Historical and battle genre in painting. Historical and battle genre in painting and graphics

Art has always existed and will exist. This is not just a manifestation of creativity, it is the soul of one person and an entire nation. Everyday emotions and things that can only be felt once can be displayed here. Paintings, sculptures, music - all this can tell us about the history of a people, about their experiences and doubts. This is most clearly conveyed by the battle genre in fine art.

Concept

This term appeared during the Renaissance. Reaches its greatest popularity in the 17th and 18th centuries. The battle genre in fine art tells about war and military life. Paintings of this kind depict battles on land, at sea, as well as soldiers’ campaigns. The artist’s main task is not just to show scenes or heroics of the war, but also to reveal the true meaning and historical context of the events.

Indirectly, the battle genre in fine art is historical. But scenes of military life can be classified as an everyday genre. In addition, artistic battle studies contain landscapes, portraits, animalism, and still life. The paintings not only convey the nature of the battles, but also show all sorts of small details that the viewer is not aware of.

Historical foundation

As mentioned earlier, the battle genre in the visual arts appeared in the 16th century. Although the depiction of battles has been known for a very long time: the East, Ancient Greece, Ancient Rome. Then it was possible to find unusual reliefs on which invincible and formidable rulers were displayed and sieges of fortresses or processions of warriors were visible.

Later, paintings of vases from Ancient Greece began to be found, which were also decorated by artists of the battle genre. Images of the battle can also be found on triumphal arches, carpets, book miniatures, tapestries, etc.

Real attempts

It was during the Renaissance that attempts to work with battle studies became more effective. Artists from Italy were especially successful in this. In addition to fictional battle scenes, real battle events began to appear here.

In Russia, this genre appeared in the 18th century, during the reign of Peter I. Artists tried to convey not only the historical basis of the battle, but mainly to show patriotism, the courage of soldiers and worship of their heroism. Russian artists continued the same theme until the 20th century. It is also not surprising that it was the Great Patriotic War that became a new milestone in the development of battle studies. And not only in the visual arts, but also in music, literature and architecture.

Representatives

At one time, the battle genre in the visual arts had great importance. This could not be connected with anything good. Nevertheless, wars inspired creators. Everyone tried to create something epoch-making, colossal, something that could be remembered forever.

Of course, during the entire existence of this movement, more than one battle painter appeared who was able to convey not just a historical event, but also its character and power. Among the popular painters are Alexander Sauerweid, Bogdan Willewalde, Alphonse de Neuville, Vasily Vereshchagin, Nikolai Karazin, Ivan Nikitin and, of course, Franz Roubaud. This list can be continued endlessly. We will talk in more detail about some of the creators who decided to glorify the historical battle genre.

Artist from birth

The Russian Academy has given us many outstanding artists. Each of them became famous for their creations. Franz Roubaud is considered to be the most successful and famous in this field. He was born in 1856 in Odessa and from childhood he followed the path of an artist. He studied at the Munich Academy, and upon arriving home he went to the Caucasus to create.

Franz Alekseevich Roubaud in 1885 began working on a whole series of works for the military museum. Immediately after completing 17 paintings, he began the next work. The most famous battle painting was “The Assault on the Village of Akhulgo.” This is not the only famous panorama of the painter. There are also two amazing works, “Defense of Sevastopol” and “Borodino”.

Epochal and tasteful

Franz Alekseevich Rubo is the author of the painting “The Assault on the Village of Akhulgo.” This panorama was painted in 1888. The basis of the plot of the canvas is Shamil’s assembly point - Akhulgo. In 1839, Russian troops arrived here. They began the siege of the village, but were able to successfully complete it only after six months. The picture depicts the assault on Ahulgo.

The main highlight of the panorama is its stunning landscape. The artist devoted a lot of time to this moment. Spectators see extraordinary cliff gorges. The main events take place on the sides and above. In the left corner you can see a fenced village. On the opposite side there is Russian infantry crossing the narrow bridge. One of the soldiers’ weapons falls out, and the painter was able to accurately and believably convey his emotions.

Highlanders shoot from the cliffs at Russian soldiers, and women throw stones. There is also a most active place on the canvas. Here you can immediately see an old man who is trying to defend himself to the point of fanaticism, waving a banner. Not far from the battle site, dead and wounded soldiers can already be seen. The picture depicts expressive and exciting events very vividly and effectively.

Portrait-battle painter

Ivan Nikitin was supposedly born in 1688 in Moscow. Not much is known about his fate. The painter studied persistently and in due time became known to Peter I. The Tsar was proud of him and had high hopes. He liked the works of Nikitin, who at that time was engaged in portraits. The artist’s earliest painting is considered to be the image of Natalya Alekseevna, the sister of Peter I. Afterwards, he painted portraits of many relatives and loved ones of the Tsar.

It would seem that his phenomenal skills in the portrait genre could not glorify him to a greater extent. Nevertheless, Nikitin successfully managed to try himself in battle studies. This is how the painting “Battle of Kulikovo” appeared.

