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Association of Traveling Art Exhibitions Association of Traveling Art Exhibitions. The Wanderers (Association of Traveling Art Exhibitions) Movement of Wanderers in Russian Art

Association of Traveling Art Exhibitions Association of Traveling Art Exhibitions. The Wanderers (Association of Traveling Art Exhibitions) Movement of Wanderers in Russian Art

16.07.2019

In the 19th century in Russia Imperial Academy of Arts(higher educational institution in the field of fine arts) was actually the only trendsetter in the field of painting, sculpture, architecture and applied arts.

Traditionally, the Academy hosted a competition for the most talented graduates for the Big Gold Medal. The winners were entitled to a 6-year trip to Italy with full board.

In 1863, the Council of the Academy changed the conditions of the competition, equating graduates of the history class and genre painting, without choosing a free topic.

Contestants led by Ivan Kramskoy filed several petitions with a request to revise the conditions of the competition. But these petitions remained unanswered. Then on the day of the competition November 9, 1863 14 out of 15 contestants refused to participate in the competition. This alumni action is called Riot of the Fourteen. This date is considered the beginning of the era of the Wanderers.

The rebels, led by I. Kramskoy, organized Artel of artists, which was the first commercial enterprise of people of art. After 7 years, the Artel collapsed, and on a fundamentally different creative basis, it was organized Association of Traveling Art Exhibitions. Members of the Association began to be called Wanderers.

The Association united Russian artists realistic direction. Russian realism assumed the image of the modern life of the people, the country, the nature of the native land.

During the existence of the Partnership, 48 exhibitions were held in St. Petersburg, Moscow, Kyiv, Kharkov, Odessa, Kazan and other cities.

The first exhibition of the Wanderers opened in St. Petersburg at the Imperial Academy of Arts November 29, 1871. The paintings presented on it amazed the audience with their simplicity and extraordinary expressiveness. There were no lush antique scenes, rich clothes, bright colors of Italian nature. But there were Russian forests, pines, birches, forest edges performed by Ivan Shishkin, portraits of Ivan Kramskoy. Most of the paintings now make up the golden fund of Russian painting. Among them were: Hunters at rest Vasily Perov(1871, oil on canvas. 119x183 cm)

The Rooks Have Arrived Alexey Savrasov(1871, oil on canvas. 62×48.5 cm)

Peter I interrogates Tsarevich Alexei Petrovich in Peterhof Nicholas Ge(1871. Oil on canvas. 135.7 x 173cm)

Starting from the 1900s, the activities of the Association began to decline, many small-town problems began to arise between St. Petersburg and Moscow, conflicts between old members and new ones. So in 1901, 11 artists immediately left the Association.

The last exhibition was held in 1922, and in 1923 the Association ceased to exist.

For all the time, 109 people were members of the Partnership. The full list can be viewed here.

The main merit in founding the Partnership belongs to Ivan Nikolaevich Kramskoy.

The most famous members of the Association:

Bryullov Pavel Alexandrovich(nephew of the painter Karl Bryullov)
Vasnetsov Apollinary Mikhailovich
Vasnetsov Viktor Mikhailovich
Ge Nikolai Nikolaevich(founding member)
Kamenev Lev Lvovich(founding member)
Klodt Mikhail Konstantinovich(founding member)
Klodt Mikhail Petrovich(Founding member, cousin of Klodt M.K.)
Korzukhin Alexey Ivanovich
Kramskoy Ivan Nikolaevich(founding member)
Kuznetsov Nikolay Dmitrievich(Odessian, the most prominent representative of the Ukrainian Wanderers, one of the founders of the Association of South Russian Artists)
Kuindzhi Arkhip Ivanovich
Levitan Isaac Ilyich
Lemokh Karl (Kirill) Vikentievich(founding member)
Makovsky Alexander Vladimirovich(son of Makovsky V.E.)
Makovsky Vladimir Egorovich(the younger brother among the children of Makovsky E.I.)
Makovsky Konstantin Egorovich(founding member, older brother)
Makovsky Nikolay Egorovich(founding member, middle brother)
Myasoedov Grigory Grigorievich(founding member)
Perov Vasily Grigorievich(founding member)
Polenov Vasily Dmitrievich
Pryanishnikov Illarion Mikhailovich(founding member)
Repin Ilya Efimovich
Repin Yuri Ilyich(son from the 1st marriage of Repin I.E.)
Savitsky Georgy Konstantinovich(son of Savitsky K.A.)
Savitsky Konstantin Apollonovich
Savrasov Alexey Kondratievich(founding member)
Serov Valentin Alexandrovich
Surikov Vasily Ivanovich
Shishkin Ivan Ivanovich(founding member)
Jacobi Valery Ivanovich(founding member, did not participate in exhibitions)
Yaroshenko Nikolai Alexandrovich

Special mention should be made of Konstantin Korovin, who worked in different genres and artistic directions: from realism to impressionism. He was a frequent guest of the Wanderers, participated in exhibitions, did more for the development of the Russian art school of painting, and in particular Russian realism, than many members of the Association, although he himself was never a member of the Association.

