Canvas, oil. 71x122 cm
State Tretyakov Gallery, Moscow
Silent was the life of the Russian Poreform village. The increasing destructing of the peasantry, frequent crocheries, an inexorable hand of hunger forced the inhabitants of many provinces of Russia to leave their poor, but the usual native shelter. "As a fabulous dragon kept the need for their claws, the masses drove them, Shatal, tipped and sulfa," said the village of the village writer N. Teshov. Pursued by the need, forns and arbitrariness, the peasants went to the city, to work. Many rushed to new lands, most often in Siberia to gain salvation from hunger and needs on her immense expanses. Migrants, burdened by a pitiful Skarb, were rising whole villages from the emerged places, at which their fathers, grandfathers and great-grandfathers were noticing, and long rimpets were stretched on the dusty roads of Russia from Kurskaya, Tambov, Penza, Yaroslavl, Chernihiv province. Fews kept testing a heavy path. Diseases, hunger and cold, arbitrariness of royal officials, full defenselessness - that's what was from the lotion from them. Death ruthlessly mowed rarely changing rows of immigrants. Often, having spent on the road all means, they returned back, and those who reached the place, expected the same poverty and the same orders and officials as in their homeland.
The so-called migrating issue was worried in those years of many representatives of advanced Russian culture and art. Another V. G. Perov, the investigator of critical realism, did not pass by this topic. Known, for example, his drawing "Death of the Migrant".
A painful impression was made by immigrants on A. P. Chekhov, who drove in 1890 on the road to Sakhalin through the entire Siberia. Under the influence of conversations with Chekhov, he traveled along the Volga and Kame, to the Urals, and from there to Siberia and N. TV. "In the Urals, I saw the exhaust life of our immigrants," he recalled, "almost fabulous adversity and the folk guy of the people." A series of tessel stories, drawing the fate of these people, is the closest analogy to the picture of Sergey Vasilyevich Ivanova "on the road. The death of the immigrants. "
The good half of his life spent Ivanov on traveling in Russia, carefully, with a living interest getting acquainted with the life of many-sided labor people. In these infrequent wanders, he met with the life of immigrants. "Many dozens of versts have passed with them in the dust of the roads, in the rain, nozza and the scorching sun in the steppes," they tell Ivanov's friends, "I spent a lot of stay with them, filling your albums with drawings and notes, a lot of tragic scenes passed before his eyes." The powerless to help these people, the artist with pain thought about the immense tragicity of their position and the deceptivity of their dreams of "happiness", which was not destined to gain them in the conditions of Tsarist Russia.
In the late 1880s, Ivanov was conceived by a large series of paintings, consistently telling about the life of the immigrants. In the first picture - "Rus goes" - the artist wanted to show the beginning of their path when people are still cheerful, healthy and full of light hopes. The following paintings were supposed to introduce the viewer with the difficulties of the road and the first deprivations. The series was supposed to be dramatic scenes of suffering and the tragic death of immigrants. However, only a few links of this cycle were brought by the artist before completion. Ivanov embodied in artistic images only the most characteristic and most cracked life impressions.
One of the final pictures of the cycle is "on the road. The death of the migrant "is the strongest work of the conceived series. Other works on this topic, created earlier and later by the writers and artists, did not reveal so deeply and at the same time so simply the tragedy of immigrants in his entire terrible truth.
Plowed heat steppe. Easy Maorevo extinguishes the horizon line. Implancing it seems to be a desert land that scursed by the sun. Here is a lonely migrating family. It can be seen, the last extreme caused her to stop at this naked place, not protected from scoring sunlight. The head of the family, the breadwinner died. What awaits an unfortunate mother and daughter in the future - such a question unwittingly ask himself every look at the picture. And the answer is clear. He is read in the mother's figure open on bare earth. There is no words and there is no tears from a woman killed. In a silent despair, it scrubbed the ground with curved fingers. We read the same answer and in a confused, blackened, as if the extinct corner, the face of the girl, in her eyes frozen from horror, in all her a depleted exhausted figure. Hope on no matter how much help is not!
But quite recently, life was warm in a small carriage house. He worked out a bonfire, a meager dinner was preparing, a hostess was damned. The whole family dreamed about the fact that somewhere far, in the unknown, blessed region, will soon begin for her new, happy life.
Now everything crushed. The main worker died, obviously fell and a depleted horse. No longer needed more clashes and arc: they are carelessly thrown near the cart. Forecast fire in the hearth. The tilted bucket, bare sticks of an empty tripod, elongated, as if hands, in a dumb longing empty robbery, - how it all is hopelessly sad and tragic!
Ivanov consciously sought this impression. Like Perov in the "wires of the dead man," he closed the grief with a narrow round of the family, abandoning the figures of sympathetic women who were in the preliminary sketch of the picture. Wanting to emphasize the doomes of immigrants even more, the artist decided not to enter the picture and the horse, which was also in the sketch.
The power of Ivanov's painting is not exhausted by the truthful transmission of a particular moment. This work is a typical image of peasant life in the Boreframe of Russia. That is why it was encountered by the evil moral of the reaction criticism, which claimed that the death of immigrants in the path of the phenomenon is random and not typical and that the painting content is invented by the artist in the walls of his workshop. Ivanova did not stop sharp attacks of the enemies of advanced, vital art. His work was only one of the first results of a deep study by the artist of the social truth of the modern Russian life. For her, many other significant works followed, in which not only the suffering of the people found their expression, but also the angry protest against the oppression of exploiters in the masses.
In the last courses of the Moscow School of Painting, Basania and architecture, Sergey Ivanov appeals to acute social problems. In particular, his attention attracted a phenomenon characteristic of the Russian village of the last quarter of the XIX century: in the second half of the 1880s, the relocation began to Siberia.
In the image: "Migrants. Walkers. " 1886.
After the reform of 1861, there was a need to solve the land issue. The government saw a way out in the resettlement of landless peasants to this extensive little-saved edge. Over the past decades of the XIX century, over the past decades of the XIX century, several millions of peasants left their insignificant putors, the wretched horses and went to search for "fertile land."
In the image: "Movement in the car", 1886.
Alone, with wives and children, in small parties, having to do with them the scarb, on foot and on the knot, and if you're lucky, on the railway, they rushed, inspired by utopian dreams of "Belovodye" or "White Arapia", towards Heavy tests and most often severe disappointments. The tragedy of landless peasants, who left their original places, from the central provinces to the outskirts of the country - to Siberia and hundreds of diligent on the road, are the main idea of \u200b\u200bthe cycle of Ivanov's paintings. He captured the scene of peasant life in deliberately dull, "mournful" by coloring pictures about migrants.
In the image: "On the road. The death of the immigrants. " 1889.
Since the mid-1890s, a new period begins in the work of the artist, related to the creation of historical works. In the historical painting Ivanov, there are features relating to him with the art of Surikov and Ryabushkin. The painter is understandable to the condition of the excited mass in the sharp drama moments ("Smoot", 1897, Museum-Apartment I. I. Brodsky); "According to the sentence of Wern", 1896, a private meeting), it entails the power of Russian folk characters and he, like Ryabushkin, finds beauty in the phenomena of popular life, approves the understanding of this beauty by a Russian man. Ivanov sensitively catches the picturesque searches of time; His works of these years acquire special colorful sonors.
In the image: "Draoma time" (Tushinsky camp)
Ivanov acted as an innovator of the historic genre, the composition of the episodes of the Russian Middle Ages - in the spirit of Modern style - almost like kinocadras, exciting viewers with their dynamic rhythm, the "presence effect" (the arrival of foreigners in Moscow XVII century, 1901); "King. XVI century "(1902), Muscovites campaign. XVI century, 1903). In them, the artist looked in a new way to the historical past of the Motherland, depicting the heroic moments of events, and the scenes of life from ancient Russian life. Some images are written with a touch of irony, grotesque. In 1908-13, he completed 18 works for the project "Pictures in Russian History".
In the image: "Yuriev Day". 1908.
In the image: "Troops of Moscow Rus", XVI century, painting 1903.
In the image: "Looking service people", no later than 1907
The peculiar features of Nervous "ProtoExpressionism" with a special force talked in his images of the first Russian revolution, including in the famous film "Execution" (1905, the Historical and Revolutionary Museum "Red Presnya", a branch of the HCHSIR), which struck contemporaries with the desperate sound of protest.
During the 1905 armed uprising in Moscow, he was his witness and participant - assisted with the wounded in street fighting students right in the building of Moscow University on Mokhovaya Street. His drawings of gendarmes and the Cossacks have been preserved, which during the uprising were quartered in the Manege, near the Kremlin.
Later, the artist is working on the picture "Rout! Punitive detachment "(1905-1909, GTG).
In the image: go! Punitive detachment.
In the image: Family, 1907
In the image: Arrival arrival
In the image: German, 1910
In the image: Riot in the village, 1889
In the image: Ostrog. 1884 year
An image: arrival foreigners. XVII century. 1901 year
In the image: Boyars crested. 1909 year
Russian empire
scene paintings
Sergey Vasilyevich Ivanov (4 (16) June, Ruza - 3 (16) August, Village Svistuch (now Dmitrovsky district of the Moscow region)) - Russian painter.
Biography
early years
The last period of training includes paintings "Patient" (1884, Location Unknown), "Kabak" (1885, Location Unknown), "To the landowner with a request" (1885; Location Unknown), "Ostrog" (1884-1885, GTG ), "Agitator in the car" (1885, HCH). By this time, it is the beginning of work on the theme of the reprimacy (cycle 1885-1890).
Migrating theme (1885-1890)
Already in the last courses, Sergey Ivanov appeals to acute social problems. In particular, his attention attracted a phenomenon characteristic of the Russian village of the last quarter of the XIX century: in the second half of the 1880s, the relocation began to Siberia. After the reform of 1861, there was a need to solve the land issue. The government saw a way out in the resettlement of landless peasants to this extensive little-saved edge. Over the past decades of the XIX century, over the past decades of the XIX century, several millions of peasants left their insignificant putors, the wretched horses and went to search for "fertile land." Alone, with wives and children, in small parties, having to do with them the scarb, on foot and on the knot, and if you're lucky, on the railway, they rushed, inspired by utopian dreams of "Belovodye" or "White Arapia", towards Heavy tests and most often severe disappointments. The tragedy of landless peasants who left their original places, from the central provinces on the outskirts of the country - to Siberia and hundreds of darling on the road, are the main idea of \u200b\u200bthe cycle of Ivanov's paintings. He captured the scene of peasant life in deliberately dull, "mournful" by coloring pictures about migrants.
As requested in the Moscow Art Society, a testimony for "travel and residence" in a number of provinces from Moscow to Orenburg, Ivanov parted with the school, without receiving evidence of the title of drawing teacher. From that time, Ivanov becomes a kind of chronicle of the tragic phenomenon in the life of the Russian poreform peasantry.
Art critic Sergey Glagol (pseudonym S.S. Golowyshev) So tells about this period of life and creativity Ivanova:
"... Dozens of Luzst passed with immigrants in the dust of Russian roads, in the rain, bad weather and the scorching sun in the steppes, had a lot of stay with them, filling his album with drawings and notes, a lot of tragic scenes passed in front of his eyes, and a number had a row in his head Pictures that are really able to draw Russian relocation epic. "
In the pictures and drawings of Ivanov appear terrifying scenes of replanding life. Hope and despair, disease and death next to people, weird in the expanses of Russia - "Migrants. Walkers "(, BHHM. M. V.Nesterova)," Reverse Migrants "(1888, National Gallery of the Komi Republic) and the first serious picture of the artist" On the road. The death of the immigrants "(, GTG), who brought fame to the young artist.
The next section of the social epic of Ivanov was the "Arrest series". Work on it was sometimes closed with a "migration cycle"; At the same time, the artist created: "Running", sketch (1886, GTG), "Riot in the village" (, HCHSIR), "Sending of the Arrests" (, HCMSIR), "Broadcasting" (, Location Unknown). The painting "Stage" (, the picture was killed, the option in the Saratov State Art Museum. A.N. Kadishcheva) as if sums up the "artanta series".
At the turn of 1889-1890, Sergey Ivanov, along with Serov, Levitan, Korovin - a recognized leader among Moscow artists of the younger generation. At the same time, he visited the Polenovsky "Drawing Evenings", which were organized by V. D. Polenov and his spouse, and found support and approval there.
Period of historical works
From the mid-90s, a new period begins in the work of the artist, related to the creation of historical works. In the historical painting Ivanov, there are features relating to him with the art of Surikov and Ryabushkin. The painter is understandable to the condition of the excited mass in the sharp drama moments ("Smoot", the Museum-Apartment I. I. Brodsky); "By the sentence of the Wern", a private meeting), he entails the power of Russian folk characters and he, like Ryabushkin, finds beauty in the phenomena of popular life, approves the understanding of this beauty by a Russian man. Ivanov sensitively catches the picturesque searches of time; His works of these years acquire special colorful sonors.
However, the search for otherwise the expression of the internal state continued. Ivanov, unsatisfied (according to him) "cute scenes", which prevailed in the domestic genre of the Movies, sought to the art of an exploral, sensitively transmitting "the beat of the human soul". He gradually, maybe under the influence of work at the pleaire changed its drawing and palette. This happened in, during the years of creating a union of Russian artists, in which Ivanov played a certain role. The artist turned to the historical genre, wrote portraits of his loved ones, illustrated books. He remained an artist-realist, despite the coming times of searches, modern, refusal of objective art.
Ivanov acted as an innovator of the historic genre, the component of the episodes of the Russian Middle Ages - in the spirit of Modern style - almost like kinocadras, exciting the viewers with their dynamic rhythm, the "presence effect" (the arrival of foreigners in Moscow of the XVII century); "King. XVI century "(1902), Muscovites campaign. XVI century, 1903). In them, the artist looked in a new way to the historical past of the Motherland, depicting the heroic moments of events, and the scenes of life from ancient Russian life. Some images are written with a touch of irony, grotesque.
Revolutionary years - recent years
Later, the artist is working on the picture "Rout! Punitive detachment "(-, GTG).
He taught in the Stroganovsky Art and Industrial School (1899-1906), in the Moscow School of Painting, Sculpture and Architecture (1900 / 1903-1910).
He was a member of the exhibitions of the Moscow Society of Arts Fans (1887, 1889, 1894), Movie Partnerships (1887-1901), "36 artists" (1901, 1902), "World of Art" (1903), Union of Russian Artists (1903-1910).
Fruitfully worked as a master of etching and lithography, as well as illustrator of works by N.V. Gogol, M.Yu. Lermontova, A.S. Pushkin and others.
Ivanov died at the age of 46 years from the heart attack 3 (16) of August of the year at the cottage in the village of Svistukha on the shore of the river Yahroma.
Gallery
Literature
- "1989. One hundred memorable dates. " Art calendar. Annual illustrated edition. M. 1988. Article V. Petrov.
- A. F. Dmitrienko, E. V. Kuznetsova, O. F. Petrova, N. A. Fedorova. "50 brief biographies of the masters of Russian art." Leningrad, 1971 Article A. F. Dmitrienko.
Let's start with the reasons for resettlement to Siberia. The main reason for the resettlement in the clan era is economic. The peasants believed that in Siberia they would live better than in their homeland, because in the homeland, all the suitable land is already disassession, the population is growing rapidly (1.7-2% per year) and the amount of land coming to man respectively decreases in Siberia For the processing of the Earth is almost infinite. Where rumors about a rich life in Siberia spread among the peasants, a desire for relocation arose. The champions of the resettlement were black earth, but at the same time tightly populated and very poor Kurski, Voronezh and Tambov province. It is interesting that the peasants were incorporated (and especially the northern) peasants, although they were deprived of the benefits of nature - they preferred to master various kinds of non-agricultural injuries.
Did you really disappear pictures of the picture from Tambov province to Siberia on this little cart? Of course not. Such hardcore ended back in the 1850s. Railway in 1885 reached Tyumen. Those who wish to move to Siberia went to the station nearest to the place of residence and ordered a commodity car. In such a car, small (6.4x2.7m) and displeasted, just fitted - in terrible cramped and in the cold - a peasant family with a horse, a cow, grain margin (for the first year and sowing) and hay, inventory and domestic things. The car was moving at a speed of 150-200 km per day, that is, the path from Tambov took a couple of weeks.
Tyumen should be reached by the earliest possible time of opening the Irtysh, that is, by the beginning of March, and wait for the ice drift (which could happen immediately, or after a month and a half). The living conditions for the immigrants were Spartan - primitive boardy barracks, and for the most unlucky and straw halars on the shore. Recall that in March in Tyumen it is still cold, on average to -10.
He got ice drinker, and from Tyumen, down the Irtysh and then up on Obi, few and expensive steamboats were sent (the steamer is expensive and difficult to build on the river, not communicating with the rest of the country or by the railway). Places on the steamers lacked desperately, so they dragged the string of primitive interrupted barges. Barges who did not even have an elementary shelter from the rain were so clogged with people that there were no place to lie down. And even such a barge lacked for everyone, but to stay until the second flight in Tyumen - to skip the whole summer, in which the farm had to be organized. It is not surprising that landing for steamboats on inorganization and boiling passions resembled the evacuation of the Denikin army from Novorossiysk. The bulk of immigrants (and they were gained 30-40 thousand a year), heading for Altai, went from a steamer in the rapidly growing Barnaul, and if the water was high, then even further, in Biysk. From Tyumen to Tomsk on the water of 2,400 km, to Barnaul - more than 3000. For an old steamer, barely distils on numerous riverpads in the riverpads, it is one and a half or two months.
In Barnaul (or Biysk), the shortest, land part of the journey began. Available for settlement places were in the foothills of Altai, 100-200-300 km from the pier. Migrants bought on the marina made by local artisans of carts (and the one who did not bring a horse with him - and horses) and went to the road. Of course, the entire peasant yeweler and the stock of the seed can not fit into one cart (in the ideal case, raising 700-800 kg), but the peasant is needed in the farm just one cart. Therefore, those who wish to settle closer to the pier gave property to storage and made a few walker, and those traveling to the longer journey hired at least one concession.
This circumstance can be explained by the lack of a migrant in the telega in the picture of the required peasant of bulk-free objects - soy, harrows, grain stock in bags. Whether this property is stored in a labaz on the pier and is waiting for the second trip, or the peasant hired a fog and sent a teenage son and a cow with her, and his wife, daughter and a compact inventory quickly went to the alleged place of the settlement to choose a plot.
Where exactly and on what legal reasons was going to settle our migranet? The existing practices were different. Someone went easy and attributed to existing rural societies. So far, the Siberian communities (consisting of the same immigrants of the previous years) had a big stock of the Earth, they willingly accepted newcomers for nothing, then, after pacing the best lands, for opening fee, and then began to refuse at all. In some, absolutely insufficient, the quantity has prepared and placed migrating plots. But most of the immigrants in the described era (1880s) were engaged in self-creation of a stateless (but completely unnecessary execution) of the Earth, boldly baseing illegal farms and villages. The treasury did not understand how to document the current situation, and simply closed his eyes without interfering with peasants and without driving them from the ground - until 1917, the land of immigrants were not decorated. However, it did not prevent the execution of the treasury to impose peasants illegal taxes on the basis of the general basis.
What fate would wait for a migrant if he did not die? That could not predict no one. Approximately the fifth part of the immigrants in that epoch did not work in Siberia. There was not enough hands, lacked money and inventory, the first year of management turned out to be a lack of town, the disease or death of family members - all this led to his return to their homeland. At the same time, most often, the house returned was sold, money live - that is, they returned to take care of their relatives, and it was a social bottom of the village. We note that you have chosen the legal way, that is, out of their rural society, they turned out to be in the worst position - fellow villagers could simply not accept them back. Illegals at least had the right to return back and get the laid put on it. Survived in Siberia had a wide variety of successes - the distribution of rich, medium and poor courtyards did not differ significantly from the center of Russia. Without falling into statistical details, it can be said that you really have a few (and those who have to go well in their homeland), the rest of the rest went differently, but still better than in the old life.
What will happen to the deceased family? To begin with, it should be noted that Russia is not a wildest West, and the dead man can not just bury the road. In Russia, everyone who lives is outside of their own registry, there is a passport, and the wife and children fit into the passport of the head of the family. Consequently, the widow must somehow deal with the authorities, to bury her husband with a priest, to issue a metric statement about the burial, to get new passports for yourself and children. Given the incredible sparseness and remuneration of officials in Siberia, and the slowness of official postal relations, the decision of one this problem can take away from a poor woman at least six months. During this time, all the money will live.
Next, widow to evaluate the situation. If she is young and she has one child (or the sons of teenagers who have already entered the worker), it can be recommended to marry in place again (there are always enough women in Siberia) - this will be the most prosperous option. If the likelihood of marriage is small, then the poor woman will have to return home (and without money this path will have to be done on foot, asking for a fire on the way) and there somehow get along with Rodney. There are chances of getting a new independent economy without an adult man (which is in the homeland, that in Siberia) has a lonely woman, the old economy is sold. So the widow flashes not in vain. She not only died her husband - all the life plans associated with the acquisition of independence and independence were forever.
It is noteworthy that the picture shows not the hardest stage of the displaced path. After a winter journey in a non-spurious car, life in a hood on the shore of the frozen Irtysh, two months on the deck of a crowded barge, a trip on his own cart over the flowering steppe was for a family more relaxing and entertainment. Unfortunately, the poor fellow did not pose a previous burden and died on the way - like approximately 10% of children and 4% of adults from those resettled in Siberia in that epoch. His death can be associated with a heavy home appliance, discomfort and antisanitia, accompanied by resettlement. But, although it is not obvious at first glance, the picture does not indicate poverty - the property of the deceased is most likely not limited to a small number of things in the cart.
The appeal of the artist did not disappear. Since the opening of the Siberian Railway (mid-1890s), the authorities gradually began to take care of immigrants. The famous "Stolypinsky" wagons were built - insulated cargo wagons with iron stove, partitions and scratches. In the nodal stations there are migrating points with medical care, baths, laundry and free feeding of small children. The state began to post new sites for immigrants, issue home-proof loans, to give tax breaks. 15 years after writing the picture of such terrible scenes, it became noticeably less - although, of course, the resettlement continued to demand hard work and remained a serious test of the strength and courage of a person.
On the map you can trace the path from Tyumen to Barnaul on the water. I remind you that in the 1880s the railway ended in Tyumen.
The younger generation of mobileians made a great contribution to the development of Russian democratic art, reflecting the proletarian stage of the liberation movement in different ways. The ideological content, expressive agents of art, were noticeably enriched, creative individuality was manifested.
S. A. Korovin (1858-1908). Throughout the work of Sergey Alekseevich Korovina, the peasant theme is held in red thread. The bundle of the Russian village, the appearance of Mirohedov's cam who opposed the landless peasantry, is vital and expressively revealed in his picture "on the world" (1893, Il. 181). A completely new village appeared here: there is no former patriarchalness, the appearance of the peasants has changed, and the relationship between them has become different. Korovin worked for a long time, wrote a lot of etudes. Everyone visited the observant eye of the artist who knew modern peasant psychology well.
The composition immediately introduces the viewer into the space of the picture, revealing the string - the dispute between the poor and fist. And the flavor, weathered in a gray-chicken tonality, transmits a cloudy day state, emphasizing the dramatic content of the plot.
Truthfully and convincingly shows the general mood of those gathered for the gathering. Most are no longer able to understand the essence of those changes that have developed with the invasion of the village of capitalist orders. The crowd of peasants is silent, on some faces - bewilderment. A grave doubt is expressed in a sitting back to the audience an old man.
The closures of the crowd of peasants Korovin contrasted the open manifestation of feelings from the arguing. The face of the poor man, distorted by the grief, the sharp movement of the figure paints the spiritual handover, brought to despair. In the form of a fist - calm, hypocrisy and trick.
Deep and laugant, avoiding small details, but accurately passing the situation, Korovin reveals the meaning of social contradictions in the village, discovering a distinct civilian position. The great artistic and informative meaning of the picture is this revived in the images of the document of the era.
A. E. Arkhipov (1862-1930). Among the younger animals, an artist of distinctive talent Abram Efimovich Arkhipov is allocated. He came from the peasants and knew the frontal life of the people well. Most of his works just like S. A. Korovina, devoted to the peasant theme. They are concise on the composition and always full of light, air, picturesque finds.
In one of the first paintings of the Arkhipov "Visit of the Patient" (1885), attention was aimed at thorough and true outlining of the life of a poor peasant family and an unknown conversation of two old women. Sunny landscape in the open door talks about new color searches.
An outstanding work was the picture "on the Oka River" (1889, Il. 182), where archups portrayed a group of peasants sitting on Barge. They are so characteristic, written with such warmth and knowledge of popular characters, and the summer landscape is so bright and beautiful that the picture was met with contemporaries as an artistic revelation.
Arkhipov loved the humble beauty of Russian nature and poetically captured her. A deeply lyrical feeling will penetrate his "reverse" (1896). The composition is originally built: the brush is half cut off by the lower edge of the canvas, the rod sits back to the viewer - it seems that we are going on this wide field, calls the bell and rag out of a large sincere song. Magnifying pinkish tones of the fascinating sky, the muffled color of grass and dusty road finely transmitting the mood of the burning day and lightly irreplaceable sadness.
The image of female workers devotes archups with a picture of the "rowers at the cast iron factory" (1896); The brightest inclusive share of Russian workers is reflected in one of the best works of the archharp "Bratka", known in two versions - in GTG and GDM (end of 1890s., Il. XIII).
The artist transfers the viewer to the dark soul basement of the wretched laundry, depicting it fragmentary. The composition seems grated from life. We seem to be shortly looking at this room and stopped before the spectacle opened. Fast wide strokes of faded tones of archups handed out the figures of working laundry, the wet floor laundry, saturated with moisture air, twilight light, pouring out of the window. Unforgettable the image of an old woman in the foreground, sat down to rest: tiredly bent back, head, falling on his hand, hard meditation on the face. The artist as if talking about the fate of all workers.
Reflecting the slender life of the people-worker, archups never lost faith in his inexhaustible strength, hopes for the best future. The bright optimistic principle dominated most of its works, which is especially noticeable in the 1900s, on the eve of large revolutionary events.
In the Arkhipov northern landscapes - simple and at first glance, no noticeable motives of harsh nature. Single huts, the edge of the sky, then transparent, then cloudy, smooth river. But what charm an artist from these motifs and a modest gray gamma is removed! The paintings of the archupov are imbued with a vigorous life-affirming sense of a simple Russian man born in close communion with their native nature.
The bright sun permeates the works of archupov dedicated to the peasant life. His colorful canvases express the worship of the physical and moral health of the Russian man. It never accidentally changed his palette, becoming more contrasting and decorative generous. This series of works of archups continued after the Great October Socialist Revolution.
S. V. Ivanov (1864-1910). One of the most consistent continuents of the traditions of critical realism was Sergey Vasilyevich Ivanov. In the new historical conditions, he managed to see the deep contradictions of Russian reality and his works responded to many of the painful questions.
