How to instill a child's interest in art? People look at pictures, listen to music, read fiction and poetry, admire architecture, dance, theater, cinema… You can listen to music and not understand, you can look at pictures and feel nothing… The perception of art begins from early childhood.
Early acquaintance with the world of beauty brings up taste, develops visual memory, imagination, observation, teaches to think, generalize, analyze, find beauty in everyday things.
From an early preschool age, children should get acquainted with one of the types of fine arts - painting. Painting is perceived easily if the family understands, loves and feels works of art. Parents interested in the aesthetic development of children can organize small joyful meetings with art.
Fairy tales accompany children almost from the cradle, and the paintings of Viktor Mikhailovich Vasnetsov will help them imagine the images of many fairy-tale heroes.
Viktor Mikhailovich Vasnetsov is a storyteller who created fairy tale paintings, epic paintings: “Alyonushka”, “Bogatyrs”, “Ivan Tsarevich on the Gray Wolf” ...
The artist called himself a "storyteller", an epic writer, a harpist. The word "epic" comes from the word "truth", a fairy tale - from the word "to tell", a gusliar from the word "gusli" (an ancient musical instrument). The artist's birthplace is the Vyatka region, the village of Lopyal. Nature itself, mysterious and harsh, inspired him with images of the heroes of ancient epics, beliefs, and legends.
Painting "Alyonushka"
The plot of the painting "Alyonushka" is taken from a Russian folk song: "Just like an aspen - it's bitter - I'm poor - bitter." A barefoot peasant girl ran to the forest pool to drown her grievances and sorrows in it. Alyonushka sits motionless on a pebble, her head on her knees. An evil share withered her soul. The drooping fragile figure seemed to be petrified, frozen from hopeless grief. Beautiful eyes faded from longing and loneliness.
Only nature hears and understands Alyonushka. The gloomy sky was covered with gray clouds, sad aspens shed tears-leaves from bitter resentment. A light breeze gently strokes your hair. A dense forest rises like a wall, protecting the poor thing from a terrible fate. All elements of the landscape have a symbolic meaning: a dark pool symbolizes girlish melancholy, and a cutting sedge around a stone portends imminent misfortune.
The painting "Alyonushka" shows the emotional connection between man and nature, their mutual understanding.
This is interesting:
The heroine of the picture reminds many of the character of the Russian fairy tale "Sister Alyonushka and Brother Ivanushka". However, in this tale, the plot was completely different: the unfortunate goat Ivanushka ran to the pond to complain about his fate to his sister:
“Alyonushka, my sister.
The fires burn flammable
Cauldrons boil seething,
Knives sharpen damask,
They want to kill me."And she answered him:
“Oh, my brother Ivanushka.
A heavy stone pulls to the bottom,
Silk grass tangled my legs,
A fierce snake sucked out the heart.
Read the fairy tale "Sister Alyonushka and brother Ivanushka", discuss its plot. Find plot differences in the fairy tale and the picture.
Listen with your child to a folk song that will help you understand the mood of the picture.
“Is the wind bending the branch,
It's not the oak tree that makes noise.
That is mine, my heart is groaning,
Like an autumn leaf trembles.
Ask the child if he likes this picture, what feelings it causes, what he thinks about Alyonushka.
- Why did she run into the forest?
- Who sympathizes with her? (spectators, nature)
- How does the artist feel about her?
- According to the fairy tale, the evil witch pushed Alyonushka into the water, and who in Vasnetsov's picture wishes her well? (aspen, swallows).
After discussing the picture and the fairy tale, do not forget to make a joint conclusion about what should connect man and nature.
The painting "Three princesses of the underworld"
The picture was created based on the Russian folk tale about how the peasant son Ivan found three kingdoms underground - gold, precious stones and iron. The painting was commissioned by the merchant S. I. Mamontov to decorate the office of the Severodonetsk railway.
The plot of the fairy tale in the picture is different: the iron kingdom is replaced by coal. Two princesses appear against the backdrop of a flaming sunset. The first protects the most expensive metal - gold. The proud and arrogant princess is dressed in gold-woven clothes. Her headdress is cast from pure gold. She is holding a handkerchief adorned with gold threads.
The second looks down on her little sister. Her clothes are strewn with blue sapphires, red rubies, purple amethysts, dazzling diamonds. Emeralds shimmer on her head.
The younger princess stands modestly in the shade, at the very descent into the dungeons. Her black dress and hair are adorned with pearls and diamonds, and a small light shines on her head. The princess guards the most necessary treasure - coal.
- Read the fairy tale "Three princesses of the underworld."
- Now try to solve the riddle: what underground treasures are guarded by the three princesses?
- How did the artist Vasnetsov change the plot of the fairy tale?
- What is guarded by the youngest princess?
- What is in the foreground of the picture? (Black lumps of coal)
- How does the artist feel about the younger princess?
- What is more important in life: gold, precious stones or coal? (gold and precious stones are used to make jewelry, and coal gives people warmth and light)
Painting "Ivan Tsarevich and the Gray Wolf"
The picture depicts an episode from the fairy tale by A. A. Afanasyev: “Ivan Tsarevich, sitting on the Gray Wolf together with the Beautiful Elena, loved her with all his heart ...” From this feeling, a branch of an apple tree blossomed in a cold forest with white and pink flowers. A blossoming apple tree symbolizes spring, as the awakening of nature from sleep and love, as the birth of the most beautiful feeling of a person. It is cold for Elena the Beautiful in the fairy forest. She bowed her head to her savior, who embraced her tightly. He is ready to fight for his love.
The prince kidnapped the overseas princess from distant countries, from the king of Dalmat, so she is wearing an oriental outfit: a skullcap studded with precious stones, a brocade robe, golden shoes with curved toes. The beauty is as if bewitched, as if half asleep. The young are fleeing the chase. A huge wolf rushes through the gloomy forest. Individual details of the picture are surprising, indicating the swiftness of the action: pressed wolf ears, a blossoming tail, a protruding tongue, fluttering princesses, a flying heavy sword in the sheath of Ivan Tsarevich ...
- Read and discuss the fairy tale by A. A. Afanasiev "Ivan Tsarevich and the Gray Wolf."
- Ask your child about what is shown in this picture?
- Why does this picture seem alive? (a huge wolf rushes at a speed ...)
- Who is sitting on the Gray Wolf?
- Why is Ivan Tsarevich hugging the princess? What is her name?
- Are there clues in the picture that Elena the Beautiful was an overseas princess?
- What miracle happened in the dark forest? (apple blossomed).
- Why did the apple tree bloom?
- What is love? Why is this feeling compared to the blossoming delicate flowers of an apple tree? (nothing is impossible for love...)
- Who in this picture can interfere and help the heroes?
- Did you like this picture? What does she teach?
Painting "Heroes"
The painting depicts a heroic outpost. Three main characters Ilya Muromets, Alyosha Popovich and Dobrynya Nikitich stand guard over the Russian land. Behind them are endless forests and fields. Clouds float across the sky, which are not afraid of evil clouds. The clouds seem to part before the heroic force.