More details - here.

In 2008, the Creative Association was registered New Wanderers- Traditions are being revived.

Wandering is such a kind of subculture in Russian painting of the middle - second half of the 19th century. This is an association of artists who considered it their duty not only to paint, but to bring art to the masses, to promote it. The Wanderers believed that art should not only instill a sense of beauty and turn people's eyes to beauty. Art for the Wanderers is a means by which important social issues can be raised in such a way that it attracts the attention of a public that is indifferent to everything else. The Wanderers on their canvases sought to raise hot social issues, to show the problems and tragedies of contemporary society, to call for a moral understanding of contemporaries. In order for as many people as possible to join the art, saturated with social experiences, the artists arranged traveling exhibitions from which they got their name. Their traveling exhibitions sometimes met not in the most friendly way in the dark corners of the Russian provinces. Nevertheless, the artists continued their work, which turned into a mission for them, a duty to their people.

V. Pukirev. Unequal marriage (an example of the social painting of the Wanderers)

Wanderers Wanderers

Artists who were members of the progressive Russian democratic art association - the Association of Traveling Art Exhibitions (TPKhV). The partnership was formed in 1870 in St. Petersburg on the initiative of I. N. Kramskoy, G. G. Myasoedov, N. N. Ge and V. G. Perov in the course of the struggle of the country's advanced artistic forces for democratic ideals and in opposition to the official center of art - the St. Petersburg Academy of Arts . Developing the best traditions of the Artel of Artists (whose leader Kramskoy became the ideological leader of the TPHV), experiencing the constant influence of the social and aesthetic views of the revolutionary democrats V. G. Belinsky and N. G. Chernyshevsky, the Wanderers decisively broke with the canons and idealistic aesthetics of academism. Having freed themselves from the regulation and guardianship of the Academy of Arts, they organized the internal life of the TPES on a cooperative basis, launched educational activities. Since 1871, the TPHV has arranged 48 traveling exhibitions in St. Petersburg and Moscow, shown later in Kyiv, Kharkov, Kazan, Orel, Riga, Odessa and other cities.

Having chosen the creative method of critical realism as the basis of their art, the Wanderers turned to a true depiction of the life and history of the people, their native country, its nature; striving to serve the interests of the working people with their creativity, they glorified its greatness, strength, wisdom and beauty, often rising to the merciless denunciation of its oppressors and enemies, the unbearably difficult conditions of its life. From a democratic and humanistic position, the Wanderers resolutely condemned the Russian autocratic order, sympathetically showed the liberation movement of the Russian people. The best works of the Wanderers were distinguished by their great strength of psychologism and social generalization, high mastery of typification, and the ability to represent entire classes and estates through individual images and plots. The leading genres in the art of the Wanderers were the everyday genre and the portrait, which made it possible to most fully show the life of the people, create images of advanced people, and directly affirm democratic ideals. The historical genre and landscape also received significant development; in paintings on religious subjects, actual moral and philosophical problems were embodied. In the 1870-80s, at the time of its heyday, the art of the Wanderers developed towards an ever wider coverage of life, an ever greater naturalness and freedom of depiction. The somewhat constrained and dry manner of writing with dark colors is being replaced by a free, broad manner, the transmission of light and air with the help of a light palette, reflexes, and colored shadows; the composition of the picture becomes more diverse and freer. In the work of the Wanderers, critical realism in Russian fine art reached its culmination. The innovative, truly folk art of the Wanderers served as an effective means of democratic, social, moral and aesthetic education for many generations and ultimately became an important factor in the development of the Russian liberation movement. V. I. Lenin, the leading figures of the Russian revolutionary movement and Russian culture highly appreciated the work of the Wanderers.

