"Traditions of ancient times" came to life thanks to the brush of Viktor Vasnetsov. Bogatyrs and princesses went beyond book lines and illustrations. The artist grew up in the wilderness of the Ural forests on Russian fairy tales that sounded to the crackle of a torch. And already being in St. Petersburg, he did not forget his childhood memories and transferred those magical stories to the canvas. We examine fabulous canvases with Natalia Letnikova.
Alyonushka
A barefoot, simple-haired girl on the banks of a forest river. With inexpressible sadness, he looks into a deep pool. The sad picture was inspired by a fairy tale about sister Alyonushka and brother Ivanushka, and he painted an orphan from a peasant girl from the Akhtyrka estate, adding, as he himself admitted, the features of Verusha Mamontova, the daughter of a famous Moscow philanthropist. Nature echoes girlish sadness, intertwining with the poetry of folk tales.
Ivan Tsarevich on the Gray Wolf
Gloomy dark forest. And a gray wolf, quite expected for such a thicket. Only instead of an evil grin, the predator has human eyes, and on it are two riders. Cautious Ivanushka carefully holds Elena the Beautiful, submissive to fate. We recognize not only the plot of the Russian fairy tale, but also the image of the girl. The artist endowed the fairy-tale heroine with real features - Savva Mamontov's niece, Natalia.
V.M. Vasnetsov. Alyonushka. 1881
V.M. Vasnetsov. Ivan Tsarevich on a gray wolf. 1889
Bogatyrs
Viktor Vasnetsov. Bogatyrs. 1898
Vasnetsov devoted 20 years of his life to one of the most famous paintings in Russian painting. "Bogatyrs" became the artist's largest painting. The size of the canvas is almost 3 by 4.5 meters. Bogatyrs are a collective image. Ilya, for example, is a peasant Ivan Petrov, and a blacksmith from Abramtsevo, and a cab driver from the Crimean bridge. At the heart of the picture are the childish feelings of the author. “So it was before my eyes: hills, space, heroes. Wonderful dream of childhood.
Song of Joy and Sorrow
Viktor Vasnetsov. Sirin and Alkonost. A song of joy and sorrow. 1896
Alkonost and Sirin. Two half-birds with ghostly promises of a cloudless paradise in the future and with regrets about the lost paradise. Vasnetsov embellished sexless birds, giving mythical creatures beautiful female faces and rich crowns. Sirin's singing is so sad that the leaves of a century-old tree turned black, the delight of an alkonost can make you forget about everything ... if you linger on the picture.
Carpet plane
Viktor Vasnetsov. Carpet plane. 1880
Painting for the Railroad Administration. Not a train, not even a postal troika. Carpet plane. This is how Victor Vasnetsov responded to the request of Savva Mamontov to paint a picture for the industrialist's new project. The fabulous flying machine, a symbol of victory over space, puzzled the members of the board and inspired the artist himself. Mamontov bought the painting, and Vasnetsov discovered a new world for himself. In which there is no place for the ordinary.
Three princesses of the underworld
Viktor Vasnetsov. Three princesses of the underworld. 1884
Gold, copper and coal. Three riches that are hidden in the bowels of the earth. Three fabulous princesses are the embodiment of earthly blessings. Proud and haughty gold, curious copper and timid coal. Princesses are mistresses of mountain mines, accustomed to command people. There are two pictures with such a plot at once. On one of them in the corner - as petitioners, the figures of two men obsequiously looking into beautiful cold faces.
Koschei the Deathless
Viktor Vasnetsov. Koschei the Deathless. 1917–1926
Rich mansions with chocolate, red and gold hues. The luxury of brocade and rare woods is a worthy frame for heavy chests with treasures, and the main treasure that Koshchei is not given in his hands is a young beauty. The girl is interested in the sword, which, however, cannot defeat Koshchei. The image of the main fairy-tale villain Viktor Vasnetsov wrote for nine years. Chronologically, the picture was the last for the artist.