In the center is the oldest of the heroes - Ilya Muromets. He was a peasant son and devoted his whole life to the service of the people. Many epics tell about Ilya Muromets and his exploits:
- "Ilya Muromets and the Nightingale the Robber",
- "Ilya Muromets and Kalin Tsar",
- "Ilya Muromets and Poganoe Idolishche",
- Quarrel between Ilya Muromets and Prince Vladimir
The hero was endowed with unprecedented physical strength and wielded weapons for "close combat" - a heavy club and a round shield. Below him is a mighty black horse, the color of which coincides with the "mother earth", from which the hero drew his heroic strength. It seems that the earth cracked under the weight of the horse and its rider.
On the left, Ilya's right hand is Dobrynya Nikitich, distinguished by wisdom and foresight. His light and fast horse Beleyushka has already sensed the enemy, and Dobrynya takes out her magic sword from the scabbard.
The exploits of Dobrynya are described in several epics: “Dobrynya and the Serpent”, “Dobrynya Nikitich and Alyosha Popovich” ... Dobrynya is a warrior, defender of the Russian land, who has a subtle mind and the ability to deal with people. He plays chess very well, he is a good harpist, he is the best archer.
The third hero is "young-dared" Alyosha Popovich. The epic "Alyosha Popovich and Tugarin Zmeevich" tells about his struggle with the enemies of Rus'. He is bold, cunning, resolute, cunning, but also boastful, sometimes imprudent. Alyosha loves the land selflessly and is ready to lay down his head in battle for it. His weapon is designed for "long-range combat" - a bow and arrows, so his red horse is still calmly nibbling grass. Behind the hero's shoulders is not only a quiver with arrows, but also "gusli-samogudy".
In front of strong heroic horses, small defenseless Christmas trees grow. The artist Vasnetsov tells us that Christmas trees will grow mighty and strong if a person protects them. All our plentiful land can give us drink from its springs, feed us with bread from its fields, shelter us in the shade of cool forests, but it cannot do one thing - protect itself.
The mystery of the artist is hidden in the painting "Bogatyrs". In the guise of Dobrynya Nikitich, the most noble knight, Vasnetsov conveyed his portrait features. The artist mentally tried on heroic armor, and took on a heroic appearance.
Read the epic “Ilya Muromets and the Nightingale the Robber” so that the son (daughter) understands what the epic is.
Explain the difference between an epic and a fairy tale.
Ask your child the following questions:
- Why Ilya Muromets became the favorite hero of the Russian people.
- Who did the Russian heroes protect? (weak old people, children, women, native land ...)
- Who were our defenders?
- What was the name of the oldest hero?
- It is known that according to the instructions of the wise wanderers, Ilya saw his future horse in the foal. What external signs helped the hero choose a horse to match himself? (A white spot on the nose and hind leg of the horse).
- Which of the heroes was of princely origin? What makes him different from other defenders? Who does Dobrynya Nikitich look like?
- Who is the youngest of the heroes? What elements of the picture indicate that Alyosha Popovich was a master at war and telling fairy tales? (quiver with arrows and gusli-samogudy).
- Which hero did you like more and why?
It is best to end the conversation with a small epic story about the source of heroic strength. “Once upon a time, wanderers suggested to Ilya Muromets, “sitting for thirty years and three years,” how to gain mighty strength. They brought him a bucket of spring water, saying these words: “Drink the rest. In the remainder of this is the water of all full-flowing rivers and lakes, dew from all grain-growing fields, all green meadows of Rus'. Drink - and you will feel the strength of the heroic.
Where did our ancestors draw heroic strength? The source of heroic strength was and remains the native land.
Paintings by V. M. Vasnetsov entered the gold fund of the Tretyakov Gallery. They can be viewed and read. Everyone who repeatedly visited the gallery and saw Vasnetsov's paintings with their own eyes, always found in them something that they had not noticed before. I wish you all interesting walks in the world of beauty.
Vasnetsov V. M. (realism)
A master of historical and mythological painting, he wrote more than 30 works on the themes of Russian fairy tales, songs, epics, and historical events. "I have always lived in Russia," said Viktor Mikhailovich Vasnetsov. He became famous for such works as The Bogatyrs, The Knight at the Crossroads, Alyonushka, etc. They can be called picturesque poetic tales about the native Russian people, about the glorious national antiquity and its immortal Russian heroes.
Vasnetsov's childhood and early youth were spent in a semi-patriarchal family, in the distant Vyatka side, in the small village of Ryabovo. The father, a village priest, taught his sons to read and write. On long winter evenings the children loved to listen to stories about Alyonushka and Kashchei the Immortal. And little Vitya loved to draw - the blue sea, sailing ships sail on the billowing waves. The brother of Victor, Appolinary Vasnetsov, was also engaged in drawing in the family.
Victor first studied in Vyatka, in a theological seminary. But he was more interested in drawing. And after graduating from the seminary, Viktor Vasnetsov went to study in St. Petersburg, at the Academy of Arts. He earned the money for the trip himself. He did not enter the Academy immediately, he studied at the Drawing School.
While studying at the Academy, money was constantly lacking, and Vasnetsov worked as an illustrator in magazines and cheap publications. His illustrations were popular, they are full of lively observation, sincere, sometimes humorous and deserved a bronze medal at the World Exhibition in London.
Vasnetsov began to work in the domestic genre, gaining fame with such paintings as "Beggars Singers", "Bookshop" and others. In them, the artist showed without embellishment the life of the poor, social injustice in Russian society.
At the turn of the 70s - 80s in the art of Vasnetsov, a turning point occurs. He becomes a master of Russian historical and mythological painting. In 1878, Vasnetsov moved to Moscow, which greatly influenced the artist's work - with its patriarchal streets, the ancient Kremlin, ancient churches, she inspired him, inspired him.
In Moscow, the Vasnetsov brothers actively participated in the Mamontov circle of artists, art lovers, who gathered at the Mamontov estate in Abramtsevo. It included such Russian artists as Repin, Polenov, Levitan, Nevrev, Vrubel and many others. And this also contributed to the flowering of the talent of the artist Viktor Vasnetsov.
No one, like Vasnetsov, drew so widely and freely from the world of ancient, Russian folk, nameless creativity and left so many wonderful works for its glory.
He was a believer and painted many paintings on a religious theme. He himself wrote about it this way: "As for my religious painting, I will also say that I, as an Orthodox and sincerely believing Russian, could not help but put even a penny candle to the Lord God. Maybe this candle is made of coarse wax, but it was delivered from the heart,
In his canvases, Vasnetsov glorified the Russian people, their heroic prowess, courage, their kindness and nobility. He painted scenery for theatrical performances, came up with sketches for costumes. A true masterpiece was the project he created for the facade of the Tretyakov Gallery, made in the spirit of ancient Russian buildings.
Alyonushka (1881)
The plot of this picture was born in Vasnetsov's head by chance, when he saw in the town of Akhtyrka, not far from Abramtsevo, one simple-haired girl who struck the artist's imagination. There was so much longing, loneliness and purely Russian sadness in her eyes that Vasnetsov immediately imagined the picture. I wandered around the neighborhood for a long time, looking for a suitable landscape, drawing sketches, writing sketches...