Beauty is in the details

It is assumed that Nikitin’s first painting in this genre was “The Battle of Poltava”. The artist painted it around 1727. The painting occupied a square canvas measuring “about three arshins.” It took the painter about 2 months to work on it. He received 80 rubles for it. And yet it is not as famous as the painting “Battle of Kulikovo”.

In general, this panorama shows the artist in a very unique way. He not only wrote his own vision, but also used the works of other creators. He was also an educated man, and therefore knew famous classical works. The basis for his “copying” was the engraving of Antonio Tempest.

The battle painter did not try to imitate anyone else. It is clear that he intelligently used the material he needed in order to create a magnificent work. Obviously, the “Battle of Kulikovo” is not a copy of Tempest’s engraving with a biblical plot. Nikitin was able to remove everything he didn’t need, remake the characters and add his own style.

The famous battle appears before the viewer. We immediately notice Dmitry Donskoy, Vorontsov, Prozorovsky. Several famous princes can be seen nearby: the Belozerskys and Peresvet. The latter defeats the enemy Chelubey. In general, there are many legends about this couple. There is evidence that they both destroy each other with spears. There is also a story in which Peresvet shows his fighting abilities and kills Chelubey.

All details in the paintings are observed. Nikitin tries to identify the heroes. Inscriptions and coats of arms can be seen on their shields and clothes. You can also notice the sayings with which soldiers go into battle. But Nikitin’s main task was to convey the idea that the victory in the Battle of Kulikovo was won not only by the princes, but also by a huge crowd of warriors fighting in the background. There are countless of them. The army rushes into battle. It is these characters, who are barely visible, that are the main heroes of the battle.

Prominent artists

Examples of the battle genre can be found in many artists who were affected by any war. Nikolai Karazin was an outstanding painter who worked as a war correspondent. This is what helped him get enough of the military mood and, over time, “pour” it onto his canvases. Connoisseurs can recognize him in the films “The Capture of Tashkent”, “Tekin Expedition of 1881. Assault on Geok-Tepe”, etc.

Not only a battle painter, but also a famous writer. He received his artistic education while traveling around the world. His most popular painting is considered to be “The Apotheosis of War.” He was the first who tried to resist academic battle studies. He did not like the fact that epoch-making panoramas were written to glorify patriotism and heroism. Vereshchagin was against the war and this protest is clearly visible in his works.

Vereshchagin is known to ordinary people primarily as the author of the amazing painting “The Apotheosis of War” that makes one think about the meaning of life, and only lovers and connoisseurs of this gifted Russian artist know that his brushes also include paintings from many other military series, no less interesting and revealing in their own way. the personality of this wonderful Russian artist.

Vasily Vereshchagin was born in 1842 in Cherepovets, in the family of a simple landowner. From childhood, he, like his siblings, was predetermined by his parents for a military career: as a nine-year-old boy, he entered the naval cadet corps in St. Petersburg, which Vereshchagin graduated from with the rank of midshipman.

From early childhood, Vereshchagin was in awe of any type of painting: popular prints, portraits of commanders Suvorov, Bagration, Kutuzov, lithographs and engravings had a magical effect on young Vasily, and he dreamed of being an artist.

Therefore, it is not surprising that after a short period of service in the Russian army, Vasily Vasilyevich retired to enter the Academy of Arts (he studied there from 1860 to 1863). Studying at the Academy does not satisfy his restless soul, and, interrupting his studies, he leaves for the Caucasus, then moves to Paris, where he studies drawing in the studio of Jean Leon Gerome, one of the teachers at the Paris School of Fine Arts. Thus, while traveling (and Vereshchagin was an avid traveler, he literally could not sit still for even a year) between Paris, the Caucasus and St. Petersburg, Vasily Vasilyevich gained practical experience in drawing, striving, as he himself said, “to learn from the living chronicle of the history of the world.”
Vereshchagin officially completed his studies in painting at the Paris Academy in the spring of 1866, returned to his homeland, St. Petersburg, and soon accepted the offer of General K. P. Kaufman (who at that time was the Governor-General of Turkestan) to join him as an army artist. Thus, Vereshchagin found himself in Central Asia in 1868.

Here he receives a baptism of fire - he participates in the defense of the Samarkand fortress, which was attacked from time to time by the troops of the Bukhara emir. For the heroic defense of Samarkand, Vereshchagin received the Order of St. George, 4th class. By the way, this was the only award that Vereshchagin, who fundamentally rejected all ranks and titles (as evidenced, for example, by the striking case of Vasily Vasilyevich refusing the title of professor at the Academy of Arts), accepted and proudly wore on his ceremonial clothes.

During a trip to Central Asia, Vereshchagin gave birth to the so-called “Turkestan series”, which includes thirteen independent paintings, eighty-one sketches and one hundred and thirty-three drawings - all created based on his travels not only to Turkestan, but also throughout southern Siberia and western China , mountainous regions of the Tien Shan. The “Turkestan Series” was shown at Vasily Vasilyevich’s personal exhibition in London in 1873, and later he came with paintings to exhibitions in Moscow and St. Petersburg.

