complemented by a deep and accurate penetration into the spiritual world of the characters, a detailed narrative, a detailed dramatic development of the plot and the relationships of the characters. These features became clear in the middle of the 19th century. in the paintings of P. A. Fedotov, full of burning mockery and pain, in the drawings of A. A. Agin and the Ukrainian artist T. G. Shevchenko, combining direct and sharp publicism with a deep lyrical experience of the life tragedies of the peasantry and the urban poor.

On this basis grew composing a new stage, the everyday genre of the Wanderers, which played a leading role in their art, which reflected the folk life of the second half of the 19th century in an exceptionally complete and accurate way, and intensely comprehended its fundamental laws. A detailed typified picture of the life of all strata of Russian society was given by G. G. Myasoedov, V. M. Maksimov, K. A. Savitsky, V. E. oppression of the people, but also the mighty vitality hidden in it and the heroism of the fighters for its liberation. Such a breadth of the tasks of the genre picture often brought it closer to the historical composition. In the paintings of N. A. Yaroshenko, N. A. Kasatkin, S. V. Ivanov, A. E. Arkhipov in the late 19th - early 20th centuries. reflected the contradictions of capitalism, the stratification of the countryside, the life and struggle of the working class and the rural poor.

Household genre from 1860-70s. approved a new type genre painting, associated in many ways with impressionism and developed in France by E. Manet, E. Degas, O. Renoir, A. Toulouse-Lautrec. The beauty of everyday life transformed by art, the expressiveness of a seemingly random, fragmentary, unexpected aspect of life, instantly seized situations, changeable moods and states, a sharp specificity of the appearance and habitual movements of characters, an interest in people who stand outside social norms come to the fore in it. A number of stylistic features of this type of genre painting were perceived in many countries by masters of the everyday genre, who sought to combine the breadth of perception of folk life with the freshness and unexpectedness of aspects (V. A. Serov, F. A. Malyavin, K. F. Yuon in Russia).

In Soviet art, everyday genre acquired new features conditioned by the formation and development of socialist society - historical optimism, the assertion of selfless free labor and a new way of life based on the unity of social and personal principles. From the very first years of Soviet power, artists (B. M. Kustodiev, I. A. Vladimirov) sought to capture the changes brought by the revolution to the life of the country. In the work of A. A. Deineka and Yu. I. Pimenov, who were members of the OST association, the characteristic and later for them peppy, energetic structure of paintings dedicated to construction, industrial labor, and sports began to be determined. The searches of the masters of AHRR and OST organically entered the joyful, life-affirming art of the 1930s. The painters S. V. Gerasimov, A. A. Plastov, T. G. Gaponenko, V. G. Odintsov, F. G. Krichevsky, the sculptor I. M. Chaikov captured the bright, colorful aspects of urban and collective farm life.

In the Soviet household genre. the difficult front-line and rear life of the war years, with its sorrows and joys, was also reflected (paintings by Yu. . Soyfertis), and spiritual aspiration, enthusiasm for collective work and social life, typical features of the everyday way of life in the post-war years (paintings by T. N. Yablonskaya, S. A. Chuikov, F. P. Reshetnikov, S. A. Grigoriev, U. M. Japaridze, E. F. Kalnyn, engravings by L. A. Ilyina). Since the 2nd half of the 1950s. Soviet masters. B. g. strive to expand the range of observations of modern life, to show the courage and will of the Soviet people, growing stronger in creative work, in overcoming difficulties. In the paintings of G. M. Korzhev, V. I. Ivanov, E. E. Moiseenko, Yu. P. Kugach, T. T. Salakhov, G. S. Khandzhyan, E. K. Iltner, I. A. Zarin, I. N. Klychev, in the engravings of G. F. Zakharov, V. M. Yurkunas, V. V. Tolly, the daily life of the people appears rich and complex, full of great thoughts and experiences.