Vasnetsov Viktor Mikhailovich (1848-1926) - a great Russian artist, one of the founders of Russian Art Nouveau in its national-romantic version. Probably the first of the great Russian artists enters our infant life with his epic paintings, fairy tale paintings and accompanies us throughout life, giving us impetus for reflection not only with the works of the named direction, but also with his genre paintings, portraits and religious painting that we discover. .
1. Reaper (1867)
Canvas, oil.
Viktor Mikhailovich Vasnetsov was born on May 15, 1848 in the distant Vyatka village of Lopyal into a large patriarchal family of a village priest. Soon the family moved to the village of Ryabov, where the artist spent his childhood. He began to draw early, but according to tradition, the sons were supposed to inherit their father's profession, and in 1858 the boy was sent to a religious school, and soon transferred to the Vyatka Theological Seminary. In the last year of the seminary, the young man decided that he would leave Vyatka for St. Petersburg and enter the Academy of Arts. Having performed two genre pictures - "The Milkmaid" and "The Reaper" (1867) - and playing them in the lottery, Vasnetsov travels to St. Petersburg with the proceeds and begins to study at the school of the Society for the Encouragement of Arts, and in 1868 becomes a student of the Academy. Forced to earn money for a living, Vasnetsov gives private lessons, illustrates various publications.
2. Alyonushka (1881)
Canvas, oil. 121 x 173 cm. Tretyakov Gallery, Moscow, Russia.
In 1881, in Abramtsevo, the estate of the Russian philanthropist Savva Mamontov near Moscow, Vasnetsov wrote one of his best works - Alyonushka - based on the plot of a Russian fairy tale. The touching tenderness and deep poetry of the tale excited the sensitive, sympathetic heart of the artist. Not a literal reproduction of a fairy tale plot, but a deep penetration into its emotional structure distinguishes Vasnetsov's painting. The frozen pose of the girl, the bowed head, the brown hair scattered over her shoulders, the look full of sadness - everything speaks of Alyonushka's longing and grief. Nature is in tune with her mood, she seems to mourn with the girl. Slender birch trees, young Christmas trees surrounding Alyonushka seem to protect her from the evil world. The painting "Alyonushka" is one of the first in Russian art, where the poetry of folk tales is inextricably merged with the poetry and sincerity of native Russian nature.
3. From flat to flat (1876)
Canvas, oil. 53.5 x 67.2 cm. Tretyakov Gallery, Moscow, Russia.
Particular success fell to the share of the painting "From apartment to apartment", on which the artist worked since 1875. The fate of poor, lonely old people, thrown out into the street on a cold frosty day, looking for shelter, excited the artist. Deep sadness emanates from the picture, which tells about homeless old age, about the tragedy of useless people. "I think,- wrote Stasov, - each of us has met them. What poor people, what sad human nature!.. What a beautiful picture!”
4. Bookshop (1876)
Canvas, oil. 84 x 66.3 cm. Tretyakov Gallery, Moscow, Russia.
The painting "Bookshop" secured for him the position of a genre painter who knows life, who knows how to reproduce it expressively and vividly.
5. Flying carpet (1880)
Canvas, oil. 165 x 297 cm. Nizhny Novgorod Art Museum
Vasnetsov is actively working on the introduction of folklore into Russian painting, reflecting the sides of the Russian national character (“Flying Carpet”, 1880). In his paintings based on fairy tales, the artist combines folk fantasy with religious teachings and a scientific view of the world.
6. Calm (1881)
Canvas, oil. State Tretyakov Gallery, Moscow.
V.A. Gilyarovsky. About the painting by V.M. Vasnetsov "Calm".
“The pines are dozing. They gave a nap.
Resting, the forest slumbers.
Fell into still waters
Heaven reflections.
I'm sitting under a pine tree in my thoughts ...
And calm and peace -
And in the whispering of gloomy needles
The joy of life is before me."
7. Knight at the Crossroads (1882)
Canvas, oil. 167x299 cm, timing.
"Oppositions of genre and history,- wrote V. Vasnetsov, - there has never been in my soul, and therefore there has never been a turning point or any kind of transitional struggle in me ... I have always been convinced that in genre and historical paintings ... in a fairy tale, song, epic, drama, the whole whole the appearance of the people, internal and external, with the past and present, and maybe the future ... That people is bad, which does not remember, does not appreciate and does not love its history.