The apotheosis of war. Dedicated to all great conquerors, past, present and future

Looking out

Wounded soldier

The style of the paintings in this series was quite unusual for other representatives of the Russian realistic art school; not all painters were able to adequately perceive the young artist’s painting style. Plot-wise, these paintings have an admixture of an imperial touch, a kind of detached view of the essence and cruelty of Eastern despotism and the realities of life, a little frightening to a Russian person who is not accustomed to such paintings. The series is crowned by the famous painting “The Apotheosis of War” (1870-1871, kept in the Tretyakov Gallery), which depicts a pile of skulls in the desert; on the frame it is written: “Dedicated to all great conquerors: past, present and future.” And this inscription sounds like an unconditional verdict on the very essence of war.

As soon as he learned about the outbreak of the Russian-Turkish War, Vereshchagin went to the active Russian army, leaving for a while his Parisian workshop, where he had worked since the mid-70s. Here Vasily Vasilyevich is included in the adjutants of the Commander-in-Chief of the Danube Army, while being given the right to free movement among the troops, and he uses this right with all his might to reveal his new creative ideas - so under his brush what will later be called the “Balkan series” is gradually born.

During the Russian-Turkish campaign, many officers familiar to Vereshchagin more than once reproached him for the fact that, risking his life, he recorded the scenes he needed under enemy fire. To this, Vasily Vereshchagin replied: “It was driven by the fact that I wanted to see a big war and imagine it later on the canvas not as it appears according to tradition, but as it is in reality..."

Defeated. Memorial service for fallen soldiers

After the attack. Dressing station near Plevna

Winners

During the Balkan campaign, Vereshchagin also took part in military battles. At the beginning of hostilities, he was seriously wounded, and almost died from his wounds in the hospital. Later, Vasily Vasilyevich takes part in the third assault on Plevna; in the winter of 1877, together with Mikhail Skobelev’s detachment, he crosses the Balkans and takes part in the decisive battle on Shipka near the village of Sheinovo.

After returning to Paris, Vereshchagin begins work on a new series dedicated to the war that has just ended, and works with even greater obsession than usual, in a state of enormous nervous tension, with virtually no rest and without leaving the workshop. The “Balkan Series” consists of about 30 paintings, and in them Vereshchagin seems to challenge official Pan-Slavist propaganda, recalling the miscalculations of the command and the serious price that Russian troops paid for the liberation of the Bulgarians from the Ottoman yoke. The most impressive painting is “The Vanquished. Dirge” (1878-1879, the painting is kept in the Tretyakov Gallery): under a cloudy gloomy sky there is a large field with the corpses of soldiers sprinkled with a thin layer of earth. The picture reeks of melancholy and homelessness...

In the 90s of the 19th century, Vasily Vereshchagin settled in Moscow, where he built a house for himself and his family. However, the thirst for wandering takes possession of him again, and he sets off on a journey, this time to the north of Russia: along the Northern Dvina, to the White Sea, to Solovki. The result of this journey for Vereshchagin was the appearance of a series of sketches depicting wooden churches of the Russian North. In the artist’s Russian series there are more than a hundred pictorial sketches, but there is not a single large painting. This can probably be explained by the fact that, in parallel, Vasily Vasilyevich continues to work on his life’s work - a series of canvases about the War of 1812, which he began in Paris.

Yaroslavl. The porch of the Church of John the Baptist in Tolchkovo

Northern Dvina

The porch of a rural church. Waiting for confession

Despite his activity in creative life, Vereshchagin very keenly feels his detachment from the general artistic life of Russia: he does not belong to any of the painting societies and movements, he has no students or followers, and all this is probably not easily perceived by him.
In order to somehow unwind, Vereshchagin resorts to his favorite method - he goes on a trip to the Philippines (in 1901), in the wake of the recent Spanish-American War, in 1902 - he visits Cuba twice, and later goes to America, where he paints a large canvas " Roosevelt's capture of Saint-Juan Heights." The US President himself poses for this picture for Vereshchagin.

At the same time, Vasily Vereshchagin also works in the literary field: he writes autobiographical notes, travel essays, memoirs, articles on art, actively speaks in the press, and many of his articles have a strong anti-militarist overtones. Few people know about this fact, but in 1901 Vasily Vereshchagin was even nominated as a candidate for the first Nobel Peace Prize.

Vereshchagin greets the beginning of the Russo-Japanese War with great anxiety, the events of which he, of course, could not stay away from - such was his restless nature. Having become close to the Commander-in-Chief of the Pacific Fleet, Admiral S. O. Makarov, on April 13, 1904, he went to sea on the flagship battleship Petropavlovsk to capture the battle for history, and this exit was for him the final chord of his entire life - during the battle “ Petropavlovsk" was blown up on the outer roadstead of Port Arthur...

This is how we remember Vasily Vasilyevich Vereshchagin - an artist who always followed in the vanguard of the Russian troops, a man who advocated for the peaceful resolution of all conflicts, and, ironically, himself died during the battle.

Attack by surprise

Horseman warrior in Jaipur. Around 1881

Ruins

Turkestan soldier in winter uniform

Before the attack. Near Plevna

Two hawks. Bashi-bazouki, 1883

Celebrating - final version

Boat ride

With hostility! Hooray! Hooray! (Attack). 1887-1895

End of the Battle of Borodino, 1900

Great Army. Night halt

A gun. gun

Parliamentarians - Surrender! - Get the hell out!