The larger series of works of Ivanov devoted a severe proportion of peasants-immigrants, their forced wandering on Russia. The sad fate of the family who lost its breadwinner is reflected in the best picture of this series - "on the road. The death of the immigrants" (1889, Il. 184).
With an incorruptible feeling of truth, S. V. Ivanov is full of the heartfelt content of a picturesque story. The whole scene, thoughtfully selected household details written by gentle hand and give the plot of the accuracy of the live occurring events occurring in our eyes. The workshops found the scale of the shapes in relation to the space of the landscape: leaving the distant horizon, it reminds of the duty and difficult path for the escaped earth. Lonely, defenseless, suffering a person among the silence of nature - the essence of the artist's creative design.
At the beginning of the 1890s, Ivanov became one of the first chronicles of the revolutionary struggle in Russia. Back in 1889, he wrote a picture of the "Bunth in the village", telling about the growing social protest among the peasants, and in 1891 - "Stage". The terrible spectacle lying on the floor of the on-floor of the arrestants at a renovation, bare feet in the shackles struck the artist. Only in the depths notice a guide to you a shrill look at some kind of convict.
In the mid-1890s, Ivanov often refers to the topics from the Russian history of the XVI-XVII centuries. In his historical paintings there are features that are common to the creativity of the majority of the most painters to him - household interpretation of plots and decorative color. But in contrast to many Ivanov did not lose interest in the social side of the depicted. Such, for example, the pictures "The arrival of foreigners in Moscow of the XVII century" (1901, Il. 185), well-handed the historically faithful appearance of the ancient capital and the characters of its inhabitants, and the "king. XVI century" (1902), which was perceived by contemporaries as a satirical image self-adjusting.
The events of the revolution 1905-1907 captured Ivanov and caused a new creative rise. In her early, he dedicated a picture of the "strike" to the workers in the factory. In the whole strength, his talent manifested itself in a relatively small size of the "Execution" canvas (1905). It belongs to the number of the most significant works reflecting the bloody massacre of the tsarism over the people. This is a severe concise image built on the contrast of clear pictorial plans.
On the canvas - the desert square, poured by the evening sun, closed the line of shaded houses, and the lonely dark silhouette of the dead worker. From this big bright plane and stationary figure, the artist leads the eye of the viewer to the depth. The first rows of the Cossacks in the powder smoke can be left to the right - demonstrators. The Red Banner is the brightest spot - it highlights this part of the composition. The impression of the living, in our eyes the desired tragic event is created.
The picture of Ivanov is perceived by the symbol not only the bloody massacre over the rebel people, as the artist conceived, but also all the fate of the first Russian revolution, cruelly depressed tsarism.
N. A. Kasatkin (1859-1930). Student V. G. Pereova, Nikolay Alekseevich Kasatkin in his early works turned to folk images and dramatic plots. Soon the leading theme of his work was the life of the working class and the revolutionary struggle of the Russian proletariat.
Already in 1892, Kasatkin wrote a picture of "hard", depicting a sad date of the wounded young worker with the bride - the poor seamstress. The expression of sadness and anxiety on the face of the girl contrasts with determination and confidence of the worker. Initially, the picture was called "Petrel", but the artist was forced to change the name for censorship considerations. Nevertheless, the political content of the canvas reached the viewer, reminding about the strikes constantly then.
In the same year, Kasatkin first visited the Donetsk swimming pool for the first time and since then for nine years he was constantly among the miners, studied their lives and work. At first they were incredulously to the artist, taking him for the seized spy, but then they sincerely loved. They helped him in work on the images that Russian art had not yet known.
The first product about the life of Donetsk miners by Casatkin was the picture "Collecting coal to the poor on the mined mine" (1894). Live typical images, accurate drawing and modest, weathered painting painting distinguish this canvas.
Kasatkin himself descended underground, watched the incredible conditions for truly labor labor of miners and wrote with bitterness: "... where the animal can work, the person replaces it." This thought is displayed in a small picture of Shakhtar Taigolcyc (1896). Dark flavor with reddish sails of mining light bulbs; Like a fabric animal, crawling workers under the hanging arches of a shruge and pulls sledges loaded with coal.
The result of the work of the Kasatkina over the theme of mining life and numerous etudes - the canvas "carbon. Change" (1895, Il. 186). It was the first product of Russian painting, which showed the growing cohesion of the working class. Weak lights of mining light bulbs and flashing eye proteins in the impenetrable darkness give the picture tension. In the center of the composition - the elderly miner. With the furniture in his hands, he steps right on the viewer as a formidable impending force.
In a number of works by Casatkin, a multilateral, with a great feeling revealed the spiritual world of the oppressed proletarian. The artist reached a special force of penetration into the image of the "wife of the factory worker" (1901), removed from the exhibition of the Tsarist Censure.
It seems that all awesome fate is still young, but a lot of people who survived the woman is captured in tired of the dowel figure, in a stopping look, fallen on her knees. A difficult mental state is transmitted on a depleted face. Here and pain, and bitterness, and the emerging anger - everything that naturally binds to the political events of that time and forced the viewer to think. In a grayish-ohloous medium, a restrained paint paint is immersed. Earth facial pallor emphasizes white scarf's shoulders.
The merit of Krashkin is huge in the fact that he saw not only the difficult position of the working class in Russia, but managed to notice and embody its strength, energy, optimism. From the image of Shakhtarki (1894, Il. 187), itifies the poetry of life, youth, physical and spiritual health. Harmonious warm silver flavor of this canvase. Surprisingly, the relaxed movement of the shape, gently inscribed in a light landscape.
Kasatkin, who knew the life and mood of workers, deeply sympathized with them, enthusiastically met the revolution of 1905-1907. He hurried to capture new situations and images, looking for new plots. Many etudes, sketches and paintings were the result of great creative work.
In difficult conditions of rapid time, not all, striking Kasatkin, could find a complete and complete mapping, but everyone, even a runaway sketch had an important documentary and artistic value. The paintings of the artist, created at that time, are significant in ideological content and indicate the search for an emotionally stressful composition. One example is the picture "The Last Way of Spy" (1905).
Kasatkin with enthusiasm worked on a multifigure composition "Attack of the Plant Plant" (1906), where a complex dramatic action is deployed. Expression has been transferred here to the movement of a huge cloudy crowd, a variety of gestures. Separate etudes are remembered to this picture, especially the image of an elderly woman, angry calling for an uprising.
Exceptionally ideological and artistic importance of a small blade "Worker" (1905, Il. 188). Kasatkin saw and captured the characteristic type of active participant in the first Russian revolution. Appearance, posture, gait, strict face - everything speaks about the spiritual world of a person of the new time - courage and determination, calm and inflexibility, the consciousness of the importance of their goal and noble modesty. Such a person could really go at the head of combat revolutionary detachments. The image is echoing with the hero of the story "Mother" A. M. Gorky.
L. V. Popov (1873-1914). Lukyan Vasilyevich Popov also belongs to the younger representatives of the mobileians. With particularly sensitivity, he mentioned social changes in the village, in which revolutionary moods at that time actively penetrated. His paintings "To the sunset. Agitator in the village" (1906), "in the village (get up, ride! ..)" (1906-1907, Il. 183), "Socialists" (1908), imbued with hot sympathy to brave and courageous Heroes, a truthful document of the peasant life of the eve and the period of the revolution of 1905-1907.
Creativity A. P. Ryabushkin and M. V. Nesterova was also associated with the traditions of the Movies. However, in their works, new creative quests were manifested in a special time, which became typical for the art of the late XIX - early XX century.
A. P. Ryabushkin (1861-1904). Andrei Petrovich Ryabushkin can be called a folk artist. All his life and creativity after the student years spent in the School of Painting, Sculpture and Architecture, as well as at the Academy of Arts, proceeded in the village. His art was a kind of response to the historical processes of capitalization of Russia, when "the oldations of the peasant economy and peasant life, the foundations that really keen over the centuries went on a layer with extraordinary speed" *. Ryabushkin poeticed his heart of ancient, traditional household lifestyle, sustainable features of the national image.
* (Lenin V.I. Lev Tolstoy, as a mirror of the Russian revolution. - full. Cathedral cit., t. 17, p. 210.)
The genre paintings of Ryabushkin are inherent in the traits of calm, silence. Depicting the patriarchal atmosphere of a rustic wedding ("Waiting for newlyweds from a crown in the Novgorod province", 1891), the artist emphasizes the degree and the genius of the sitting peasants.
In 1890, Ryabushkin acts as the original master of the Russian historical and household painting. In the distant past of Russia, it is most attracted to the daily life of the old Moscow. The revival reigns during the spring dishthele in the picture "Moscow XVII century street on a festive day" (1895). Here and the girl in a red seal, carefully carrying a candle, and rustic guys in long-grained clothes, and passing through the dirty street of a swelling boyar, and a blind beggar. Colorful, decorated with Russian ornament clothes, blue sky reflections in puddles, motley making churches and overall motion make this picture festive.
The bright personality of Ryabushkin is most fully expressed in the paintings of 1901 "Rout" (Il. 189) and "Wedding Train in Moscow (XVII century)" (Il. 190). The first of them, featuring a bold and unusual composition, depicts residents of Moscow waiting for foreigners. It is like a fragment, caught from the painting of the life of Russian people of the XVII century. The faces reflected curiosity, naivety and self-esteem. Large color spots of yellow, red and green cafts of Sagittarius and motley clothing. Counties give the painting a major tone and a pronounced decorative character.
Painting "Wedding Train in Moscow (XVII century)" penetrated the poetry of the Russian Sturine. The silence of the spring evening, in the lilac smisker of which Moscow is immersed, and the lonely figure of the sad Muscovites is opposed to the rapidly rushing lush festive train. The sketch of painting, contrasting with a more tightly written scenery, lightweight, as if the fresco, flavor, thinly found rhythm throughout the central group - all this allowed Ryabushkin to penetrate the household appearance of the Russian city of distant time.
Extremely expressively and figuratively "Tea Party" Ryabushkin (1903), written a year before death. This is a work of a socio-critical nature. If Ryabushkin selected positive, kind, beautiful in peasant life for his genre paintings, now he portrayed the world of rustic rich. In the elegacity and the cold officialness of the tea party there is something from the Meshchansky well-being; In the grotescia of the images, in the unknown Ryabushkin stiffness of picturesque plastics, resembling ancient Parsuna, is read by the artist of this alien to him.
M. V. Nesterov (1862-1942). Complicated and controversial the pre-revolutionary period of Mikhail Vasilyevich Nesterov.
He began his way in art with genre pictures close to mobile, but at the end of the 1880s in his work there is a sharp fracture. The artist goes into the world perfectly beautiful, having funful the purity of a religious feeling, depicting the inhabitants of monasteries and beds.
The elderly Nesterov's hermit in the painting "Dressman" (1888-1889), slowly wagging on the shores of the mirror smooth lake, is infinitely far from life distils. Its image is inextricably linked with the beauty of the peaceful nature, its serene calmness.
A huge role in the work of Nesterova plays a landscape. The poet of the Russian nature of Nesterov, who knows how to penetrate the inner world of man deeply, always binds the experiences of their heroes with the condition and character of the landscape.
In the picture "Vision Latches of Bartholomew" (1889-1890, Il. 191) The only character - the pale fatters with convulsively compressed in prayer ecstasy with thin hands. But the main character of the artist still performs the scenery of the Central Russian strip, spiritualized nature, where the artist gives truly every epics, each participates in the glorification of the Motherland.
In the late 1890s - early 1900s, the artist creates a series of paintings dedicated to the tragic fate of the Russian woman, submissive and suffering ("for the Volga", "on the mountains"). In the "Great Hall" (1898), it shows the sad procession of the inhabitants of a little monastery, covered among the deaf forest, seeking a young woman in a monastery, still full forces to a woman. Mournful faces, dark silhouettes of shapes, trembling lights of huge candles ... deep sadness, but nearby - a newly beautiful world of nature, virgin forests and Nesterov's tight-vent out young birch trees.
In the early 1900s, the skill of Nesterov-Portraitist. Here, with the most completeness, the realistic side of the artist's creativity was manifested. Most portraits of this time of Nesterov writes against the background of the landscape, as well as in the paintings, claiming the inseparable communication of a person with nature. In the portrait of O. M. Nesterova (1906, Il. 192) The figure of a girl in black amazon stands up with a beautiful silhouette on the background of a lyrical evening landscape. Elegant and graceful, with spiritualized, slightly dreamy look, this girl personifies the ideal of youth, beauty and harmony for the artist.
Back in the 1880s, the work of three prominent Russian artists is formed - K. A. Korovina, M. A. Vrubel and V. A. Serov. They with the greatest completeness identified the artistic achievements of the era, its complexity and wealth.
V. A. Serov (1865-1911). The largest artist of the late XIX - early XX century was Valentin Aleksandrovich Serov. His creativity continued the development of realistic art, deepening its content and expanding expressive opportunities.
The art of Serov is bright and diverse. First of all, he is a master's psychological, picturesque and graphic portrait, but his talent also manifested itself in the landscape, historical genre, book illustration, decoration and monumental-decorative art. Since childhood, Serov surrounded the atmosphere of art. His father - A. N. Serov - a famous composer and a musician, mother - gifted pianist. Serov's teachers were I. E. Repin and at the Academy of Arts - P. P. Chistyakov. The first largely contributed to the formation of the democratic foundations of Serov's creativity and the awakening of interest in an inquisitive study of life, he was obliged to deeply comprehend the professional laws of form.
Already the early works of Serov - his famous portraits "Girl with peaches" (1887, ill. X) and "The girl illuminated by the Sun" (1888) - glorified the young artist and most fully characterized the art of early Serov.
"The girl with peaches" is written in Abramtsev, the estate of S. I. Mamontov, with his daughter faith. In this excellent portrait created by the artist, the image due to the vital completeness of the content develops the framework of an individual portrait, embodying an universal start. In a teenage girl with a serious face and a strict look, in her relaxed restraint and immediacy, the artist managed to convey high poetry of bright and clean adolescence.
This portrait of this amazingly beautiful in his painting. It is written in full light, very easily and at the same time materially. Its transparent paints, unusually pure, are heated with light, air, alive transmit reflexes from lighting. Freshness Colorite "Girls with Peaches", at one time so hitting contemporaries, as well as a natural simplicity of thoughtful composition put a picture in one row with the best works of world painting.
The same theme of the young of the sulfur develops in the "Girl Lighted Sun". The content of the portrait is the same pleasant sense of spiritual beauty of a person and the completeness of his being.
1890s - the next stage of Serov's creativity. During these years, the artist most often writes people of art, and their creative individuality he wants to reveal now first of all. The view of N. S. Leskova (1894), he conveys the dormant to the realistic writer. The thoughtfulness of I. I. Levitan is akin to the poetic feelings of the artist, ease of pose K. A. Korovina (1891, Il. 193) is a peculiar expression of freedom and the immediacy of his art.
Back in the 1880s, except portraits, Serov wrote and landscapes. Most often, he found motifs in Abramtsev and dominant, where the estate of his friends was deresses. In the 1890s, an increasing place in the landscaped work of Serov begins to occupy an image of a simple rural nature. Often, the artist introduces the figures of the peasants in the paintings, as if approximate landscape with a household genre ("October. Domobanovo", 1895, Il. 194, "Baba with a horse", 1898). I. E. Grabar called the artist "Peasant Serov" precisely for landscapes. The democracy of his art affected them with special clarity.
In the 1900s, the work of Serov is markedly complicated. The main place in it is still portraits. In addition, he continues to write landscapes, works on the illustrations to the fables I. A. Krylov, started back in the 1890s. In the circle of his interests, now historical and monumental-decorative painting is constantly included.
In the 1900s, the portrait work of Serov becomes much more diverse. Numerous secular front portraits are added to the portraits of people close to him. The artist still remains unlikely to truthful in characteristics and inexorable demanding to himself, not allowing in its performance the slightest negligence or dampness. As before, the basis of his portrait art remains psychological disclosure of the image, but serov now focuses its attention on the social characteristics of the models. In portraights of advanced representatives of the Russian intelligentsia, it is greater clarity than earlier, seeks to capture and emphasize their most typical, outstanding social qualities. In the portrait of A. M. Gorky (1905, Il. 195), the simplicity of his appearance, the clothing of the workshop, the gesture of the agitator, the artist emphasizes the democracy of the proletarian writer. Portrait of M. N. Yermolova (1905, Il. 196) - a peculiar majestic monument of the famous tragic actress. And all the pictorial means the artist subordinates the identification of this thought. The lobby of the Ermolova mansion, in which she posed serov, is perceived as a scene, and thanks to the reflection in the mirror fragment of the colonnade and as a visual hall. Yermolov herself in his strict and solemn black dress, decorated with only the thread of pearls, majestic and inspired.
Serovy portraits of his noble customers are completely different. Parade portraits of the spouses of Yusupova, S. M. Botkin, O. K. Orlova (Il. 197) and many others go to portraits of the XVIII - the first half of the XIX century, with brilliant skills they are written in them is a refined situation, elegant ladies' toilets. In the image of the people themselves, the Serov focused their typical social qualities characterizing the class to which they belonged. These portraits, as V. Ya. Bryusov said, always the trial of contemporaries, especially terrible that the artist's skill makes this court befelling.
In a series of similar portraits of Serov, one of the first places is the portrait of M. A. Morozova (1902), depicted against the background of the living room of his beautifully furnished mansion. This person is educated, known for its widespread patient activities and understanding of art, but there is still alive the basis of the merchant-merchant Ostrovsky times. Here it is standing like a lively, this European merchant the end of the XIX century, filling the highlight of a narrow canvas format and looking straight in front of him permeating look. Morozov's authority is not only his personal property, it gives in it the industrialist, as well as the arrogance of Princess O. K. Orlova makes it a typical representative of the Great Light Aristocratic Circles of the beginning of the XX century. A great expressiveness of serov portraits during this period achieves due to the richness of the visual funds used, the articulated manner depending on the characteristics of the work being created. Thus, in the portrait of Banker V. O. Girschman (1911), sulfur is posed, and in the portrait of the princess orlova, his brush becomes sophisticated and cold.
As mentioned above, a significant place in the work of Serov 1900s occupies work on historical compositions. It is especially captured by his violent, rapid in its development life of Russia of Petrovsky time. In the best picture of this cycle "Peter I" (1907, Il. 198), the artist depicts Peter as a mighty state converter. It is not by chance that he is much higher than satellites. Peter's rapid movement and barely sleeving the courtesy, stressful rhythm of the gusty, sharply delineating the silhouettes of angular lines, the excitedness of the landscape - all this creates the mood of the turbulent Petrovskaya era.
The captured by the living beauty of Greece, which serov visited in 1907, he worked for a long time and with enthusiasm also over mythological plots ("Abduction of Europe", "Odyssey and Navigitus"). As always, he builds these works on the basis of natural work, careful observations. But, solving them in terms of monumental-decorative panel, the artist simplifies somewhat and prompts the plastic form, while maintaining, however, the vitality of the impression.
One of the significant works of Serov late 1890 - the beginning of the 1900s - a series of illustrations to the fables I. A. Krylov - was the subject of his tireless worries and attention. The artist overcame the descriptive, which prevented him in the shears of the initial period of work on the fables, and gained a wise unnecessaryness and expressiveness cleverly found. The best of these sheets is the masterpieces of Serovskiy art. Following the wing, the artist did not destroy the allegory of Basen and sought to convey their moral meaning in the drawings. In the images of animals, purely human qualities were revealed: Lion in Serov is always the incarnation of strength, mind and greatness, donkey, as it should be, the personification of nonsense, the hare is an incorrigible coward.
Il. 199. V. A. Serov. "Soldatshi, bravings of the guys, where is your fame?". K., temperatures 47.5 x 71.5. 1905 GRM.
Serov's creativity characterizes him as an artist-Democrat, standing in the first rows of progressive figures of Russian culture. Our democratic principles of Serov proved not only by art, but also by his public position, especially during the revolution of 1905-1907. Being witness to the bloody Sunday on January 9, he came out of the real members of the Academy of Arts, because the commander of the troops who redeemed the president of the people, was the President of the Academy - Great Prince Vladimir Alexandrovich. A sharp protest against violence and cruelty of autocracy sounds in the bold accurate drawings of the artist, who printed in satirical magazines in the days of the revolution ("Soldatshi, Brava of the children, where is your glory?" (Il. 199), "Vintage views", "Disposal of the demonstration ").
K. A. Korovin (1861-1939). Konstantin Alekseevich Korovin is one of those masters who lay new ways in the art and creativity of which is a school for many artists of subsequent generations.
Korovin - Petoma of the Moscow School of Painting, Sculpture and Architecture, landscape workshop A. K. Savrasova, V. D. Polenova. His work was formed in the direction of the Russian captive painting of the 1880s ("Bridge", "North Idyll", "at the balcony. Spaniards Leonor and Ampara", Il. XI).
Since the 1890s, the korovin's creative maturity comes from the 1890s. Its dating is equally brightly revealed both in the easel painting, primarily in the landscape and in theatrical-decorative art.
The charm of Korovinsky art is warm, sunshine, in the ability of the artist directly and live impressions, in generosity his palette, in the colorful wealth of artistic painting.
In the same 1890s, significant changes occur in the work of Korovin. It seems that he strives to transmit sometimes in aimiciously fluently. Long-term observation of nature is inferior to the transmission of her sensation. The picturesque-plastic system of the art of Korovin is changing. It increases the role of sketching forms of painting, it itself becomes more impulsive, pasty, wide; The flavor acquires a large decorative sonicity, tension and saturation ("winter", 1894, Il. 200; "Summer", 1895; "Roses and violets", 1912, Il. 201; "Wind", 1916).
The theatrical creativity of Korowin was formed surrounded by Russian private opera officers S. I. Mamontov, but he reached the greatest fame, working in the imperial theaters in the 1900s - 1910s. For more than twenty years, Korovin headed the staged part of the Bolshoi Theater. He actively participated in the fight with conservatism and routine on the state scene, bringing a high picturesque culture in these theaters, and together with a number of other famous masters raised the meaning of the theater artist to the level of the schedule of the performance. Korovin is a brilliant master of pictorial scenery, an effective, emotional, vital truthful. The declarations decorated them were truly a holiday for the eyes.
The best theatrical work of Korovin is usually associated with the national subject, with Russia, her epic and a fairy tale, its history, and above all with its nature (Opera N. A. Rimsky-Korsakov "Snow Maiden", 1909; Opera M. P. Mussorgsky "Hovanshchina" , 1911).
M. A. Vrubel (1856-1910). Nature was generous to Mikhail Alexandrovich Vrubel. She endowed it with brilliant colorful abilities, a rare gift of the monumentalist, he perfectly painted, truly amazing his fantasy flight. Creativity Vrubel is deeply meaningfully and difficult. His high ideals and great human feelings were always worried. He dreamed of "wake up the soul from the little things of everyday famous images." His art, alien indifference, is always romantically excited and lightweight.
But the ideals of Vrubel developed in the harsh conditions of the surrounding life. Wanting to get away from her screaming contradictions, the artist tried to block the world of abstract images. However, being a big artist, he still could not get angry from reality. His art reflects it, carries the features of the era.
Back in the student years, Vrubel was distinguished from his peers. He went to the skill, almost bypassing school timidity and stiffness. It was also manifested in his multifigure compositions on a given topic, which gave him extraordinarily easily ("Mary's engagement with Joseph"), and in the free possession of watercolor equipment, and in the thin plastic of his portraits.
A great role in the formation of Crubel's creativity played by his teacher P. P. Chistyakov, who instilled a constructive understanding of the form in art, as well as advanced artists, participants of the Abramtsevsky mug. These links, as subsequently and acquaintance with N. A. Rimsky-Korsakov, Vrubel is obliged to add national foundations in his work.
Vrubel stayed at the Academy of Arts for four years. In 1884, he leaves for the restoration and resumption of the wall painting of the Kirillov Church. Already in these works and in unfulfilled sketches to the paintings of the Vladimir Cathedral, a huge gift of the artist is revealed. Using the traditions of the Byzantine and Old Russian painting, the art of revival, Vrubel remains deeply distinctive. The underlined expression of feelings, tense flavor, the temperament of the letter gives his images special drama.
In 1889, Vrubel moved to Moscow. From this time it comes the time for his creative heyday. He perfectly owns many genres of art. This is a glass picture, and a book illustration, and a monumental-decorative panel, and theater decoration. Vrubel draws a lot from nature, is fond of Maitolike. The artist is tirelessly improving his skill, he is sure that "the technique is the language of the artist," that without her he will not be able to tell people about his feelings, about the beauty they saw. The expressiveness of his works is even more increasing due to dynamic painting, flickering, as if jewelry, flavor, spiritualized pattern.
One of the central in the work of Vrubel becomes inspired by the Poem M. Yu. Lermontov the topic of the demon. Captured by a high romance of the poem, he illustrates it ("Tamara in the Coffin", 1890-1891) and creates close to Lermontov in spirit, the power of expressiveness and skill of the images of central heroes. At the same time, the artist gives their features of increased expressiveness and demolition, which will soon become the seal of his time. For more than ten years, Vrubel is back and again returns to the image of a demon. His evolution is a peculiar tragic confession of the artist. He imagined this evil spirit of Heaven with beautiful, proud, but infinitely lonely. First, the mighty, in the heyday of the forces, still believing that he will gain happiness on Earth ("Demon Sitting", 1890, Il. XIV), the demon is later depicted by uncompressed, but already broken, with a broken body, prostrate among the cold stone mountains ("demon defeated ", 1902). In his burning angry eyes and stubbornly compressed mouth felt and rebellious spirit and tragic doomed.
In the 1890s, in the work of Vrubel, the other topic is gradually becoming primary, the Russian, folklore. The artist is still attracting titanic strong heroes, but they now carry the good and peace. In the monumental-decorative panel "Mikula Selyaninovich" (1896), Vrubel depicted the epic hero with a simple landpaste, saw in it the personification of the power of the Russian Earth. Such and "Bogatyr" (1898), as if merged with his horse, Mighty Vityaz is not fighting, but in a vigor guarding the world of the Motherland.
Beautiful fabulous images of Vrubel. They are happily combined by the truth of observation, deep poetry, elevated romance and the transformative all ordinary fiction. It is inextricably linked with nature. In fact, the spiritualization of nature, its poetic personification is the basis of Vrubel's fairy tales. Mysteriously mysteriously "by night" (1900). In "Pan" (1899, Il. 204), depicting a goning god of forests, a lot of human. In his faded eyes, which have long been faded, both of the kindness and age-old wisdom. At the same time, he is like a rustic birch trunk. Gray curls, like curls of white bark, and fingers - cornted bitch. Tsarevna-Swan "(1900, Il. 203) - at the same time a syneoka girl-princess with a long oblique to a belt and a regularly beautiful bird with swan wings floating in the blue sea.