8. Warriors of the Apocalypse (1887)
Canvas, oil.
"The Four Horsemen of the Apocalypse" is a term describing four characters from the sixth chapter of the Revelation of John the Evangelist, the last of the books of the New Testament. There is still no consensus on what exactly each of the riders represents, but they are often called the Conqueror (Plague, Disease), War, Famine and Death. God calls them and empowers them to sow holy chaos and destruction in the world. Horsemen appear strictly one after another, each with the opening of the next of the first four of the seven seals of the book of Revelation. The appearance of each of the horsemen is preceded by the removal of the seals from the Book of Life by the Lamb. After the removal of each of the first four seals, the tetramorphs exclaim to John - "come and see" - and the apocalyptic horsemen appear in front of him in turn.
In the picture, a rider on a white horse is a plague, on a red one - war, on a black one - hunger, on a pale one - death.
From the Revelation of John the Evangelist:
Rider on a white horse
"And I saw that the Lamb opened the first of the seven seals, and I heard one of the four living creatures, saying as it were with a voice of thunder: Come and see. I looked, and behold, a white horse, and on it a rider having a bow, and He had a crown, and he went out victorious, and to overcome (Rev. 6:1-2)"
Rider on a red horse
"And when he opened the second seal, I heard the second animal say: Come and see. And another horse, red, went out; and it was given to him who sat on it to take peace from the earth, and that they should kill one another; and a great sword was given to him. (Rev. .6:3-4)"
Rider on a black horse
"And when He opened the third seal, I heard a third animal saying, Come and see. I looked, and, behold, a black horse, and on it was a rider, having a measure in his hand. And I heard a voice in the midst of the four animals, saying: Chinix wheat for a penny, and three quinixes of barley for a penny, but do not harm the oil and wine (Rev. 6:5-6)"
Rider on a pale horse
"And when He opened the fourth seal, I heard the voice of the fourth beast, saying, Come and see. And I looked, and behold, a pale horse, and on it was a rider whose name was death; and hell followed him; and power over the fourth part of the earth - to kill with the sword, and with famine, and with pestilence, and with the beasts of the earth (Rev. 6:7-8)"
9. Sirin and Alkonost. Song of Joy and Sorrow (1896)
Canvas, oil. 133 x 250 cm. Tretyakov Gallery, Moscow, Russia.
"Two faithful friends - Love and Separation - do not go one without the other." Bulat Okudzhava
Two birds of paradise were considered traditional Slavic symbols of joy and sadness: Sirin and Alkonost. In Orthodox bestiaries, the Sirins are said to be half-human, half-bird, bisexual, singing songs so sweet that the one who hears them loses his mind, goes to the voice, not noticing the path, falls into the water and dies.
According to another version: he forgets his life, goes into the desert and, getting lost, dies. Sirins or pitchforks are spirits of water sources that can fly. Subsequently, this tribe in the Russian lubok turns into one single bird.
In the legends of Western Europe, the Sirin bird is considered the embodiment of an unfortunate soul. Her name can be easily correlated with the Greek "sirens", the legends about which could be brought to Ancient Rus' by merchants who walked along the rivers from Byzantium and Greece itself. Sirens are predatory beauties with the head and body of a beautiful woman and clawed bird paws. They are the daughters of the lord of fresh waters Aheloy and one of the muses (Melpomene or Terpsichore). From their father they inherited a wild and vicious disposition, and from their mother a divine voice. With their magical singing, the sirens lured sailors to their island - they crashed ships on coastal reefs, and they themselves died in whirlpools or in the claws of temptresses. Sirens in ancient times were often depicted on tombstones and were called the Muses of the Underworld.