This is one of the most touching, sincere images in Russian painting, exciting the soul with its soulful lyricism, in tune with a fairy tale and a folk song about the bitter fate of a defenseless orphan.
A thin, fragile girl with an affectionate Russian name Alyonushka is yearning over the river. She bowed her head sadly, clasped her knees with thin hands, thought, perhaps, about her bitter fate or about her brother Ivanushka. Hardened bare feet, old, faded clothes in places - it would seem that they are unattractive, but for an artist who sympathizes with his heroine, there is a whole world of beauty here, just like in a modest Russian landscape - dark Christmas trees, a pale sky, ordinary thin-barreled aspens and birches, as if protecting the peace of Alyonushka. Deep sorrow lurks in the soul of a suffering teenage girl, it shines through in a helplessly drooping figure, and in a pale face with parched lips, and in large eyes full of unshed tears.
Alyonushka is shown by Vasnetsov sitting on a gray "combustible" stone, surrounded by her native nature - at the edge of the forest. This modest and simple Russian landscape, with its thoughtful sensitive silence, broken only by the obscure rustle of the yellowed foliage of aspens and birches, trembling with every movement of air, corresponds to the state of mind of the orphan.
Bogatyrs (1898)
Vasnetsov worked on this painting for almost 25 years, and finally, in 1898, this large epic canvas was completed.
Three heroes - Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich - stand in a strong heroic outpost to protect holy Rus'. In the middle, on a black horse - "large ataman Ilya Muromets, a peasant's son". His horse is huge, arched its neck like a wheel, sparkles with a red-hot eye. You won’t get lost with such a horse: “He jumps from mountain to mountain, jumps from hill to hill.” Ilya turned heavily in the saddle, took his foot out of the stirrup, put his hand in a patterned mitten to his eyes, and on his hand was "damask mace forty pounds." Vigilantly, sternly, he looks into the distance, takes a closer look, if there is an enemy somewhere. On his right hand on a white shaggy horse - the hero Dobrynya Nikitich, takes out his long, sharp sword-treasurer from the scabbard, and his shield burns, interrupted by pearls, gems. To the left of Ilya - on a golden horse - the youngest hero, Alyosha Popovich. He looks slyly with beautiful, clear eyes, took out an arrow from a colored quiver, attached it to the ringing bowstring of a tight bow. and harp-samogudy hang by the saddle.
The heroes are dressed in rich, beautiful clothes, clad in strong armor, they have helmets on their heads. Autumn day, gray - the sky is low, clouds are walking across the sky; the grass is crushed under the feet of the horses, the fir-trees are tenderly green. The free Russian steppe spread wide before the heroes, and behind them dense forests, hills and mountains, cities and villages - the whole native country of Rus'.
Do not jump enemies on our land,
Do not trample their horses on the Russian land,
Do not overshadow our red sun ...
"The language of this painting-ballad is simple, majestic and powerful; every Russian will read it with pride, every foreigner with apprehension if he is an enemy, with a feeling of calm faith in such power - if he is a friend," the Soviet artist V. N. Yakovlev.
The Frog Princess (1918)
And here the cheerful and clever Princess-frog dances in the royal chambers: "she waved her left hand - a lake became, she waved her right hand, and white swans swam on the water ..."
Tea drinking in a tavern (tavern) 1874
During the first hungry months of life in Petersburg, when he wandered around the city, he looked for a place to eat cheaply and sit warmly, more than once he went into a rundown tavern, into a tea room. I watched for a long time, listened to the conversations of various visitors, sometimes made sketches. This is how the idea of the painting came about.
The door to the tearoom is open. To the right of the door, a group of peasants is sitting at a table, apparently this is an artel of carpenters who came to St. Petersburg to work. They rest after work. There are two teapots on the table, as it was then customary, one large - with boiling water, the other small, colorful - for tea. Tea is drunk slowly, sedately. The younger guy has already taken a sip of tea, knocked over a cup, listens to what the artel clerk is reading, who has a newspaper in his hand. An old man sits at a table to the left of the door; he was deep in thought, and he has such an exhausted face that one can immediately say that he lived a hard life. A boy, a tavern servant, stopped at the door; he looks at a lonely old man who is probably carrying a teapot and a saucer of sugar. And behind the boy's back is a new visitor, who looks like a tipsy craftsman.
The painting was exhibited at the third traveling exhibition, where it made a good impression on the audience.
Sketch of a building for the Tretyakov Art Gallery
Ivan the Terrible (1897)
Before us is a portrait of Ivan the Terrible, the image of one of the most controversial rulers of the Russian state. Ivan the Terrible is presented in full growth, so that the viewer is forced to look at him as if from the bottom up, which gives the image a special significance and grandeur. As in a hard reliable case, the figure of the king is dressed in heavy, tightly buttoned, woven golden clothes (feryaz), in patterned mittens and chobots studded with pearls. And in this barbaric splendor, with a carved staff, imperiously clutched in a sinewy hand, he seems to be some kind of pagan deity.
Looking into the pale and thin face of the Terrible, which clearly stands out in the dim space of the stairs, you see in it traces of the stormy, unbridled passions of the autocrat. Before us is a passionate, violent and contradictory nature.
Ivan Tsarevich on the Gray Wolf (1889)
Another "fabulous" picture of Vasnetsov. When she appeared at the exhibition, the audience stood in front of her for a long time. It seemed that they heard the dull noise of the dense forest, the pale pink flowers of the wild apple tree gently rustling, the leaves rustling under the feet of the wolf - here he is, a strong, kind giant wolf, out of breath, saving Ivan Tsarevich and Elena the Beautiful from the chase. And curious birds sit on a branch and look at them.
"Your "Ivan Tsarevich on the wolf" delighted me, I forgot everything around, I went into this forest, I breathed this air, sniffed these flowers. All this is mine, dear, good! I just came to life! Such is the irresistible action of a true and genuine creativity. - This is how Savva Ivanovich Mamontov, an industrialist, a famous philanthropist and a great lover of art, an exceptionally gifted person, wrote to Vasnetsov after the exhibition.
Carpet - plane (new version) 1919-1926
But Ivan Tsarevich flies through the sky on a magic carpet with his Elena the Beautiful. A clear moon is shining, a cheerful, free wind is blowing, far below the forests, fields, seas and rivers - the native Russian land, the Motherland.
Carpet - plane (1880)
The hero of this picture is Ivanushka the Fool - a wonderful prince. He is always laughed at by his older brothers. And he, when trouble comes, overcomes all obstacles, and his smart, kind heart conquers evil, as the sun conquers darkness. He manages to wake up the sleeping beauty, make the princess-Nesmeyana laugh, get the firebird, which brings happiness to people.
A magic carpet flies high in the sky and firmly holds Ivan Tsarevich the firebird in a golden cage. Like a huge bird, the magic carpet spread its wings. In fear, night owls fly away from an unknown bird ...
When Vasnetsov painted this picture, he remembered that first Russian man, a lord's serf, who, on wings made by himself, even during the time of Ivan the Terrible, tried to fly into the sky from a high tower. And let him die, let people ridicule him then for his daring attempt, but the proud dreams of flying into the sky will never disappear, and the magic magic carpet will always inspire people to exploits.