Big thoughts and feelings, wide scope of fantasy pulled Vrubel into the world of monumental art, and it became one of the main directions in his work. Since 1890s, finding the form of monumental-decorative panels, the artist performed them on orders of enlightened pathers (Panel "Spain", Il. 202, "Venice", a series dedicated to the poem Goethe "Faust"). With the monumental integrity of the form, the subtlety of plastic development and the psychological deepebility of the image have always remained.
The portraits of Vrubel are distinguished by uniqueness and artistic significance. They are deep and very expressive, the artist attached special spirituality, and sometimes drama. These are portraits S. I. Mamontov (1897), Poet Valery Brysov (1906), numerous self-portraits (for example, 1904, Il. 205) and portraits of the wife, the famous singer N. I. Vrubel.
The last ten years of life for Vrubel were painful. His beautiful gift fought for a long time with a severe spiritual disease. Already without having the opportunity to keep a brush in your hand, he painted a lot, hitting the painted patterns surrounding the purity. Gradually fucked vision. Vrubel died in the flourishing of creative forces.
V. E. Borisov Musatov (1870-1905). Characteristic for Russian art of the 1890s - early 1900s, the trend towards the poetry of images found the expression in the work of Viktor Elpidorovich Borisov-Musatov. His lyric dating began to manifest itself from the earliest student in gentle images of poetic nature, but only from the end of the 1890s the circle of lovers of the topics of Musatov and the figurative-pictorial system of his art are determined. With all the forces, the artist seeks to comprehend harmony in the world and, without seeing her around, trying to recreate it in imagination.
The best works of Musatova - "Spring" (1901), "reservoir" (1902, Il. 206), "Emerald Necklace" (1903-1904). The artist is still close to nature, but it will be reincarnated into the email images of his sincere dream, like the images of literary symbolism, loses the clearness of the contours of the life outlines in the vagueness of the contours and spininess of the color spots. He inhabited his thoughtful parks, as if by dreaming girls, puts them in the dresses of past times, hurts them and everything around the haze is light sorrow.
"World of Art" - A significant phenomenon in the Russian lifestyle of the late XIX - early XX century, which has played a large role in the development of not only visual art in Russia, but also theater, music, architecture, applied arts.
The cradle of the "world of art" was a circle of the St. Petersburg intelligentsia, which emerged in the 1890s. It included artists A. N. Benois, K. A. Somov, L. S. Bakst. By the end of this decade, the "World of Art" was formed as ideological and artistic association. V. A. Serov participated in it, who supported him with his authority. The core of the young group was replenished by E. E. Lancere and M. V. Dobuzhinsky. A large organizational role was played by the dedicated interests of the art of S. P. Dyagilev. From 1899 to 1904, the "World of Art" figures were published a literary and artistic journal. However, he was not one in his direction. His art department, headed by outstanding masters of fine art, was sharply different from literary and philosophical, which carried a symbolist-religious character.
The main goal of Miriskusniki considered the renewal of Russian art, an increase in his artistic culture, skill, wide acquisition to the traditions of foreign and domestic heritage. They worked a lot and fruitfully not only as artists, but also as historians of art, criticism, popularizers of classical and contemporary art.
A particularly important role in the Russian art life "World of Art" played in the first period of its existence, which lasted about ten years. Miriskusniki organized extensive exhibitions of domestic and foreign arts, were the initiators of many artistic beginnings. They declared themselves at the opponents of both Routine Academism and the petty life of some later heads.
In his creative practice, Miriskusniki proceeded from specific life observations, depicting the nature of the nature and man, and from historical and artistic materials, addressing their retrospective plots, but at the same time they sought to transfer the world in the transfiguration, in decorative-raised forms and one From the main tasks considered the search for the synthetic art of "Big Style".
In the early years of the life of the association, Miriskuseniki gave tribute to individualism, which was imbued with the European culture of those years, and the theory of "art for art". Later, in a pre-revolutionary decade, they largely revised their aesthetic positions, recognizing individualism destructive for art. During this period, modernism became their main ideological opponent.
In two art types of artists of the "World Peace" achieved particularly significant success: in the theatrical-decorative, embodied their dream of the harmony of the arts, about their synthesis, and in the chart.
The graphics attracted Miriskuseniki as one of the mass species of art, they also impressed her chamber forms common in those years in many types of art. In addition, the graphics required special attention, as it was significantly less developed than painting. Finally, the development of graphics contributed to the achievements in the domestic printing.
The scenery of the old St. Petersburg and his suburbs, the beauty of the old St. Petersburg and his suburbs, the beauty of which artists came, as well as the portrait who in their work was in essence equal to the picturesque in their work. A great contribution to the schedule of the beginning of the 20th century A. P. Ostrumova-Lebedev; In her work, engraving on the tree is approved as an independent type of art. A kind of romantic creativity V. D. Falileev, who developed the art of engravings on linoleum.
The largest phenomenon in the field of etching was V. A. Serov. They were distinguished by simplicity, severity of shape and magnificent pattern of drawing. Serov advanced ahead and the development of lithography, creating a number of wonderful portraits in this technique, distinguished expressiveness in the amazing economy savings.
The wise success of the master of the world of art has achieved in the field of book illustration, raising the artistic culture of the book to the high level. The role of A. N. Benua, E. E. Lancere, MV Dobuzhinsky is particularly significant in this regard. Fruitfully worked in the book graphics I. Ya. Bilibin, D. N. Kardovsky, G. I. Narbut, D. I. Mitrokhin, S. V. Chekhonin and others.
The best achievements of the art of graphics of the beginning of the century, and first of all the "world of art", contained prerequisites for the widespread development of Soviet graphics.
A. N. Benois (1870-1960). Alexander Nikolaevich Benua made an ideologist of the "World of Art". The mind, wide education, the versatility of deep knowledge in the field of art characterize Beno'a. Unusually versatile creative activity of Benoit. He reached a lot in the book and machine chart, was one of the leading theater artists and figures, artistic critics and art historians.
Like other Miriskusniki, Benua preferred topics from past epochs. He was a poet of Versal (the most famous two of his Versailles series - "Little walks of Louis XIV", 1897-1898 and a series of 1905-1906, Il. 208). The creative fantasy of the artist lightathed when he visited the palaces and parks of the St. Petersburg suburbs. Russian history also reflected in the work of Beno'a. In 1907-1910, he, along with other Russian artists, worked with enthusiasm on the paintings on this topic for publishing house I. Knebel ("Parade under Pavel I", 1907; "The output of Empress Catherine II in the Tsarskoselsky Palace", 1909).
His detailed historical compositions, filled with a large fantasy and skill, Benua inhabited by small figures of people and carefully, with love reproduced monuments of art and household appearance of the era.
A major contribution introduced Benua to book graphics. Most of the works of the artist in this area are associated with the work of A. S. Pushkin. In better work - illustrations to the poem "Copper Horseman" (1903-1923), Beno'a elected the path of the artist-co-worker for the "world world". He followed the text of the string behind the line, although sometimes deviated from him, introducing his own plots. Benua's focus was given to the newly open by the beauty of the beauty of the old St. Petersburg, after Pushkin, by depicting the city that was clear and quiet, then romantically tormented in the terrible flood days.
The illustrations of Benoit to the "peak lady" Pushkin is also filled with great professional skill. But they are distinguished by a more free interpretation of Pushkin text, sometimes ignoring the piercing story of psychologism.
Theatrical activity of Benua was engaged in almost all creative life. He has established himself as an excellent theater artist, a subtle critic of the theater. In the 1910s, at the time of his creative heyday, Benoit worked at the Moscow Art Theater together with K. S. Stanislavsky and V. I. Nemirovich-Danchenko, often not only as an artist, but also as a director, and in the first years of existence "Russian seasons" in Europe carried out artistic guidelines in them. For its theatrical works are also characterized by the accuracy in the recreatation of artistic and domestic agents will take the epoch, compliance with the authorship of the author and a high artistic taste. Favorite theatrical brainchild Benua - the famous ballet I. F. Stravinsky "Parsley" (1911). Benua belonged not only its design. He was the author of Libretto and actively participated in his production.
K. A. Somov (1869-1939). No less characteristic of the "world of art" and the creativity of Konstantin Andreevich Somo. Unlike many of his colleagues in the "World of Art", Somov received a systematic art education. He studied at the Academy of Arts, where he chose the workshop I. E. Repin. The strong professional skills acquired here here are tirelessly exhausted in the future, and his brilliant skill soon became widely known.
In the first years of Somov's creativity, followed realistic traditions (portrait of the Father, 1897). In the picture "Lady in the Blue Dress" (Portrait of an artist E. M. Martynova, 1897-1900) also lives psychologically delicate and deep penetration into the image that brings the seal of the tragic fate of a young artist. However, Somov's desire to tie him from the long time (Martynov dressed in an old dress), introduced by him in the second plan in the spirit of the XVIII century, the scene carelessly musitizing ladies and cavaliers and became more stringent painting announce the new search for the artist.
At the beginning of the 1900s, Somov's creativity was finally formed. Like all Miriskusniki, he willingly wrote landscapes. Always pushing out from nature, he created his, Somovsky image of nature, romantically elevated, with thin lace frozen foliage on trees and a complex graphic pattern of their branches, with reinforced color sound. But the main place in the artist's work was taken by retrospective compositions. Their usual characters are mannered, similar to the dolls of ladies in high powdered wigs and crinolines. Together with languid cavaliers, they dream, having fun, flirting. Somov wrote these pictures clearly under the influence of old masters. His painting became smooth, as if lacquered, but in modern sophisticated ("winter. Skating", 1915, Il. 210).
A considerable place in the work of Somov is a portrait. His gallery of portraits of representatives of the artistic intelligentsia is a truly sight of time. The best of them are portraits A. A. Blok (1907, Il. 209), M. A. Kuzmina and S. V. Rakhmaninova. They are distinguished by the accuracy, expressiveness of characteristics and artistry execution. All models of the artist as if raising her daily, hanging their common ideal qualities of the hero of his time - intelligence and sophistication.
E. E. Lancere (1875-1946). Evgeny Evgenievich Lancere is one of the multifaceted masters of the "World Peace". He was engaged in machine and monumental painting, graphics, was a theater artist, created sketches for works of applied art. His creativity is typical for the "world of art", and at the same time, a bright peculiarity allocates Lancer from the Miriskusniki environment. He was also touched by the XVIII century, he loved to create impressive compositions on this topic, but they are distinguished by a greater variety of interpretation of the content and democracy of images. So, the picture "Ships of Peter I" (1909, 1911) washed with the spirit of the heroic romance of Petrovsky time, and Guasi "Empress Elizabeth Petrovna in the Tsarskoye Selo" (1905) is characteristic of the sober life of the truth.
The most significant place in the works of Lancer is occupied by the graphics - Stankovaya, book and magazine. Its graphic works are elegant, sometimes sophisticated-patterned, are penetrated by the spirit of the era and are classically clear. The central work of the artist is a large series of illustrations for the story of L. N. Tolstoy "Haji Murat." In them, Lancere managed to recreate the wise Tolstaya simplicity in the romantic nature of the general mood and the vivid expressive characters of the heroes. In the future, Lancer has worked a lot and fruitfully as a Soviet artist.
M. V. Dobzhinsky (1875-1957). Like Lancer Dobuzhinsky belonged to the youngest generation of artists of the "World Peace". His creativity, like Lancer, typically for this association and at the same time deeply peculiar. In Machine Art, Dobuzhinsky preferred a city landscape. But he was not only his singer, but also a psychologist, not only chasing his beauty, but I portrayed the reverse side of the modern capitalist city, cold-mechanistic, city-spruit ("Devil", 1906), spiritually devastating people ("man in glasses" , 1905-1906).
Both in the book graphics and in theatrical-decorative art of Duskinsky is characterized by an individual psychological approach to the interpretation of the illustrated work. Andersensky artist is kind and sharpen in elegant color drawings to the "Swinewa" fairy tale, lyric and gentle-sentimental in graphics to "poor Lisa" N. M. Karamzin and deeply dramatically in the famous series of illustrations for the story of F. M. Dostoevsky "White Nights "(1922). The best theatrical work of Dobuzhinsky - those he carried out in the Moscow Art Theater ("Month in the village" I. S. Turgenev, 1909, "Nikolai Stavrogin" F. M. Dostoevsky, 1913).
The creativity of many masters of the beginning of the century - V. A. Serov, Z. E. Serebryakova, I. Ya. Bilibina, B. M. Kustodieva, I. E. Grabar and others are associated with the "world of art" to one degree or another. In the same row - and Nikolai Konstantinovich Rerich (1874-1947) - advanced artist, scientist, prominent public figure. In the artistic environment of that time, Roerich highlighted the love of ancient Russian history and archeology, to the art of ancient Russia. In his work, he sought to penetrate into the depths of the centuries, in a living and holistic world of distant ancestors, to tie it with the progressive development of humanity, with ideals of humanism, heroes and beauty ("Overseas guests", 1902, Il. 211; "Build the city", 1902 ).
"Union of Russian Artists." In the russian life of Russia, the "Union of Russian Artists" played a significant role (1903-1923). The prehistory was "exhibitions of 36 artists", organized in 1901 and 1902 in Moscow. The Union of Russian Artists was founded on the initiative of Muscovites in order to strengthen the young artistic organization. Many leading masters of both capitals became members of the "Union of Russian Artists" the kernel continued to be the Moscow painters - K. A. Korovin, A. E. Arkhipov, S. A. Vinogradov, S. Yu. Zhukovsky, L. V. Turzhansky , A. M. Vasnetsov, S. V. Malyutin, A. S. Stepanov. The close "union of Russian artists" in their artistic positions, the active participants of his exhibitions were A. A. Rylov, K. F. John, I. I. Brodsky, F. A. Malavin. In 1910, the Union of Russian Artists was divided. The Petersburg group of artists was released from his composition, who restored the former name "World of Art", a grouping, which has ceased to exist as an exhibition Union in 1903.
Landscape - the main genre in the art of most masters "Union of Russian Artists". They were successors of landscape painting of the second half of the XIX century, expanded the circle of topics - portrayed the nature and middle strip of Russia, and sunny south, and severe north, and the Old Russian cities with their wonderful architectural monuments, and poetic vintage estates were often injected into their web elements of the genre Sometimes still life. They dug in nature the joy of life and loved to write directly from nature with a temperamental wide brush juicy, bright and colorfully, developing and multiplying the achievements of plenary and impressionistic painting.
In the works of the Masters of the "Union of Russian Artists", the creative individuality of everyone was clearly expressed, but many similar features were also inherent - a sharp interest in the rapid visual coverage of the world, a traction for a fragmentary dynamic composition, erase of clear boundaries between the composite pattern and the sketch. For their painting, the wholeness of the plastic and colorful cover of canvas was characterized, a wide shape of a embossed smear and colorfulness of color.
Art 1905-1907. The events of the first Russian revolution, which impose a fingerprint for the entire further course of Russian and world history, were bright in the visual arts. Never still Russian art has not played such an effective role in the political life of the country, as these days. "The drawings themselves excite the uprising," the Minister of Internal Affairs I. N. Runovovo in the report, he brought the Tsar.
With the greatest depth of the revolution 1905-1907, it was reflected in the easel painting in the work of I. E. Repin ("Manifestation in honor of October 17, 1905"), V. E. Makovsky ("January 9, 1905 on Vasilyevsky Island"), and . I. Brodsky ("Red Funeral"), V. A. Serov ("Bauman's funeral"), S. V. Ivanova ("Execution"). Above mentioned numerous works on the revolutionary topic of N. A. Kasatkin, in particular, such canvases as a "worker".
In the revolution of 1905-1907, unprecedented before that, heyday reached satirical graphics - the most movable and massive type of art. It is known 380 names of satirical magazines that came out for 1905-1907 in the amount of 40 million copies. Thanks to the wide range, the revolution rallied artists of various directions to a numerous and friendly detachment. Among the participants in satirical journals there were such major masters as V. A. Serov, B. M. Kustodiyev, E. E. Lancere, M. V. Dobuzhinsky, I. Ya. Bilibin, and students of artistic schools, and non-profession artists .
Most satirical journals were a liberal direction. The royal government, even making the Manifesto on Print Freedom, did not actually gave the opportunity to produce Satiriko-political magazines of the Bolsheviks party. The only journal of the Bolshevik orientation is the "sting", in which A. M. Gorky participated, was banned after the release of the first issue, and his editorial was defeated. Nevertheless, the best satirical magazines of 1905-1907 due to the accusatory content, the sharpness of the topical political thought and focus were of great educational significance.
Most often, their satire both in the textual and in the visual part was directed against autocracy. Especially sharp criticism was subjected to the ruling top of Russia and the King Nikolai II itself. The dissemination of the bloody repression of the tsarist government was also common.
A very bold magazine of those years was a "machine gun", many of the obligations of the enterprise and the inventiveness of his editor N. G. Shebuyev and the artist I. M. Grabovsky. On his sheets, generalized images of the participants of the revolution - a worker, soldier, sailor, a peasant appeared on his sheets. On the cover of one of the numbers of the "machine gun" against the background of smoking factory pipes, Grabovsky placed an image of a worker and made a significant inscription "His working quality of the All-Russian Proletar".
Il. 212. M. V. Dobuzhinsky. Oktyabrskaya Idyll. "Zhepev", 1905, № 1
The combat tone characterized many magazines ("Spectator", the most durable of them, "Leshe", "Zhepely" and his continuation "hellish mail"). In the last two magazines, V. A. Serov and many Miriskuseniki collaborated. Both of these journals were distinguished by the artistic arts. In the first there were famous compositions of Serov "Soldatshi, Brava of the children, where is your glory?" (Il. 199), Dobuzhinsky "October Idyll" (Il. 212), Lancer - "Triction" (Il. 213); In the second - Custodievsky "Olymp" - caustic caricatoes for members of the State Council. Often, the drawings of satirical magazines were the character of household sketches - scenes on the evil day. Allegory, sometimes using popular machinery works of Russian artists, sometimes folklore images, was a common form of a satire masking. The activities of most satirical magazines 1905 - 1907 was born with a revolution and froze together with the enhancement of a government reaction.
Art 1907-1917. The pre-fiber decade in Russia after the defeat of the revolution of 1905-1907 is the time of heavy testing, rampant reaction rampant. In 1914, the first world imperialist war began. In difficult conditions, the Bolshevik Party collected forces to the offensive, and since 1910, a wave of a new rise in the revolutionary movement was increased, prepared for the overthrow of autocracy. Russia stood on the eve of the greatest historical events.
The intense situation in the country has further complicated Russian artistic life. Many artists were dominated by confusion, vague sentiment, passionate, but groundless impulses, fruitless subjective experiences, struggle between the artistic directions. The wide distribution was obtained by different idealistic theories, which broke the art of reality and democratic traditions. These theories were subjected to V. I. Lenin merciless criticism.
But in such a complex setting, the development of Russian realistic art was not stopped. A number of outstanding mobile users and participants of the "Union of Russian Artists" continued to actively work. In the environment of artists of the largest creative associations there have been trends towards rapprochement, points of contact in some fundamental issues. During these years, Miriskusniki criticized individualism who received distribution, told the strengthening of the professional art school, their search for the art of a large style was even more purposeful. N. K. Roerich expressed the idea that the directional struggle does not exclude the possibility of raising the banner of "heroic realism", the corresponding time.
Intected by the interaction of individual genres of painting, the domestic and classical legacy, V. A. Serov, was rethought, one of the first in the 20th century began to purify the ancient mythology from the old academic pseudoclassicistic interpretation, revealed a realistic start in it. In the pre-revolutionary decade, only a small number of large, significant on the content of paintings was created, but it was not by chance that it was then "Stepan Razin" V. I. Surikov, who responds to the high goal of national art appeared, to reflect the great ideas of modernity. A significant testimony of the progress of Russian art was the desire of a number of painters - A. E. Arkhipov, L. V. Popova, K. S. Petrova-Vodkina, Z. E. Serebryakova and others - to link the image of the people with the Duma of the Motherland, with native land .
Z. E. Serebryakova (1884-1967). Zinaida Evgenievna Serebryakova satells in the best works of the peasant life of the people of the worker. The Heritage of A. G. Venetsian and the Great Masters of Renaissance was played a major role in the formation of her art. The severity of monumental images, harmony and equilibrium composition, whole tight paints distinguish the best paintings. Especially allocated "harvest" (1915) and "canvas" (1917, ill. XII), in which so large-scale figures, shown from a low point of view, and the magnitude of the rhythm of movements. The canvas is perceived as if the monument of peasant labor.
K. S. Petrov-Vodkin (1878-1939). In the early period of its work, Kuzma Sergeevich Petrov-Vodkin gave tribute to distracted symbolistic trends. The democracy of the world's democracy was helped by the artist's closest study of the best traditions of the European Renaissance and, the main thing, the line of Russian art, which can be traced in the works of the painters of ancient Russia. In the canvases "Mother" (1913 and 1915, Il. 214) and "Morning" (1917), peasants reflect the high moral purity of the spiritual world of the Russian man. The premonition of the upcoming social change is penetrated by the picture "Bathing of the Red Kony" (1912). Laconism of the composition, the dynamics of the space, the classical severity of the pattern and the harmony of the color, built on the main column colors correspond to the elevated ideological content.
P. V. Kuznetsov (1878-1968). At the beginning of the creative path and Pavel Warfolomeevich Kuznetsov also experienced the influence of symbolism. The Kyrgyz suite of his canvases ("Mirage in the steppe", 1912, Il. 215; "Sheep shearing", 1912) reflected the poetic understanding of the image of a labor man in the surrounding world. Simple life plots, leisurely gestures and quiet faces of people engaged in familiar labor in native land, the musical structure of the flavor, solemnity of the landscape - everything recreates a holistic harmonic image.
Il. 215. P. V. Kuznetsov. Mirage in the steppe. X., temperature 95 x 103. 1912. GTG
M. S. Sarian (1880-1972). In the cycle of paintings, written in the impressions of traveling to the countries of the East, Martirla Sergeevich Saryan also poetic the national life depicted on them ("Street. Nald. Constantinople", 1910; "Palma Palma. Egypt", 1911, etc.). Its concise works are built on bright and whole color silhouettes, contrasts of rhythm, light and shadow. The paints are emphasized decorative, spatial plans are clearly drawn. The poetry of the arts of Saryan is defined by his ability to preserve a living sense of life with intense sonicity and beauty of a picturesque palette.
The best works of the artists mentioned above that have made a later invaluable contribution to Soviet art, opened the prospect of further development of monumental realistic art, the creation of which belonged to the new historical era.
Portraits With the in-depth psychological nature of the images did not receive in the pre-revolutionary decade of such widespread development, as in the previous period, but a number of examples show their enrichment in the work of outstanding masters. It is enough to remind self-portraits V. I. Surikova and M. V. Nesterov, where the complex spiritual world of man of art with his alarms, thought over life, or sharp portrait characteristics of V. A. Serov.
The continuation of this line of portrait genre can be seen in the works of S. V. Malyutina (for example, portraits V. N. Burtsev, 1914, Il. 216, K. F. John, 1916). Pose, posture, gesture and facial expressions are transmitted, testify to the impact of the personality of representatives of Russian art. In the same terms, I wrote a portrait of A. M. Gorky (1910) I. I. Brodsky.
Significant on the psychological interpretation of the image of the picture "Nun" (1908, Il. 218) B. M. Kustodiev. Although the author did not put the tasks to create an accusatory work, the strength of realistic penetration into the spiritual world portrayed gave this image a symbolic meaning. We have the keeper of church obscures: both kind, and tricky, and benevolent, and powerful, merciless. However, complete optimism the art of Kustodiev is primarily addressed to the traditions of Russian antiquity, folk customs and festivals. In his canvases, it combines lively observation of nature, imagery and bright decorativeness ("Kupchikha", 1915, Il. 219; "Maslenitsa", 1916).
The 1910s are associated with great success in the field of new genre - theatrical portrait, where the artist is a complex creative task - to show the inspiration of the actor, its reincarnation in the stage image. The championship here belongs to A. Ya. Golovin. Perfectly knowing the features of the scene and dramaturgy, he created in the portrait F. I. Shalyapin as Boris Godunova (1912, Il. 220) a majestic and tragic image.
Landscape somehow attracted all artists: they were united in this genre picturesque and color searches. However, many of the nature of nature turned into a solution to the etude, and not the picture task, as it was in the XIX century. In the pre-revolutionary period, only individual major masters managed, depicting nature, transfer the epic feeling of the motherland - lyrical motives prevailed. A. A. Rylov ("Green Noise", 1904, Il. 217) appeared to the traditions of the landscape-painting. Its romantic canvas "Swans over Kama" (1912) foreshadowed a picture of "Blue Spacious", created after the Great October Socialist Revolution. All intensive interest in the national heritage aroused the emergence of a number of picturesque suits dedicated to the ancient Russian cities. Including in the composition household scenes, artists showed nature and a person, equally operating in the landscape picture ("in Sergiev Posad" K. F. John and others).
The landscape players, most advantage of the representatives of the "Union of Russian Artists", significantly enriched their picturesque skill. It was here that Etudes prevailed, lyrical interpretation of motifs, often village, ascending to A. K. Savrasov, V. D. Polenov and I. I. Levitan, which testified to the preservation of democratic traditions. The plenary painting has been replenished with such solid on color and poetic landscapes as "Kem" (1917) K. A. Korovina, "By the evening" N. P. Crimeov, the best works of S. A. Vinogradov ("Flower Gold", "Spring", 1911, Il. 221) and S. Yu. Zhukovsky ("Dam", 1909, Il. 222; "Joyful May", 1912).
Intensive development receives and still life. Now this genre is represented by the works of a number of artists of various creative associations, diverse based, content and tasks. In its numerous still lifes, K. A. Korovin attached great importance to decorative, the beauty of color. The same principle is characteristic of the works of S. Yu. Sudietikina and N. N. Sapunov. The achievements of impressionism enriched painting I. E. Grabar ("Non-Screen Table", 1907, Il. 223, etc.).
In the field of still life, as well as the landscape and portrait actively worked artists of the association "Bubnovaya Valnet", which emerged in 1910: P. P. Konchalovsky, I. I. Mashkov, A. V. Lentulov, A. V. Kubrin and others. In search of a national originality of art, they used the traditions of the National Primitive (Lubok, Signs, Painting of Trays, etc.), but they found ties with modern French art, primarily with Cezanne and his followers. In the best works of masters of this grouping, written material and wonderfully, with a decorative scope, valetricity and large picturesque culture were affected. Such, for example, grotesque "portrait of B. Yakulov" (1910, Il. 224) and still life "Agave" (1916) P. P. Konchalovsky, "Pumpkin" (1914, Il. 225) and "Still-life with a pacho" (1917) I. I. Mashkova.