About Alconsta, in the Orthodox tradition, it is reported that this is a bird that lays its eggs in the depths of the sea in the middle of winter, and "these eggs are idle - they do not deteriorate and float up" as soon as the time comes. Alkonost does not take his eyes off the surface of the water and waits for the ascent, therefore it is very difficult to steal the Alkonost egg. If this succeeds, then people hang such an egg under the chandelier in the church, which is a symbol of the integrity and unity of all the people who come to it. The bird Alkonost is an example of God's Mercy and divine providence, therefore, in those seven days when Alkonost looks out for its children, the sea is calm. Shipbuilders value these days and call them Alkonost or Alcyone.
The singing of Alkonost is joyful as she promises Paradise. Sirin's singing, as medieval sources indicate, is painful, Sirin yearns for the lost Paradise, asks for a return to heaven. In modern culture, Sirin and Alkonost are inseparable; they are well-established symbols of Sorrowful and Joyful singing.
The symbolist poet A. A. Blok responded to the picture with a poem:
Throwing back the waves of thick curls,
Throwing your head back
Throws Sirin full of happiness,
Blessings of otherworldly full look ...
The other is all powerful sadness
Exhausted, exhausted...
Anguish everyday and all-night
The whole chest is full...
In the distance - crimson lightning,
The sky has faded turquoise...
And from a bloody eyelash
A heavy tear rolls down...
10. Bogatyrs (1898)
Canvas, oil. 295 x 446 cm. Tretyakov Gallery, Moscow, Russia.
At his first solo exhibition in 1898, Vasnetsov showed "Bogatyrs", work on which lasted about twenty years. Solved in a monumental and decorative way, the picture recreates the images of the three most beloved heroes of the epic epic: Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich. Each of them has individual characteristics. Striving for a monumental solution, Vasnetsov slightly raises the horizon line, and the viewer, as it were, looks down on the riders, whose clear silhouettes stand out against the background of light clouds. Bright and sonorous colors are subtly and noblely combined - green, brown, red, white, blue, giving a special decorative effect to the canvas. The landscape, with its boundless expanse, gently sloping hills, meadows overgrown with wild grass, is united by smooth and calm rhythms with the figures of heroes. Here, Vasnetsov's ability to create an epic canvas, consonant with folk poetic ideas, was manifested. In 1898, "Bogatyrs" took pride of place in the Tretyakov Gallery.
"I believe that Vasnetsov's Bogatyrs occupy one of the first places in the history of Russian painting", - expressed the general opinion of V. V. Stasov. Comparing Repin's Barge Haulers with Bogatyrs, Stasov wrote: "And here and there - all the strength and mighty power of the Russian people. Only this strength is there - oppressed and still trampled ... and here - the strength is triumphant, calm and important, fearing no one and doing by itself, of its own free will, what it she likes what she thinks is necessary for everyone, for the people.
Viktor Mikhailovich Vasnetsov was born in 1848 on May 15 in the village with the funny name Lopyal. Vasnetsov's father was a priest, as were his grandfather and great-grandfather. In 1850, Mikhail Vasilyevich took his family to the village of Ryabovo. It was related to his service. Viktor Vasnetsov had 5 brothers, one of whom also became a famous artist, his name was Apollinaris.
Vasnetsov's talent manifested itself from childhood, but the extremely unfortunate financial situation in the family left no options for how to send Viktor to the Vyatka Theological School in 1858. Already at the age of 14, Viktor Vasnetsov studied at the Vyatka Theological Seminary. Children of priests were taken there for free.
Without graduating from the seminary, in 1867 Vasnetsov went to St. Petersburg to enter the Academy of Arts. He had very little money, and Victor put up for the "auction" 2 of his paintings - "The Milkmaid" and "The Reaper". Before leaving, he never received any money for them. He received 60 rubles for these two paintings a few months later in St. Petersburg. Arriving in the capital, the young artist had only 10 rubles.
Vasnetsov did an excellent job with the drawing exam and was immediately enrolled in the Academy. For about a year he studied at the Drawing School, where he met his teacher -.
Vasnetsov began his studies at the Academy of Arts in 1868. At this time, he became friends with, and even at one time they lived in the same apartment.
Although Vasnetsov liked the Academy, he did not finish it, leaving in 1876, where he lived for more than a year. At that time, Repin was also there on a business trip. They also maintained friendly relations.