The TPHV united almost all the most talented artistic forces of the country. At different times, it included (in addition to the initiators) I. E. Repin, V. I. Surikov, V. E. Makovsky, I. M. Pryanishnikov, A. K. Savrasov, I. I. Shishkin, V. M. Maksimov, K. A. Savitsky, A. M. Vasnetsov and V. M. Vasnetsov, A. I. Kuindzhi, V. D. Polenov, N. A. Yaroshenko, I. I. Levitan, V. A. Serov M. M. Antokolsky, V. V. Vereshchagin, A. P. Ryabushkin, and others were exhibitors of the TPHV exhibitions. The critic-democrat V. V. Stasov played an important role in the development of the artistic activity of the Wanderers; P. M. Tretyakov, acquiring works of the Wanderers for his gallery, provided them with important material and moral support. The authority and public influence of the TPHV has been steadily growing. Reactionary criticism and the Academy of Arts, forced to abandon their original tactics of clamping down and persecuting the Wanderers, made attempts to subdue their activities, to revive the academic school with their help. In the 1890s The Academy of Arts included prominent Wanderers (Repin, Makovsky, Shishkin, and others). Among the Wanderers were artists of Ukraine (K. K. Kostandi, N. K. Pimonenko), Latvia (K. Gun), Armenia (V. Surenyants) and others who had a great influence on the development of their national schools along the path of realism, nationality and democratic ideals. Of great importance for Russian realistic art was the pedagogical activity of Perov, Repin, Makovsky, Kramskoy, Savrasov. Kuindzhi, Savitsky, Polenov and others.

At the turn of the XIX and XX centuries. the art of a number of the Wanderers began to lose the depth of reflection of life, accusatory pathos. The TPHV was losing its former social influence, but the main core of the Wanderers remained faithful to realism and democratic ideals to the end. In the 1890-1900s. in the work of the advanced group of the Wanderers, socialist ideas appeared, reflecting the development of the working-class movement, and elements of socialist art were born (N. A. Kasatkin, L. V. Popov, S. V. Ivanov, and others). Many Wanderers, having entered the Soviet artistic culture, were the bearers of the great realistic traditions of the 19th century. and helped shape the art of socialist realism. The TPKhV broke up in 1923. Its members merged mainly into the AHRR, continuing to serve the people under new historical conditions.

Literature: G. Burova, O. Gaponova, V. Rumyantseva, Association of Traveling Art Exhibitions, vol. 1-2, M., 1952-59; (A.V. Paramonov), Wanderers. (Album), 2nd ed., M., (1975); Wanderers. Collection of articles, M., 1977; Wanderers, Association of Traveling Art Exhibitions, author of the introductory article and compiler A. K. Lebedev, 2nd ed., L., 1978; A. D. Minchenkov, Memories of the Wanderers, 6th ed., L., 1980.

(Source: "Popular Art Encyclopedia." Edited by Polevoy V.M.; M.: Publishing House "Soviet Encyclopedia", 1986.)

Wanderers

Russian realist artists who were part of the democratic exhibition association - the Association of Traveling Art Exhibitions (TPKhV) and opposed their creative principles academicism. The purpose of the association, organized in 1870 on the initiative of G. G. Myasoyedov, V. G. Perov, I. N. Kramskoy, N. N. Ge etc., was to "liberate art from bureaucratic routine", to develop the accusatory tendencies of painting in the 1860s, to awaken the "public conscience" and at the same time to show a positive image of a contemporary, to give moral guidelines for society. In November 1870, the Charter of the Partnership was approved, proclaiming realism, nationality (expressing the interests of the largest part of society), and revealing the spiritual foundations of Russian culture as the main principles of the artists' work. The first exhibition took place in 1871 in St. Petersburg, from where the paintings were sent for display in other cities. For the first time, the TPHV began to arrange "traveling" exhibitions, presenting their works to the public not only in St. Petersburg and Moscow, but also in Kiev, Kharkov, Odessa, Kazan and other cities. The association existed until 1923, when the last, 48th exhibition was arranged, but the heyday of the art of the Wanderers came in the 1870s and 80s.

The fee for visiting the exposition was divided among the members of the association, part of the proceeds were kept in the general fund. This made it possible to support financially needy members of the TPES, helping them to focus entirely on creativity. In addition, each artist could count on the sale of his works at traveling exhibitions. The commercial success of the TPHV was the key to the creative independence of its members. The Association did not restrict access to its ranks, which would be contrary to its democratic platform. However, the openness of the association to new members led to the fact that to the con. 1880s there were many weak artists in its ranks, and the lack of fresh ideas led to some stagnation, “shredding” of plots, and the repetition of former motives. In the 1890s many prominent members of the Association (I.E. Repin, V. E. Makovsky, I.I. Shishkin etc.) became part of Petersburg Academy of Arts.

The creative method of the Wanderers was critical realism, the desire to embody the "truth of life". Any fiction, idealization, embellishment were considered a manifestation of the academic "lie". Thanks to the work of the Wanderers, art becomes a public platform in Russia; artists turn to acute social and ethical problems, solve educational problems. The Wanderers thought of their art as a high mission of public service. Their paintings are addressed to an indifferent, reflective and empathetic viewer.

A staunch propagandist of the work of the Wanderers was the critic V.V. Stasov, who proclaimed the importance of creating a "choral" picture, where the main character is the people, captured in all the variety of types ("Religious procession in the Kursk province" by I. E. Repin, 1880-83). An important role in the development of the Wanderers was played by the collecting activity of the merchant and patron P.M. Tretyakova, the founder of the gallery of Russian art, who managed to become not only a buyer of paintings by participants in the Society for Exhibition of Exhibitions, but also a true friend and inspirer of many artists.