Beggars-singers (pilgrims) 1873
The first picture, written by Vasnetsov in St. Petersburg, was "Beggars-singers". The plot arose from childhood memories of those beggar-singers who, on holidays, usually crowded at the Ryabov church, sat on the ground. As a child, these beggars evoked in him some poignant, dreary feeling. And so began the preparation for the picture. Vasnetsov drew, made sketches, wrote sketches. Work on the painting progressed slowly, but Vasnetsov's perseverance and diligence took their toll and the work was completed. And although the picture was praised by many, Vasnetsov himself already saw all its shortcomings.
Underwater tower (1884)
A fantastic, fabulous world full of mysterious inhabitants, unknown wonders, mysterious places, exciting events!.
Duel of Peresvet with Chelubey (Telebey) 1914
According to the "Tale", the Battle of Kulikovo begins with an epic single combat of the "old man", that is, the monk, Peresvet with the Tatar giant Telebey. Telebey left the great Tatar regiment, showing his courage in front of everyone. His appearance is described in the style of epics: "its height is five fathoms, and its breadth is three fathoms." Alexander Peresvet rode out to meet the Tatar. He wore a monastic hood instead of a helmet and a schema instead of armor. And they hit hard with spears, almost the earth did not break under them. And both fell from their horses to the ground and died. Peresvet by his death saved many Russian soldiers who would have fallen at the hands of a giant Tatar. His single combat with the Tatar was perceived as a victory of the spirit over brute physical strength. After the duel between Peresvet and Telebey, both troops entered the battle and fought hard.
After the battle of Igor Svyatoslavich with the Polovtsy (1880)
A large historical canvas, written on the motive of "The Tale of Igor's Campaign". The epigraph to Vasnetsov's work is the lines from the "Word" ..:
"From dawn to evening, the whole day,
Arrows fly from evening to light,
Sharp sabers thunder on helmets,
With a crack of spears, damask steel breaks ...
... The third day they are already fighting;
The third day is approaching noon;
Here and Igor's banners fell!
Already the brave Russians are gone
Here is bloody wine for a feast,
We got the matchmakers drunk, and ourselves
They fell for their father's land."
The picture is not just an image of the battle, but an epic majestic and enlightened poetic work that evokes deep admiration for the heroic death of the heroes who fell for the Motherland, for Holy Rus'. The painting depicts a field after a battle, the artist tells how brave Russians know how to die defending their native land.
The battle is over; the moon slowly rises from behind the clouds. Quiet. The bodies of the killed Russian knights lie on the field, the Polovtsians lie. Here, spreading his arms wide, the Russian hero sleeps in eternal sleep. Next to him is a beautiful fair-haired young man, struck by an arrow - he seems to be sleeping. In the depths of the field, on the right, solemnly and calmly, lies the killed hero, in his hand there was a clamped bow. The flowers have not yet withered - blue bells, daisies, and vulture eagles are already hovering over the field, sensing their prey. In the foreground, on the left, an eagle is cleaning its feathers. Blue clouds cover the horizon, red, as if washed in blood, the moon hung over the steppe. Dusk falls on the steppe. Deep sadness is poured throughout the Russian land.
Like a heroic outpost, Igor's regiments stood on the border of their land and perished for its honor and inviolability - such is the content of this epicly majestic and deeply lyrical picture.
Preference (1879)
This is Vasnetsov's last work in the domestic genre. Here the artist showed the narrow-minded life, devoid of vivid impressions, too leisurely, too shallow. The insignificance of human characters and interests clearly contrasts with the poetic life of nature - the beauty of a summer night, seen through the door that opens onto the balcony. The painting "Preference" completes the cycle of household paintings by Vasnetsov. A decisive turning point comes in the artist's work.
Crucifixion (1902)
Flat to Flat (1876)
Gloomy Petersburg winter day. Grey sky. The Neva has frozen over, and two people are walking through the dirty snow across the Neva - an old man and an old woman. They walk slowly, bent over, their faces are sad, submissive. In the hands of bundles with miserable rags, a coffee pot. With them, the old dog is a faithful comrade both in grief and in joy. It must not be the first time, like this, in the middle of winter, they move to a new apartment cheaper. The picture is painted in grayish-brown tones, and this color scheme, which conveys the idea of the picture so well, is perhaps the first time Vasnetsov managed to find it with such subtle sincerity.
Snow Maiden (1899)
Light, wonderful picture. Here she is, dear, light Snow Maiden - a child of Frost and Spring - comes out of the dark forest alone, to the people, to the sunny country of the Berendeys.
Young lady! Is it alive? - Live!
In a sheepskin coat, in boots, in mittens!
The Sleeping Princess (1919)
An enchanted forest, trees, grasses, birds sleep, and in the palace a long time ago a princess sleeps, hay girls sleep, buffoons sleep, guards sleep; sleeping on the steps a seven-year-old girl, a brown bear, a fox with a hare...
Last Judgment (1904)
The canvas "The Last Judgment" was created in 1896 - 1904, among other works for St. George's Cathedral in the city of Gus-Khrustalny, Vladimir Region, by order of the largest breeder and philanthropist Yu.S. Nechaev-Maltsev, who built this cathedral. The artist completed several works on a religious theme, but the Last Judgment was to take center stage in the cathedral.
The artist made a large number of sketches for the picture, so acquaintances and friends who saw these sketches in Vasnetsov's workshop showed great interest in the picture in advance. At first, the artist was offered to exhibit the painting at the Tretyakov Gallery, but this venture failed, since the dimensions of the painting significantly exceeded the size of the room. Nevertheless, such an exhibition took place in February 1904 at the Historical Museum in Moscow. The new work caused numerous responses in the press, mostly enthusiastic. Later, the painting, along with others made for the cathedral, was exhibited twice more: in the halls of the Academy of Arts in St. Petersburg and again in the Historical Museum in Moscow.
Finally, in 1910, the paintings were delivered to their destination and fixed on the walls of St. George's Cathedral, where they briefly found peace.
And soon after the October Revolution, the service in the cathedral was stopped. In February 1923, the authorities made a decision: "... transfer the empty premises of the St. George's Cathedral to a cultural and educational institution ..." On the very first Sunday, dances were arranged in the temple, a brass band played ... God?" In the future, the cathedral was used either as workshops or as a cinema.
Meanwhile, the paintings were taken to the Assumption Cathedral in Vladimir. They took it out as it should, without being careful. Moreover, the picture "The Last Judgment" was rolled onto a large pole, torn at the bottom and hastily sewn up with twine. And before that, it was folded several times and rubbed on the folds.
In the 80s of the last century, it was decided to restore the St. George's Cathedral in Gus-Khrustalny again, and also to return Vasnetsov's paintings to their original place.
"The Last Judgment" was in serious condition. Therefore, it was entrusted to be restored by a team of Leningrad restorers under the leadership of the largest specialist A.Ya.Kazakov, known for restoring the murals of St. The colossal dimensions required a large room, so the canvas was restored in the Catherine Palace in Pushkin.
The work carried out by the specialists was unique in scope and complexity. A single canvas measuring 700X680 centimeters turned out to be punctured in more than 70 places, there were numerous breaks in the edges, breakthroughs. The canvas was seriously deformed, resulting in scree, peeling paint. Hard work has been going on for about a year. And so the special commission accepted the work with an "excellent" rating. In 1983, the painting took its place in St. George's Cathedral.