At the stage. Bad news from France...

Napolen on the Borodino field

Don't hesitate! Let me come over.

Napoleon and Marshal Lauriston (Peace at all costs!)

At the fortress wall. Let them come in.

Siege of the Trinity-Sergius Lavra

Arsonists or Execution in the Kremlin

Marshal Davout in the Miracle Monastery.

In the Assumption Cathedral.

Before Moscow, waiting for the deputation of the boyars

In hospital. 1901

Letter to Mother

The letter is interrupted.

Unfinished letter

Vereshchagin. Japanese. 1903

The large-scale and epic battle genre in painting occupies a special niche. It is entirely devoted to war and everything connected with it: sea and land battles, campaigns, etc. The genre is distinguished primarily by high dynamics, a large number of human figures and close attention to detail, which give historical authenticity to everything that happens on the canvas .

The emergence of the genre and its development in the Middle Ages

The official separation of battle painting into an independent genre occurred in the 16th century, but painters from all over the world began to create in this direction much earlier. So, already on amphoras, bas-reliefs, and walls of temples of Ancient Greece you can see scenes of historically important battles. In the Roman Empire and in the East, emperors and great generals and rulers in battle were often depicted. In this case, battle painting also served as a historical chronicle.

In the Middle Ages, the genre was reflected on carpets, books, engravings, tapestries and even icons. Or, for example, the “Carpet from Bayeux” created on fabric with scenes from the story of the Norman conquest of England (1073-1083), shown in the photo.

But the works of painters of the Renaissance period in Italy can be called truly impressive and large-scale. The battle genre has acquired its characteristic features, realism and dynamics. From this time its official chronological countdown begins. At this time, images of battles were created by Piero della Francesca, Paolo Uccello, Leonardo da Vinci, Michelangelo and others.

18th-20th centuries

The 18th century can be called a new milestone in development. At this time, against the backdrop of the War of Independence, canvases by American artists appeared, and Russian battle painting was also born (engravings by F., paintings by Nikitin I.N., mosaics by M.V. Lomonosov, etc.). Under the influence of the French Revolution and the Napoleonic Wars, a romantic direction emerged in the genre, most clearly expressed in the works of E. Delacroix and O. Vernet. In Russia at this time, naval and battle themes “bloom.” The brightest representatives of the first are Aivazovsky I.K. and Bogolyubov A.P., the second - Polenov V.D., Kovalevsky P.O. Vereshchagin V.V., who participated in many wars and campaigns as a volunteer, creates his paintings mercilessly and realistically .

In the 20th century, historical battle painting was formed against the backdrop of liberation and social revolutions and destructive wars. There have been fundamental changes in the genre, expanding its artistic meaning and boundaries. Many works trace social, historical and philosophical issues, problems of war and peace, fascism, and human society. The unity is noticeable, because, both in the art of the countries of the socialist camp and in the capitalist states, battle painting is dedicated to anti-fascist and revolutionary battles, the largest historical events not only of an individual nation, but of the whole world.

Battle painting: features

Painting on the theme of war and related issues has certain characteristics; it cannot be confused with works from any other. Its uniqueness lies in the following:

• A clear demonstration of the importance of a battle or a certain historical moment, the life of soldiers, or war in general.
• Reflection on canvases of the most iconic and important moments of the battle.
• Demonstration of soldier's heroism.
• Instilling and nurturing a sense of duty and patriotism.

It should be noted that the historical and battle genres in painting are extremely close. This is due to the fact that the canvases reflect not just military actions, they are tied to a specific historically important event. You can often find paintings showing the life of soldiers, ordinary life outside the battlefield, but closely connected with the war.

Without clarity and stories about outstanding battle painters, information about this genre of painting is not fully perceived. No wonder one of the proverbs says that it is better to see it once than to hear about it a hundred times.

Vereshchagin Vasily Vasilievich

The name of this 19th century Russian and traveler is known throughout the world. He devoted almost his entire life to various trips and military campaigns, including in Turkestan, Semirechye, India, the Caucasus, Europe and Russia. Vereshchagin graduated from the naval cadet corps, participated in hostilities, including withstood the siege of Samarkand as part of a small Russian garrison, for which he received a fourth degree, of which he was extremely proud. He knew about the war first-hand, so it is completely logical that at a certain moment battle painting became his vocation.

The artist had his own vision of military operations, his attitude towards the death of ordinary soldiers. In his canvases he reflected the real price of the emperor’s ambitions in Middle Eastern companies. Paintings filled with a special philosophy and critical attitude towards war were often the cause of condemnation by the sovereign and his entourage. The most famous works: “Apotheosis of War” (in the third photo), “Napoleon in Russia” (photo above), Turkestan and Balkan series, “Before the attack. Near Plevna."

Rubo Franz Alekseevich

The name F.A. Rubo is familiar to everyone: from professionals in the field to amateurs. He is the founder of the Russian school of panoramic painting and the author of more than two hundred canvases, including the three most monumental: “Battle of Borodino”, “Defense of Sevastopol” (photo above) and “Storm of the village of Akhulgo”. He comes from the family of a French merchant who settled in Odessa. Since 1903, the artist has been working as a director in the workshop, holding the title of professor. Among his students was M. B. Grekov. On the eve of the revolution in Russia, Roubaud finally moved to Germany in 1912. However, in the last years of his life he had no major orders, living in almost complete oblivion.