Along with the dominant in the 1860s. portrait and landscape are developing as an everyday genre in the work of the Wanderers. The main object of artistic comprehension is the peasantry and people from the bottom, who appear not only as victims of social injustice, but also as the embodiment of beauty and strength. Artists paint everyday scenes from village life (V. M. Maksimov. "The arrival of a sorcerer at a peasant wedding", 1875; G. G. Myasoedov. "The Passionate Time", 1887; THEM. Pryanishnikov."Empty", 1872); portraits of peasants, recreating bright and solid folk types (V. G. Perov. "Wanderer", 1870; I. N. Kramskoy. "Woodsman", 1874, "Mina Moiseev", 1883; I. E. Repin. timid", 1878); landscapes imbued with love for the discreet beauty of Russian nature (A.K. Savrasov, F. A. Vasiliev, I. I. Shishkin, A. I. Kuindzhi and etc.). The landscapes of the Wanderers are characterized by narrative (“Pine Forest” by I. I. Shishkin, 1872), love for depicting transitional states in nature (the first signs of the coming spring in A. K. Savrasov’s painting “The Rooks Have Arrived”, 1871; the earth washed by a thunderstorm, in "Wet Meadow" by F. A. Vasiliev, 1872). In many landscapes there is a note of aching sadness, the pain of artists who feel the discord between the beauty of their native land and the grief that fills it. In historical paintings, the Wanderers sought to convincingly recreate the ancient life, costumes, architecture, to make the depicted event “tangible” for the viewer, to immerse it in the atmosphere of a bygone era (N. N. Ge. “Peter I interrogates Tsarevich Alexei Petrovich in Peterhof”, 1871). In the monumental canvases of V.I. Surikov(“Morning of the Streltsy Execution”, 1881; “Boyarynya Morozova”, 1887) presents the turning points of Russian history, when the most essential features of the national character are revealed in the confrontation of various forces.

A prominent place in the traveling exhibitions was occupied by portraits of figures of Russian culture, who were perceived by society as "rulers of thoughts", selfless prophets, preachers of lofty truths, appealing to souls and hearts. The gallery of “persons dear to the nation” was created largely thanks to the purposeful activity of P. M. Tretyakov, who ordered portraits from artists V. G. Perov (portraits of A. N. Ostrovsky, 1871; F. M. Dostoevsky, V. I. Dahl; I. S. Turgenev; all - 1872), I. N. Kramskoy (portraits of T. G. Shevchenko, M. M. Antokolsky, F. A. Vasiliev; all - 1871; L. N. Tolstoy, 1873; I. A. Goncharova, 1874; N. A. Nekrasova, 1877; M. E. Saltykov-Shchedrin, 1879), I. E. Repin (portraits of I. S. Turgenev, 1876; I. E. Zabelin, 1877) and others . ON THE. Yaroshenko created portraits-types ("Student", 1881; "Cursist", 1883).

An important place in the work of many Wanderers was occupied by gospel stories, experienced with confessional frankness and depth. Kramskoy (“Christ in the Wilderness”, 1872), Ge (“What is Truth?”, 1890) and other artists sought not to create illustrations for the Holy Scriptures, but to approach the resolution of topical moral and philosophical issues. V. M. Vasnetsov turned in his work to the images of Russian folklore. In the 1880s-90s. the color palette in the canvases of many Wanderers becomes brighter and lighter, the manner of writing is freer, compositional techniques are more diverse (I. E. Repin, V. I. Surikov, M. V. Nesterov, I.I. Levitan, V. A. Serov and etc.).
For several decades, the Association united almost all the most talented Russian artists. At different times, its members included, in addition to the organizers, I. E. Repin, V. I. Surikov, V. E. Makovsky, I. M. Pryanishnikov, A. K. Savrasov, I. I. Shishkin, V. M. Maksimov, K. A. Savitsky, A. M. and V. M. Vasnetsov, A. I. Kuindzhi, V. D. Polenov, N. A. Yaroshenko, I. I. Levitan, V. A. Serov and others. M. M. Antokolsky, A.P. Ryabushkin and others. After the collapse of the TPHV, many Wanderers entered the Association of Artists of Revolutionary Russia.

(Source: "Art. Modern Illustrated Encyclopedia." Under the editorship of Prof. A.P. Gorkin; M.: Rosmen; 2007.)