The artist embodied in the picture the idea of a person's free moral choice between good and evil. The work was not just an illustration of a religious plot. Before it, everyone could feel in the place of an unknown soul, awaiting the verdict of a higher court. The people who came to the cathedral had to think and make their choice of "path in life" by "free will". Vasnetsov eloquently makes it clear that the scales in the hand of an angel come into action not only at the moment of the Last Judgment. The entire middle part of the picture is perceived as a huge scale, on the bowls of which are crowds of righteous and sinners, light and darkness ... "The whole history of mankind is the struggle of a man of the beast with a spiritual man ...", the artist wrote.
Good and evil in the picture are personified in characters from Russian and Christian history. Among the righteous are the figures of the Byzantine emperors Constantine and Helena, Princess Olga and Prince Vladimir, Alexander Nevsky and Sergius of Radonezh. Among the sinners are the emperor Nero, the conqueror Batu, eastern despots and Roman cardinals ... At the same time, many allegorical characters are introduced: Faith, Hope, Love, Sophia, Mercy and others - on the one hand, and on the other - Greed, Drunkenness, Robbery, Anger, etc. Texts and inscriptions are actively used.
Religion, history, folklore are intricately intertwined here. So, the miser swallows gold coins - he looks somewhat like Repin's Ivan the Terrible... Among the righteous, an old man and an old woman are depicted, as if transferred to the Court from a Russian folk tale, and the harlots placed behind the back of the Devil resemble the characters of salon painting...
One of the critics wrote this many years ago: "The Last Judgment" is a series of symbols, sometimes powerful, sometimes weak, but generally irresistible. This is a terrible oratorio outside of time and space. But it's one of those few truly artistic creations worth seeing once to remember forever." And he was right...
Three Princesses of the Underworld (1881)
The picture is written on the plot of a Russian folk tale, which Vasnetsov heard more than once in childhood. Three brothers were looking for a bride. The elder brother searched - did not find. I searched for the middle one - I did not find it. And the youngest, Ivanushka the Fool, found the treasured stone, pushed it away and ended up in the underworld, where three princesses lived - Gold, Precious Stones and Princess Copper.
Three princesses are standing near a dark rock. The elders are in rich outfits studded with precious stones; the youngest is in a black dress, and on her head, in her black hair, an ember is burning as a sign that the lands of the Donetsk region are inexhaustible (the picture was painted by order of the Donetsk railway). Vasnetsov took some liberties here and turned Princess Med into Princess Coal. According to a fairy tale, the younger sister marries Ivanushka the Fool.
Knight at the Crossroads (1878)
At a roadside stone, on a white mighty horse, a Russian hero stopped - a knight in rich armor, in a helmet, with a spear in his hand. The boundless steppe with boulders scattered over it goes into the distance. The evening dawn is burning down; a reddish stripe brightens on the horizon, and the last weak ray of the sun slightly gilds the knight's helmet. The field, where Russian soldiers once fought, is overgrown with feather-grass, the bones of dead people turn white, and black crows are above the field. The knight reads the inscription on the stone:
"How to go straight - I live not to be:
There is no way for a passer-by, or a traveler, or a flyer.
Further lines are hidden under grass and moss. But the knight knows what they are talking about:
"To the right to go - to be married,
On the left - be rich."
What path will the knight choose? Vasnetsov is sure that the audience will "finish" the picture themselves. The glorious Russian knight is not looking for easy ways, he will choose a difficult, but direct path. All other paths are ordered to him. Now he will shake off unnecessary thoughts, raise the reins, spur his horse, and carry his horse to the battles for the Russian land, for the truth.
Bayan (1897)
O Bayan, O prophetic songwriter,
The nightingale of bygone times...
Here he is, the "prophetic songwriter" Bayan, sitting on a high burial mound, among field grasses and flowers, sorting out the psaltery, composes and sings songs. Around the prince's retinue and the prince himself with his little prince, and clouds swirl and float across the sky.
A decorative, widely painted picture, it caused a lot of the most controversial rumors! But in this simple and at the same time complex picture, Vasnetsov's inherent amazing sense of proportion, taste, sincerity was affected.
In the kingdom of Koshchei the Immortal (1926-27)
Somewhere in a distant kingdom, in a distant state, the terrible Koschei the Immortal lives in an underground palace, and holds a beautiful princess captive ...
Oleg's meeting with a magician (1899)
As the prophetic Oleg is now going to take revenge on the unreasonable Khazars,
Their villages and fields for a violent raid he doomed to swords and fires;
With his retinue, in Constantinople armor, the prince rides across the field on a faithful horse.
From the dark forest, an inspired wizard walks towards him,
Submissive to Perun, the old man alone, the promises of the future messenger,
In prayers and divination spent the whole century. And Oleg drove up to the wise old man.
"Tell me, sorcerer, favorite of the gods, what will come true in my life?
And soon, to the delight of neighbors-enemies, will I be covered with grave earth?
Reveal the whole truth to me, do not be afraid of me: you will take a horse as a reward for anyone.
"Magi are not afraid of mighty lords, and they do not need a princely gift;
Truthful and free is their prophetic language and friendly with the will of heaven.
The coming years lurk in the mist; but I see your lot on a bright forehead.
Now remember my word: glory to the warrior is joy;
Your name is glorified by victory; your shield on the gates of Tsaregrad;
And the waves and the land are submissive to you; the enemy envies such a wondrous fate.
And the deceptive wave of the blue sea in the hours of fatal bad weather,
And the sling, and the arrow, and the crafty dagger spare the winner for years ...
Under formidable armor you know no wounds; an invisible guardian is given to the mighty.
Your horse is not afraid of dangerous labors; he, sensing the master's will,
Either the meek stands under the arrows of enemies, or it rushes along the battlefield.
And the cold and cutting him nothing ... But you will accept death from your horse.
Bogatyrsky lope (1914)
Gamayun - prophetic bird (1897)
Guslars (1899)
Bookshop (1876)
Baptism of Rus' (1890)
Portrait of son Boris
Portrait of Vera Mamontova
Sirin and Alkonost (1898)
Warriors of the Apocalypse (1887)
In my opinion, there is no better illustrator of fairy tales than V. M. Vasnetsov, well, except perhaps I. Bilibin. About him on the next page.
Viktor Mikhailovich Vasnetsov (1848-1926) is one of the first Russian artists who pushed the boundaries of the usual genres and showed the fairy-tale world, illuminated by the poetic imagination of the people. Vasnetsov, one of the first Russian artists, turned to recreating the images of folk tales and epics in painting. His fate turned out as if he was destined in advance to be a singer of a Russian fairy tale. His childhood passed in the harsh picturesque Vyatka region. The talkative cook, who tells fairy tales to children, the stories of wandering people who have seen a lot in their lifetime, according to the artist himself, "made me love the past and present of my people for life, largely determined my path." Already at the beginning of his work, he created a number of illustrations for The Little Humpbacked Horse and The Firebird. In addition to fairy tales, he has works dedicated to the heroic images of epics. "The Knight at the Crossroads", "Three Heroes". The famous canvas "Ivan Tsarevich on a gray wolf" is written on the plot of one of the most famous and widespread fairy tales reproduced in popular prints of the 18th century.