Grekov Mitrofan Borisovich

The battle painter, who had Russian-Cossack origins and was born in the Rostov region, became the founder of the genre in the Soviet Union. He gained invaluable experience during the First World War, and then the Civil War. During this period he made a large number of thematic sketches. His battle painting is represented by such paintings as “Tachanka” (photo below), “The Frozen Cossacks of General Pavlov”, “The Battle of Yegorlykskaya”, “Trumpeters of the First Cavalry”, and he also led the work on the panorama “Storm of Perekop” in 1934.

Sauerweid Alexander Ivanovich

A professor of battle painting, a famous Russian and German artist created his canvases in the first half of the 19th century, and was originally from Courland. Received an excellent education at the Dresden Academy. Even in his youth, he painted paintings commissioned by Napoleon Bonaparte, and in 1814 he was invited to I to paint military canvases, as well as drawings of the uniforms of Russian soldiers. Under Nicholas I, he taught drawing to the grand dukes. Sauerweid's paintings are distinguished by their dry writing, not entirely ideal composition, but at the same time excellent drawing. The most famous works: “Battle of Leipzig” (photo below), “Storm of the Varna Fortress”, “Battle of Leipzig”.

Villevalde Bogdan Pavlovich

The son of a wealthy foreigner from Bavaria was born in Pavlovsk in 1818, and twenty years later he became one of Karl Bryullov’s students. Having received the title of artist, he worked not only in Russia, but throughout Europe, was engaged in teaching, and was awarded orders. Villevalde's canvases were exhibited in Paris and Vienna, Berlin and Antwerp, they reflected the events of the war of 1812, the Polish uprising of 1831, the Hungarian campaign, military operations of the 1870s, etc. The most famous works in the genre of battle painting: “Battle at Grokhov”, “The feat of the cavalry regiment in the battle of Austerlitz”, “General Blucher and the Cossacks in Bautzen”, “They were captured in 1814”

Peter von Hess

Bavarian court battle painter and master of historical painting Peter von Hess was born in 1792 in Düsseldorf. Like many other masters of the genre, he knew war firsthand. Hess took part in the campaigns against Napoleon I in 1813-1814. He began his work with small sketches of scenes from the life of soldiers and common people. After a trip to Greece in the retinue of King Otto in 1831, he created a whole series of paintings dedicated to the Greek struggle for independence. In 1839, he went to Russia in order to collect material for creating paintings commissioned by Nicholas I himself. Twelve large-scale paintings were dedicated to the battles of 1812, including the battle of Borodino, Smolensk, Vyazma.

Few artists of battle painting can boast of such lively composition as Hess's. Individual figures or complex groups on the canvases are thought out and worked out to the smallest detail, filled with drama. His best works are “The Battle of Austerlitz”, “The Robber Barbone fighting off the Carabinieri”, “Horse Catching in Wallachia”, “The Battle of Wörgl”, “Bivouac of the Austrians”. The photo shows a picture of the battle of Smolensk.

Alphonse de Neuville

A prominent representative of French battle painting is Alphonse de Neuville, whose debut took place in 1859 with the painting “Riflemen Battalion at the Gervais Battery.” He took part in the war of 1870 as a second lieutenant in the Paris battalion of mobiles, and then in the headquarters of General Kaye. He thoroughly studied the nature of military operations, and then embodied them in his paintings.

The canvases of the French master of battle painting are distinguished by sincere patriotic inspiration and healthy realism. He rarely painted large-scale paintings of battles, mass campaigns, etc., preferring individual episodes. His works are full of movement and penetration with a complete absence of sweetness. Occasionally one can observe cheerful notes, which are a manifestation of a national character trait, and they not only do not spoil the impressions, but, on the contrary, add life to the pictures. The most famous paintings: “The Last Ammo” (pictured), “Spy”, “Battle of Rorke’s Drift”, “Battle of Champigny”.

Battle painting by Russian artists and European and American masters is a fairly young genre that has manifested itself over the last 3-4 centuries. It is incredibly dynamic, bright, and sometimes brutally realistic. One thing is clear that he does not leave anyone indifferent. Some admire the well-built composition of hundreds of human figures, horses and guns, others admire the skill of drawing the smallest details, and still others admire the energetic message that the paintings carry.