See what "Wanderers" is in other dictionaries:

Wanderers- Wanderers, artists who were part of the democratic art association Association of Traveling Art Exhibitions (TIHV). It was founded in 1870 on the initiative of I. N. Kramskoy, N. N. Ge, G. G. Myasoedov, and V. G. Perov. United... ... Encyclopedic reference book "St. Petersburg"

Realist artists who were part of the Russian democratic art association - Creativity of Traveling Art Exhibitions (formed in 1870). Breaking with academicism, the Wanderers were guided by the method of critical realism, ... ... Encyclopedia of cultural studies

Wanderers- Wanderers. I.E. Repin. Religious procession in the Kursk province. 1880 83. Tretyakov Gallery. Wanderers, artists who were part of the Russian art association Association of Traveling Art Exhibitions, formed in 1870. ... ... Illustrated Encyclopedic Dictionary

The artists who were part of the Russian art association, the Association of Traveling Art Exhibitions, formed in 1870. Turned to the image of the everyday life and history of the peoples of Russia, its nature, social conflicts, denunciation ... Big Encyclopedic Dictionary

Artists who were members of the democratic art association Association of Traveling Art Exhibitions (TIHV). It was founded in 1870 on the initiative of I. N. Kramskoy, N. N. Ge, G. G. Myasoedov, and V. G. Perov. Bringing artists together... St. Petersburg (encyclopedia)

Artists who were members of the Russian art association "Association of Traveling Art Exhibitions". The partnership was formed in 1870 in St. Petersburg on the initiative of I.N. Kramskoy, G.G. Myasoedova, N.N. Ge and V. G. Perov, as opposed to ... ... Russian history

The Association of Traveling Art Exhibitions (Vedvizhniki) is a creative association of Russian artists that existed in the last third of the 19th century. In aesthetic terms, the participants of the Partnership, or Wanderers, purposefully ... ... Wikipedia

Wanderers

Realist artists who were part of the largest in Russia in the second half of the 19th century. democratic creative association "Association of Traveling Art Exhibitions" (1870-1923).

The partnership was formed in 1870 in Petersburg as opposed to the official center of Russian art - St. Petersburg Academy of Arts; it included artists at different times I.E. Repin, IN AND. Surikov, I.N. Kramskoy, V.G. Perov, N.N. Ge, G.G. Myasoedov, MM. Antokolsky, V.V. Vereshchagin, A.M. Vasnetsov, V.M. Vasnetsov, A.K. Savrasov, V.D. Polenov, A.I. Kuindzhi, I.I. Levitan, I.I. Shishkin, Val.A. Serov. The ideological leader of the association was Kramskoy, who back in 1863 led the protest of graduates of the Academy of Arts, who refused to paint diploma paintings on a subject far from life given by the Academy Council. The artists who left the Academy united in the "Petersburg Artel of Artists". "Artel" was organized on the principle of a commune: the artists worked together and distributed orders among the members of the group. In their activities they followed the ideas of Russian critics, social democrats V.G. Belinsky, N.G. Chernyshevsky. The Association of Traveling Art Exhibitions grew out of Artel. In the new association, Kramskoy retained his leadership.
The Wanderers believed that art should reflect real life, be not salon, social in terms of problems and addressed not to an elitist, but to a democratic audience, to enlighten him. The artists of the group were ideologically supported by an art critic V.V. Stasov and collector P.M. Tretyakov who bought their paintings on special orders. The Wanderers organized their exhibitions in different cities Russian Empire: Petersburg, Moscow, Kazan, Kharkov, Orel, Riga, Odessa. From 1871 to 1923, 48 exhibitions of the association took place. The most common genre at the exhibitions was everyday painting (paintings by Repin, Perov, Myasoedov); historical painting was represented by the works of Surikov and Ge; battle pictures were painted by Vereshchagin; Kramskoy, Repin and Perov worked in the portrait genre. The association included several artists working in the landscape genre - Savrasov, Shishkin, Polenov, Levitan.
The heyday of the "Partnership" began in the 1870s-1880s, when critical realism reached its culmination in the work of the Wanderers. In the late 1880s a creative crisis began in the group: the artists did not find large and significant social and political themes. A conflict arose between the older and younger generations of the Wanderers. In the paintings of young artists Val.A. Serov and K.A. Korovin senior masters saw formalism and lack of ideas. V.M. Vasnetsov turned to folklore and religious themes. Many Wanderers returned to teaching at the Academy of Arts or joined other art associations that arose in Russia at the end of the 19th century. The art of the Wanderers lost its critical focus and depth. In 1923–1924 the already small "Partnership" joined the association of proletarian artists.
The largest collections of works by the Wanderers are located in Russia in Tretyakov Gallery And Russian Museum.
For the majority of Russians, the Wanderers are the most famous artists in the history of Russian fine art, since their works in the Soviet ( cm. Soviet Union) time were actively promoted, reproductions of paintings were included in school ( cm.) textbooks.
A group of itinerant artists. Photograph 1876:

Portrait of the critic V.V. Stasov. Artist I.E. Repin. 1873:

Russia. Large linguo-cultural dictionary. - M .: State Institute of the Russian Language. A.S. Pushkin. AST-Press. T.N. Chernyavskaya, K.S. Miloslavskaya, E.G. Rostova, O.E. Frolova, V.I. Borisenko, Yu.A. Vyunov, V.P. Chudnov. 2007 .