"Princess-Nesmeyana"
In the royal chambers, in the prince's palaces, in a high tower, Nesmeyana the princess flaunted. What a life she had, what freedom, what luxury! There is a lot of everything, everything is what the soul wants; but she never smiled, never laughed, as if her heart did not rejoice at anything.
Here are merchants, and boyars, and foreign guests, storytellers, musicians, dancers, jesters and buffoons. They sing, clown, laugh, strum on the harp, whoever is in what much. And at the foot of the high tower - ordinary people, also crowding, laughing, shouting. And all this buffoonery is for the princess, the only royal daughter. She sits sadly on a carved white throne by the window. “There is a lot of everything, there is everything that the soul wants; but she never smiled, never laughed, as if her heart did not rejoice at anything. And what is there, to tell the truth, to rejoice if no one ever talks heart to heart with her, no one comes up with a pure heart?! Everyone around is just making noise, they are aiming for suitors, they are trying to present themselves in the best light, and no one cares about the princess herself. That is why she is Nesmeyana, until the only, long-awaited one comes, who will give her a smile instead of buffoonery, warmth instead of indifference. And he will come, of course, because that's what the fairy tale affects.
"Koschei the Immortal and Beloved Beauty"
As soon as he managed to leave the yard, and Koschey into the yard: “Ah! - speaks. - Russian scythe smells; know you had Ivan Tsarevich. - “What are you, Koschey the Immortal! Where can I see Ivan Tsarevich? He remained in the dense forests, in the viscous mud, until now the animals have eaten! They began to have supper; at dinner, Beloved Beauty asks: “Tell me, Koschey the Immortal: where is your death?” - “What do you want, stupid woman? My death is tied in a broom."
Early in the morning Koschei leaves for the war. Ivan Tsarevich came to the Beloved Beauty, took that broom and brightly gilded it with pure gold. The tsarevich had just managed to leave, and Koschei went into the yard: “Ah! - speaks. - Russian scythe smells; know you had Ivan Tsarevich. - “What are you, Koschey the Immortal! He himself flew around Rus', picked up the Russian spirit - you smell of the Russian spirit. And where can I see Ivan Tsarevich? He remained in the dense forests, in the viscous mud, until now the animals have eaten! It's supper time; Beloved Beauty herself sat down on a chair, and she put him on a bench; he looked under the threshold - there is a gilded broom. "What's this?" - “Ah, Koschey the Immortal! You yourself see how I honor you; if you are dear to me, so is your death.” - "Stupid woman! Then I joked, my death is sealed up in an oak tynu.
"Princess Frog"
Consider a reproduction of the painting by V. Vasnetsov "Feast" (p. 19 of the textbook).
If possible, it would be interesting to compare this picture with the illustration made for this episode of the fairy tale by I. Bilibin.
Bilibin's illustrations framed by floral ornaments very accurately reflect the content of the tale. We can see the details of the costumes of the heroes, the expression on the faces of the surprised boyars, and even the pattern on the kokoshniks of the daughters-in-law. Vasnetsov in his picture does not linger on the details, but perfectly conveys the movement of Vasilisa, the enthusiasm of the musicians, who, as it were, stamp their feet to the beat of a dance song. We can guess that the music Vasilisa dances to is cheerful, mischievous. When you look at this picture, you feel the nature of a fairy tale.
- Why do people call Vasilisa the Wise? What qualities does the people glorify in the image of Vasilisa?
The painting by V. Vasnetsov creates a generalized image of a beautiful princess: next to her are harpists, people. The illustration by I. Bilibin specifically depicts an episode of the feast: in the center is Vasilisa the Wise, at the wave of her hand miracles happen; around people amazed by what is happening. There are different types of work available here:
1. Describe verbally what you see in each of the pictures (characters, setting, appearance of the people around, their mood, prevailing colors).
2. Compare the image of Vasilisa the Wise by Vasnetsov and Bilibin. Is this how you imagine the main character of the fairy tale?
"Carpet plane"
The fantasy of the people created a fairy tale about a flying carpet. You see two paintings by Vasnetsov with this name - early and late. On the first of them, a proud young man from a flying carpet looks at the expanses of Russian land spreading below. The discreet northern nature served as a backdrop for the painting by the artist. Rivers and lakes sparkle, a forest stands like a dark wall, huge birds accompany the carpet. The Firebird caught by the hero burns with bright fire in the cage. This canvas tells about the wisdom, strength, dexterity of the people. The second picture is lighter, more colorful. The bright rays of the sunset, cutting through the veil of clouds, have become a successful background for the picture. Nature through the clouds is seen bright, juicy greenery, perhaps because the heroes descended closer to it. And a girl with a young man in sparkling clothes embroidered with gold do not seem to be outsiders on the canvas. Their young faces are beautiful, they gently bowed to each other, personifying fidelity and love.
Alyonushka, Snegurochka, Elena the Beautiful - these fictitious images and portraits of women close to Vasnetsov "in spirit" - Elena Prakhova, Vera and Elizaveta Grigorievna Mamontovs, portraits of his wife, daughter, niece from different sides highlight what is called the Russian female soul, which becomes for Vasnetsov personification of the Motherland, Russia.
Alkonost. In Byzantine and Russian medieval legends, a wonderful bird, a resident of Iria, a Slavic paradise. Her face is feminine, her body is birdlike, her voice is sweet, like love itself. Hearing the singing of Alkonost, with delight, he can forget everything in the world, but there is no evil from her, unlike Sirin.
Alkonost carries eggs on the edge of the sea, but does not incubate them, but plunges them into the depths of the sea. At this time, the weather is calm for seven days. According to the ancient Greek myth, Alcyone, the wife of Keik, having learned about the death of her husband, threw herself into the sea and was turned into a bird, named after her Alcyone (kingfisher).
It is depicted in popular prints as a half-woman, half-bird with large multi-colored feathers and a girl's head, overshadowed by a crown and a halo, in which a brief inscription is sometimes placed. In addition to wings, Alkonos has hands in which she holds heavenly flowers or a bundle with an explanatory inscription. She lives on a tree of paradise, on the island of Buyan, together with the bird Sirin, has a sweet voice, like love itself. When she sings, she does not feel herself. Whoever heard her wonderful singing will forget everything in the world. With her songs she consoles and uplifts future joy. This is a bird of joy.
But Sirin, a dark bird, a dark force, a messenger of the ruler of the underworld. From the head to the waist, Sirin is a woman of incomparable beauty, from the waist - a bird. Whoever listens to her voice forgets about everything in the world and dies, and there is no strength to force him not to listen to the voice of Sirin, and death for him at this moment is true bliss. Dahl in the famous dictionary explained as follows: "... mythical and church birds of an owl, or an eagle owl, a scarecrow; there are popular prints depicting birds of paradise with female faces and breasts”(V. Dal "Explanatory Dictionary of the Living Great Russian Language"). In Russian spiritual verses, the Sirin, descending from paradise to earth, enchants people with her singing. In Western European legends, Sirin is the embodiment of an unfortunate soul. This is the bird of sorrow.