Theatrical-decorative art Worried brilliant flourishing: many leading painters worked for theater. It is enough to name the names V. A. Simova, V. A. Serov, A. Ya. Golovin, A. N. Benua, K. A. Korovina, L. S. Barsta, N. K. Roerich, I. Ya. Bilibina , B. M. Kustodiev and a number of performances, they decorated ("Parsley" I. F. Stravinsky - A. N. Benua; "Prince Igor" A. N. Borodina - N. K. Roerich; "Masquerade" M. Yu . Lermontov - A. Ya. Golovin, etc.). "Russian seasons" in Paris and other cities of Western Europe, organized by S. P. Dyagilev, in the design of which many of these masters participated, glorified domestic art in the international arena. The high artistic level of scenery and costumes, all the appearance of the stage action struck foreigners synthesis of arts, spectacle, extraordinary beauty and national peculiarity.
As mentioned above, the process of development of realism in 1907-1917 was complicated by the crisis of bourgeois culture. The least stable part of the artistic intelligentsia, although it was captured by the overall spirit of protest against the bourgeois reality, succumbed to low-cost sentiments, went away from modern times and social life, denied democratic traditions in art, and this protest itself was usually the nature of anarchic rebellion. Previously, these negative phenomena have affected the works shown at the Blue Rosa exhibition organized in 1907 and uniting symbolist artists. Participants of this short-term mutual grouping approved the domination of intuiviism in artistic work, went to the world of mystical ghostly fantasies. But the most gifted and purposeful (P. V. Kuznetsov, M. S. Saryan and some others) already in the pre-unit decade went in their work on the democratic path of development.
A number of artists, especially young, were involved in the 1910s in the direction of the modernist currents. Some of them are supporters of cubism, futurism - claimed to comply with their molding of the agent of engineering and technology, others - the primitivists - on the contrary, they sought to return to the immediacy of the perception of the world with an uncivilized person. All these trends were difficult to intertwined in the art of the foreflower decade. They touched upon the painting of the "Bubnoy Vnet", the styling-primitivistic trends were particularly clearly affected by representatives of the grouping with a boldly rapid name "Olesetail". Ultimately, all varieties of formalism, which spread then in Russian art, led to distortion of reality, the destruction of the subject part or, finally, to the implication of abstractionism (raysism, suprematism) to the extreme expression of modernism.
Contradictions in the Russian art life of 1907-1917 did not stop the progressive development of realistic art at this difficult time. Advanced Russian masters felt the approach of social changes, consciously or intuitively felt the need to bring their creativity in line with the scale of the events of the turbulent historical era. After the Great October, artists of all generations, one before, others later, joined the construction of a new socialist culture, putting their art to the service of the revolutionary people; Under the influence of Soviet reality, there was a restructuring of those who previously rejected realism as a method.
The author is Timolya. This is a quote of this message.
Dmitriev-Orenburg, Nikolai Dmitrievich, 1837-1898-Russian genome and battle painter.Resurrection in the village
Rustic landscape
Portrait of N.D. Dmitrieva-Orenburg work I. N. Kramsky
Dmitriev-Orenburg Nikolay Dmitrievich - Russian genome and battle painter, schedule, academician and professor of the Imperial Academy of Arts. Born in 1838 in Nizhny Novgorod, brought up in the house of his father and in the Ufa Gubernaya gymnasium.
After moving the family to St. Petersburg, Dmitriev-Orenburg was preparing for admission to UNCERS, but on the advice of the famous painter Vasily Kuzmich Shebuyev, began to attend the classes of the Imperial Academy of Arts. He studied in the class of Fyodor Antonovich Bruni, during his studies received from the Academy for success in drawing and painting, four small and one big silver medals. The artist added to his surname Epites Orenburg for distinguishing from other artists Dmitriev.
In 1860, Dmitriev-Orenburg was awarded the secondary gold medal, for the picture written in the program: "Olympic Games". In the next two years, I wrote pictures: "The Grand Duchess Sofia Vitovitne at the wedding of the Grand Duke Vasily Dark" and "Streletsky Bun", but did not receive any award for his works.
Great Princess Sofya Vitovtne at the wedding of the Grand Duke Vasily Dark Disrupts Belt from Prince Vasily Kosoy
Streletsky riot, 1862
In 1863, Dmitriev-Orenburg spoke again in the competition for the gold medal of the first degree, but then together with thirteen other young artists (the famous "Bounce of Fourteen") refused to execute the proposed academic program contestants. Coming out of the Academy with the title of the artist of the second degree, Dmitriev-Orenburg took part in the institution Arteel of free artists (who later became a partnership of mobile art exhibitions), a member of which consisted of 1871. In 1868, Dmitriev-Orenburgsky was awarded the title of academician for the painting "Drill in the village" Dmitriev-Orenburg. In 1869, the painter accompanied the Grand Duke Nikolai Nikolayevich Romanova on his trip to the Caucasus, as well as in Kharkov and Voronezh province. The result of this trip was the album of 42 drawings. In 1871, Dmitriev-Orenburg went for a government account to Europe, three years spent three years in Dusseldorf, where he used the advice of famous artists V. Magtsev and L. Knaus, and then lived in Paris for a long time.
Drill in the village
In the capital of France, Dmitriev-Orenburg became one of the founders of the art association "Society of Russian Artists" (French branch), put his paintings in the annual Parisian salons, sometimes sent her work in St. Petersburg, the artist performed her etching and drawings for Russian and French illustrated publications. In Paris, in the work of Dmitriev-Orenburg, there was a transition from genre to battle painting, the cause of which was to obtain the highest order for several paintings on the plots from the Russian-Turkish war of 1877-1878. For two of them ("Fight at the Sestonal Heights of the Emperor Alexander II" and "Emperor's entry to the city of Poisha"), the Academy of Arts awarded him a professorial title. To have all the necessary benefits in the execution of further pictures of the same series, Dmitriev-Orenburg returned in 1885 for permanent residence in St. Petersburg.
From the genre works of the artist, besides the above-mentioned painting "Drilling in the village", the best can be reckoned: "Two minutes stop" (1878) and "Fire in the village" (1885). A number of paintings of Dmitrieva-Orenburg, reproducing various episodes of the last Russian-Turkish war, are decorated with a great Pompeev Gallery in the Winter Palace. Dmitriev-Orenburg Nikolai Dmitrievich died in 1898 in St. Petersburg.
Fire in the village.
Representation of the prisoner Osman Pasha Alexander II in Pleven
Artillery battle under the splena. Battery of siege guns on a grand-pendant grief.
The bayonet battle of the regiments of the Russian Guard with Turkish infantry in Seston-high altitudes on June 14, 1877
Crossing through Danube
Sometimes it is necessary to argue with a different kind of monarchists who swear Russian Bolsheviks for the fact that they overthrew the king (a strange thing, I know that the king himself beaten from the throne during the February bourgeois revolution), and destroyed a happy peasant life, uniting peasant farms in mechanized The collective farms (those the most collective farms that they sodged the whole War from the front to the front).
They continue to resist when they tell them about lawlessness and poverty in which the peasants were dipped by the German kings and their Masonic-liberal environment, about regular hunger in Tsarist Russia, which, due to climatic conditions and low development of the productive forces of Sellian (Power of animals, soha, manual labor ) Repeated every 11 years, and that Russian beshevism as a folk rebel movement was generated by objective causes. They say it is disinformation and propaganda "Occubated Sovkov."
I do not want to discuss the shortcomings and the advantages of the "white" and "red" movement ... This is a separate and heavy conversation for the Russian patriot. I wanted to go on the line of the 19th century and look at the life of a simple Russian peasant with eyes of the eyewitness.
Fortunately, the objective documents of that time were preserved to the present days - these are paintings by our famous Russian artists, which are difficult to suspect in sympathies to Soviet power or socialism.
Challenge the history of Russian life captured by them - it is impossible.
Perov. "Tea drinking in Mytishchi" 1862
A year ago, serfdom was canceled. Obviously, these beggars - Father and Son. Father on prosthesis. Both are torn to extremes. They came to the father behind the alms. And where else to go?
The attitude of this father to the guests can be seen in the picture. The servant is trying to drive them out.
In the picture of the boy for ten years. October coup will occur in 55 years. It will then be years - 65. It is hardly to live up to it. The peasants were dying early. Well, what can you do ... is it a happy life?
Perov. "Wires of the Deader" 1865
And so the peasants buried each other. I want to draw monarchists' attention to the happy faces of children.
52 years left to the Russian revolution.
Vladimir Makovsky. "Little Sharmancans" 1868
This is already more urban landscape. Children earning a living. Peer in their ordinary Russian faces. In my opinion, their condition is not necessary. The boy is 9-10 years old, the girl is 5-6 years old. 49 years left before the Russian revolution. God knows him, they are unlikely to live.
Vladimir Makovsky "Visit of the Poor" 1873
This is no longer a village, but a small county Russian town. The picture shows the interior of the premises of the poor family. This is not a complete nightmare. They have a stove, and they are not completely dysfect. They simply do not know that they are happy, as they live in an autocratic state.
Girl, in the picture, 6 years 6. The bundle of society begins to achieve a dangerous magnitude. 44 years left to the Russian revolution. She will live. Be sure to live!
Ilya Repin "Burlaki on the Volga" 1873
No comments. 44 years left to the Russian revolution.
Vasily Perov "Monastyr Trapez" 1875
Modest member of the servants of God.
By the way, I read on the Internet from one "scientist historian" that the church showed the maximum care of her flock.
The degradation of the church, as an organization is obvious. 42 years left to the Russian revolution.
Vasily Perov. Troika 1880
Small children, like a craving force, dragged with water. 37 years left to the Russian revolution.
Vladimir Makovsky. "Date" 1883
Son works aside. Mother came to visit him and brought a hotel. She looks at her son with compassion. On the street or late autumn, or winter (mother is dressed warm). But the son is worth barefoot.
34 years left to the Russian revolution. This boy should live.
Bogdanov Belsky. "Oral account" 1895
Pay attention to the clothes and shoes of simple peasant children. And nevertheless, they can be called good luck. They are studying. And they learn not in church-parish school, but in normal. They were lucky. 70% of the population was illiterate. 22 years left before the revolution.
Then they will be about 40 years. And after 66 years, children of these guys will challenge the most powerful state of the world - the United States. Their children will be launched into human space and experience a hydrogen bomb. And children, these children will already live in two-three-room apartments. They will not know unemployment, poverty, typhoid, tuberculosis and will commit the worst crime - the destruction of its people's socialist state, an iron curtain and its social security.
Their great-grandfathers will be fulfilled in the Bardak of liberalism, register on labor exchanges, lose apartments, will fight, spread, spawn and smoothly approach the life that can be described as "tea drinking in Mytishchi."
The result of life, which is consistently displayed in the pictures of the above, is the picture:
Makovsky "January 9, 1905" 1905
It is a bloody sunday. Shot of workers. Many Russian people died.
Somebody, looking at the picture at the top, will argue that the protest of people was provoked by the Bolsheviks? Is it really happy and a satisfied person with a happy rally? What is it here "white" and "red"? The split in society was caused by objective reasons and converts into a massive fierce protest. Poverty, degradation of all branches of power, bourgeois, illiteracy, illness ...
Which of them had to be convinced who agitate ?! ..
What is Lenin and Stalin? .. Split and collapse in society designated such that it was impossible to manage this state.
For the last 20 years, Liberals tell us on TV that they say, bloody Sunday is the Soviet myth. There was no shot. And Pop Gapon was a normal kid. Well, the drunken men gathered on the square, well, Bugu was arranged. Cassed policemen came. Stretched into the air. The crowd stopped. Stopped with men and ... diverged.
Then what to do with the picture of Makovsky, which was written in this 1905? It turns out that the picture is lying, but Pozner, Svanidza and Novodvorskaya speak the truth ??
Ivanov Sergey Vasilyevich. "Execution". 1905 year
Ivanov Sergey Vasilyevich. "Riot in the village" 1889
S.V.Ivanov. "Ride. Punitive detachment. " Between 1905 and 1909.
Repin. "Propagandist arrest" 1880-1889.
N. A. Yaroshenko. "Everywhere Life" 1888
This is such a sad excursion ...
No one has selected anyone. The monarchy has been degenerated biologically, in the conditioned military could not manage the country and passed Russia to Masons-Westerns. Two months before the capture of winter, Esiers, who fell in the Masonic temporary government said - "We do not feel any threat from the Bolsheviks." But Russian Bolsheviks still took power.
What was the Tsarist Russia at the beginning of the 20th century? It was a beggar agricultural country, with a primitive system of the state device, with a damn not a combat-ready army, an illiterate, challenging Russian people who rotted the estate system and the German weak king-degenerate, terribly distant from the labor nation.
Where in 1913 they beat records for the sale of bread abroad, and the lapot Russian people fluff with hunger.
By 1917, it was killed by the First World War Ruins with the inverted industry, who stopped by transport, with a dishefering army and cities dying from hunger!
This was a poor, poor country where 2 power plants worked and the supply of electricity on the King residence and its toilet bowls. In addition, in this fucking class system there was a horde of officials, bureaucrats, landowners, capitalists and other German-Polish-French-Jewish, Rusophobian liberal-Masonic Mrazi, aware of the nearby king and using it at the moment when it is necessary to shoot a hundred other Russian workers, then The case of rewinding against all these inhuman conditions!
And if the second Russian revolution had not happened, we would collectively lost the possibility of flying into space, and victory in the Second World War, and industrialization, and a nuclear power plant with lunas, and thermonuclear bombs and our parents were unlikely to live before their birth.
By the way, the White Guard Army, they spoiled three times on the king, monarchy and capitalism! And a hundred times spared on the employment Russian people!
And if it were not for 17 years and not the victory of the Russian workers' and peasant army (Russian rebel movement), then Russia as a state would have ceased to exist and would become the colony of Entente and the United States (supplied white movement, tanks, weapons, food and money), I broke up into the Siberian-Urals, DVR, internecine Cossacks and other bunch of independent anything significant principalities that the place with Kolchak_yud-nothing would divide the power of 50 years old.
Kolchak, though the Russian officer with an admixture of blacks, but there was such a wonderful guy that England was appointed no less "Supreme Ruler of Russia", and at the same English resident. But here the peasants of his "good", as they did not understand. And they decided that he would get quite deserved.
And if it were not for the Russian revolution and "bad" Bolsheviks, who gathered the country and the Russian nation from Lochmotyev by 23 and turned it into one large military industrial camp, we would certainly crawled on the knees from Western countries, for the right to life under the sun.
Let's start with the reasons for resettlement to Siberia. The main reason for the resettlement in the clan era is economic. The peasants believed that in Siberia they would live better than in their homeland, because in the homeland, all the suitable land is already disassession, the population is growing rapidly (1.7-2% per year) and the amount of land coming to man respectively decreases in Siberia For the processing of the Earth is almost infinite. Where rumors about a rich life in Siberia spread among the peasants, a desire for relocation arose. The champions of the resettlement were black earth, but at the same time tightly populated and very poor Kurski, Voronezh and Tambov province. It is interesting that the peasants were incorporated (and especially the northern) peasants, although they were deprived of the benefits of nature - they preferred to master various kinds of non-agricultural injuries.
Did you really disappear pictures of the picture from Tambov province to Siberia on this little cart? Of course not. Such hardcore ended back in the 1850s. Railway in 1885 reached Tyumen. Those who wish to move to Siberia went to the station nearest to the place of residence and ordered a commodity car. In such a car, small (6.4x2.7m) and displeasted, just fitted - in terrible cramped and in the cold - a peasant family with a horse, a cow, grain margin (for the first year and sowing) and hay, inventory and domestic things. The car was moving at a speed of 150-200 km per day, that is, the path from Tambov took a couple of weeks.
Tyumen should be reached by the earliest possible time of opening the Irtysh, that is, by the beginning of March, and wait for the ice drift (which could happen immediately, or after a month and a half). The living conditions for the immigrants were Spartan - primitive boardy barracks, and for the most unlucky and straw halars on the shore. Recall that in March in Tyumen it is still cold, on average to -10.
He got ice drinker, and from Tyumen, down the Irtysh and then up on Obi, few and expensive steamboats were sent (the steamer is expensive and difficult to build on the river, not communicating with the rest of the country or by the railway). Places on the steamers lacked desperately, so they dragged the string of primitive interrupted barges. Barges who did not even have an elementary shelter from the rain were so clogged with people that there were no place to lie down. And even such a barge lacked for everyone, but to stay until the second flight in Tyumen - to skip the whole summer, in which the farm had to be organized. It is not surprising that landing for steamboats on inorganization and boiling passions resembled the evacuation of the Denikin army from Novorossiysk. The bulk of immigrants (and they were gained 30-40 thousand a year), heading for Altai, went from a steamer in the rapidly growing Barnaul, and if the water was high, then even further, in Biysk. From Tyumen to Tomsk on the water of 2,400 km, to Barnaul - more than 3000. For an old steamer, barely distils on numerous riverpads in the riverpads, it is one and a half or two months.
In Barnaul (or Biysk), the shortest, land part of the journey began. Available for settlement places were in the foothills of Altai, 100-200-300 km from the pier. Migrants bought on the marina made by local artisans of carts (and the one who did not bring a horse with him - and horses) and went to the road. Of course, the entire peasant yeweler and the stock of the seed can not fit into one cart (in the ideal case, raising 700-800 kg), but the peasant is needed in the farm just one cart. Therefore, those who wish to settle closer to the pier gave property to storage and made a few walker, and those traveling to the longer journey hired at least one concession.
This circumstance can be explained by the lack of a migrant in the telega in the picture of the required peasant of bulk-free objects - soy, harrows, grain stock in bags. Whether this property is stored in a labaz on the pier and is waiting for the second trip, or the peasant hired a fog and sent a teenage son and a cow with her, and his wife, daughter and a compact inventory quickly went to the alleged place of the settlement to choose a plot.
Where exactly and on what legal reasons was going to settle our migranet? The existing practices were different. Someone went easy and attributed to existing rural societies. So far, the Siberian communities (consisting of the same immigrants of the previous years) had a big stock of the Earth, they willingly accepted newcomers for nothing, then, after pacing the best lands, for opening fee, and then began to refuse at all. In some, absolutely insufficient, the quantity has prepared and placed migrating plots. But most of the immigrants in the described era (1880s) were engaged in self-creation of a stateless (but completely unnecessary execution) of the Earth, boldly baseing illegal farms and villages. The treasury did not understand how to document the current situation, and simply closed his eyes without interfering with peasants and without driving them from the ground - until 1917, the land of immigrants were not decorated. However, it did not prevent the execution of the treasury to impose peasants illegal taxes on the basis of the general basis.
What fate would wait for a migrant if he did not die? That could not predict no one. Approximately the fifth part of the immigrants in that epoch did not work in Siberia. There was not enough hands, lacked money and inventory, the first year of management turned out to be a lack of town, the disease or death of family members - all this led to his return to their homeland. At the same time, most often, the house returned was sold, money live - that is, they returned to take care of their relatives, and it was a social bottom of the village. We note that you have chosen the legal way, that is, out of their rural society, they turned out to be in the worst position - fellow villagers could simply not accept them back. Illegals at least had the right to return back and get the laid put on it. Survived in Siberia had a wide variety of successes - the distribution of rich, medium and poor courtyards did not differ significantly from the center of Russia. Without falling into statistical details, it can be said that you really have a few (and those who have to go well in their homeland), the rest of the rest went differently, but still better than in the old life.
What will happen to the deceased family? To begin with, it should be noted that Russia is not a wildest West, and the dead man can not just bury the road. In Russia, everyone who lives is outside of their own registry, there is a passport, and the wife and children fit into the passport of the head of the family. Consequently, the widow must somehow deal with the authorities, to bury her husband with a priest, to issue a metric statement about the burial, to get new passports for yourself and children. Given the incredible sparseness and remuneration of officials in Siberia, and the slowness of official postal relations, the decision of one this problem can take away from a poor woman at least six months. During this time, all the money will live.
Next, widow to evaluate the situation. If she is young and she has one child (or the sons of teenagers who have already entered the worker), it can be recommended to marry in place again (there are always enough women in Siberia) - this will be the most prosperous option. If the likelihood of marriage is small, then the poor woman will have to return home (and without money this path will have to be done on foot, asking for a fire on the way) and there somehow get along with Rodney. There are chances of getting a new independent economy without an adult man (which is in the homeland, that in Siberia) has a lonely woman, the old economy is sold. So the widow flashes not in vain. She not only died her husband - all the life plans associated with the acquisition of independence and independence were forever.
It is noteworthy that the picture shows not the hardest stage of the displaced path. After a winter journey in a non-spurious car, life in a hood on the shore of the frozen Irtysh, two months on the deck of a crowded barge, a trip on his own cart over the flowering steppe was for a family more relaxing and entertainment. Unfortunately, the poor fellow did not pose a previous burden and died on the way - like approximately 10% of children and 4% of adults from those resettled in Siberia in that epoch. His death can be associated with a heavy home appliance, discomfort and antisanitia, accompanied by resettlement. But, although it is not obvious at first glance, the picture does not indicate poverty - the property of the deceased is most likely not limited to a small number of things in the cart.
The appeal of the artist did not disappear. Since the opening of the Siberian Railway (mid-1890s), the authorities gradually began to take care of immigrants. The famous "Stolypinsky" wagons were built - insulated cargo wagons with iron stove, partitions and scratches. In the nodal stations there are migrating points with medical care, baths, laundry and free feeding of small children. The state began to post new sites for immigrants, issue home-proof loans, to give tax breaks. 15 years after writing the picture of such terrible scenes, it became noticeably less - although, of course, the resettlement continued to demand hard work and remained a serious test of the strength and courage of a person.
On the map you can trace the path from Tyumen to Barnaul on the water. I remind you that in the 1880s the railway ended in Tyumen.
The younger generation of mobileians made a great contribution to the development of Russian democratic art, reflecting the proletarian stage of the liberation movement in different ways. The ideological content, expressive agents of art, were noticeably enriched, creative individuality was manifested.
S. A. Korovin (1858-1908). Throughout the work of Sergey Alekseevich Korovina, the peasant theme is held in red thread. The bundle of the Russian village, the appearance of Mirohedov's cam who opposed the landless peasantry, is vital and expressively revealed in his picture "on the world" (1893, Il. 181). A completely new village appeared here: there is no former patriarchalness, the appearance of the peasants has changed, and the relationship between them has become different. Korovin worked for a long time, wrote a lot of etudes. Everyone visited the observant eye of the artist who knew modern peasant psychology well.
The composition immediately introduces the viewer into the space of the picture, revealing the string - the dispute between the poor and fist. And the flavor, weathered in a gray-chicken tonality, transmits a cloudy day state, emphasizing the dramatic content of the plot.
Truthfully and convincingly shows the general mood of those gathered for the gathering. Most are no longer able to understand the essence of those changes that have developed with the invasion of the village of capitalist orders. The crowd of peasants is silent, on some faces - bewilderment. A grave doubt is expressed in a sitting back to the audience an old man.
The closures of the crowd of peasants Korovin contrasted the open manifestation of feelings from the arguing. The face of the poor man, distorted by the grief, the sharp movement of the figure paints the spiritual handover, brought to despair. In the form of a fist - calm, hypocrisy and trick.
Deep and laugant, avoiding small details, but accurately passing the situation, Korovin reveals the meaning of social contradictions in the village, discovering a distinct civilian position. The great artistic and informative meaning of the picture is this revived in the images of the document of the era.
A. E. Arkhipov (1862-1930). Among the younger animals, an artist of distinctive talent Abram Efimovich Arkhipov is allocated. He came from the peasants and knew the frontal life of the people well. Most of his works just like S. A. Korovina, devoted to the peasant theme. They are concise on the composition and always full of light, air, picturesque finds.
In one of the first paintings of the Arkhipov "Visit of the Patient" (1885), attention was aimed at thorough and true outlining of the life of a poor peasant family and an unknown conversation of two old women. Sunny landscape in the open door talks about new color searches.
An outstanding work was the picture "on the Oka River" (1889, Il. 182), where archups portrayed a group of peasants sitting on Barge. They are so characteristic, written with such warmth and knowledge of popular characters, and the summer landscape is so bright and beautiful that the picture was met with contemporaries as an artistic revelation.
Arkhipov loved the humble beauty of Russian nature and poetically captured her. A deeply lyrical feeling will penetrate his "reverse" (1896). The composition is originally built: the brush is half cut off by the lower edge of the canvas, the rod sits back to the viewer - it seems that we are going on this wide field, calls the bell and rag out of a large sincere song. Magnifying pinkish tones of the fascinating sky, the muffled color of grass and dusty road finely transmitting the mood of the burning day and lightly irreplaceable sadness.
The image of female workers devotes archups with a picture of the "rowers at the cast iron factory" (1896); The brightest inclusive share of Russian workers is reflected in one of the best works of the archharp "Bratka", known in two versions - in GTG and GDM (end of 1890s., Il. XIII).
The artist transfers the viewer to the dark soul basement of the wretched laundry, depicting it fragmentary. The composition seems grated from life. We seem to be shortly looking at this room and stopped before the spectacle opened. Fast wide strokes of faded tones of archups handed out the figures of working laundry, the wet floor laundry, saturated with moisture air, twilight light, pouring out of the window. Unforgettable the image of an old woman in the foreground, sat down to rest: tiredly bent back, head, falling on his hand, hard meditation on the face. The artist as if talking about the fate of all workers.
Reflecting the slender life of the people-worker, archups never lost faith in his inexhaustible strength, hopes for the best future. The bright optimistic principle dominated most of its works, which is especially noticeable in the 1900s, on the eve of large revolutionary events.
In the Arkhipov northern landscapes - simple and at first glance, no noticeable motives of harsh nature. Single huts, the edge of the sky, then transparent, then cloudy, smooth river. But what charm an artist from these motifs and a modest gray gamma is removed! The paintings of the archupov are imbued with a vigorous life-affirming sense of a simple Russian man born in close communion with their native nature.
The bright sun permeates the works of archupov dedicated to the peasant life. His colorful canvases express the worship of the physical and moral health of the Russian man. It never accidentally changed his palette, becoming more contrasting and decorative generous. This series of works of archups continued after the Great October Socialist Revolution.
S. V. Ivanov (1864-1910). One of the most consistent continuents of the traditions of critical realism was Sergey Vasilyevich Ivanov. In the new historical conditions, he managed to see the deep contradictions of Russian reality and his works responded to many of the painful questions.
The larger series of works of Ivanov devoted a severe proportion of peasants-immigrants, their forced wandering on Russia. The sad fate of the family who lost its breadwinner is reflected in the best picture of this series - "on the road. The death of the immigrants" (1889, Il. 184).
With an incorruptible feeling of truth, S. V. Ivanov is full of the heartfelt content of a picturesque story. The whole scene, thoughtfully selected household details written by gentle hand and give the plot of the accuracy of the live occurring events occurring in our eyes. The workshops found the scale of the shapes in relation to the space of the landscape: leaving the distant horizon, it reminds of the duty and difficult path for the escaped earth. Lonely, defenseless, suffering a person among the silence of nature - the essence of the artist's creative design.