Cardboards were ordered for future frescoes, which were supposed to glorify the military successes of the Florentine Republic. Leonardo chose the Battle of Anghiari as his subject, depicting a fierce fight between riders on rearing horses. Carton was perceived by contemporaries as a condemnation of the brutal madness of war, where people lose their human appearance and become like wild animals. Preference was given to Michelangelo’s “Battle of Cascina,” which emphasized the moment of heroic readiness to fight. Both cardboards have not survived and have come down to us in engravings made in the 16th-17th centuries. based on drawings by artists who copied these scenes at the beginning of the 16th century. Nevertheless, their influence on the subsequent development of European battle painting was very significant. We can say that it is with these works that the formation of the battle genre begins. The French word "bataille" means "battle". From him the genre of fine art dedicated to the themes of war and military life got its name. The main place in the battle genre is occupied by scenes of battles and military campaigns. Battle artists strive to convey the pathos and heroism of war. Often they manage to reveal the historical meaning of military events. In this case, works of the battle genre come close to the historical genre (for example, “The Surrender of Breda” by D. Velazquez, 1634-1635, Prado, Madrid), rising to a high level of generalization of the depicted event (cardboard by Leonardo da Vinci) (“Suppression of the Indian uprising by the British "V.V. Vereshchagin, ca. 1884; "Guernica" by P. Picasso, 1937, Prado, Madrid). The battle genre also includes works depicting scenes of military life (life in campaigns, camps, barracks). The French artist of the 18th century recorded these scenes with great observation. A. Watteau (“Military Rest”, “The Hardships of War”, both in the State Hermitage).

Images of scenes of battles and military life have been known since ancient times. Various kinds of allegorical and symbolic works glorifying the image of the victorious king were widespread in the art of the Ancient East (for example, reliefs with images of Assyrian kings besieging enemy fortresses), in ancient art (a copy of the mosaic of the battle of Alexander the Great with Darius, IV-III centuries . BC), in medieval miniatures.

In the Middle Ages, battles were depicted in European and oriental book miniatures ("Facebook Chronicle", Moscow, 16th century), sometimes on icons; images on fabrics are also known ("The Bayeux Carpet" with scenes of the Norman feudal lords conquering England, circa 1073-83); There are numerous battle scenes in the reliefs of China and Kampuchea, Indian paintings, and Japanese painting. In the 15th-16th centuries, during the Renaissance in Italy, images of battles were created by Paolo Uccello and Piero della Francesca. Battle scenes received heroic generalization and great ideological content in the cardboards for frescoes by Leonardo da Vinci ("Battle of Anghiari", 1503-06), who showed the fierce ferocity of the battle, and Michelangelo ("Battle of Cascina", 1504-06), who emphasized heroic readiness warriors to fight. Titian (the so-called "Battle of Cadore", 1537-38) introduced a real environment into the battle scene, and Tintoretto - innumerable masses of warriors ("Battle of Dawn", circa 1585). In the formation of the battle genre in the 17th century. A major role was played by the acute exposure of the robbery and cruelty of soldiers in the etchings of the Frenchman J. Callot, the deep disclosure of the socio-historical significance and ethical meaning of military events by the Spaniard D. Velazquez ("Surrender of Breda", 1634), the dynamics and drama of the battle paintings of the Fleming P. P. Rubens. Later, professional battle painters emerged (A.F. van der Meulen in France), types of conditionally allegorical composition were formed, exalting the commander presented against the background of the battle (C. Lebrun in France), a small battle painting with a spectacular depiction of cavalry skirmishes, episodes of military life (F. Wauerman in Holland) and scenes of naval battles (W. van de Velde in Holland). In the 18th century In connection with the War of Independence, works of the battle genre appeared in American painting (B. West, J. S. Copley, J. Trumbull), the Russian patriotic battle genre was born - the paintings “Battle of Kulikovo” and “Battle of Poltava”, attributed to I. N. Nikitin, engravings by A.F. Zubov, mosaic from the workshop of M.V. Lomonosov “The Battle of Poltava” (1762-64), battle-historical compositions by G.I. Ugryumov, watercolors by M.M. Ivanov. The Great French Revolution (1789-94) and the Napoleonic Wars were reflected in the works of many artists - A. Gro (who went from being fascinated by the romance of revolutionary wars to the exaltation of Napoleon I), T. Gericault (who created heroic-romantic images of the Napoleonic epic), F. Goya (who showed the drama of the struggle of the Spanish people with the French invaders). Historicism and the freedom-loving pathos of romanticism were clearly expressed in the battle-historical paintings of E. Delacroix, inspired by the events of the July Revolution of 1830 in France. The national liberation movements in Europe were inspired by the romantic battle compositions of P. Michalovsky and A. Orlovsky in Poland, G. Wappers in Belgium, and later J. Matejko in Poland, M. Alyosha, J. Cermak in the Czech Republic, etc. In France in Official battle painting (O. Vernet) combined false-romantic effects with external plausibility. Russian academic battle painting moved from traditionally conventional compositions with a commander in the center to greater documentary accuracy of the overall picture of the battle and genre details (A. I. Sauerweid, B. P. Villevalde, A. E. Kotzebue). Outside the academic tradition of the battle genre were I. I. Terebenev’s popular prints dedicated to the Patriotic War of 1812, “Cossack scenes” in Orlovsky’s lithographs, drawings by P. A. Fedotov, G. G. Gagarin, M. Yu. Lermontov, lithographs by V. F. Timma.