After returning to Moscow, Vasnetsov was immediately accepted into the Association of Traveling Art Exhibitions. By this time, the artist’s drawing style had changed significantly, and not only the style, Vasnetsov himself moved to live in Moscow, where he became close to Tretyakov and Mamontov. It was in Moscow that Vasnetsov revealed himself. He liked being in this city, he felt at ease and did various creative work.
For more than 10 years, Vasnetsov designed the Vladimir Cathedral in Kyiv. M. Nesterov helped him in this. It was after the completion of this work that Vasnetsov can rightfully be called a great Russian icon painter.
1899 was the peak of the artist's popularity. At his exhibition, Vasnetsov presented to the public.
After the revolution, Vasnetsov began to live no longer in Russia, but in the USSR, which seriously oppressed him. People destroyed his paintings, treated the artist disrespectfully. But until the end of his life, Viktor Mikhailovich was faithful to his work - he painted. He died on July 23, 1926 in Moscow, never finishing the portrait of his friend and student M. Nesterov.
Viktor Vasnetsov is a famous Russian artist whose work has left a deep mark on the culture of Russia. The brushes of the great painter belong to paintings and church canvases. The artist was engaged in church painting to order for Russian churches. Vasnetsov Viktor Mikhailovich was a versatile, very talented person: a brief biography can serve as confirmation of this conclusion.
Biography of the painter
Viktor Mikhailovich Vasnetsov (1848-1926) was born into a poor family of a priest in the village of Lopyal, Vyatka province, on May 15, 1848. In addition to him, his parents had five children. The boy's father paid maximum attention to raising children. He tried to develop their horizons, and not just instill religious dogmas. Mikhail Vasilievich subscribed to scientific journals, but the places where Vasnetsov lived abounded in legends, epics, and beliefs. The boy's thoughts revolved around fairy-tale characters. Heroes of fairy tales and colorful landscapes of the wild land can be seen on the canvases of the artist.
Little Victor has shown the ability to draw since childhood. But the lack of money did not allow his father to send his son to study art. The boy had to enter a religious school (1958), where education for the son of a priest was free.
After college, the boy entered the seminary, but did not graduate, as he began studying at the St. Petersburg art school (1867). At the same time, the young man passed the exam at the Academy of Arts, but due to excessive modesty he did not come to check the result (Vasnetsov found out about enrollment a year later).
After graduating from the academy, the artist participated in many exhibitions, painted churches. He became a member of the Association of Traveling Art Exhibitions of Moscow when he came to live in this city. Currently, you can visit the house-museum of Viktor Vasnetsov in Moscow, designed by the painter himself. Vasnetsov built it in the neo-Russian style. The artist moved here in 1894 and lived with his family until his death.
Now the building belongs to the museum complex of the Tretyakov Gallery and is a museum with a permanent exhibition dedicated to the life and work of the famous Russian painter. Here you will see a portrait of Vasnetsov Viktor Mikhailovich and a number of paintings by the great artist. In addition to the permanent exhibition, other exhibitions covering Vasnetsov's activities are regularly held here.
The talented painter painted until his death (July 23, 1926). He left unfinished a portrait of Nesterov, a friend and student of the artist.
Creativity of the Russian painter
The work of Vasnetsov Viktor Mikhailovich developed in stages. As a student at the academy, the young man devoted his free time to drawing. At that time, the young artist was fond of illustrating Russian folk sayings, proverbs, fairy tales. Noticing the student's talent, representatives of the clergy asked him to paint the Vyatka Cathedral.
The works written by the young artist from 1876 to 1879 reflect everyday scenes. The canvases of 1880-1898 have an epic-historical orientation. Since 1890, the painter became interested in the religious theme. He actively took up painting temples, but did not forget about easel painting. After 1917, the artist painted illustrations for Russian folk tales.
During his life, Vasnetsov repeatedly took part in art exhibitions. He exhibited his work for the first time as a student at the academy. The demonstration of paintings helped the young man to attract the attention of recognized artists, to make his name known. After graduating from an educational institution (1873), the painter exhibited paintings as a member of the Association of Traveling Art Exhibitions. Such exhibitions were held on the territory of large villages and many cities. In addition to the works of Viktor Mikhailovich, the exposition included paintings by other famous artists.