At the beginning of the 1890s, Ivanov became one of the first chronicles of the revolutionary struggle in Russia. Back in 1889, he wrote a picture of the "Bunth in the village", telling about the growing social protest among the peasants, and in 1891 - "Stage". The terrible spectacle lying on the floor of the on-floor of the arrestants at a renovation, bare feet in the shackles struck the artist. Only in the depths notice a guide to you a shrill look at some kind of convict.
In the mid-1890s, Ivanov often refers to the topics from the Russian history of the XVI-XVII centuries. In his historical paintings there are features that are common to the creativity of the majority of the most painters to him - household interpretation of plots and decorative color. But in contrast to many Ivanov did not lose interest in the social side of the depicted. Such, for example, the pictures "The arrival of foreigners in Moscow of the XVII century" (1901, Il. 185), well-handed the historically faithful appearance of the ancient capital and the characters of its inhabitants, and the "king. XVI century" (1902), which was perceived by contemporaries as a satirical image self-adjusting.
The events of the revolution 1905-1907 captured Ivanov and caused a new creative rise. In her early, he dedicated a picture of the "strike" to the workers in the factory. In the whole strength, his talent manifested itself in a relatively small size of the "Execution" canvas (1905). It belongs to the number of the most significant works reflecting the bloody massacre of the tsarism over the people. This is a severe concise image built on the contrast of clear pictorial plans.
On the canvas - the desert square, poured by the evening sun, closed the line of shaded houses, and the lonely dark silhouette of the dead worker. From this big bright plane and stationary figure, the artist leads the eye of the viewer to the depth. The first rows of the Cossacks in the powder smoke can be left to the right - demonstrators. The Red Banner is the brightest spot - it highlights this part of the composition. The impression of the living, in our eyes the desired tragic event is created.
The picture of Ivanov is perceived by the symbol not only the bloody massacre over the rebel people, as the artist conceived, but also all the fate of the first Russian revolution, cruelly depressed tsarism.
N. A. Kasatkin (1859-1930). Student V. G. Pereova, Nikolay Alekseevich Kasatkin in his early works turned to folk images and dramatic plots. Soon the leading theme of his work was the life of the working class and the revolutionary struggle of the Russian proletariat.
Already in 1892, Kasatkin wrote a picture of "hard", depicting a sad date of the wounded young worker with the bride - the poor seamstress. The expression of sadness and anxiety on the face of the girl contrasts with determination and confidence of the worker. Initially, the picture was called "Petrel", but the artist was forced to change the name for censorship considerations. Nevertheless, the political content of the canvas reached the viewer, reminding about the strikes constantly then.
In the same year, Kasatkin first visited the Donetsk swimming pool for the first time and since then for nine years he was constantly among the miners, studied their lives and work. At first they were incredulously to the artist, taking him for the seized spy, but then they sincerely loved. They helped him in work on the images that Russian art had not yet known.
The first product about the life of Donetsk miners by Casatkin was the picture "Collecting coal to the poor on the mined mine" (1894). Live typical images, accurate drawing and modest, weathered painting painting distinguish this canvas.
Kasatkin himself descended underground, watched the incredible conditions for truly labor labor of miners and wrote with bitterness: "... where the animal can work, the person replaces it." This thought is displayed in a small picture of Shakhtar Taigolcyc (1896). Dark flavor with reddish sails of mining light bulbs; Like a fabric animal, crawling workers under the hanging arches of a shruge and pulls sledges loaded with coal.
The result of the work of the Kasatkina over the theme of mining life and numerous etudes - the canvas "carbon. Change" (1895, Il. 186). It was the first product of Russian painting, which showed the growing cohesion of the working class. Weak lights of mining light bulbs and flashing eye proteins in the impenetrable darkness give the picture tension. In the center of the composition - the elderly miner. With the furniture in his hands, he steps right on the viewer as a formidable impending force.
In a number of works by Casatkin, a multilateral, with a great feeling revealed the spiritual world of the oppressed proletarian. The artist reached a special force of penetration into the image of the "wife of the factory worker" (1901), removed from the exhibition of the Tsarist Censure.
It seems that all awesome fate is still young, but a lot of people who survived the woman is captured in tired of the dowel figure, in a stopping look, fallen on her knees. A difficult mental state is transmitted on a depleted face. Here and pain, and bitterness, and the emerging anger - everything that naturally binds to the political events of that time and forced the viewer to think. In a grayish-ohloous medium, a restrained paint paint is immersed. Earth facial pallor emphasizes white scarf's shoulders.
The merit of Krashkin is huge in the fact that he saw not only the difficult position of the working class in Russia, but managed to notice and embody its strength, energy, optimism. From the image of Shakhtarki (1894, Il. 187), itifies the poetry of life, youth, physical and spiritual health. Harmonious warm silver flavor of this canvase. Surprisingly, the relaxed movement of the shape, gently inscribed in a light landscape.
Kasatkin, who knew the life and mood of workers, deeply sympathized with them, enthusiastically met the revolution of 1905-1907. He hurried to capture new situations and images, looking for new plots. Many etudes, sketches and paintings were the result of great creative work.
In difficult conditions of rapid time, not all, striking Kasatkin, could find a complete and complete mapping, but everyone, even a runaway sketch had an important documentary and artistic value. The paintings of the artist, created at that time, are significant in ideological content and indicate the search for an emotionally stressful composition. One example is the picture "The Last Way of Spy" (1905).
Kasatkin with enthusiasm worked on a multifigure composition "Attack of the Plant Plant" (1906), where a complex dramatic action is deployed. Expression has been transferred here to the movement of a huge cloudy crowd, a variety of gestures. Separate etudes are remembered to this picture, especially the image of an elderly woman, angry calling for an uprising.
Exceptionally ideological and artistic importance of a small blade "Worker" (1905, Il. 188). Kasatkin saw and captured the characteristic type of active participant in the first Russian revolution. Appearance, posture, gait, strict face - everything speaks about the spiritual world of a person of the new time - courage and determination, calm and inflexibility, the consciousness of the importance of their goal and noble modesty. Such a person could really go at the head of combat revolutionary detachments. The image is echoing with the hero of the story "Mother" A. M. Gorky.
L. V. Popov (1873-1914). Lukyan Vasilyevich Popov also belongs to the younger representatives of the mobileians. With particularly sensitivity, he mentioned social changes in the village, in which revolutionary moods at that time actively penetrated. His paintings "To the sunset. Agitator in the village" (1906), "in the village (get up, ride! ..)" (1906-1907, Il. 183), "Socialists" (1908), imbued with hot sympathy to brave and courageous Heroes, a truthful document of the peasant life of the eve and the period of the revolution of 1905-1907.
Creativity A. P. Ryabushkin and M. V. Nesterova was also associated with the traditions of the Movies. However, in their works, new creative quests were manifested in a special time, which became typical for the art of the late XIX - early XX century.
A. P. Ryabushkin (1861-1904). Andrei Petrovich Ryabushkin can be called a folk artist. All his life and creativity after the student years spent in the School of Painting, Sculpture and Architecture, as well as at the Academy of Arts, proceeded in the village. His art was a kind of response to the historical processes of capitalization of Russia, when "the oldations of the peasant economy and peasant life, the foundations that really keen over the centuries went on a layer with extraordinary speed" *. Ryabushkin poeticed his heart of ancient, traditional household lifestyle, sustainable features of the national image.
* (Lenin V.I. Lev Tolstoy, as a mirror of the Russian revolution. - full. Cathedral cit., t. 17, p. 210.)
The genre paintings of Ryabushkin are inherent in the traits of calm, silence. Depicting the patriarchal atmosphere of a rustic wedding ("Waiting for newlyweds from a crown in the Novgorod province", 1891), the artist emphasizes the degree and the genius of the sitting peasants.
In 1890, Ryabushkin acts as the original master of the Russian historical and household painting. In the distant past of Russia, it is most attracted to the daily life of the old Moscow. The revival reigns during the spring dishthele in the picture "Moscow XVII century street on a festive day" (1895). Here and the girl in a red seal, carefully carrying a candle, and rustic guys in long-grained clothes, and passing through the dirty street of a swelling boyar, and a blind beggar. Colorful, decorated with Russian ornament clothes, blue sky reflections in puddles, motley making churches and overall motion make this picture festive.
The bright personality of Ryabushkin is most fully expressed in the paintings of 1901 "Rout" (Il. 189) and "Wedding Train in Moscow (XVII century)" (Il. 190). The first of them, featuring a bold and unusual composition, depicts residents of Moscow waiting for foreigners. It is like a fragment, caught from the painting of the life of Russian people of the XVII century. The faces reflected curiosity, naivety and self-esteem. Large color spots of yellow, red and green cafts of Sagittarius and motley clothing. Counties give the painting a major tone and a pronounced decorative character.
Painting "Wedding Train in Moscow (XVII century)" penetrated the poetry of the Russian Sturine. The silence of the spring evening, in the lilac smisker of which Moscow is immersed, and the lonely figure of the sad Muscovites is opposed to the rapidly rushing lush festive train. The sketch of painting, contrasting with a more tightly written scenery, lightweight, as if the fresco, flavor, thinly found rhythm throughout the central group - all this allowed Ryabushkin to penetrate the household appearance of the Russian city of distant time.
Extremely expressively and figuratively "Tea Party" Ryabushkin (1903), written a year before death. This is a work of a socio-critical nature. If Ryabushkin selected positive, kind, beautiful in peasant life for his genre paintings, now he portrayed the world of rustic rich. In the elegacity and the cold officialness of the tea party there is something from the Meshchansky well-being; In the grotescia of the images, in the unknown Ryabushkin stiffness of picturesque plastics, resembling ancient Parsuna, is read by the artist of this alien to him.
M. V. Nesterov (1862-1942). Complicated and controversial the pre-revolutionary period of Mikhail Vasilyevich Nesterov.
He began his way in art with genre pictures close to mobile, but at the end of the 1880s in his work there is a sharp fracture. The artist goes into the world perfectly beautiful, having funful the purity of a religious feeling, depicting the inhabitants of monasteries and beds.
The elderly Nesterov's hermit in the painting "Dressman" (1888-1889), slowly wagging on the shores of the mirror smooth lake, is infinitely far from life distils. Its image is inextricably linked with the beauty of the peaceful nature, its serene calmness.
A huge role in the work of Nesterova plays a landscape. The poet of the Russian nature of Nesterov, who knows how to penetrate the inner world of man deeply, always binds the experiences of their heroes with the condition and character of the landscape.
In the picture "Vision Latches of Bartholomew" (1889-1890, Il. 191) The only character - the pale fatters with convulsively compressed in prayer ecstasy with thin hands. But the main character of the artist still performs the scenery of the Central Russian strip, spiritualized nature, where the artist gives truly every epics, each participates in the glorification of the Motherland.
In the late 1890s - early 1900s, the artist creates a series of paintings dedicated to the tragic fate of the Russian woman, submissive and suffering ("for the Volga", "on the mountains"). In the "Great Hall" (1898), it shows the sad procession of the inhabitants of a little monastery, covered among the deaf forest, seeking a young woman in a monastery, still full forces to a woman. Mournful faces, dark silhouettes of shapes, trembling lights of huge candles ... deep sadness, but nearby - a newly beautiful world of nature, virgin forests and Nesterov's tight-vent out young birch trees.
In the early 1900s, the skill of Nesterov-Portraitist. Here, with the most completeness, the realistic side of the artist's creativity was manifested. Most portraits of this time of Nesterov writes against the background of the landscape, as well as in the paintings, claiming the inseparable communication of a person with nature. In the portrait of O. M. Nesterova (1906, Il. 192) The figure of a girl in black amazon stands up with a beautiful silhouette on the background of a lyrical evening landscape. Elegant and graceful, with spiritualized, slightly dreamy look, this girl personifies the ideal of youth, beauty and harmony for the artist.
Back in the 1880s, the work of three prominent Russian artists is formed - K. A. Korovina, M. A. Vrubel and V. A. Serov. They with the greatest completeness identified the artistic achievements of the era, its complexity and wealth.
V. A. Serov (1865-1911). The largest artist of the late XIX - early XX century was Valentin Aleksandrovich Serov. His creativity continued the development of realistic art, deepening its content and expanding expressive opportunities.
The art of Serov is bright and diverse. First of all, he is a master's psychological, picturesque and graphic portrait, but his talent also manifested itself in the landscape, historical genre, book illustration, decoration and monumental-decorative art. Since childhood, Serov surrounded the atmosphere of art. His father - A. N. Serov - a famous composer and a musician, mother - gifted pianist. Serov's teachers were I. E. Repin and at the Academy of Arts - P. P. Chistyakov. The first largely contributed to the formation of the democratic foundations of Serov's creativity and the awakening of interest in an inquisitive study of life, he was obliged to deeply comprehend the professional laws of form.
Already the early works of Serov - his famous portraits "Girl with peaches" (1887, ill. X) and "The girl illuminated by the Sun" (1888) - glorified the young artist and most fully characterized the art of early Serov.
"The girl with peaches" is written in Abramtsev, the estate of S. I. Mamontov, with his daughter faith. In this excellent portrait created by the artist, the image due to the vital completeness of the content develops the framework of an individual portrait, embodying an universal start. In a teenage girl with a serious face and a strict look, in her relaxed restraint and immediacy, the artist managed to convey high poetry of bright and clean adolescence.
This portrait of this amazingly beautiful in his painting. It is written in full light, very easily and at the same time materially. Its transparent paints, unusually pure, are heated with light, air, alive transmit reflexes from lighting. Freshness Colorite "Girls with Peaches", at one time so hitting contemporaries, as well as a natural simplicity of thoughtful composition put a picture in one row with the best works of world painting.
The same theme of the young of the sulfur develops in the "Girl Lighted Sun". The content of the portrait is the same pleasant sense of spiritual beauty of a person and the completeness of his being.
1890s - the next stage of Serov's creativity. During these years, the artist most often writes people of art, and their creative individuality he wants to reveal now first of all. The view of N. S. Leskova (1894), he conveys the dormant to the realistic writer. The thoughtfulness of I. I. Levitan is akin to the poetic feelings of the artist, ease of pose K. A. Korovina (1891, Il. 193) is a peculiar expression of freedom and the immediacy of his art.
Back in the 1880s, except portraits, Serov wrote and landscapes. Most often, he found motifs in Abramtsev and dominant, where the estate of his friends was deresses. In the 1890s, an increasing place in the landscaped work of Serov begins to occupy an image of a simple rural nature. Often, the artist introduces the figures of the peasants in the paintings, as if approximate landscape with a household genre ("October. Domobanovo", 1895, Il. 194, "Baba with a horse", 1898). I. E. Grabar called the artist "Peasant Serov" precisely for landscapes. The democracy of his art affected them with special clarity.
In the 1900s, the work of Serov is markedly complicated. The main place in it is still portraits. In addition, he continues to write landscapes, works on the illustrations to the fables I. A. Krylov, started back in the 1890s. In the circle of his interests, now historical and monumental-decorative painting is constantly included.
In the 1900s, the portrait work of Serov becomes much more diverse. Numerous secular front portraits are added to the portraits of people close to him. The artist still remains unlikely to truthful in characteristics and inexorable demanding to himself, not allowing in its performance the slightest negligence or dampness. As before, the basis of his portrait art remains psychological disclosure of the image, but serov now focuses its attention on the social characteristics of the models. In portraights of advanced representatives of the Russian intelligentsia, it is greater clarity than earlier, seeks to capture and emphasize their most typical, outstanding social qualities. In the portrait of A. M. Gorky (1905, Il. 195), the simplicity of his appearance, the clothing of the workshop, the gesture of the agitator, the artist emphasizes the democracy of the proletarian writer. Portrait of M. N. Yermolova (1905, Il. 196) - a peculiar majestic monument of the famous tragic actress. And all the pictorial means the artist subordinates the identification of this thought. The lobby of the Ermolova mansion, in which she posed serov, is perceived as a scene, and thanks to the reflection in the mirror fragment of the colonnade and as a visual hall. Yermolov herself in his strict and solemn black dress, decorated with only the thread of pearls, majestic and inspired.
Serovy portraits of his noble customers are completely different. Parade portraits of the spouses of Yusupova, S. M. Botkin, O. K. Orlova (Il. 197) and many others go to portraits of the XVIII - the first half of the XIX century, with brilliant skills they are written in them is a refined situation, elegant ladies' toilets. In the image of the people themselves, the Serov focused their typical social qualities characterizing the class to which they belonged. These portraits, as V. Ya. Bryusov said, always the trial of contemporaries, especially terrible that the artist's skill makes this court befelling.
In a series of similar portraits of Serov, one of the first places is the portrait of M. A. Morozova (1902), depicted against the background of the living room of his beautifully furnished mansion. This person is educated, known for its widespread patient activities and understanding of art, but there is still alive the basis of the merchant-merchant Ostrovsky times. Here it is standing like a lively, this European merchant the end of the XIX century, filling the highlight of a narrow canvas format and looking straight in front of him permeating look. Morozov's authority is not only his personal property, it gives in it the industrialist, as well as the arrogance of Princess O. K. Orlova makes it a typical representative of the Great Light Aristocratic Circles of the beginning of the XX century. A great expressiveness of serov portraits during this period achieves due to the richness of the visual funds used, the articulated manner depending on the characteristics of the work being created. Thus, in the portrait of Banker V. O. Girschman (1911), sulfur is posed, and in the portrait of the princess orlova, his brush becomes sophisticated and cold.
As mentioned above, a significant place in the work of Serov 1900s occupies work on historical compositions. It is especially captured by his violent, rapid in its development life of Russia of Petrovsky time. In the best picture of this cycle "Peter I" (1907, Il. 198), the artist depicts Peter as a mighty state converter. It is not by chance that he is much higher than satellites. Peter's rapid movement and barely sleeving the courtesy, stressful rhythm of the gusty, sharply delineating the silhouettes of angular lines, the excitedness of the landscape - all this creates the mood of the turbulent Petrovskaya era.
The captured by the living beauty of Greece, which serov visited in 1907, he worked for a long time and with enthusiasm also over mythological plots ("Abduction of Europe", "Odyssey and Navigitus"). As always, he builds these works on the basis of natural work, careful observations. But, solving them in terms of monumental-decorative panel, the artist simplifies somewhat and prompts the plastic form, while maintaining, however, the vitality of the impression.
One of the significant works of Serov late 1890 - the beginning of the 1900s - a series of illustrations to the fables I. A. Krylov - was the subject of his tireless worries and attention. The artist overcame the descriptive, which prevented him in the shears of the initial period of work on the fables, and gained a wise unnecessaryness and expressiveness cleverly found. The best of these sheets is the masterpieces of Serovskiy art. Following the wing, the artist did not destroy the allegory of Basen and sought to convey their moral meaning in the drawings. In the images of animals, purely human qualities were revealed: Lion in Serov is always the incarnation of strength, mind and greatness, donkey, as it should be, the personification of nonsense, the hare is an incorrigible coward.
Il. 199. V. A. Serov. "Soldatshi, bravings of the guys, where is your fame?". K., temperatures 47.5 x 71.5. 1905 GRM.
Serov's creativity characterizes him as an artist-Democrat, standing in the first rows of progressive figures of Russian culture. Our democratic principles of Serov proved not only by art, but also by his public position, especially during the revolution of 1905-1907. Being witness to the bloody Sunday on January 9, he came out of the real members of the Academy of Arts, because the commander of the troops who redeemed the president of the people, was the President of the Academy - Great Prince Vladimir Alexandrovich. A sharp protest against violence and cruelty of autocracy sounds in the bold accurate drawings of the artist, who printed in satirical magazines in the days of the revolution ("Soldatshi, Brava of the children, where is your glory?" (Il. 199), "Vintage views", "Disposal of the demonstration ").
K. A. Korovin (1861-1939). Konstantin Alekseevich Korovin is one of those masters who lay new ways in the art and creativity of which is a school for many artists of subsequent generations.
Korovin - Petoma of the Moscow School of Painting, Sculpture and Architecture, landscape workshop A. K. Savrasova, V. D. Polenova. His work was formed in the direction of the Russian captive painting of the 1880s ("Bridge", "North Idyll", "at the balcony. Spaniards Leonor and Ampara", Il. XI).
Since the 1890s, the korovin's creative maturity comes from the 1890s. Its dating is equally brightly revealed both in the easel painting, primarily in the landscape and in theatrical-decorative art.
The charm of Korovinsky art is warm, sunshine, in the ability of the artist directly and live impressions, in generosity his palette, in the colorful wealth of artistic painting.
In the same 1890s, significant changes occur in the work of Korovin. It seems that he strives to transmit sometimes in aimiciously fluently. Long-term observation of nature is inferior to the transmission of her sensation. The picturesque-plastic system of the art of Korovin is changing. It increases the role of sketching forms of painting, it itself becomes more impulsive, pasty, wide; The flavor acquires a large decorative sonicity, tension and saturation ("winter", 1894, Il. 200; "Summer", 1895; "Roses and violets", 1912, Il. 201; "Wind", 1916).
The theatrical creativity of Korowin was formed surrounded by Russian private opera officers S. I. Mamontov, but he reached the greatest fame, working in the imperial theaters in the 1900s - 1910s. For more than twenty years, Korovin headed the staged part of the Bolshoi Theater. He actively participated in the fight with conservatism and routine on the state scene, bringing a high picturesque culture in these theaters, and together with a number of other famous masters raised the meaning of the theater artist to the level of the schedule of the performance. Korovin is a brilliant master of pictorial scenery, an effective, emotional, vital truthful. The declarations decorated them were truly a holiday for the eyes.
The best theatrical work of Korovin is usually associated with the national subject, with Russia, her epic and a fairy tale, its history, and above all with its nature (Opera N. A. Rimsky-Korsakov "Snow Maiden", 1909; Opera M. P. Mussorgsky "Hovanshchina" , 1911).
M. A. Vrubel (1856-1910). Nature was generous to Mikhail Alexandrovich Vrubel. She endowed it with brilliant colorful abilities, a rare gift of the monumentalist, he perfectly painted, truly amazing his fantasy flight. Creativity Vrubel is deeply meaningfully and difficult. His high ideals and great human feelings were always worried. He dreamed of "wake up the soul from the little things of everyday famous images." His art, alien indifference, is always romantically excited and lightweight.
But the ideals of Vrubel developed in the harsh conditions of the surrounding life. Wanting to get away from her screaming contradictions, the artist tried to block the world of abstract images. However, being a big artist, he still could not get angry from reality. His art reflects it, carries the features of the era.
Back in the student years, Vrubel was distinguished from his peers. He went to the skill, almost bypassing school timidity and stiffness. It was also manifested in his multifigure compositions on a given topic, which gave him extraordinarily easily ("Mary's engagement with Joseph"), and in the free possession of watercolor equipment, and in the thin plastic of his portraits.
A great role in the formation of Crubel's creativity played by his teacher P. P. Chistyakov, who instilled a constructive understanding of the form in art, as well as advanced artists, participants of the Abramtsevsky mug. These links, as subsequently and acquaintance with N. A. Rimsky-Korsakov, Vrubel is obliged to add national foundations in his work.
Vrubel stayed at the Academy of Arts for four years. In 1884, he leaves for the restoration and resumption of the wall painting of the Kirillov Church. Already in these works and in unfulfilled sketches to the paintings of the Vladimir Cathedral, a huge gift of the artist is revealed. Using the traditions of the Byzantine and Old Russian painting, the art of revival, Vrubel remains deeply distinctive. The underlined expression of feelings, tense flavor, the temperament of the letter gives his images special drama.
In 1889, Vrubel moved to Moscow. From this time it comes the time for his creative heyday. He perfectly owns many genres of art. This is a glass picture, and a book illustration, and a monumental-decorative panel, and theater decoration. Vrubel draws a lot from nature, is fond of Maitolike. The artist is tirelessly improving his skill, he is sure that "the technique is the language of the artist," that without her he will not be able to tell people about his feelings, about the beauty they saw. The expressiveness of his works is even more increasing due to dynamic painting, flickering, as if jewelry, flavor, spiritualized pattern.
One of the central in the work of Vrubel becomes inspired by the Poem M. Yu. Lermontov the topic of the demon. Captured by a high romance of the poem, he illustrates it ("Tamara in the Coffin", 1890-1891) and creates close to Lermontov in spirit, the power of expressiveness and skill of the images of central heroes. At the same time, the artist gives their features of increased expressiveness and demolition, which will soon become the seal of his time. For more than ten years, Vrubel is back and again returns to the image of a demon. His evolution is a peculiar tragic confession of the artist. He imagined this evil spirit of Heaven with beautiful, proud, but infinitely lonely. First, the mighty, in the heyday of the forces, still believing that he will gain happiness on Earth ("Demon Sitting", 1890, Il. XIV), the demon is later depicted by uncompressed, but already broken, with a broken body, prostrate among the cold stone mountains ("demon defeated ", 1902). In his burning angry eyes and stubbornly compressed mouth felt and rebellious spirit and tragic doomed.
In the 1890s, in the work of Vrubel, the other topic is gradually becoming primary, the Russian, folklore. The artist is still attracting titanic strong heroes, but they now carry the good and peace. In the monumental-decorative panel "Mikula Selyaninovich" (1896), Vrubel depicted the epic hero with a simple landpaste, saw in it the personification of the power of the Russian Earth. Such and "Bogatyr" (1898), as if merged with his horse, Mighty Vityaz is not fighting, but in a vigor guarding the world of the Motherland.
Beautiful fabulous images of Vrubel. They are happily combined by the truth of observation, deep poetry, elevated romance and the transformative all ordinary fiction. It is inextricably linked with nature. In fact, the spiritualization of nature, its poetic personification is the basis of Vrubel's fairy tales. Mysteriously mysteriously "by night" (1900). In "Pan" (1899, Il. 204), depicting a goning god of forests, a lot of human. In his faded eyes, which have long been faded, both of the kindness and age-old wisdom. At the same time, he is like a rustic birch trunk. Gray curls, like curls of white bark, and fingers - cornted bitch. Tsarevna-Swan "(1900, Il. 203) - at the same time a syneoka girl-princess with a long oblique to a belt and a regularly beautiful bird with swan wings floating in the blue sea.
Big thoughts and feelings, wide scope of fantasy pulled Vrubel into the world of monumental art, and it became one of the main directions in his work. Since 1890s, finding the form of monumental-decorative panels, the artist performed them on orders of enlightened pathers (Panel "Spain", Il. 202, "Venice", a series dedicated to the poem Goethe "Faust"). With the monumental integrity of the form, the subtlety of plastic development and the psychological deepebility of the image have always remained.
The portraits of Vrubel are distinguished by uniqueness and artistic significance. They are deep and very expressive, the artist attached special spirituality, and sometimes drama. These are portraits S. I. Mamontov (1897), Poet Valery Brysov (1906), numerous self-portraits (for example, 1904, Il. 205) and portraits of the wife, the famous singer N. I. Vrubel.
The last ten years of life for Vrubel were painful. His beautiful gift fought for a long time with a severe spiritual disease. Already without having the opportunity to keep a brush in your hand, he painted a lot, hitting the painted patterns surrounding the purity. Gradually fucked vision. Vrubel died in the flourishing of creative forces.