See what "Wanderers" is in other dictionaries:

Wanderers- artists who were members of the progressive Russian democratic art association, the Association of Traveling Art Exhibitions (TPKhV). The partnership was formed in 1870 in St. Petersburg on the initiative of I. N. Kramskoy, G. G. ... ... Art Encyclopedia

"Wanderers"- realist artists who were part of the Russian democratic art association - Creativity of Traveling Art Exhibitions (formed in 1870). Breaking with academicism, the Wanderers were guided by the method of critical realism, ... ... Encyclopedia of cultural studies

Wanderers- artists who were part of the Russian art association, the Association of Traveling Art Exhibitions, formed in 1870. They turned to depicting the everyday life and history of the peoples of Russia, its nature, social conflicts, denunciation ... Big Encyclopedic Dictionary

Wanderers- artists who were part of the democratic art association Association of Traveling Art Exhibitions (TIHV). It was founded in 1870 on the initiative of I. N. Kramskoy, N. N. Ge, G. G. Myasoedov, and V. G. Perov. Bringing artists together... St. Petersburg (encyclopedia)

Wanderers- artists who were part of the Russian art association "Association of Traveling Art Exhibitions". The partnership was formed in 1870 in St. Petersburg on the initiative of I.N. Kramskoy, G.G. Myasoedova, N.N. Ge and V. G. Perov, as opposed to ... ... Russian history

Wanderers- The Association of Traveling Art Exhibitions (Wanderers) is a creative association of Russian artists that existed in the last third of the 19th century. In aesthetic terms, the participants of the Partnership, or Wanderers, purposefully ... ... Wikipedia

Wanderers- artists who were members of the progressive Russian democratic art association, the Association of Traveling Art Exhibitions. The partnership was formed in 1870 in St. Petersburg on the initiative of I. N. Kramskoy, G. G. Myasoedov, N. ... ... Great Soviet Encyclopedia

Books

The Wanderers, F. S. Roginskaya, This publication is undertaken to familiarize the general readership with the art of the Wanderers - artists who were members of the Association of Traveling Art Exhibitions. It… Category: History of Russian art Publisher:

In the 19th century, the St. Petersburg Academy of Arts remained the center of the country's creative life. It was a fairly conservative institution "... with the pedagogical teaching system that prevailed here, outdated norms of aesthetics that had lost touch with the advanced Russian artistic culture ...".

In 1863, there was a scandal: 14 graduates of the Academy - Kramskoy, Korzukhin, Makovsky K., Lemokh, Grigoriev, Zhuravlev, Morozov and others, refused to participate in the competition for a large gold medal and defiantly withdrew from its membership.

In the same year, they created the Artel of Free Artists, which for a number of years was a kind of artistic center in St. Petersburg.

Moscow artists Myasoedov G. G., Perov V. G., Makovsky V. E., Pryanishnikov I. M., Savrasov A. K. at the end of 1869 suggested that the St. Petersburg Artel unite all together and form a new society. In 1870 "Association of Wanderers", already approved by the government, began its activities. The main thing that the Wanderers managed to achieve first of all was the organization of independent exhibitions and their movement around the cities of Russia.

With the advent of the partnership of the Wanderers, the new art develops in a single channel with advanced Russian literature, music, theater, social thought, forming a powerful stream of Russian democratic culture, inspired by the advanced social ideas of its time.

The composition of the society of artists of the Wanderers at different times included Repin I. E., Surikov V. I., Makovsky V. E., Pryanishnikov I. M., Savrasov A. K., Shishkin I. I., Maksimov V. M. , Savitsky K. A., Vasnetsov A. M. Vasnetsov V. M. , Kuindzhi A. I., Polenov V. D., Yaroshenko N. A., Levitan I. I., Serov V. A. and others. Antokolsky M. M., Vereshchagin V. V., Korovin K. A., Korovin S. A., Ryabushkin A. P., et al.

16. Visual arts of the 20th century

The 20th century is the century of sharp contradictions, deep social conflicts and disappointments, and at the same time the hopes of mankind, the century of persistent search for new, more perfect ways for the development of society. It brought with it profound changes in all spheres of human activity, including ideology, culture, and art.