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“The desire for Russian poetic antiquity, for epics, lay deep in nature Vasnetsov, lay there from childhood, back in their homeland, in Vyatka, ”wrote the critic Stasov. So the Russian folk tale in the face of Viktor Mikhailovich Vasnetsov finds its artist. He was one of the first who penetrated into the past, embodied it on canvas and showed it to people, making them, as it were, eyewitnesses of events.
Viktor Mikhailovich Vasnetsov was born in the Vyatka province in a large family of a village priest. Vasnetsov's father, himself a well-educated man, tried to give his children a versatile education. Everyone in the family painted: grandfather, grandmother, brothers. From an early age, Viktor Vasnetsov was imbued with the poetry of folk legends, moreover, he recognized them first-hand: “I lived in a village among men and women and loved them simply as my friends and buddies, listened to their songs and fairy tales, listened while sitting on stoves by the light and the crackle of a torch. All this laid the moral and spiritual foundations of the personality of the future artist. Vasnetsov was educated at the Theological Seminary. Here he studied chronicles, chronographs, lives of saints, parables. Old Russian literature and its poetics directed the young man's interest in Russian antiquity. Later he said: "I have always lived only in Russia."
Painting classes fascinated the young Vasnetsov that he decided to enter the Academy of Arts. With the permission and blessing of his father, he left the penultimate course of the seminary. An art lottery was organized in the city, where Vasnetsov's paintings were raffled off, and he went to St. Petersburg with the money raised from the lottery. Petersburg - the center of political, literary and artistic thought - met Viktor Vasnetsov with a variety of creative life. Ivan Kramskoy became Vasnetsov's friend and adviser. But the future painter dropped out of his studies at the Academy. He explained the reason for leaving as follows: “I wanted to paint pictures on themes from Russian epics and fairy tales, but they, the professors, did not understand this desire. So we parted." The most cherished dream haunted Viktor Mikhailovich Vasnetsov - to tell people the beauty of the Russian folk epic. In his soul, unknown to anyone and no one had seen and not written canvases ripened - fairy tales, epics.
At the beginning of his creative path, Vasnetsov widely covers various phenomena of life, creates works on everyday topics. For a considerable time he created illustrations, to which he was pushed by the constant need to earn money. During the years of his life in St. Petersburg, young Vasnetsov created about two hundred illustrations for the “Folk Alphabet”, for the “Russian Alphabet for Children”, illustrations for books, etc. He reads a lot on Russian history and cultural history, gets acquainted with the monuments of ancient Russian literature, folk poetry and epic. In it, the need to express in art the main national features of the Russian people in all their depth and originality is increasingly brewing.
In 1876 Vasnetsov was in Paris. Like many Russian artists, he sought to go beyond the boundaries of the canons of academic art and the plot of the paintings of the Wanderers.
In 1878 Vasnetsov moved from St. Petersburg to Moscow. The monumental city on the Neva did not make much of an impression on him. And in Moscow, the passion for antiquity arose even more. Later he wrote: “A decisive and conscious transition from the genre was made in Moscow by the golden-domed, of course. When I arrived in Moscow, I felt that I had come home and there was nowhere else to go - the Kremlin, St. Basil the Blessed made me almost cry, to such an extent all this breathed into the soul of my relatives, unforgettable. And Vasnetsov plunged into Moscow life. With friends Repin and Polenov, we spent all our free time getting to know the city, with its sights. In these walks, according to the painter, he "gained the Moscow spirit."
Vasnetsov meets the family of Pavel Tretyakov, attends musical evenings in their house. Acquaintance with the famous philanthropist Savva Ivanovich Mamontov played an important role in the life of the artist. A major industrialist and entrepreneur, Mamontov, managed to unite around him the largest Russian artists in a commonwealth, later called the Abramtsevo circle. Mamontov had the talent to create a creative atmosphere of search around him, to infect everyone with new ideas. It was in this society that Vasnetsov felt with renewed vigor the aesthetic value of Russian culture. Friendship with the Tretyakov and Mamontov families finally convinced the artist of the correctness of his chosen path.
Vasnetsov became the discoverer of the wonderful world of folk poetry, introduced the viewer into the realm of fairy tales, epics, historical legends; he found visual means equivalent to epic-fabulous speech turns and images. Skillfully introducing into the paintings a real, but at the same time colored landscape of a certain mood (a blood-red moon rising over the battlefield, drooping grasses, forest jungles, etc.), he touched the deep spiritual strings, forcing the viewer to empathize with the depicted. Vasnetsov's painting is marked by monumental and decorative features and often gravitates with symbolism, sometimes as if anticipating works written in the Art Nouveau style.
In the painting Ivan Tsarevich ON THE GRAY WOLF (1889, State Tretyakov Gallery), Viktor Mikhailovich Vasnetsov wonderfully conveyed the anxiety and mystery of the moment. Everything that the artist has taken from the people is shown simply and naturally, as in a fairy tale. The wisdom of a strong-willed people was reflected in the plot of a fairy tale about the search for a beautiful princess. Overcoming tricky and difficult obstacles, Ivan achieves his cherished goal.
Vasnetsov painted a picture in Kyiv, while working in the Vladimir Cathedral. He recalled his childhood, the mysterious fabulousness of the dense forest, his beloved, such a magically beautiful Russian folk tale. In fairy tales, much is taken from the life of nature, in which all human life is connected. In ancient times, there was a cult of the wolf, and in the legends he helps the hero, he was often depicted with the wings of birds - he could move so fast - veneration in such tales is associated with the solar element.
When the picture appeared at the exhibition, the audience stood in front of it for a long time. They seemed to hear the noise of the forest, the rustle of leaves under the feet of the wolf. “Now I have returned from a traveling exhibition and I want to tell you what I feel under the first impression,” Savva Mamontov wrote to Vasnetsov. - “Your Ivan Tsarevich on the wolf” delighted me, I forgot everything around, I went into this forest, I breathed in this air, sniffed these flowers. All this is my own, good! I just came alive! Such is the irresistible effect of true and sincere creativity. The picture was bought by Tretyakov, and since then it has been hanging there, in the Vasnetsov hall, almost opposite ALYONUSHKA. Vasnetsov embodied the praise of perseverance, endurance of the Russian people, the anthem of bright and strong love in a picture-tale.
Painting "ALONUSHKA" (1881, State Tretyakov Gallery) V.M. Vasnetsova became one of his most touching and poetic creations. In the summer of 1880, the artist lived in the village of Akhtyrka, a few places from Abramtsev. It was here that he became convinced of what he had long felt, that the country's landscape is an expressive element of national culture. He begins to paint landscape sketches that convey the sad state of nature. Alyonushka - the name that captivated him, he gives to a girl who personified the image of almost all the heroines of Russian folklore. Her image was formed by Vasnetsov under the impression of a chance meeting with a simple peasant girl, who struck him with the expression of "purely Russian sadness." A girl sits on the shore of a dark pool, sadly bowing her head in her hands. In nature, everything around is sad, sympathizes with the heroine. Vasnetsov revealed the subtlest connection between human experiences and the state of nature, which is beautifully conveyed in folk poetry. The personification of the Russian female share, and perhaps Russia itself. The whole picture is full of a single mood of sorrow, expresses love and compassion for the unfortunate. This amazing connection between human experiences and nature, this commonality of images of folk poetry, was sensitively perceived and subtly conveyed by the artist. She became the leitmotif of his painting. The image he created is simple and natural. Such a poor girl could often be seen in the old days. Vasnetsov in the picture created a deeply poetic, generalized image, expressing poetry by means of painting, which is characteristic of Russian fairy tales and songs about bitter fate.