V. E. Borisov Musatov (1870-1905). Characteristic for Russian art of the 1890s - early 1900s, the trend towards the poetry of images found the expression in the work of Viktor Elpidorovich Borisov-Musatov. His lyric dating began to manifest itself from the earliest student in gentle images of poetic nature, but only from the end of the 1890s the circle of lovers of the topics of Musatov and the figurative-pictorial system of his art are determined. With all the forces, the artist seeks to comprehend harmony in the world and, without seeing her around, trying to recreate it in imagination.
The best works of Musatova - "Spring" (1901), "reservoir" (1902, Il. 206), "Emerald Necklace" (1903-1904). The artist is still close to nature, but it will be reincarnated into the email images of his sincere dream, like the images of literary symbolism, loses the clearness of the contours of the life outlines in the vagueness of the contours and spininess of the color spots. He inhabited his thoughtful parks, as if by dreaming girls, puts them in the dresses of past times, hurts them and everything around the haze is light sorrow.
"World of Art" - A significant phenomenon in the Russian lifestyle of the late XIX - early XX century, which has played a large role in the development of not only visual art in Russia, but also theater, music, architecture, applied arts.
The cradle of the "world of art" was a circle of the St. Petersburg intelligentsia, which emerged in the 1890s. It included artists A. N. Benois, K. A. Somov, L. S. Bakst. By the end of this decade, the "World of Art" was formed as ideological and artistic association. V. A. Serov participated in it, who supported him with his authority. The core of the young group was replenished by E. E. Lancere and M. V. Dobuzhinsky. A large organizational role was played by the dedicated interests of the art of S. P. Dyagilev. From 1899 to 1904, the "World of Art" figures were published a literary and artistic journal. However, he was not one in his direction. His art department, headed by outstanding masters of fine art, was sharply different from literary and philosophical, which carried a symbolist-religious character.
The main goal of Miriskusniki considered the renewal of Russian art, an increase in his artistic culture, skill, wide acquisition to the traditions of foreign and domestic heritage. They worked a lot and fruitfully not only as artists, but also as historians of art, criticism, popularizers of classical and contemporary art.
A particularly important role in the Russian art life "World of Art" played in the first period of its existence, which lasted about ten years. Miriskusniki organized extensive exhibitions of domestic and foreign arts, were the initiators of many artistic beginnings. They declared themselves at the opponents of both Routine Academism and the petty life of some later heads.
In his creative practice, Miriskusniki proceeded from specific life observations, depicting the nature of the nature and man, and from historical and artistic materials, addressing their retrospective plots, but at the same time they sought to transfer the world in the transfiguration, in decorative-raised forms and one From the main tasks considered the search for the synthetic art of "Big Style".
In the early years of the life of the association, Miriskuseniki gave tribute to individualism, which was imbued with the European culture of those years, and the theory of "art for art". Later, in a pre-revolutionary decade, they largely revised their aesthetic positions, recognizing individualism destructive for art. During this period, modernism became their main ideological opponent.
In two art types of artists of the "World Peace" achieved particularly significant success: in the theatrical-decorative, embodied their dream of the harmony of the arts, about their synthesis, and in the chart.
The graphics attracted Miriskuseniki as one of the mass species of art, they also impressed her chamber forms common in those years in many types of art. In addition, the graphics required special attention, as it was significantly less developed than painting. Finally, the development of graphics contributed to the achievements in the domestic printing.
The scenery of the old St. Petersburg and his suburbs, the beauty of the old St. Petersburg and his suburbs, the beauty of which artists came, as well as the portrait who in their work was in essence equal to the picturesque in their work. A great contribution to the schedule of the beginning of the 20th century A. P. Ostrumova-Lebedev; In her work, engraving on the tree is approved as an independent type of art. A kind of romantic creativity V. D. Falileev, who developed the art of engravings on linoleum.
The largest phenomenon in the field of etching was V. A. Serov. They were distinguished by simplicity, severity of shape and magnificent pattern of drawing. Serov advanced ahead and the development of lithography, creating a number of wonderful portraits in this technique, distinguished expressiveness in the amazing economy savings.
The wise success of the master of the world of art has achieved in the field of book illustration, raising the artistic culture of the book to the high level. The role of A. N. Benua, E. E. Lancere, MV Dobuzhinsky is particularly significant in this regard. Fruitfully worked in the book graphics I. Ya. Bilibin, D. N. Kardovsky, G. I. Narbut, D. I. Mitrokhin, S. V. Chekhonin and others.
The best achievements of the art of graphics of the beginning of the century, and first of all the "world of art", contained prerequisites for the widespread development of Soviet graphics.
A. N. Benois (1870-1960). Alexander Nikolaevich Benua made an ideologist of the "World of Art". The mind, wide education, the versatility of deep knowledge in the field of art characterize Beno'a. Unusually versatile creative activity of Benoit. He reached a lot in the book and machine chart, was one of the leading theater artists and figures, artistic critics and art historians.
Like other Miriskusniki, Benua preferred topics from past epochs. He was a poet of Versal (the most famous two of his Versailles series - "Little walks of Louis XIV", 1897-1898 and a series of 1905-1906, Il. 208). The creative fantasy of the artist lightathed when he visited the palaces and parks of the St. Petersburg suburbs. Russian history also reflected in the work of Beno'a. In 1907-1910, he, along with other Russian artists, worked with enthusiasm on the paintings on this topic for publishing house I. Knebel ("Parade under Pavel I", 1907; "The output of Empress Catherine II in the Tsarskoselsky Palace", 1909).
His detailed historical compositions, filled with a large fantasy and skill, Benua inhabited by small figures of people and carefully, with love reproduced monuments of art and household appearance of the era.
A major contribution introduced Benua to book graphics. Most of the works of the artist in this area are associated with the work of A. S. Pushkin. In better work - illustrations to the poem "Copper Horseman" (1903-1923), Beno'a elected the path of the artist-co-worker for the "world world". He followed the text of the string behind the line, although sometimes deviated from him, introducing his own plots. Benua's focus was given to the newly open by the beauty of the beauty of the old St. Petersburg, after Pushkin, by depicting the city that was clear and quiet, then romantically tormented in the terrible flood days.
The illustrations of Benoit to the "peak lady" Pushkin is also filled with great professional skill. But they are distinguished by a more free interpretation of Pushkin text, sometimes ignoring the piercing story of psychologism.
Theatrical activity of Benua was engaged in almost all creative life. He has established himself as an excellent theater artist, a subtle critic of the theater. In the 1910s, at the time of his creative heyday, Benoit worked at the Moscow Art Theater together with K. S. Stanislavsky and V. I. Nemirovich-Danchenko, often not only as an artist, but also as a director, and in the first years of existence "Russian seasons" in Europe carried out artistic guidelines in them. For its theatrical works are also characterized by the accuracy in the recreatation of artistic and domestic agents will take the epoch, compliance with the authorship of the author and a high artistic taste. Favorite theatrical brainchild Benua - the famous ballet I. F. Stravinsky "Parsley" (1911). Benua belonged not only its design. He was the author of Libretto and actively participated in his production.
K. A. Somov (1869-1939). No less characteristic of the "world of art" and the creativity of Konstantin Andreevich Somo. Unlike many of his colleagues in the "World of Art", Somov received a systematic art education. He studied at the Academy of Arts, where he chose the workshop I. E. Repin. The strong professional skills acquired here here are tirelessly exhausted in the future, and his brilliant skill soon became widely known.
In the first years of Somov's creativity, followed realistic traditions (portrait of the Father, 1897). In the picture "Lady in the Blue Dress" (Portrait of an artist E. M. Martynova, 1897-1900) also lives psychologically delicate and deep penetration into the image that brings the seal of the tragic fate of a young artist. However, Somov's desire to tie him from the long time (Martynov dressed in an old dress), introduced by him in the second plan in the spirit of the XVIII century, the scene carelessly musitizing ladies and cavaliers and became more stringent painting announce the new search for the artist.
At the beginning of the 1900s, Somov's creativity was finally formed. Like all Miriskusniki, he willingly wrote landscapes. Always pushing out from nature, he created his, Somovsky image of nature, romantically elevated, with thin lace frozen foliage on trees and a complex graphic pattern of their branches, with reinforced color sound. But the main place in the artist's work was taken by retrospective compositions. Their usual characters are mannered, similar to the dolls of ladies in high powdered wigs and crinolines. Together with languid cavaliers, they dream, having fun, flirting. Somov wrote these pictures clearly under the influence of old masters. His painting became smooth, as if lacquered, but in modern sophisticated ("winter. Skating", 1915, Il. 210).
A considerable place in the work of Somov is a portrait. His gallery of portraits of representatives of the artistic intelligentsia is a truly sight of time. The best of them are portraits A. A. Blok (1907, Il. 209), M. A. Kuzmina and S. V. Rakhmaninova. They are distinguished by the accuracy, expressiveness of characteristics and artistry execution. All models of the artist as if raising her daily, hanging their common ideal qualities of the hero of his time - intelligence and sophistication.
E. E. Lancere (1875-1946). Evgeny Evgenievich Lancere is one of the multifaceted masters of the "World Peace". He was engaged in machine and monumental painting, graphics, was a theater artist, created sketches for works of applied art. His creativity is typical for the "world of art", and at the same time, a bright peculiarity allocates Lancer from the Miriskusniki environment. He was also touched by the XVIII century, he loved to create impressive compositions on this topic, but they are distinguished by a greater variety of interpretation of the content and democracy of images. So, the picture "Ships of Peter I" (1909, 1911) washed with the spirit of the heroic romance of Petrovsky time, and Guasi "Empress Elizabeth Petrovna in the Tsarskoye Selo" (1905) is characteristic of the sober life of the truth.
The most significant place in the works of Lancer is occupied by the graphics - Stankovaya, book and magazine. Its graphic works are elegant, sometimes sophisticated-patterned, are penetrated by the spirit of the era and are classically clear. The central work of the artist is a large series of illustrations for the story of L. N. Tolstoy "Haji Murat." In them, Lancere managed to recreate the wise Tolstaya simplicity in the romantic nature of the general mood and the vivid expressive characters of the heroes. In the future, Lancer has worked a lot and fruitfully as a Soviet artist.
M. V. Dobzhinsky (1875-1957). Like Lancer Dobuzhinsky belonged to the youngest generation of artists of the "World Peace". His creativity, like Lancer, typically for this association and at the same time deeply peculiar. In Machine Art, Dobuzhinsky preferred a city landscape. But he was not only his singer, but also a psychologist, not only chasing his beauty, but I portrayed the reverse side of the modern capitalist city, cold-mechanistic, city-spruit ("Devil", 1906), spiritually devastating people ("man in glasses" , 1905-1906).
Both in the book graphics and in theatrical-decorative art of Duskinsky is characterized by an individual psychological approach to the interpretation of the illustrated work. Andersensky artist is kind and sharpen in elegant color drawings to the "Swinewa" fairy tale, lyric and gentle-sentimental in graphics to "poor Lisa" N. M. Karamzin and deeply dramatically in the famous series of illustrations for the story of F. M. Dostoevsky "White Nights "(1922). The best theatrical work of Dobuzhinsky - those he carried out in the Moscow Art Theater ("Month in the village" I. S. Turgenev, 1909, "Nikolai Stavrogin" F. M. Dostoevsky, 1913).
The creativity of many masters of the beginning of the century - V. A. Serov, Z. E. Serebryakova, I. Ya. Bilibina, B. M. Kustodieva, I. E. Grabar and others are associated with the "world of art" to one degree or another. In the same row - and Nikolai Konstantinovich Rerich (1874-1947) - advanced artist, scientist, prominent public figure. In the artistic environment of that time, Roerich highlighted the love of ancient Russian history and archeology, to the art of ancient Russia. In his work, he sought to penetrate into the depths of the centuries, in a living and holistic world of distant ancestors, to tie it with the progressive development of humanity, with ideals of humanism, heroes and beauty ("Overseas guests", 1902, Il. 211; "Build the city", 1902 ).
"Union of Russian Artists." In the russian life of Russia, the "Union of Russian Artists" played a significant role (1903-1923). The prehistory was "exhibitions of 36 artists", organized in 1901 and 1902 in Moscow. The Union of Russian Artists was founded on the initiative of Muscovites in order to strengthen the young artistic organization. Many leading masters of both capitals became members of the "Union of Russian Artists" the kernel continued to be the Moscow painters - K. A. Korovin, A. E. Arkhipov, S. A. Vinogradov, S. Yu. Zhukovsky, L. V. Turzhansky , A. M. Vasnetsov, S. V. Malyutin, A. S. Stepanov. The close "union of Russian artists" in their artistic positions, the active participants of his exhibitions were A. A. Rylov, K. F. John, I. I. Brodsky, F. A. Malavin. In 1910, the Union of Russian Artists was divided. The Petersburg group of artists was released from his composition, who restored the former name "World of Art", a grouping, which has ceased to exist as an exhibition Union in 1903.
Landscape - the main genre in the art of most masters "Union of Russian Artists". They were successors of landscape painting of the second half of the XIX century, expanded the circle of topics - portrayed the nature and middle strip of Russia, and sunny south, and severe north, and the Old Russian cities with their wonderful architectural monuments, and poetic vintage estates were often injected into their web elements of the genre Sometimes still life. They dug in nature the joy of life and loved to write directly from nature with a temperamental wide brush juicy, bright and colorfully, developing and multiplying the achievements of plenary and impressionistic painting.
In the works of the Masters of the "Union of Russian Artists", the creative individuality of everyone was clearly expressed, but many similar features were also inherent - a sharp interest in the rapid visual coverage of the world, a traction for a fragmentary dynamic composition, erase of clear boundaries between the composite pattern and the sketch. For their painting, the wholeness of the plastic and colorful cover of canvas was characterized, a wide shape of a embossed smear and colorfulness of color.
Art 1905-1907. The events of the first Russian revolution, which impose a fingerprint for the entire further course of Russian and world history, were bright in the visual arts. Never still Russian art has not played such an effective role in the political life of the country, as these days. "The drawings themselves excite the uprising," the Minister of Internal Affairs I. N. Runovovo in the report, he brought the Tsar.
With the greatest depth of the revolution 1905-1907, it was reflected in the easel painting in the work of I. E. Repin ("Manifestation in honor of October 17, 1905"), V. E. Makovsky ("January 9, 1905 on Vasilyevsky Island"), and . I. Brodsky ("Red Funeral"), V. A. Serov ("Bauman's funeral"), S. V. Ivanova ("Execution"). Above mentioned numerous works on the revolutionary topic of N. A. Kasatkin, in particular, such canvases as a "worker".
In the revolution of 1905-1907, unprecedented before that, heyday reached satirical graphics - the most movable and massive type of art. It is known 380 names of satirical magazines that came out for 1905-1907 in the amount of 40 million copies. Thanks to the wide range, the revolution rallied artists of various directions to a numerous and friendly detachment. Among the participants in satirical journals there were such major masters as V. A. Serov, B. M. Kustodiyev, E. E. Lancere, M. V. Dobuzhinsky, I. Ya. Bilibin, and students of artistic schools, and non-profession artists .
Most satirical journals were a liberal direction. The royal government, even making the Manifesto on Print Freedom, did not actually gave the opportunity to produce Satiriko-political magazines of the Bolsheviks party. The only journal of the Bolshevik orientation is the "sting", in which A. M. Gorky participated, was banned after the release of the first issue, and his editorial was defeated. Nevertheless, the best satirical magazines of 1905-1907 due to the accusatory content, the sharpness of the topical political thought and focus were of great educational significance.
Most often, their satire both in the textual and in the visual part was directed against autocracy. Especially sharp criticism was subjected to the ruling top of Russia and the King Nikolai II itself. The dissemination of the bloody repression of the tsarist government was also common.
A very bold magazine of those years was a "machine gun", many of the obligations of the enterprise and the inventiveness of his editor N. G. Shebuyev and the artist I. M. Grabovsky. On his sheets, generalized images of the participants of the revolution - a worker, soldier, sailor, a peasant appeared on his sheets. On the cover of one of the numbers of the "machine gun" against the background of smoking factory pipes, Grabovsky placed an image of a worker and made a significant inscription "His working quality of the All-Russian Proletar".
Il. 212. M. V. Dobuzhinsky. Oktyabrskaya Idyll. "Zhepev", 1905, № 1
The combat tone characterized many magazines ("Spectator", the most durable of them, "Leshe", "Zhepely" and his continuation "hellish mail"). In the last two magazines, V. A. Serov and many Miriskuseniki collaborated. Both of these journals were distinguished by the artistic arts. In the first there were famous compositions of Serov "Soldatshi, Brava of the children, where is your glory?" (Il. 199), Dobuzhinsky "October Idyll" (Il. 212), Lancer - "Triction" (Il. 213); In the second - Custodievsky "Olymp" - caustic caricatoes for members of the State Council. Often, the drawings of satirical magazines were the character of household sketches - scenes on the evil day. Allegory, sometimes using popular machinery works of Russian artists, sometimes folklore images, was a common form of a satire masking. The activities of most satirical magazines 1905 - 1907 was born with a revolution and froze together with the enhancement of a government reaction.
Art 1907-1917. The pre-fiber decade in Russia after the defeat of the revolution of 1905-1907 is the time of heavy testing, rampant reaction rampant. In 1914, the first world imperialist war began. In difficult conditions, the Bolshevik Party collected forces to the offensive, and since 1910, a wave of a new rise in the revolutionary movement was increased, prepared for the overthrow of autocracy. Russia stood on the eve of the greatest historical events.
The intense situation in the country has further complicated Russian artistic life. Many artists were dominated by confusion, vague sentiment, passionate, but groundless impulses, fruitless subjective experiences, struggle between the artistic directions. The wide distribution was obtained by different idealistic theories, which broke the art of reality and democratic traditions. These theories were subjected to V. I. Lenin merciless criticism.
But in such a complex setting, the development of Russian realistic art was not stopped. A number of outstanding mobile users and participants of the "Union of Russian Artists" continued to actively work. In the environment of artists of the largest creative associations there have been trends towards rapprochement, points of contact in some fundamental issues. During these years, Miriskusniki criticized individualism who received distribution, told the strengthening of the professional art school, their search for the art of a large style was even more purposeful. N. K. Roerich expressed the idea that the directional struggle does not exclude the possibility of raising the banner of "heroic realism", the corresponding time.
Intected by the interaction of individual genres of painting, the domestic and classical legacy, V. A. Serov, was rethought, one of the first in the 20th century began to purify the ancient mythology from the old academic pseudoclassicistic interpretation, revealed a realistic start in it. In the pre-revolutionary decade, only a small number of large, significant on the content of paintings was created, but it was not by chance that it was then "Stepan Razin" V. I. Surikov, who responds to the high goal of national art appeared, to reflect the great ideas of modernity. A significant testimony of the progress of Russian art was the desire of a number of painters - A. E. Arkhipov, L. V. Popova, K. S. Petrova-Vodkina, Z. E. Serebryakova and others - to link the image of the people with the Duma of the Motherland, with native land .
Z. E. Serebryakova (1884-1967). Zinaida Evgenievna Serebryakova satells in the best works of the peasant life of the people of the worker. The Heritage of A. G. Venetsian and the Great Masters of Renaissance was played a major role in the formation of her art. The severity of monumental images, harmony and equilibrium composition, whole tight paints distinguish the best paintings. Especially allocated "harvest" (1915) and "canvas" (1917, ill. XII), in which so large-scale figures, shown from a low point of view, and the magnitude of the rhythm of movements. The canvas is perceived as if the monument of peasant labor.
K. S. Petrov-Vodkin (1878-1939). In the early period of its work, Kuzma Sergeevich Petrov-Vodkin gave tribute to distracted symbolistic trends. The democracy of the world's democracy was helped by the artist's closest study of the best traditions of the European Renaissance and, the main thing, the line of Russian art, which can be traced in the works of the painters of ancient Russia. In the canvases "Mother" (1913 and 1915, Il. 214) and "Morning" (1917), peasants reflect the high moral purity of the spiritual world of the Russian man. The premonition of the upcoming social change is penetrated by the picture "Bathing of the Red Kony" (1912). Laconism of the composition, the dynamics of the space, the classical severity of the pattern and the harmony of the color, built on the main column colors correspond to the elevated ideological content.
P. V. Kuznetsov (1878-1968). At the beginning of the creative path and Pavel Warfolomeevich Kuznetsov also experienced the influence of symbolism. The Kyrgyz suite of his canvases ("Mirage in the steppe", 1912, Il. 215; "Sheep shearing", 1912) reflected the poetic understanding of the image of a labor man in the surrounding world. Simple life plots, leisurely gestures and quiet faces of people engaged in familiar labor in native land, the musical structure of the flavor, solemnity of the landscape - everything recreates a holistic harmonic image.
Il. 215. P. V. Kuznetsov. Mirage in the steppe. X., temperature 95 x 103. 1912. GTG
M. S. Sarian (1880-1972). In the cycle of paintings, written in the impressions of traveling to the countries of the East, Martirla Sergeevich Saryan also poetic the national life depicted on them ("Street. Nald. Constantinople", 1910; "Palma Palma. Egypt", 1911, etc.). Its concise works are built on bright and whole color silhouettes, contrasts of rhythm, light and shadow. The paints are emphasized decorative, spatial plans are clearly drawn. The poetry of the arts of Saryan is defined by his ability to preserve a living sense of life with intense sonicity and beauty of a picturesque palette.
The best works of the artists mentioned above that have made a later invaluable contribution to Soviet art, opened the prospect of further development of monumental realistic art, the creation of which belonged to the new historical era.
Portraits With the in-depth psychological nature of the images did not receive in the pre-revolutionary decade of such widespread development, as in the previous period, but a number of examples show their enrichment in the work of outstanding masters. It is enough to remind self-portraits V. I. Surikova and M. V. Nesterov, where the complex spiritual world of man of art with his alarms, thought over life, or sharp portrait characteristics of V. A. Serov.
The continuation of this line of portrait genre can be seen in the works of S. V. Malyutina (for example, portraits V. N. Burtsev, 1914, Il. 216, K. F. John, 1916). Pose, posture, gesture and facial expressions are transmitted, testify to the impact of the personality of representatives of Russian art. In the same terms, I wrote a portrait of A. M. Gorky (1910) I. I. Brodsky.
Significant on the psychological interpretation of the image of the picture "Nun" (1908, Il. 218) B. M. Kustodiev. Although the author did not put the tasks to create an accusatory work, the strength of realistic penetration into the spiritual world portrayed gave this image a symbolic meaning. We have the keeper of church obscures: both kind, and tricky, and benevolent, and powerful, merciless. However, complete optimism the art of Kustodiev is primarily addressed to the traditions of Russian antiquity, folk customs and festivals. In his canvases, it combines lively observation of nature, imagery and bright decorativeness ("Kupchikha", 1915, Il. 219; "Maslenitsa", 1916).
The 1910s are associated with great success in the field of new genre - theatrical portrait, where the artist is a complex creative task - to show the inspiration of the actor, its reincarnation in the stage image. The championship here belongs to A. Ya. Golovin. Perfectly knowing the features of the scene and dramaturgy, he created in the portrait F. I. Shalyapin as Boris Godunova (1912, Il. 220) a majestic and tragic image.
Landscape somehow attracted all artists: they were united in this genre picturesque and color searches. However, many of the nature of nature turned into a solution to the etude, and not the picture task, as it was in the XIX century. In the pre-revolutionary period, only individual major masters managed, depicting nature, transfer the epic feeling of the motherland - lyrical motives prevailed. A. A. Rylov ("Green Noise", 1904, Il. 217) appeared to the traditions of the landscape-painting. Its romantic canvas "Swans over Kama" (1912) foreshadowed a picture of "Blue Spacious", created after the Great October Socialist Revolution. All intensive interest in the national heritage aroused the emergence of a number of picturesque suits dedicated to the ancient Russian cities. Including in the composition household scenes, artists showed nature and a person, equally operating in the landscape picture ("in Sergiev Posad" K. F. John and others).
The landscape players, most advantage of the representatives of the "Union of Russian Artists", significantly enriched their picturesque skill. It was here that Etudes prevailed, lyrical interpretation of motifs, often village, ascending to A. K. Savrasov, V. D. Polenov and I. I. Levitan, which testified to the preservation of democratic traditions. The plenary painting has been replenished with such solid on color and poetic landscapes as "Kem" (1917) K. A. Korovina, "By the evening" N. P. Crimeov, the best works of S. A. Vinogradov ("Flower Gold", "Spring", 1911, Il. 221) and S. Yu. Zhukovsky ("Dam", 1909, Il. 222; "Joyful May", 1912).
Intensive development receives and still life. Now this genre is represented by the works of a number of artists of various creative associations, diverse based, content and tasks. In its numerous still lifes, K. A. Korovin attached great importance to decorative, the beauty of color. The same principle is characteristic of the works of S. Yu. Sudietikina and N. N. Sapunov. The achievements of impressionism enriched painting I. E. Grabar ("Non-Screen Table", 1907, Il. 223, etc.).
In the field of still life, as well as the landscape and portrait actively worked artists of the association "Bubnovaya Valnet", which emerged in 1910: P. P. Konchalovsky, I. I. Mashkov, A. V. Lentulov, A. V. Kubrin and others. In search of a national originality of art, they used the traditions of the National Primitive (Lubok, Signs, Painting of Trays, etc.), but they found ties with modern French art, primarily with Cezanne and his followers. In the best works of masters of this grouping, written material and wonderfully, with a decorative scope, valetricity and large picturesque culture were affected. Such, for example, grotesque "portrait of B. Yakulov" (1910, Il. 224) and still life "Agave" (1916) P. P. Konchalovsky, "Pumpkin" (1914, Il. 225) and "Still-life with a pacho" (1917) I. I. Mashkova.
Theatrical-decorative art Worried brilliant flourishing: many leading painters worked for theater. It is enough to name the names V. A. Simova, V. A. Serov, A. Ya. Golovin, A. N. Benua, K. A. Korovina, L. S. Barsta, N. K. Roerich, I. Ya. Bilibina , B. M. Kustodiev and a number of performances, they decorated ("Parsley" I. F. Stravinsky - A. N. Benua; "Prince Igor" A. N. Borodina - N. K. Roerich; "Masquerade" M. Yu . Lermontov - A. Ya. Golovin, etc.). "Russian seasons" in Paris and other cities of Western Europe, organized by S. P. Dyagilev, in the design of which many of these masters participated, glorified domestic art in the international arena. The high artistic level of scenery and costumes, all the appearance of the stage action struck foreigners synthesis of arts, spectacle, extraordinary beauty and national peculiarity.