The development of realism in the second half of the 19th - early 20th centuries. led to the strengthening of landscape, genre, and sometimes psychological principles in the battle genre, attention to the actions, experiences, and everyday life of ordinary soldiers (A. Menzel in Germany, G. Fattori in Italy, W. Homer in the USA, M. Gierymsky in Poland, N. Grigorescu in Romania, J. Veshin in Bulgaria). A realistic depiction of the episodes of the Franco-Prussian War of 1870-71 was given by the French E. Detail and A. Neuville. In Russia, the art of sea battle painting flourishes (I.K. Aivazovsky, A.P. Bogolyubov), battle-everyday painting appears (P.O. Kovalevsky, V.D. Polenov). V.V. made a valuable contribution to the development of the battle genre Vereshchagin (“After the attack. Transfer point near Plevna”, 1881, Tretyakov Gallery). F. A. Rubo strived for an objective display of military actions in his panoramas “Defense of Sevastopol” (1902-1904) and “Battle of Borodino” (1911). Realism and rejection of conventional schemes are also inherent in the battle genre of the Itinerants - I. M. Pryanishnikova , A.D. Kivshenko, V.I. Surikov, who created a monumental epic of the military exploits of the people

Surikov in the canvases “The Conquest of Siberia by Ermak” (1895) and “Suvorov’s Crossing of the Alps” (1899, both in the State Russian Museum) created a majestic epic of the feat of the Russian people, showed their heroic strength. The battle works of V. M. Vasnetsov were inspired by the ancient Russian epic.

D. Velazquez. Surrender of Breda. 1634-1635. Canvas, oil. Prado. Madrid.

However, the formation of the battle genre dates back to the 15th-16th centuries. At the beginning of the 17th century. A major role in the development of the battle genre was played by the etchings of the Frenchman J. Callot. Along with the canvases of D. Velazquez, which deeply revealed the socio-historical meaning of the military event, passionate paintings by the Flemish P. P. Rubens appeared, imbued with the pathos of struggle. From the middle of the 17th century. Documentary chronicle scenes of military battles and campaigns predominate, for example, by the Dutchman F. Wauerman (“Cavalry Battle”, 1676, GE).

R. Guttuso. Battle of Garibaldi at the Amiraglio Bridge. 1951-1952. Canvas, oil. Filtrinelli Library. Milan.

In the XVIII - early XIX centuries. battle painting is developing in France, where A. Gro's paintings glorifying Napoleon I are especially famous. Stunning scenes of the courageous struggle of the Spanish people against the French invaders are captured in the graphics and paintings of F. Goya (series of etchings “Disasters of War”, 1810-1820).

V.V. Vereshchagin. With hostility, hurray, hurray! (Attack). From the series “War of 1812”. 1887-1895. Canvas, oil. State Historical Museum. Moscow.

A. A. Deineka. Defense of Sevastopol. 1942. Oil on canvas. State Russian Museum. Leningrad.

The works of Soviet battle painters reveal the image of the Soviet patriotic warrior, his fortitude and courage, and unparalleled love for the Motherland. The battle genre experienced a new rise in the terrible days of the Great Patriotic War of 1941 - 1945. in the works of the Studio of Military Artists named after M. B. Grekov, Kukryniksy, A. A. Deineka, B. M. Nemensky, P. A. Krivonogov and other masters. The unbending courage of the defenders of Sevastopol, their firm determination to fight until their last breath was shown by Deineka in the film “Defense of Sevastopol” (1942, Russian Russian Museum), imbued with heroic pathos. Modern Soviet battle painters have revived the art of dioramas and panoramas, and created works on the themes of the Civil War (E. E. Moiseenko and others) and the Great Patriotic War (A. A. Mylnikov, Yu. P. Kugach, etc.).

M. B. Grekov. Tachanka. 1933. Oil on canvas. Central Museum of the Armed Forces of the USSR. Moscow.

Studio of military artists named after M. B. Grekov

The emergence of the studio is inextricably linked with the name of the wonderful artist Mitrofan Borisovich Grekov, one of the founders of Soviet battle painting. His paintings “Tachanka”, “Trumpeters of the First Cavalry Army”, “In the Detachment to Budyonny”, “Flagman and Trumpeter” are among the classic works of Soviet painting.

In 1934, after the artist’s death, by a special resolution of the Council of People’s Commissars, the “Art Workshop of Amateur Red Army Art named after M. B. Grekov” was created in Moscow. The studio was called upon to continue and creatively develop the best traditions of the Soviet battle genre. Initially, it was a training workshop for the most gifted Red Army artists, who improved their skills under the guidance of prominent artists: V. Baksheev, M. Avilov, G. Savitsky and others. In 1940, the studio became an art organization of the Red Army, uniting military artists.

During the Great Patriotic War, many Greeks went to the front. The main type of creative work in military conditions was full-scale sketches. Their historical and artistic significance cannot be overestimated. Military drawings by N. Zhukov, I. Lukomsky, V. Bogatkin, A. Kokorekin and other artists are a kind of visible chronicle of the Great Patriotic War, its main military battles, and front-line life. They are marked by great love for the main character of this greatest battle for the Motherland - the Soviet soldier.

The theme of the people's feat in the Great Patriotic War is creatively enriched at the present time. In the first post-war years, the Greeks created canvases, graphic series, and sculptural compositions that received the widest recognition. These are the paintings “Mother” by B. Nemensky, “Victory” by P. Krivonogov, the monument to the Liberator Soldier E. Vuchetich, installed in Treptower Park in Berlin.