Vasnetsov was looking for prototypes of heroes for his paintings in reality. He painted a sketch for Elena the Beautiful from Mamontov's niece, young Natalia Mamontova. He was looking for a similarity in the model that could be expressed through posture and general mood. Vasnetsov's female images are captivating. He wrote only people close to him. The female image rises to a divine sound, the heavenly and the earthly are intertwined in it. Fictional images of heroines and portraits of women close to Vasnetsov: his wife, daughters, nieces, Vera and Elizaveta Mamontov from different angles highlight what is called the Russian female soul. They are the personification of the Motherland, Russia.
Folk poetic motifs were known to Vasnetsov from a young age, even in Ryabovo he heard them from an old nanny and in the village. Viktor Mikhailovich Vasnetsov recalled them as about a dear childhood and sweet youth long gone. These motives were close and memorable to him in the subsequent years of his further artistic mastery.
Oral folk art is not only a source of wisdom and beauty, but also a belief in heroic greatness and a wonderful future. And Vasnetsov in his canvases shows the strength of the people, the ability to fight, which made the Russian people powerful and great. This is a powerful epic song of Russia, its great past. Defense of the motherland is one of the main themes of folk art. Warrior, hero, defender of the Russian land - a favorite image of legends, epics and historical songs.
Epics are Russian folk songs. If a fairy tale was told, then the epic was sung. The singer-narrators brought them to the listener in a solemn, majestic, slow and calm tone of narration, i.e. chant. These songs praised the heroes, their exploits. They defended the Russian land, defeated countless hordes of enemies, overcame any obstacles. In many fairy tales and epics, the hero is faced with a choice of which road to continue on. And he always chooses the path that leads through danger. He fearlessly overcomes all obstacles and emerges victorious.
The painting "THE VITYAZ AT THE CROSSROADS" was inspired by the epic "Ilya Muromets and the Robbers". In the thoughts and feelings of the hero, one can guess the thoughts of the artist himself about the choice of his further creative path. What is supported by the general mood of the picture, the epic landscape.
Epics tell about the events of the distant past. They depict battles with the enemies of the Russian land. They keep the memory of the past of our Motherland. It's real. The hero of the epic, as already mentioned, is a hero. He is distinguished by extraordinary strength, courage and courage, enormous growth (fiction). The hero embodies the power of the Russian people, he is an ideal hero. Any battle ends with the victory of the Russian warrior. The need to protect the native land is the main idea of the epics. An example is the following painting. The largest and most significant work "BOGATYRS" (1898, State Tretyakov Gallery) was created over 20 years. The painting was purchased by Tretyakov. The Vasnetsovsky Hall was built in the gallery, in which the canvas was hung. It is still there now. Painting this picture Vasnetsov perceived for himself as a civic duty, an obligation to his native people. It was very difficult and sad to part with her. She was his favorite brainchild, "the heart was always attracted to her, and the hand reached out."
The heroic outpost on the border of the forest and the field - neither the enemy nor the beast can pass, the bird cannot fly. Ilya Muromets - "a great ataman, a peasant's son." His horse is huge, arched its neck like a wheel, sparkles with a red-hot eye. You won’t get lost with this: “He jumps from mountain to mountain, jumps from hill to hill.” Ilya turned heavily in the saddle, took his foot out of the stirrup, put his hand in a patterned mitten to his eyes. Vigilantly, sternly looks into the distance, looking closely to see if there is an enemy somewhere. On the right hand on a white shaggy horse - Dobrynya Nikitich takes out his long, sharp sword-hoarder from the scabbard, and his shield burns, shimmers with pearls and gems. To the left of Ilya Alyosha Popovich. He looks slyly with beautiful, clear eyes, took an arrow from a colored quiver, attached it to a thin bowstring of a tight bow. A harp-samogudy hangs by the saddle. Holds a whip at the ready to whip the horse. The eyes of the heroes are directed in the direction where the danger comes from. The horses became alert and turned their heads to the right - they smell the enemy. With thin nostrils they sniff the air, strained their ears - they are ready for battle. Thoroughbred horses are strong, they have powerful riders. How much gravity in the heroes ?! Shield, helmet, armor - not easy clothes, and also tools: sword, shield, bow, club. A heavy burden for a horse, but heroic horses are strong, fast, just like their knights. The mighty hand of Ilya Muromets easily holds a club. There was a legend about her among the people, her weight is 90 pounds: “As Ilya waves it straight ahead, he will lay a street, wave it to the left, he will pave a lane.” Vasnetsov managed to express the heaviness of the club and the enormous physical strength of Ilya. Horses match the heroes, this expresses a sense of the reality of the past, when the horse was everything for the rider: a support, a faithful assistant in battle and in life.
Vasnetsov shows the main thing in heroes - devotion to the motherland, readiness to serve her. An unusually strong, courageous, courageous, huge hero always comes out the winner. It embodies the power of the Russian people, the defender of the Russian land. People defended the borders of their homeland together, it was in those distant times that the proverb appeared: “One man is not a warrior.” Warrior, hero, defender of the Russian land - a favorite image of epics. Plots, images, poetics of epics are reflected in Russian literature. Epics were a source of inspiration not only for artists (Vasnetsov), but also for composers, directors, etc...
In the paintings of Vasnetsov, as in Russian folk art, the truth about the people is embodied, love for the Russian people and faith in his best, highest qualities, which give him the right to a great future, are expressed. Vasnetsov's work, using plots from fairy tales and epics as an example, tells about goodness and truth, about strength and courage, about the best qualities of a Russian person.
After the revolution, Vasnetsov continued to work on fairy tales. In 1883-1885 he executed the monumental panel Stone Age in the Round Hall of the Historical Museum in Moscow. In 1886, scenery for the Snow Maiden at the Russian Private Opera by Savva Mamontov. In 1885-1886 he painted the Vladimir Cathedral in Kyiv, where Nesterov also worked, and supervised the art work in it. According to Vasnetsov's drawings, a church and a hut on chicken legs in Abramtsevo (1883), the facade of the Tretyakov Gallery in Moscow were built. (1901) and others. He also made sketches for furniture and other works of arts and crafts. In all works, steadily following the traditions of Russian art. N. Ge saw in his works "a synthesis of ancient Russian and Byzantine features, the art of the Pre-Raphaelites and even Michelangelo ... but the main thing is the Russian national spirit."
Basil the Blessed is a monument of ancient Russian architecture. Cathedral, built by order of Ivan the Terrible in memory of the capture of Kazan.
Ryabovo - a village in the Vyatka province - eighty kilometers from the provincial city. The artist Vasnetsov spent his childhood there.