As mentioned above, the process of development of realism in 1907-1917 was complicated by the crisis of bourgeois culture. The least stable part of the artistic intelligentsia, although it was captured by the overall spirit of protest against the bourgeois reality, succumbed to low-cost sentiments, went away from modern times and social life, denied democratic traditions in art, and this protest itself was usually the nature of anarchic rebellion. Previously, these negative phenomena have affected the works shown at the Blue Rosa exhibition organized in 1907 and uniting symbolist artists. Participants of this short-term mutual grouping approved the domination of intuiviism in artistic work, went to the world of mystical ghostly fantasies. But the most gifted and purposeful (P. V. Kuznetsov, M. S. Saryan and some others) already in the pre-unit decade went in their work on the democratic path of development.
A number of artists, especially young, were involved in the 1910s in the direction of the modernist currents. Some of them are supporters of cubism, futurism - claimed to comply with their molding of the agent of engineering and technology, others - the primitivists - on the contrary, they sought to return to the immediacy of the perception of the world with an uncivilized person. All these trends were difficult to intertwined in the art of the foreflower decade. They touched upon the painting of the "Bubnoy Vnet", the styling-primitivistic trends were particularly clearly affected by representatives of the grouping with a boldly rapid name "Olesetail". Ultimately, all varieties of formalism, which spread then in Russian art, led to distortion of reality, the destruction of the subject part or, finally, to the implication of abstractionism (raysism, suprematism) to the extreme expression of modernism.
Contradictions in the Russian art life of 1907-1917 did not stop the progressive development of realistic art at this difficult time. Advanced Russian masters felt the approach of social changes, consciously or intuitively felt the need to bring their creativity in line with the scale of the events of the turbulent historical era. After the Great October, artists of all generations, one before, others later, joined the construction of a new socialist culture, putting their art to the service of the revolutionary people; Under the influence of Soviet reality, there was a restructuring of those who previously rejected realism as a method.
In the last courses of the Moscow School of Painting, Basania and architecture, Sergey Ivanov appeals to acute social problems. In particular, his attention attracted a phenomenon characteristic of the Russian village of the last quarter of the XIX century: in the second half of the 1880s, the relocation began to Siberia.
In the image: "Migrants. Walkers. " 1886.
After the reform of 1861, there was a need to solve the land issue. The government saw a way out in the resettlement of landless peasants to this extensive little-saved edge. Over the past decades of the XIX century, over the past decades of the XIX century, several millions of peasants left their insignificant putors, the wretched horses and went to search for "fertile land."
In the image: "Movement in the car", 1886.
Alone, with wives and children, in small parties, having to do with them the scarb, on foot and on the knot, and if you're lucky, on the railway, they rushed, inspired by utopian dreams of "Belovodye" or "White Arapia", towards Heavy tests and most often severe disappointments. The tragedy of landless peasants, who left their original places, from the central provinces to the outskirts of the country - to Siberia and hundreds of diligent on the road, are the main idea of \u200b\u200bthe cycle of Ivanov's paintings. He captured the scene of peasant life in deliberately dull, "mournful" by coloring pictures about migrants.
In the image: "On the road. The death of the immigrants. " 1889.
Since the mid-1890s, a new period begins in the work of the artist, related to the creation of historical works. In the historical painting Ivanov, there are features relating to him with the art of Surikov and Ryabushkin. The painter is understandable to the condition of the excited mass in the sharp drama moments ("Smoot", 1897, Museum-Apartment I. I. Brodsky); "According to the sentence of Wern", 1896, a private meeting), it entails the power of Russian folk characters and he, like Ryabushkin, finds beauty in the phenomena of popular life, approves the understanding of this beauty by a Russian man. Ivanov sensitively catches the picturesque searches of time; His works of these years acquire special colorful sonors.
In the image: "Draoma time" (Tushinsky camp)
Ivanov acted as an innovator of the historic genre, the composition of the episodes of the Russian Middle Ages - in the spirit of Modern style - almost like kinocadras, exciting viewers with their dynamic rhythm, the "presence effect" (the arrival of foreigners in Moscow XVII century, 1901); "King. XVI century "(1902), Muscovites campaign. XVI century, 1903). In them, the artist looked in a new way to the historical past of the Motherland, depicting the heroic moments of events, and the scenes of life from ancient Russian life. Some images are written with a touch of irony, grotesque. In 1908-13, he completed 18 works for the project "Pictures in Russian History".
In the image: "Yuriev Day". 1908.
In the image: "Troops of Moscow Rus", XVI century, painting 1903.
In the image: "Looking service people", no later than 1907
The peculiar features of Nervous "ProtoExpressionism" with a special force talked in his images of the first Russian revolution, including in the famous film "Execution" (1905, the Historical and Revolutionary Museum "Red Presnya", a branch of the HCHSIR), which struck contemporaries with the desperate sound of protest.
During the 1905 armed uprising in Moscow, he was his witness and participant - assisted with the wounded in street fighting students right in the building of Moscow University on Mokhovaya Street. His drawings of gendarmes and the Cossacks have been preserved, which during the uprising were quartered in the Manege, near the Kremlin.
Later, the artist is working on the picture "Rout! Punitive detachment "(1905-1909, GTG).
In the image: go! Punitive detachment.
In the image: Family, 1907
In the image: Arrival arrival
In the image: German, 1910
In the image: Riot in the village, 1889
In the image: Ostrog. 1884 year
An image: arrival foreigners. XVII century. 1901 year
In the image: Boyars crested. 1909 year
Nikolai Dmitrievich Dmitriev-Orenburg1 (13) April 1837 or November 1, 1838, Nizhny Novgorod - April 21 (May 3) 1898, St. Petersburg
Ivan Kramskaya Portrait of the artist Nikolai Dmitrievich Dmitrieva-Orenburg. 1866
The Russian genome and battle painter, schedule, academician and professor of battle painting of the Imperial Academy of Arts, participant "Bunt Fourteen", one of the founders of the St. Petersburg Artist artists.
Nikolai was born in the family of a landowner of the Orenburg province in Nizhny Novgorod, childhood spent in the parental house of his father, then graduated from the provincial gymnasium in Ufa, and later moved with his parents to St. Petersburg. Here, the young man began to prepare for admission to the Junker School. It is not known how the parents of Nikolai were familiar with the famous painter Vasily Kozmich Shebuyev (2 (13) April 1777, Kronstadt - 16 (28) June 1855, St. Petersburg) - a valid Stat adviser, academician, since 1832 Honored Rector of the Imperial Academy of Arts. Also, historians are silent, as far as Ryano and from what age the boy got carried away with drawing. But the fact remains a fact, on the advice of Shebeyev Nikolai, as they wrote in the journal "Niva" in 1898, "in mind the discovered talent," he entered the Imperial Academy, where he became a student of Shebuyev's student, an academician in painting and academician in the rank - Fyodor Bruni.
Fedor (Fidelio) Antonovich Bruni (June 10, 1799, Milan - August 30 (September 11) 1875, St. Petersburg) In 1855, he was appointed to the rector of the Academy on the Department of Painting and Science, in 1866 he created and headed the mosaic department. Bruhi was generally a titled painter - an honorary member of the Academies of Arts in Bologna and Milan, the honorable professor of the Florentine Academy of Arts and the Academy of St. Luke in Rome.
In the Academy Nikolay did great progress, during the years of study he received four small and one large silver medals at academic contests. In 1860, he was finally honored with a small gold medal for the Olympic Games program. The next two years, the artist worked on creating large cloven "Grand Princess Sofia Vitovitne at the wedding of the Grand Prince Vasily Dark" (1861, Irkutsk Regional Art Museum. V. P. Sukacheva) and "Streletsky Bun" (1862, Taganrog Art Museum), calculating Finally, get a big gold medal. By the way, this is the first appeal of Dmitriev-Orenburg to the topic of Peter I.
Nikolay Dmitriev-Orenburg Great Princess Sofia Vitovtna at the wedding of the Grand Duke Vasily Dark. 1861 Irkutsk Art Museum. V.P. Sukacheva
Nikolai Dmitriev-Orenburg Streletsky Riot. 1862 Taganrog Art Gallery
Nikolai Dmitriev-Orenburg Tsarevich Peter. Etude to the picture Streletsky Riot. 1862
Alas, the presented works did not receive the desired award, but the artist decided to participate in the contest for the third time. But just in that very, in 1863, the famous "Bounce of 14 and graduates" took place at the Academy, headed by Ivan Kramsky, who refused to fulfill the program theme proposed by him. Dmitriev-Orenburg, among this group, "Bunters" left the Academy of Arts, having received a modest title of class artist II. He immediately took part in the creation of the St. Petersburg Artist's Artists, a member of which consisted of 1871. In the work, the artist carried away the folk genre, began to be interested in the life of a simple people, every summer went to the village, studying the life of peasants.
Nikolai Dmitriev-Orenburg Rustic Scene. 1860s. Perm art gallery
In addition to genre cloths, Dmitriev-Orenburg also wrote portraits and illustrated a lot, in particular, the works of Nikolai Nekrasov and Ivan Turgenev.
Nikolai Dmitriev-Orenburg portrait of a woman in an open dress. Donetsk Art Museum
Nikolay Dmitriev-Orenburg woman playing with his dog. 1868
In 1868, his picture was noted at the academic exhibition (the Russian Museum), the artist II received the title of academician for it.
Nikolay Dmitriev-Orenburg Drill in the village. 1868 Russian Museum, St. Petersburg
From that time, Nikolai so that Dmitriev, he began to subscribe to other painters, began to subscribe a double surname, adding the epithet "Orenburg". Although I told me a search engine that all famous artists Dmitriev were born already in the twentieth century, and about contemporaries-one-name artist there are mentions only about Dmitry Mikhailovic Dmitriev (1814-1865).
In 1869, Dmitriev-Orenburg as part of Sweets of the Grand Duke Nikolai Nikolayevich Seniper made a journey in the Transcaucasus and the Caucasus, as well as Kharkov and Voronezh provinces. For the prince, the artist during the journey was an album of 42 pencil drawings.
In 1871, a new stage begins in the life and work of Dmitriev-Orenburg. For the executed account of the Academy, the artist is sent by a pensioner for three years abroad. All this time, he spends in Düsseldorf, where the workshops of famous painters-genrestone visits the Swiss on the origin of Benjamin Vautier (Benjamin Vautier, April 27, 1829 - April 25, 1898) and Germans Ludwig Knaus (Ludwig Knaus, (October 5, 1829, Wiesbaden - December 7 1910, Berlin). At the end of the three-year term of study, Nikolai does not return to his homeland, and he moved to France. He spent the next ten years of life in Paris, these years were the active period in the artist's work. He became one of the organizers of the Parisian "society of mutual auxiliary and The charity of Russian artists, "annually exhibited at the Paris Salon, only occasionally sending their work in St. Petersburg, worked for French illustrated publications. Most of the works written in France were sold there, so this part of the artist's heritage was" lost "in private collections And still unknown to a wide viewer. However, as historians write, living in Paris, Dmitriev-Orenburg in I did not break my work with my homeland, because I wrote, mainly the genre paintings of the Russian life.
Nikolay Dmitriev-Orenburg I.S. Turgenev on the hunt. 1879
But it was in France that he moved from genre to battle painting, the russian-Turkish war of 1877-1878 was the reason for the liberation of the Balkan peoples from the Turkish Iga and the patriotic sense of the artist. Some sources write that Dmitriev-Orenburg even went to the existing army. But, the sake of truth, it is worth noting that this was not. In the military encyclopedia released in 1911-1914, it was stated that "the artist was not prepared for the image of military life, since during the war he lived in Paris."
Nikolai Dmitriev-Orenburg at the well.
Nikolai Dmitriev-Orenburg portrait of the Russian volunteer. 1878
At the end of the war, Dmitriev-Orenburg presented several sketches of paintings depicting the moments of the military actions of the Russian Army, Emperor Alexander II. Having won the highest approval and thanks to a personal acquaintance with the Grand Prince Nikolai Nikolayevich, the artist from the emperor himself receives an order for a series of battle paintings dedicated to the Russian-Turkish war. From now on, the military theme becomes the main in the work of the artist. Art historians calculated that he wrote more than thirty paintings dedicated to the events of this war.
Nikolay Dmitriev-Orenburg seizure of Grievsky Reduta under the pleuts. 1885
To have the necessary material for work and opportunities for execution of the order, the artist in 1885 returns to St. Petersburg, then rides "to nature" in Bulgaria. The military encyclopedia writes that "this big work that demanded 9 years of life makes the artist with a worthy place in the history of our battle painting." After returning to the Motherland, the artist's painting began to appear at the annual art exhibitions and the criticism was always paid. Dmitriev-Orenburg's work, among whom - "Crossing through the Danube", "Delivery of Nikopol", "Taking Grivitsky Rindut", "Fights under the Plounna", "Announcement of Adrianopol", "Entry V. K. Nikolai Nikolayevich in Tarnovo", etc. , even received a positive assessment of the Batalist Praise, V. Vereshchagin.
Nikolai Dmitriev-Orenburg crossing the Russian army through the Danube at the Winning June 15, 1877. 1883
The Academy of Arts back in 1883 for the paintings "Fight at the Sestonal Heights of Emperor Alexander II" and "Emperor's entry to the city of Ploiste" awarded her former student-rebellion the title of a professor of painting. A series of ten paintings at the rally of Emperor Alexander III was placed in the Pompeev Gallery of the Winter Palace. And the picture "Presentation of Osman-Pasha Emperor Alexander II" was at one time in all illustrated magazines and printed on postcards.
Nikolay Dmitriev-Orenburg representation of Osman-Pasha Emperor Alexander II. 1890s.
The full name of the picture - the prisoner Osman Pasha who commanded the Turkish troops in Plevne, represent him to the imperial highness of the Emperor Alexander II, on the day of the tissue of the Pleven by the Russian troops on December 29, 1877.
However, the authors of the same military encyclopedia were very critical to the battle painting Dmitrieva-Orenburg. The encyclopedia wrote: "In these paintings, the artist is a representative of realism seeking to truthfulness and simplicity of the image, but, in the absence of strong talent and immediate battle impressions, he could not give his paintings either historical greatness or dramatic expressiveness. These are realistic and decent, but dry illustrations that do not attract attention to their artistic side. " It is worth noting that this encyclopedia was published after the death of the artist.
Nikolai Dmitriev-Orenburg General N.D. Scobel on horseback. 1883
Nikolai Dmitriev-Orenburg entry of the Grand Duke Nikolai Nikolayevich in Tarnovo June 30, 1877. 1885
Nikolay Dmitriev-Orenburg Military in the village. 1897
I also note that Dmitriev-Orenburg did not throw at all and his favorite genre-folk theme. In the 1880s, he introduced new works at exhibitions: "Near the village", "meeting", "peasant girl", "Resurrection in the village", alas, the fate of some of these paintings is unknown.
Nikolai Dmitriev-Orenburg meeting. 1888 Odessa Art Museum
Nikolai Dmitriev-Orenburg Sunday in the village. 1884
The famous canvas "Fire in the village" (1885), for example, acquired a sovereign itself emperor for his collection, now the picture is kept in the Russian Museum.
Nikolay Dmitriev-Orenburg fire in the village. 1885
Dmitriev-Orenburg in the field of book illustration was actively continued, collaborated with Niva magazines, Bee, North, "Picturesque Review", etc. In addition to the illustrations of Pushkin, Turgenev and Nekrasov, the artist created a large series of historical drawings, The events of the time of Ivan the Terrible, Peter of the Great and Catherine II. Moreover, critics celebrated "deep knowledge of the era and the ability to catch the psychology of historical persons." Presented below the engraving series executed
Nikolai Dmitrievich Dmitriev-Orenburg in 1898 in St. Petersburg at the age of 60.
Basic Sources - Wikipedia, Electronic Encyclopedias and magazine "Niva" for 1898.
Biography of the artist, creative path. Gallery of paintings.
Ivanov Sergey Vasilyevich
(1864 - 1910)
Ivanov Sergey Vasilyevich, Russian painter. He studied at the Moscow School of Painting, Sculpture and Architecture (1878-82 and 1884-85) at I. M. Sokinichnikova, E. S. Sorokina and in St. Petersburg Ah (1882-84). He lived in Moscow. Traveled a lot in Russia, in 1894 visited Austria, Italy, France. Member of the partnership of mobile art exhibitions (from 1899) and one of the founders of the Union of Russian artists. He taught in the Moscow School of Painting, Sculpture and Architecture (from 1900) and the Moscow Stroganovsky Art and Industrial School (from 1899). In the 2nd half of the 1880s - early 1890s. He worked on genre paintings (in which the landscape playing a big role), drawings and lithographs dedicated to the tragic fate of Russian peasants-immigrants and prisoners of royal prisons ("At the Ostrog", 1885, "on the road. The death of a migrant", 1889, - both paintings in Tretyakovsky Gallery). Participated in the revolutionary events of 1905 and one of the first among Russian artists turned to the topic of the revolutionary struggle of the Russian peasantry and the proletariat ("Riot in the village", 1889, "Execution", 1905, - both paintings at the USSR Revolution Museum in Moscow; "Stage" , 1891, the picture is not preserved; the etchings "execution", "at the wall. Episode of 1905," both - between 1905 and 1910).
From 1895 I. appeals to historical painting. The life of the people and the features of a national character, their connection with the coming fates of Russia is such a global basis for its historical paintings, then embodying the natural power of the people's movement ("Universion", 1897, Museum-Apartment I. I. Brodsky, Leningrad), then with great persuasiveness and historical accuracy (sometimes not without the elements of social satire) recreate household scenes of the past ("the arrival of foreigners in Moscow of the 17th century", 1901, "Tsar. 16th century", 1902, - both in the Tretyakov Gallery). In the work of I. Social and critical orientation is combined with the search for new composite and color solutions, emotionally enriching the expressive possibilities of genre and historical painting. Also performed illustrations.
LIT: Granovsky I. N.., S. V. Ivanov. Life and creativity, M., 1962.
V. M. Petyushenko
BSE, 1969-1978.
______________________________
Sergey Vasilyevich Ivanov was born on June 16, 1864 in the city of Rouze, Moscow Gubernia at the impoverished noble family. Children's impressions of their residences on their ancestors on the paternal and maternal line in the Voronezh and Samara province were preserved in his memory and in the future they were embodied in creativity.
His ability to draw it very early, but before entering the men, he had to study in the Wheel of Parents in the Moscow Meeting Institute, where drawing and drawing was taught. Meeting of the future artist with P.P.Sinbatov, who ended with the Academy of Arts, significantly changed his life. Using his advice, he began his own copying, and then in 1878 filed documents to the Moscow School of Painting, Drainies and Architecture, which at first visited as a solo luster. In 1882, graduating from the scientific course and figured class of the school, he was transferred to the St. Petersburg Academy of Arts, but in 1884 he returned to Moscow. The distinctive character qualities of Ivanov - independence and determination, played not the last role when he made a very bold act. In 1885 he left the school, without even starting prom. Employed with life topics, a restless, striving for new impressions, he was not embarrassed that without a competitive picture, he would only receive a testimony for the title of drawing teacher. The idea of \u200b\u200bmaking a big journey in various provinces of Russia occupied much more. The artist wanted to see with his own eyes, as the fate of peasant-immigrants, huge crowds moving to the east of Russia, after P.A.Stolepin's reform, in the hope of gaining land and the best life. This is a great trip to Moscow, Ryazan, Vladimir, Samara, Orenburg and Voronezh province in the spring of 1885. It was the result of it a whole series of drawings, etudes and paintings about the life of immigrants, among them the most successful in a picturesque attitude was a small canvas "migrant in the car". The picture appeared at the student exhibition of 1886 and was bought by V.D. Polenov, who treated a novice painter with great attention and care. I must say that Ivanov, also throughout life, experienced friendly attachment to Polenov. In the 1880s, he was a frequent guest in his house, participating among other young people in Polenovsky drawing evenings. "The migrant in the car", on the freshness of perception close to the etude, was written in the open air, not without the influence of Polenov - a wizard of plenary painting. The work struck the vitality of the scene, bright sunlight, and skillfully captured the image of the old woman sitting in the car. A little later, other etudes appeared and finished works, among them: "Migrants. Single "," On the road. The death of the immigrants. " In them, the theme of hopeless peasant life was brought to the ultimate degree of social pointedness and sounds also powerful, as in the best works of mobile users. Picture "On the road. The death of the migrant "was adopted at the XVII mobile exhibition, held in 1889.
In addition to the artistic abilities of Ivanov possessed the scientific warehouse of the mind. During travel, he always produced interesting ethnographic, architectural, household sketches and scientific descriptions. In the summer of 1886, in the Samara province, he came across the Mogilnikov of the Stone Age and became seriously interested. Over time, he collected a curious paleontological collection, some of which was presented by V.D. Polenov and posted in the estate "Bores". Scientific and artistic interests prompted Ivanov to seriously engage in photography. Many pictures made during travel, then used in the work on historical pictures. The artist was a valid member of the Russian photographic and geographical mining society.
S.V. Ivanov traveled a lot. In the summer of 1888, on his initiative, the joint with A.E. Archipov, S.A. Vinogradov and E.M. Khruzlov's trip along the Volga was organized. From this trip, a lot of drawing and etudes have been preserved. In August of the same year, Ivanov rides with an expedition to the Caucasus, with the aim of visiting little-known areas and the achievements of the tops of Greater and Small Ararat. In the book of participants of the expedition - E.P. Kovalevsky and E.S. Markov "On the mountains of Ararat", published in 1889 there are numerous drawings of S.Ivanov. In 1896, he found himself in Feodosia, and then traveled to Dagestan. In 1898, he traveled through the Vyatka province, then proceeded to the Kalmyk and Kyrgyz steppes and Lake Baskunchak. In 1899 and 1901 he again pulls on the Volga. In 1894, he found himself in Europe, visiting Paris, Vienna, Venice, Milan and Genoa, but the Milee was ancient Russian cities - Rostov, Yaroslavl, Vologda, Zaraisk, in which he was repeatedly.
Since 1889, the artist has seized the theme of the prisoner for several years. Having received the official permission to visit the prison, Ivanov spends almost all the time in prisons, sketching there. This is told numerous etudes with the image of harsh and shaved population. In 1891, during the month, he visited the Saratov forwarding prison daily. Then moved to Atkarsk, where prisoners also contained, he settled in the house opposite the prison and writes the paintings "Stage" and "Tatar on prayer". The latter is depicted in the entire growth of Muslim in the Arresthouse bathrobe and a tubeette, which creates its evening namaz.
Even working on a series of illustrations to the two-volume edition of M.Yu.Lermontov, undertaken by P.P. Konchalovsky in the publishing house Kouchner, he continued his "Arrest series". Of the fifteen illustrations, almost everything, in one way or another, is associated with this topic. Illustrating the poem: "Desire", "prisoner", "neighbor," he did not strive to convey the romantic character of Lermontov's poetry, and they interpreted them literally and reliably, using the simulator and the sketches that were carried out in Makaryevsky Ostrog.
In 1894, wanting to get new impressions, as well as update his art, which, in his opinion, went into a dead end, S.V.Ivanov and his wife traveled to Europe. The artist intended to hold a whole year in France, living in Paris, but his impressions received from this city and the state of modern Western art were deeply disappointed. He wrote about this trip to the artist A.A. Kiseliev: "Good now in Russia. Although I'm just a month here, in Paris, but I start to raise - there is no donor. I saw salons and other exhibitions, and they did not give me what I expected, here from 3,000 things found only 100, where you can stop ... Amazing the lack of life. " In another letter to the same addressee, he stated with sadness: "There is no longer any meaning to go here now and go here." After three months, Ivanov returned to Moscow.
However, this trip did not take a gift, a sharpened sense of love for a homeland, floating in Europe and modern French painting, no matter how negatively did not perceive her painter, reflected in his work. Since 1895, he started the historical genre, and his manner of writing would noticeably liberated. The study of the "history of the Russian state" N.M. Karamzin also contributed to the hobby of history.
The first plot interested in the artist was associated with the history of troubled time. A large cloth called "Smoot" was written in 1897, in the old town of Zaraysk. In the picture in the expressive poses, the crowded crowd appeared, serving his cruel trial over the grivy merry. Working on it, the artist sought extremely accurate to recreate the era, depicting genuine costumes and ancient weapon in the work: shields, sabers, secrei, which he previously sketched at the Hermitage Museum. In the Novgorod Bazaar, he managed to purchase several old things, helped the historical works that he carefully studied: "Talking the mass and german about the troubled time in Russia" and "the lesions of contemporaries about Dimitri Samozvoveta." However, despite the careful execution, this work, as Ivanov expected, did not accept any exhibition.
But the next - "in the forest. Stephen's memory of Perm and other enlighteners of foreigners "in which he found a successful composite form for the transfer of a deep Christian idea of \u200b\u200bthe educational name of the pagan tribes was taken to a mobile exhibition of 1899, then he became a full member of the commember of the Mobile.
At the same years, in parallel Ivanov worked on the illustrations of the works of A.S. Pushkin, released in 1898-1899 in the Publishing House of Kouchner. He was attracted to the story of the "Captain's Daughter" and "Songs about Oleg", which he chose to illustrate, repel Russian history. Especially occupied by the artist, the image of Emelyan Pugacheva. For him, he wrote several portraits, including his "self-portrait in the header", called angry. But the best thing was still the illustration of the prince Oleg and Kudesnik.
In 1901, S.V.Ivanov caused great surprise, showing at the exhibition 36 of his new creation - the picture "The arrival of foreigners. XVII century ", which P.M.Trevyakov bought immediately before the opening of the exhibition. It seemed that it was a canvas, as well as the following - "King. The XVI century "was written by another author. Unprecedented composite freedom and the use of bright, practically local colors made a picture of an unusual and decorative. Huge fluffy snow drifts, small log houses, churches, written with a great feeling, the transfer of frosty air and patriarchal comfort allowed the scene to fill in poetry from the past and give her reality. Very expressive figures and cut-off old man's face frame in a long fur coat with a large bunch of bagels in hand and a young person, which he hurries to lead. Writer and publicist G.A. Machet congratulating the artist with this picture wrote: "As a colossal genius of Viktor Vasnetsova, plunging into the high native epic gives us him in the images, recreating the ideas of the people, his concepts, his" beauty ", teach us to understand us" The People's Soul "- So, in your picture," arrival of guests "will recreate our past and distant ... I was breathing with that, wild Moscow, - I could not tear the eye from this harsh Varvara, who wore a stupid frightening Fedor from the enemy" Eyes ".
In 1903 Ivanov visited the village whistling Dmitrovsky district of the Moscow province and immediately captured a quiet picturesque place on the banks of the Yahroma River. He lived here for the last seven years, building a small house and workshop in his project. Here he wrote one of the best paintings "Family". It is written on a big canvas, which, of course, indicates the importance that the artist attached to his work. It shows the string of people marching along the fluffy snow through the whole village with special solemnity and greatness. The canvas is fulfilled in the free, pastal style of letters using a bright colorful palette, in which white, yellow, red and blue tones prevail. It affects the optimistic and life-affirming attitude. A huge role in the disclosure of the emotional structure of the work performed a landscape. He truly turned into one of the main actors. At nature, as well as the sketches of the peasants, Ivanov wrote in winter at the please, constructing for this purpose specifically on the sleigh heated workshop.