The studio's artists have created and are creating many monumental monuments of military glory in various cities of the Soviet Union and abroad. The most significant battles are depicted in such works as the panorama “Battle of Stalingrad” in Volgograd (made by a group of artists under the leadership of M. Samsonov), the diorama “Battle for Perekop” in Simferopol (author N. But) and others. In these works, it is as if anew The events of the war come to life, they help to realize at what enormous cost the great victory was achieved.

Historical and battle genre in painting and graphics

The historical genre, which is characterized by monumentality, has been developing for a long time in wall painting. From the Renaissance to the 19th century. artists used subjects from ancient mythology and Christian legends. Often real historical events depicted in the picture were saturated with mythological or biblical allegorical characters. The historical genre is intertwined with others - the everyday genre (historical and everyday scenes), the portrait (depictions of historical figures of the past, portrait-historical compositions), landscape ("historical landscape"), and merges with the battle genre. The historical genre is embodied in easel and monumental forms, in miniatures, and illustrations. Originating in ancient times, the historical genre combined real historical events with myths. In the countries of the Ancient East, there were even types of symbolic compositions (the apotheosis of the military victories of the monarch, the transfer of power to him by a deity) and narrative cycles of paintings and reliefs. In Ancient Greece there were sculptural images of historical heroes (Tyrannicides, 477 BC), in Ancient Rome reliefs were created with scenes of military campaigns and triumphs (Trajan's Column in Rome, c. 111-114). In the Middle Ages in Europe, historical events were reflected in miniature chronicles and icons.
Battle genre (from the French bataille - battle) - a genre of fine art dedicated to themes of war and military life. The main place in the battle genre is occupied by scenes of land, sea battles and military campaigns. The artist strives to capture a particularly important or characteristic moment of the battle, to show the heroism of war, and often to reveal the historical meaning of military events, which brings the battle genre closer to the historical one. And scenes of military life (in campaigns, barracks, camps) often associate it with the everyday genre.

Igor the Prince with a mighty squad
Mila is waiting for brother Vsevolod.
Vsevolod says: "One
You are my brother, my Igor, and my stronghold!
Children of Svyatoslav we are with you,
So saddle up your greyhound horses, brother!
And mine have long been ready for battle,
Near Kursk they stand under saddle.

And the Kursk people are nice -
The knights are serviceable:
Born under the pipes
Grew up under helmets,
We grew up like warriors
From the end of the spear they are fed.
All paths are known to them,
All yarugi are known,
Their bows are drawn,
The quivers are open
Their sabers are sharpened,
Sheloms are gilded.
They themselves gallop across the field like wolves
And, always ready to fight,
Mined with sharp swords
Glory to the prince, honor to yourself!”
Excerpt from "The Tale of Igor's Campaign".

- In Russia, the active development of the battle genre began in the 18th century - from the time of the grandiose victories of Peter I and his commanders. These are the paintings “Battle of Kulikovo”, “Battle of Poltava” attributed to I.N. Nikitin (c. 1690-1750), engravings by A.F. Zubov with naval battles.

Surikov's painting "SUVOROV'S TRANSITION THROUGH THE ALPS"

The Russian battle genre (battle paintings) is imbued with a special spirit of patriotism and strives to express admiration for the heroism and courage of warriors. The victories of Suvorov and Kutuzov inspired Russian artists to paint pictures and canvases glorifying the courage and heroism of Russian soldiers.
This tradition was also preserved by battle painters of the 20th century. The battle genre experienced a new rise during the Great Patriotic War and the post-war years - in posters and “TASS Windows”, front-line graphics, painting, and later in monumental sculpture.
Particularly in the battle genre and battle paintings of the domestic school, one can highlight the creation of diaras and panoramas dedicated to historical battles and engagements.
The history of Russia is filled and saturated with wars and battles. In this regard, Russian battle painters created many beautiful works of art of domestic and world significance.
Battle paintings are one of the components of the battle genre. Beautiful battle paintings painted in oil on canvas by outstanding Russian artists are presented in museums in Moscow and St. Petersburg.
The general pathos of the works of Russian artists on the theme of feat of arms, executed in different techniques and genres, can be expressed in the words of N.K. Roerich: “The most numerous enemies of the Russian land were put to shame by the unbreakable spirit of the Russian army and the sacrificial selflessness of the entire people.”

- But the sun rises in the sky -
Prince Igor appeared in Rus'.
Songs flow from the distant Danube,
Flying across the sea to Kyiv.
According to Borichev, the daring rises
To the Holy Mother of God of Pie.
And the countries are happy
And the cities are merry.
We sang a song to the old princes,
The time has come for us to praise the young:
Glory to Prince Igor,
Buoy tour to Vsevolod,
Vladimir Igorevich!
Glory to everyone who spared no effort.
Beaten up filthy regiments for Christians!
Be healthy, prince, and the whole squad is healthy!
Glory to the princes and glory to the squad!
(The Lay of Igor's Campaign)

Favorsky V. A.
to "The Tale of Igor's Campaign". 1954. Woodcut