Never before have painting, sculpture and graphics been so closely and directly connected with real life, never before has a critical orientation, a denial of everything and everything, manifested itself in them so clearly. The rapidly developing art lost its former stylistic integrity, its development became more and more uneven, spasmodic, the creative interaction of individual types of art was disrupted, and individualistic tendencies increased. Both in former times and in the 20th century artistic styles are closely connected with the meanings of the era, with its mythology. It is obvious that the place of the myth in contemporary art occupies scientific and technological progress, which forced artists to abandon the usual view of the world.

Science has revised most of the "enduring truths" of the New Age, and also changed the attitude towards the humanistic values of the Renaissance and Enlightenment. Everyone began to look for their own way out: some in the continuation of the cultural tradition of the past, the second, the third - in gaining lost ties with nature, in the scientific and technological revolution, in nihilistic self-affirmation.

The search for new ways, experimentation and revolutionary transformation, the diversity, diversity and contrast of creative quests are the distinctive features of the art of the 20th and 21st centuries. Visual arts of the early 20th century more and more insistently departs from the principle of the life-likeness of form. The first to go in this direction cubists, deforming nature, decomposing it into simple geometric shapes. They were replaced futurists celebrating the dynamism of life and the beauty of speed; orphists looking for harmony in color combinations; purists promoting machine aesthetics.

But the main trend of the first half of the 20th century is abstractionism, completely departed from the transfer of the real world, objective reliability, denying the objective existence of the world and affirming the artist's spontaneous-impulsive self-expression. Abstract art- this is art without recognizable images, a combination of pure colors and lines. It appeared in Europe around 1910 and destroyed the idea of classical beauty in art. His trend continued Dadaism, who cultivated the idea of pictorial ugliness.

Art is becoming more and more a kind of sign, it is no longer reduced to decorativeness. One of the features of the 20th century is hypertrophied individualism. Psychoanalytic delving into the depths of the individual most clearly manifested in surrealism, which dominated the world's artistic life for more than half a century. His concept asserted the mystery and unknowability of the world, in which time and history disappear, and a person lives in the subconscious and is helpless in the face of difficulties.

Since the second half of the 20th century, especially in the 1960s-1970s, completely new directions in terms of content have entered the artistic arena: conceptual and kinetic art, op art and pop art.

Having made a round in the abstract avant-garde direction, the art of the 1970-1980s. tried to return to classical traditions in aesthetics postmodernism, the main feature of which was eclecticism, a mixture of styles from different eras and national subcultures, free possession or in a picturesque space. This trend remains fundamental to this day. The art of the 20th century, having revealed the absence of the Grand style of previous eras, presented a set of author's styles, pronounced individualities in line with various international trends.

On November 9, 1863, an event took place at the Imperial Academy of Arts - a riot, a scandal - that gave life to the world-famous "Association of Traveling Art Exhibitions". On this day, 14 best graduates of the Academy refused to participate in the competition dedicated to its centenary for a large gold medal. According to the assignment, each of the 14 winners of the small gold medal "For Success in Drawing" was supposed to present a picture on the theme "Feast in Valhalla", however, young rebels, led by Ivan Kramskoy, considered the German-Scandinavian plot to be arch-modern and out of touch with reality. One by one, they left the academic auditorium, disrupting the anniversary competition and leaving papers with petitions to the vice-president of the Academy, Prince Gagarin, to issue each a diploma "corresponding to the medals that I was awarded."
Standing up for realism and the acutely social orientation of painting, which broke off relations with the Academy, Kramskoy's supporters created the first independent creative organization in the history of Russian art called the Artel of Artists. After some time, it was reborn as the "Association of Traveling Art Exhibitions" or the movement of the Wanderers.

The meaning of the "Rebellion of the Fourteen": realism, replacing academicism.

The photo shows the participants of the "Riot of the Fourteen", 1860s.

Throughout the 19th century, the Imperial Academy of Arts had a kind of monopoly on any artistic activity, however, many students and graduates of the Academy did not share the convictions of its rectors and teachers - plots on biblical and mythological topics seemed out of date; the dominant role of form over content was also questioned. However, before the "Riot of the Fourteen" few people said this openly.
In fact, it was the "Riot of the Fourteen" - the disruption of the anniversary competition of the Academy of Arts - that became the first prerequisite for the emergence of the Wanderers movement.

Art for the people. Purposes and articles of association.

Nikolai Ge - "Peter I interrogates Tsarevich Alexei in Peterhof", 1871, the first exhibition of the Wanderers

Not a single period in the history of Russian painting was marked by such a fierce rejection of academicism and the concept of "art for art's sake" as the period that began in the 60s of the 19th century. Inspired by the ideas of democracy and dreams of universal freedom and prosperity, the Wanderers dreamed of art in the name of serving the people, their education and upbringing. These aspirations were expressed in the charter of the partnership:

“§ 1. The purpose of the partnership is to organize, with proper permission, in all cities of the Empire, traveling art exhibitions, in the form (for):
a) providing residents of the provinces with the opportunity to get acquainted with Russian art and follow its progress;
b) development of love for art in society;
c) making it easier for artists to market their works.
§ 2. For this purpose, the Partnership may organize exhibitions, sell both works of art and artistic products, as well as photographs ... ”

In addition to all this, the charter of the partnership stipulated the rules for managing its affairs and cash desk, as well as the conditions for admitting newcomers to its ranks.