In 1903, S.V.Ivanov took great part in creating the creative association "Union of Russian Artists". To a large extent, it originated due to its organizational qualities and combat, decisive character. Immediately after the appearance of the "Union", the artist left the partnership of mobile art exhibitions and until the end of his days was exhibited only here. The passionate character of Ivanov, who literally "threw it on the barricades," celebrated everyone who knew him. During the revolution of 1905, he not only showed the sympathy of the rebel, but, like V.A.Serov, created a lot of graphic and picturesque works on this topic, including the "Execution" picture.
An interesting characteristic of S.V.Ivanov, another student of the school, gave M.V.nesters in his memoirs. He wrote: "The view of him was a rebel student, torn, long legs, a whirl head. Hot ardent man, sincere hot hobbies. Always helped speech with his gesture, deliberately passionate. The straight, immaculately honest, and attracted everything in it ... Ivanov, seemingly harsh, often showed his youthful burdens and energy, infecting others. He loved to be a covod in the courts, but if some enterprise did not succeed, then he dug. Sometimes his comrades for it laughed at him. The Bunctric Natura "Hello Militress" ... Forky and hot, he sometimes made the impression of a man of a sharp even despotic, but a very deep and soft nature was hidden under it. " This beautiful verbal portrait complements the visual, executed in 1903 by the artist I.E.Braz. A view of a person with a great sorrow and stress looking into this difficult world is directed from it.
S.V.Ivanov suddenly died of heart breaking on August 16, 1910 in the village whistling, where she quietly lived in the last years.
The artist of bright dating, Ivanov was born in Ruz by the Moscow province in the official of the official. He studied at the Moscow School of Painting, Sculpture and Architecture (1878-1882, 1884-1885) in I.M. Polyanishnikov and the Academy of Arts in St. Petersburg.
From the very beginning, the focus of its works is quite obvious: the history of Russia in the past and present. The first picture "On the road. The death of the immigrants "(1889), which brought fame to the artist, was written in the style of early creativity of the mobile phone, but the attitude towards what is happening is already different. The death of the breadwinner, the loneliness of the orphaned family - is emphasized by the deserted landscape of the scorched steppe. In the picture, the artist actively used artistic compositions of the composition. Continuing traditions, Ivanov sought to the art of an exploral, sensitively transmitting "the beat of the human soul", which was embodied in the pictures of the life of the peasants ("to the landowner with a request", 1885) and the "ARESTANT" topics ("Stage", 1892).
Searches for Ivanov new composite and color solutions - unexpected angles, the decorativeness of flat color spots led the artist to participate in the creation of the Union of Russian artists.
In 1900, the effect of impressionism is becoming increasingly becoming increasingly in the work of S.Ivanov. Transmission of the light-air medium highlights the main objects of the compositions. The works of the artist characterize the concise-pointed interpretation of images.
Since the end of the 1890s, the artist worked mainly above the paintings from the Russian past. In the past of Russia, the artist attracted the firstly acute dramatic moments, the power of Russian national characteristics ("Moskvians. XVI century", 1903), the beauty of ancient life ("Family", 1910). The evil irony was imbued with the work of Ivanov from the life of the Bar, Boyar, demonstrating the historical roots of such phenomena, like a dormant bureaucratism, incense. In 1902, the goal at the exhibition "Union 36" Ivanov presented the picture "King. XVI century. Winter day, the Moskovskaya Street moves the front venture, at the head of which the gridney solemnly march (guards) in red caftans. On a superbly decorated horse, the king is rich in rich clothes, thick and clumsy, with raised up, pompous Lipom. But Luli, in the attack of a subdigital feeling, boring into the snow, cannot appreciate the "Moment's Magitia". Using the reception of the "calorized composition", the artist brought the image as much as possible to the viewer, as if creating an "effect of presence" inside. This work distinguishes the bright color system, expressiveness of silhouette solutions, free painting.
In search of a new picturesque language, Ivanov made an innovator of the historic genre: his canvases resembled frozen kinocadras, exciting the viewers with their dynamic rhythm ("The arrival of foreigners in Moscow of the XVII century", 1901). The last work of the artist was the cycle of the events of 1905 ("Execution").
Canvas, oil. 71x122 cm
State Tretyakov Gallery, Moscow
Silent was the life of the Russian Poreform village. The increasing destructing of the peasantry, frequent crocheries, an inexorable hand of hunger forced the inhabitants of many provinces of Russia to leave their poor, but the usual native shelter. "As a fabulous dragon kept the need for their claws, the masses drove them, Shatal, tipped and sulfa," said the village of the village writer N. Teshov. Pursued by the need, forns and arbitrariness, the peasants went to the city, to work. Many rushed to new lands, most often in Siberia to gain salvation from hunger and needs on her immense expanses. Migrants, burdened by a pitiful Skarb, were rising whole villages from the emerged places, at which their fathers, grandfathers and great-grandfathers were noticing, and long rimpets were stretched on the dusty roads of Russia from Kurskaya, Tambov, Penza, Yaroslavl, Chernihiv province. Fews kept testing a heavy path. Diseases, hunger and cold, arbitrariness of royal officials, full defenselessness - that's what was from the lotion from them. Death ruthlessly mowed rarely changing rows of immigrants. Often, having spent on the road all means, they returned back, and those who reached the place, expected the same poverty and the same orders and officials as in their homeland.
The so-called migrating issue was worried in those years of many representatives of advanced Russian culture and art. Another V. G. Perov, the investigator of critical realism, did not pass by this topic. Known, for example, his drawing "Death of the Migrant".
A painful impression was made by immigrants on A. P. Chekhov, who drove in 1890 on the road to Sakhalin through the entire Siberia. Under the influence of conversations with Chekhov, he traveled along the Volga and Kame, to the Urals, and from there to Siberia and N. TV. "In the Urals, I saw the exhaust life of our immigrants," he recalled, "almost fabulous adversity and the folk guy of the people." A series of tessel stories, drawing the fate of these people, is the closest analogy to the picture of Sergey Vasilyevich Ivanova "on the road. The death of the immigrants. "
The good half of his life spent Ivanov on traveling in Russia, carefully, with a living interest getting acquainted with the life of many-sided labor people. In these infrequent wanders, he met with the life of immigrants. "Many dozens of versts have passed with them in the dust of the roads, in the rain, nozza and the scorching sun in the steppes," they tell Ivanov's friends, "I spent a lot of stay with them, filling your albums with drawings and notes, a lot of tragic scenes passed before his eyes." The powerless to help these people, the artist with pain thought about the immense tragicity of their position and the deceptivity of their dreams of "happiness", which was not destined to gain them in the conditions of Tsarist Russia.
In the late 1880s, Ivanov was conceived by a large series of paintings, consistently telling about the life of the immigrants. In the first picture - "Rus goes" - the artist wanted to show the beginning of their path when people are still cheerful, healthy and full of light hopes. The following paintings were supposed to introduce the viewer with the difficulties of the road and the first deprivations. The series was supposed to be dramatic scenes of suffering and the tragic death of immigrants. However, only a few links of this cycle were brought by the artist before completion. Ivanov embodied in artistic images only the most characteristic and most cracked life impressions.
One of the final pictures of the cycle is "on the road. The death of the migrant "is the strongest work of the conceived series. Other works on this topic, created earlier and later by the writers and artists, did not reveal so deeply and at the same time so simply the tragedy of immigrants in his entire terrible truth.
Plowed heat steppe. Easy Maorevo extinguishes the horizon line. Implancing it seems to be a desert land that scursed by the sun. Here is a lonely migrating family. It can be seen, the last extreme caused her to stop at this naked place, not protected from scoring sunlight. The head of the family, the breadwinner died. What awaits an unfortunate mother and daughter in the future - such a question unwittingly ask himself every look at the picture. And the answer is clear. He is read in the mother's figure open on bare earth. There is no words and there is no tears from a woman killed. In a silent despair, it scrubbed the ground with curved fingers. We read the same answer and in a confused, blackened, as if the extinct corner, the face of the girl, in her eyes frozen from horror, in all her a depleted exhausted figure. Hope on no matter how much help is not!
But quite recently, life was warm in a small carriage house. He worked out a bonfire, a meager dinner was preparing, a hostess was damned. The whole family dreamed about the fact that somewhere far, in the unknown, blessed region, will soon begin for her new, happy life.
Now everything crushed. The main worker died, obviously fell and a depleted horse. No longer needed more clashes and arc: they are carelessly thrown near the cart. Forecast fire in the hearth. The tilted bucket, bare sticks of an empty tripod, elongated, as if hands, in a dumb longing empty robbery, - how it all is hopelessly sad and tragic!
Ivanov consciously sought this impression. Like Perov in the "wires of the dead man," he closed the grief with a narrow round of the family, abandoning the figures of sympathetic women who were in the preliminary sketch of the picture. Wanting to emphasize the doomes of immigrants even more, the artist decided not to enter the picture and the horse, which was also in the sketch.
The power of Ivanov's painting is not exhausted by the truthful transmission of a particular moment. This work is a typical image of peasant life in the Boreframe of Russia. That is why it was encountered by the evil moral of the reaction criticism, which claimed that the death of immigrants in the path of the phenomenon is random and not typical and that the painting content is invented by the artist in the walls of his workshop. Ivanova did not stop sharp attacks of the enemies of advanced, vital art. His work was only one of the first results of a deep study by the artist of the social truth of the modern Russian life. For her, many other significant works followed, in which not only the suffering of the people found their expression, but also the angry protest against the oppression of exploiters in the masses.
Sometimes it is necessary to argue with a different kind of monarchists who swear Russian Bolsheviks for the fact that they overthrew the king (a strange thing, I know that the king himself beaten from the throne during the February bourgeois revolution), and destroyed a happy peasant life, uniting peasant farms in mechanized The collective farms (those the most collective farms that they sodged the whole War from the front to the front).
They continue to resist when they tell them about lawlessness and poverty in which the peasants were dipped by the German kings and their Masonic-liberal environment, about regular hunger in Tsarist Russia, which, due to climatic conditions and low development of the productive forces of Sellian (Power of animals, soha, manual labor ) Repeated every 11 years, and that Russian beshevism as a folk rebel movement was generated by objective causes. They say it is disinformation and propaganda "Occubated Sovkov."
I do not want to discuss the shortcomings and the advantages of the "white" and "red" movement ... This is a separate and heavy conversation for the Russian patriot. I wanted to go on the line of the 19th century and look at the life of a simple Russian peasant with eyes of the eyewitness.
Fortunately, the objective documents of that time were preserved to the present days - these are paintings by our famous Russian artists, which are difficult to suspect in sympathies to Soviet power or socialism.
Challenge the history of Russian life captured by them - it is impossible.
Perov. "Tea drinking in Mytishchi" 1862
A year ago, serfdom was canceled. Obviously, these beggars - Father and Son. Father on prosthesis. Both are torn to extremes. They came to the father behind the alms. And where else to go?
The attitude of this father to the guests can be seen in the picture. The servant is trying to drive them out.
In the picture of the boy for ten years. October coup will occur in 55 years. It will then be years - 65. It is hardly to live up to it. The peasants were dying early. Well, what can you do ... is it a happy life?
Perov. "Wires of the Deader" 1865
And so the peasants buried each other. I want to draw monarchists' attention to the happy faces of children.
52 years left to the Russian revolution.
Vladimir Makovsky. "Little Sharmancans" 1868
This is already more urban landscape. Children earning a living. Peer in their ordinary Russian faces. In my opinion, their condition is not necessary. The boy is 9-10 years old, the girl is 5-6 years old. 49 years left before the Russian revolution. God knows him, they are unlikely to live.
Vladimir Makovsky "Visit of the Poor" 1873
This is no longer a village, but a small county Russian town. The picture shows the interior of the premises of the poor family. This is not a complete nightmare. They have a stove, and they are not completely dysfect. They simply do not know that they are happy, as they live in an autocratic state.
Girl, in the picture, 6 years 6. The bundle of society begins to achieve a dangerous magnitude. 44 years left to the Russian revolution. She will live. Be sure to live!
Ilya Repin "Burlaki on the Volga" 1873
No comments. 44 years left to the Russian revolution.
Vasily Perov "Monastyr Trapez" 1875
Modest member of the servants of God.
By the way, I read on the Internet from one "scientist historian" that the church showed the maximum care of her flock.
The degradation of the church, as an organization is obvious. 42 years left to the Russian revolution.
Vasily Perov. Troika 1880
Small children, like a craving force, dragged with water. 37 years left to the Russian revolution.
Vladimir Makovsky. "Date" 1883
Son works aside. Mother came to visit him and brought a hotel. She looks at her son with compassion. On the street or late autumn, or winter (mother is dressed warm). But the son is worth barefoot.
34 years left to the Russian revolution. This boy should live.
Bogdanov Belsky. "Oral account" 1895
Pay attention to the clothes and shoes of simple peasant children. And nevertheless, they can be called good luck. They are studying. And they learn not in church-parish school, but in normal. They were lucky. 70% of the population was illiterate. 22 years left before the revolution.
Then they will be about 40 years. And after 66 years, children of these guys will challenge the most powerful state of the world - the United States. Their children will be launched into human space and experience a hydrogen bomb. And children, these children will already live in two-three-room apartments. They will not know unemployment, poverty, typhoid, tuberculosis and will commit the worst crime - the destruction of its people's socialist state, an iron curtain and its social security.
Their great-grandfathers will be fulfilled in the Bardak of liberalism, register on labor exchanges, lose apartments, will fight, spread, spawn and smoothly approach the life that can be described as "tea drinking in Mytishchi."
The result of life, which is consistently displayed in the pictures of the above, is the picture:
Makovsky "January 9, 1905" 1905
It is a bloody sunday. Shot of workers. Many Russian people died.
Somebody, looking at the picture at the top, will argue that the protest of people was provoked by the Bolsheviks? Is it really happy and a satisfied person with a happy rally? What is it here "white" and "red"? The split in society was caused by objective reasons and converts into a massive fierce protest. Poverty, degradation of all branches of power, bourgeois, illiteracy, illness ...
Which of them had to be convinced who agitate ?! ..
What is Lenin and Stalin? .. Split and collapse in society designated such that it was impossible to manage this state.
For the last 20 years, Liberals tell us on TV that they say, bloody Sunday is the Soviet myth. There was no shot. And Pop Gapon was a normal kid. Well, the drunken men gathered on the square, well, Bugu was arranged. Cassed policemen came. Stretched into the air. The crowd stopped. Stopped with men and ... diverged.
Then what to do with the picture of Makovsky, which was written in this 1905? It turns out that the picture is lying, but Pozner, Svanidza and Novodvorskaya speak the truth ??
Ivanov Sergey Vasilyevich. "Execution". 1905 year
Ivanov Sergey Vasilyevich. "Riot in the village" 1889
S.V.Ivanov. "Ride. Punitive detachment. " Between 1905 and 1909.
Repin. "Propagandist arrest" 1880-1889.
N. A. Yaroshenko. "Everywhere Life" 1888
This is such a sad excursion ...
No one has selected anyone. The monarchy has been degenerated biologically, in the conditioned military could not manage the country and passed Russia to Masons-Westerns. Two months before the capture of winter, Esiers, who fell in the Masonic temporary government said - "We do not feel any threat from the Bolsheviks." But Russian Bolsheviks still took power.
What was the Tsarist Russia at the beginning of the 20th century? It was a beggar agricultural country, with a primitive system of the state device, with a damn not a combat-ready army, an illiterate, challenging Russian people who rotted the estate system and the German weak king-degenerate, terribly distant from the labor nation.
Where in 1913 they beat records for the sale of bread abroad, and the lapot Russian people fluff with hunger.
By 1917, it was killed by the First World War Ruins with the inverted industry, who stopped by transport, with a dishefering army and cities dying from hunger!
This was a poor, poor country where 2 power plants worked and the supply of electricity on the King residence and its toilet bowls. In addition, in this fucking class system there was a horde of officials, bureaucrats, landowners, capitalists and other German-Polish-French-Jewish, Rusophobian liberal-Masonic Mrazi, aware of the nearby king and using it at the moment when it is necessary to shoot a hundred other Russian workers, then The case of rewinding against all these inhuman conditions!
And if the second Russian revolution had not happened, we would collectively lost the possibility of flying into space, and victory in the Second World War, and industrialization, and a nuclear power plant with lunas, and thermonuclear bombs and our parents were unlikely to live before their birth.
By the way, the White Guard Army, they spoiled three times on the king, monarchy and capitalism! And a hundred times spared on the employment Russian people!
And if it were not for 17 years and not the victory of the Russian workers' and peasant army (Russian rebel movement), then Russia as a state would have ceased to exist and would become the colony of Entente and the United States (supplied white movement, tanks, weapons, food and money), I broke up into the Siberian-Urals, DVR, internecine Cossacks and other bunch of independent anything significant principalities that the place with Kolchak_yud-nothing would divide the power of 50 years old.
Kolchak, though the Russian officer with an admixture of blacks, but there was such a wonderful guy that England was appointed no less "Supreme Ruler of Russia", and at the same English resident. But here the peasants of his "good", as they did not understand. And they decided that he would get quite deserved.
And if it were not for the Russian revolution and "bad" Bolsheviks, who gathered the country and the Russian nation from Lochmotyev by 23 and turned it into one large military industrial camp, we would certainly crawled on the knees from Western countries, for the right to life under the sun.
Russian empire
scene paintings
Sergey Vasilyevich Ivanov (4 (16) June, Ruza - 3 (16) August, Village Svistuch (now Dmitrovsky district of the Moscow region)) - Russian painter.
Biography
early years
The last period of training includes paintings "Patient" (1884, Location Unknown), "Kabak" (1885, Location Unknown), "To the landowner with a request" (1885; Location Unknown), "Ostrog" (1884-1885, GTG ), "Agitator in the car" (1885, HCH). By this time, it is the beginning of work on the theme of the reprimacy (cycle 1885-1890).
Migrating theme (1885-1890)
Already in the last courses, Sergey Ivanov appeals to acute social problems. In particular, his attention attracted a phenomenon characteristic of the Russian village of the last quarter of the XIX century: in the second half of the 1880s, the relocation began to Siberia. After the reform of 1861, there was a need to solve the land issue. The government saw a way out in the resettlement of landless peasants to this extensive little-saved edge. Over the past decades of the XIX century, over the past decades of the XIX century, several millions of peasants left their insignificant putors, the wretched horses and went to search for "fertile land." Alone, with wives and children, in small parties, having to do with them the scarb, on foot and on the knot, and if you're lucky, on the railway, they rushed, inspired by utopian dreams of "Belovodye" or "White Arapia", towards Heavy tests and most often severe disappointments. The tragedy of landless peasants who left their original places, from the central provinces on the outskirts of the country - to Siberia and hundreds of darling on the road, are the main idea of \u200b\u200bthe cycle of Ivanov's paintings. He captured the scene of peasant life in deliberately dull, "mournful" by coloring pictures about migrants.
As requested in the Moscow Art Society, a testimony for "travel and residence" in a number of provinces from Moscow to Orenburg, Ivanov parted with the school, without receiving evidence of the title of drawing teacher. From that time, Ivanov becomes a kind of chronicle of the tragic phenomenon in the life of the Russian poreform peasantry.
Art critic Sergey Glagol (pseudonym S.S. Golowyshev) So tells about this period of life and creativity Ivanova:
"... Dozens of Luzst passed with immigrants in the dust of Russian roads, in the rain, bad weather and the scorching sun in the steppes, had a lot of stay with them, filling his album with drawings and notes, a lot of tragic scenes passed in front of his eyes, and a number had a row in his head Pictures that are really able to draw Russian relocation epic. "
In the pictures and drawings of Ivanov appear terrifying scenes of replanding life. Hope and despair, disease and death next to people, weird in the expanses of Russia - "Migrants. Walkers "(, BHHM. M. V.Nesterova)," Reverse Migrants "(1888, National Gallery of the Komi Republic) and the first serious picture of the artist" On the road. The death of the immigrants "(, GTG), who brought fame to the young artist.
The next section of the social epic of Ivanov was the "Arrest series". Work on it was sometimes closed with a "migration cycle"; At the same time, the artist created: "Running", sketch (1886, GTG), "Riot in the village" (, HCHSIR), "Sending of the Arrests" (, HCMSIR), "Broadcasting" (, Location Unknown). The painting "Stage" (, the picture was killed, the option in the Saratov State Art Museum. A.N. Kadishcheva) as if sums up the "artanta series".
At the turn of 1889-1890, Sergey Ivanov, along with Serov, Levitan, Korovin - a recognized leader among Moscow artists of the younger generation. At the same time, he visited the Polenovsky "Drawing Evenings", which were organized by V. D. Polenov and his spouse, and found support and approval there.
Period of historical works
From the mid-90s, a new period begins in the work of the artist, related to the creation of historical works. In the historical painting Ivanov, there are features relating to him with the art of Surikov and Ryabushkin. The painter is understandable to the condition of the excited mass in the sharp drama moments ("Smoot", the Museum-Apartment I. I. Brodsky); "By the sentence of the Wern", a private meeting), he entails the power of Russian folk characters and he, like Ryabushkin, finds beauty in the phenomena of popular life, approves the understanding of this beauty by a Russian man. Ivanov sensitively catches the picturesque searches of time; His works of these years acquire special colorful sonors.
However, the search for otherwise the expression of the internal state continued. Ivanov, unsatisfied (according to him) "cute scenes", which prevailed in the domestic genre of the Movies, sought to the art of an exploral, sensitively transmitting "the beat of the human soul". He gradually, maybe under the influence of work at the pleaire changed its drawing and palette. This happened in, during the years of creating a union of Russian artists, in which Ivanov played a certain role. The artist turned to the historical genre, wrote portraits of his loved ones, illustrated books. He remained an artist-realist, despite the coming times of searches, modern, refusal of objective art.
Ivanov acted as an innovator of the historic genre, the component of the episodes of the Russian Middle Ages - in the spirit of Modern style - almost like kinocadras, exciting the viewers with their dynamic rhythm, the "presence effect" (the arrival of foreigners in Moscow of the XVII century); "King. XVI century "(1902), Muscovites campaign. XVI century, 1903). In them, the artist looked in a new way to the historical past of the Motherland, depicting the heroic moments of events, and the scenes of life from ancient Russian life. Some images are written with a touch of irony, grotesque.
Revolutionary years - recent years
Later, the artist is working on the picture "Rout! Punitive detachment "(-, GTG).
He taught in the Stroganovsky Art and Industrial School (1899-1906), in the Moscow School of Painting, Sculpture and Architecture (1900 / 1903-1910).
He was a member of the exhibitions of the Moscow Society of Arts Fans (1887, 1889, 1894), Movie Partnerships (1887-1901), "36 artists" (1901, 1902), "World of Art" (1903), Union of Russian Artists (1903-1910).
Fruitfully worked as a master of etching and lithography, as well as illustrator of works by N.V. Gogol, M.Yu. Lermontova, A.S. Pushkin and others.
Ivanov died at the age of 46 years from the heart attack 3 (16) of August of the year at the cottage in the village of Svistukha on the shore of the river Yahroma.
Gallery
Literature
- "1989. One hundred memorable dates. " Art calendar. Annual illustrated edition. M. 1988. Article V. Petrov.
- A. F. Dmitrienko, E. V. Kuznetsova, O. F. Petrova, N. A. Fedorova. "50 brief biographies of the masters of Russian art." Leningrad, 1971 Article A. F. Dmitrienko.
In the last courses of the Moscow School of Painting, Basania and architecture, Sergey Ivanov appeals to acute social problems. In particular, his attention attracted a phenomenon characteristic of the Russian village of the last quarter of the XIX century: in the second half of the 1880s, the relocation began to Siberia.
In the image: "Migrants. Walkers. " 1886.
After the reform of 1861, there was a need to solve the land issue. The government saw a way out in the resettlement of landless peasants to this extensive little-saved edge. Over the past decades of the XIX century, over the past decades of the XIX century, several millions of peasants left their insignificant putors, the wretched horses and went to search for "fertile land."
In the image: "Movement in the car", 1886.
Alone, with wives and children, in small parties, having to do with them the scarb, on foot and on the knot, and if you're lucky, on the railway, they rushed, inspired by utopian dreams of "Belovodye" or "White Arapia", towards Heavy tests and most often severe disappointments. The tragedy of landless peasants, who left their original places, from the central provinces to the outskirts of the country - to Siberia and hundreds of diligent on the road, are the main idea of \u200b\u200bthe cycle of Ivanov's paintings. He captured the scene of peasant life in deliberately dull, "mournful" by coloring pictures about migrants.
In the image: "On the road. The death of the immigrants. " 1889.
Since the mid-1890s, a new period begins in the work of the artist, related to the creation of historical works. In the historical painting Ivanov, there are features relating to him with the art of Surikov and Ryabushkin. The painter is understandable to the condition of the excited mass in the sharp drama moments ("Smoot", 1897, Museum-Apartment I. I. Brodsky); "According to the sentence of Wern", 1896, a private meeting), it entails the power of Russian folk characters and he, like Ryabushkin, finds beauty in the phenomena of popular life, approves the understanding of this beauty by a Russian man. Ivanov sensitively catches the picturesque searches of time; His works of these years acquire special colorful sonors.
In the image: "Draoma time" (Tushinsky camp)
Ivanov acted as an innovator of the historic genre, the composition of the episodes of the Russian Middle Ages - in the spirit of Modern style - almost like kinocadras, exciting viewers with their dynamic rhythm, the "presence effect" (the arrival of foreigners in Moscow XVII century, 1901); "King. XVI century "(1902), Muscovites campaign. XVI century, 1903). In them, the artist looked in a new way to the historical past of the Motherland, depicting the heroic moments of events, and the scenes of life from ancient Russian life. Some images are written with a touch of irony, grotesque. In 1908-13, he completed 18 works for the project "Pictures in Russian History".
In the image: "Yuriev Day". 1908.
In the image: "Troops of Moscow Rus", XVI century, painting 1903.
In the image: "Looking service people", no later than 1907
The peculiar features of Nervous "ProtoExpressionism" with a special force talked in his images of the first Russian revolution, including in the famous film "Execution" (1905, the Historical and Revolutionary Museum "Red Presnya", a branch of the HCHSIR), which struck contemporaries with the desperate sound of protest.
During the 1905 armed uprising in Moscow, he was his witness and participant - assisted with the wounded in street fighting students right in the building of Moscow University on Mokhovaya Street. His drawings of gendarmes and the Cossacks have been preserved, which during the uprising were quartered in the Manege, near the Kremlin.
Later, the artist is working on the picture "Rout! Punitive detachment "(1905-1909, GTG).
In the image: go! Punitive detachment.
In the image: Family, 1907
In the image: Arrival arrival
In the image: German, 1910
In the image: Riot in the village, 1889
In the image: Ostrog. 1884 year
An image: arrival foreigners. XVII century. 1901 year
In the image: Boyars crested. 1909 year
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