The active activity of the partnership lasted until 1980, then the movement began to fade, and the organization itself ceased to exist after the last exhibition (1922).
famous paintings
From some of Vasnetsov's masterpieces, only a description remains. But many canvases have survived to this day. What pleased modern art lovers Viktor Vasnetsov: we will consider paintings with names in order.
Viktor Mikhailovich Vasnetsov left a rich legacy to his descendants. Many of his works were destroyed after the 1917 revolution. But even now we can admire the masterpieces of the great Russian painter of the 19th and 20th centuries.
Viktor Mikhailovich Vasnetsov can truly be called a people's artist. The main direction of his paintings refers to The artist is one of the most famous in the world. There is not a single educated person who does not know the name of Vasnetsov's paintings.
Painting "Ivan Tsarevich on a gray wolf"
The work was written in 1889. Inspired by the story of the same name. The picture depicts a wolf that carries away the Tsarevich and Elena the Beautiful, who was saved by him, from the chase. Ivan cautiously looks around, and the girl, subdued and frightened by what is happening, does not look up.
Attention is attracted by the human look of the wolf. He is full of courage, will and hope for victory. In the fairy tale, the wolf plays the role of a positive character who is a true friend of Ivan Tsarevich. He hovers over the swamps, carrying a couple in love from danger. A blooming apple tree and lilies that grow in the middle of a swampy area seem a little strange. Thus, the author of the canvas sends us to get acquainted with the plot of the fairy tale. After all, it was from the beginning of the adventures of the main characters.
The canvas, like many other works of the artist, is in the Moscow State Tretyakov Gallery. Here you can touch the wonderful world of painting, enjoy amazing works, find out the name of Vasnetsov's paintings. The guides will tell you the story of each painting.
"Heroes"
There is no other artist who would be so devoted to painting, in which Vasnetsov painted pictures. The names of most of them are associated with Russian folk tales and epics. For example, the author has been working on the canvas “Bogatyrs” for about 30 years. Vasnetsov made his first pencil sketch in 1871. It was completed in 1898. Soon P. M. Tretyakov bought it for his gallery.
Three epic heroes look at us from the canvas: Dobrynya Nikitich, Ilya Muromets, Alyosha Popovich. Large figures of warriors symbolize the strength and power of the Russian people. The impressive size of the painting itself (295x446 cm) also contributes to the overall impression.
Dobrynya Nikitich, according to legend, was an educated man with delicate, aristocratic features. He was also credited with unusual abilities, it was believed that the armor on his shoulders was charmed from an enemy sword.
Ilya Muromets, located in the middle of the canvas, is not only an epic character, but also a real historical person. His biography and exploits are events that actually happened.
Alyosha Popovich is the youngest and most slender among the heroes. A harp is tied to his saddle, which indicates that he is not only a brave warrior, but also a musician and a merry fellow by nature.
"Alyonushka"
If possible, visit the Tretyakov Gallery with children. Own fantasy will easily take the child to a fairy tale, even if it is written in oil. Tell them the name of Vasnetsov's paintings. Children especially like the canvas, which depicts Alyonushka.
The author was inspired to create this work by the fairy tale “About sister Alyonushka and brother Ivanushka”. Vasnetsov himself said that the image of a very young girl had long settled in his head. The picture was born after he met a similar person in Akhtyrka. A simple-haired, modestly dressed girl with longing and loneliness in her eyes struck the painter. The original title of the painting is "Fool Alyonushka". In those days, this word meant not a lack of mental abilities, but complete orphanhood.
Vasnetsov's paintings are loved and known all over the world. Photos with names are brought from Russia by foreign tourists. Reproductions often decorate the walls of kindergartens and clinics. “Princess Nesmeyana”, “Gamayun”, “The Frog Princess”, “Bookshop”, “Flying Carpet” and many others are not just fairy tales, but the name of the paintings. Vasnetsov did not care about the originality of the name of the canvas. He was more concerned about how much his work could take you to the magical world.