First exhibition

Illarion Pryanishnikov - "Employed", 1871, the first exhibition of the Wanderers.

“This year was marked by a very remarkable phenomenon for Russian art: some Moscow and St. Petersburg artists formed a partnership with the aim of organizing traveling art exhibitions in all cities of Russia. Therefore, from now on, works of Russian art, hitherto closed in one St. Petersburg, within the walls of the Academy of Arts, or buried in galleries and museums of private individuals, will become available to all the inhabitants of the Russian Empire in general ... ", Mikhail wrote in the journal Fatherland Notes. Saltykov-Shchedrin.

The first exhibition of the Wanderers, which traveled around Russia for almost two months, opened on November 29, 1871 in St. Petersburg and also managed to visit Moscow, Kyiv and Kharkov. Among its participants were Mikhail Klodt, Grigory Myasoedov, Vasily Perov, Ivan Shishkin, Ge, Pryanishnikov, Kramskoy and Savrasov. The exhibition caused a wide public outcry, and the total income from it amounted to about 4,400 rubles. The money received was divided among all participants in the partnership in accordance with its charter; not a single artist was left without a well-deserved income - and this situation could also be considered an absolute breakthrough. The fact is that the annual (!) income from all exhibitions of the Academy of Arts never exceeded 5000 rubles, and the masters participating in them did not receive a penny - all the money was deducted to the treasury of the Ministry of the Imperial Court.

The economic policy of the Wanderers.

Mikhail Klodt - "Volga near Simbirsk", 1881.

The participants of the partnership demanded from each other to strictly follow the charter they adopted, and especially that part of it that dealt with financial issues - 5% of the cost of each painting sold, as well as all the money received for tickets to one or another traveling exhibition, were sent to the cash desk of the partnership , the rest went "to the division between the exhibitors, in accordance with the assessment of their works made by the board."

Perfect discipline in everything related to money and organizational issues served the Wanderers in good stead - their business flourished. By the mid-70s of the XIX century, most of the artists who exhibited their paintings at exhibitions of the Wanderers moving from place to place, gained all-Russian fame, and with it the long-awaited financial stability.

Confrontation with the Academy of Arts. Pavel Tretyakov.

Prince Grigory Grigoryevich Gagarin - Vice-President of the Academy of Arts from 1859 to 1872.

Soon after the fantastic success of the first exhibition of the Wanderers, the teachers of the Academy of Arts, headed by its vice-president Grigory Gagarin, sounded the alarm. Former mentors decided that the newborn partnership under the leadership of Kramskoy and Myasoedov was undermining the authority of the Academy and depriving its exhibition of an interested public.

Thus began a long-term confrontation between the partnership and the Academy, which Pavel Tretyakov, the famous philanthropist and collector of Russian art, repeatedly tried to stop. “Only time will show who is really right,” he said. people, diligence and complete freedom and independence - this is grace!

Tretyakov played a crucial role in the life of the Wanderers, providing both material and moral support. Many paintings of the Wanderers were painted by his order.

Decline of travel

Nikolay Yaroshenko - "Held", 1891.

The decline of the Wanderers turned out to be as swift as its rise. By the end of its existence, the partnership became one of the most influential departments of the Academy of Arts and adopted a number of monopolistic features characteristic of the Academy. For example, young Wanderers were forbidden to exhibit anywhere except for exhibitions of the partnership; joining its ranks also turned into a fairly formal procedure.

Here is how the painter Leonid Pasternak recalled this moment in the history of the Wanderers: “The older members of the Association were in sharp opposition to the younger ones. We, young artists, were contemptuously called "exhibitors", because we did not have the rights of members of the society and therefore we were subjected to the strictest jury, while the members of the society exhibited their paintings without a jury; we were generally treated in the most severe manner. It even got to the point (in our days it seems incredible!) that Yaroshenko, this pillar of the itinerant movement, sent out to the “exhibitors” an official “circular” with the most naive, to say the least, enumeration of plots that could be written to be sent to a traveling exhibition, with indicating especially “desirable”, with the definition of even the manner and technique of performance ... The main thing in the picture was the plot. I just can’t believe that this directive paper, which determined “how and how not to paint pictures,” is a true story, and not a fairy tale-fiction. This is a historical document of the late stage of the Wanderers.”

7 most important paintings of the Wanderers, stored in the Tretyakov Gallery.