Presentation on the topic Vasnetsov Viktor Mikhailovich.

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Viktor Mikhailovich Vasnetsov was born in 1848 on May 15 in a village with the funny name Lopyal. Vasnetsov's father was a priest, as were his grandfather and great-grandfather. In 1850, Mikhail Vasilyevich took his family to the village of Ryabovo. This was due to his service. Viktor Vasnetsov had 5 brothers, one of whom also became a famous artist, his name was Apollinaris.

Vasnetsov’s talent manifested itself from childhood, but the extremely unfortunate financial situation in the family left no options for how to send Victor to the Vyatka Theological School in 1858. Already at the age of 14, Viktor Vasnetsov studied at the Vyatka Theological Seminary. Children of priests were taken there for free.

Having never graduated from the seminary, in 1867 Vasnetsov went to St. Petersburg to enter the Academy of Arts. He had very little money, and Victor put up 2 of his paintings for “auction” - “The Milkmaid” and “The Reaper”. Before leaving, he never received money for them. He received 60 rubles for these two paintings a few months later in St. Petersburg. Arriving in the capital, the young artist had only 10 rubles.

Vasnetsov did an excellent job in the drawing exam and was immediately enrolled in the Academy. For about a year he studied at the Drawing School, where he met his teacher -.

Vasnetsov began studying at the Academy of Arts in 1868. At this time, he became friends with, and at one time they even lived in the same apartment.

Although Vasnetsov liked it at the Academy, he did not graduate, leaving in 1876, where he lived for more than a year. At this time, Repin was also there on a business trip. They also maintained friendly relations.

After returning to Moscow, Vasnetsov was immediately accepted into the Association of Traveling Art Exhibitions. By this time, the artist’s drawing style was changing significantly, and not only the style, Vasnetsov himself moved to live in Moscow, where he became close to Tretyakov and Mamontov. It was in Moscow that Vasnetsov came into his own. He liked being in this city, he felt at ease and performed various creative works.

For more than 10 years, Vasnetsov designed the Vladimir Cathedral in Kyiv. M. Nesterov helped him in this. It was after the completion of this work that Vasnetsov can rightfully be called a great Russian icon painter.

After the revolution, Vasnetsov began to live no longer in Russia, but in the USSR, which seriously depressed him. People destroyed his paintings and treated the artist with disrespect. But until the end of his life, Viktor Mikhailovich was faithful to his work - he painted. He died on July 23, 1926 in Moscow, without finishing the portrait of his friend and student M. Nesterov.

Vasnetsov Viktor Mikhailovich

Vasnetsov Viktor Mikhailovich () Artist Viktor Mikhailovich Vasnetsov was born in 1848 on May 3 in the village of Lopyal, Vyatka province. The son of a priest. He received his education at the Vyatka Theological Seminary. He received his art education at the St. Petersburg Academy of Arts, where he stayed from 1868 to 1875. He was abroad twice my account: 1st time in 1876 I was in Paris, where I stayed for a year, 2nd time before starting work on the Kiev Vladimir Cathedral. Traveled to Italy, was in Venice, Ravenna, Florence, Rome and Naples. In the first years of his stay in St. Petersburg, he was exclusively engaged in pencil and pen drawings and illustrations in general.

He began painting with oil paints in St. Petersburg around 1872, although 2 small oil pictures were still painted in Vyatka before his trip to the Academy. The first paintings were mainly genre paintings: the very first painting, “Workers with Wheelbarrows,” was bought by Tretyakov, but where it is now is unknown. Then “Beggars Singing Lazarus” was painted, then many other genre paintings, located in the Tretyakov Gallery, in the Rumyantsev Museum (“Preference”), in the Museum of the former Alexander III, and in private collections. The Historical Museum of Moscow houses a large composition “Stone Age”.

Professor Prakhov invited him to work at the Vladimir Cathedral in Kyiv in 1885 and worked within the walls of the cathedral for 10 years. Paintings, both genre and epic and fairy-tale, were exhibited initially at Traveling Exhibitions and partly at exhibitions of the Union of Russian Artists. Mostly, religious and other works were exhibited at x personal exhibitions - 6 exhibitions in total. He also participated in foreign exhibitions: in London, Paris (1900), Rome, Malmo (Sweden). For his work in the Vladimir Cathedral he received the title of professor of painting. Vasnetsov Viktor Mikhailovich ()

Some architectural works were executed according to the drawings of V.M. Vasnetsov: the church in Abramtsevo, the facades of the Tretyakov Gallery, the Tsvetkov Museum and other works by Viktor Mikhailovich Vasnetsov () facade of the Tretyakov Gallery

Several paintings are united by one theme, dedicated to “The Tale of Igor’s Campaign” Vasnetsov Viktor Mikhailovich () After the massacre of Igor Svyatoslavich with the Polovtsians

Vasnetsov Viktor Mikhailovich () “Bayan” is one of the last significant works of the artist, completing the epic theme in his work. The first sketch of the painting was made in 1880, but work on it was postponed due to the fact that the artist was painting “Bogatyrs” at that time. Bayan is the name of the singer from “The Tale of Igor’s Campaign,” however, the artist does not connect his hero with the character of a specific work and creates a collective image of the epic singer. The film contains the theme of the unity of the singer and the squad, their spiritual connection. The solution to the landscape is epic in nature. The panoramic view of the wide Russian expanses is perceived as a collective image of native nature and sounds symbolic. V.M. Vasnetsov. Accordion. 1910Bayan.

Victor

Mikhailovich

Vasnetsov

(1848 – 1926)

Performed

Syuzeva Natalya

Fedorovna

Russian history,

folklore,

at the end of the 19th century

attracted

special attention

and interest.

Researchers began to seriously study the language of their people, their way of life, and collect songs and tales.

Accordion

V.M. Vasnetsov was born in a Ural village, lost among impassable fairy-tale forests. Here, observing the life of simple peasants, he was inflamed with a love for folk art.

For water

“I lived in a village, among men and women, I simply loved them as my friends, listened to their songs and fairy tales, listened to them at gatherings in the light and crackling of a splinter...” – wrote V.M. Vasnetsov.

Alyonushka

"The Sleeping Princess"

Sleeping princess

With his creativity, Viktor Mikhailovich opened the way for viewers to the wonderful world of fairy tales, revived the “legends of deep antiquity.”

In the images of these knights, it was as if the entire Russian people stood up to defend the Fatherland, overshadowing their native land. The artist managed to wonderfully convey

the characters of their heroes.

Noble and brave Dobrynya Nikitich,

Alyosha Popovich is cunning and evasive.

Mighty and kind Ilya Muromets,

“Sirin and Alkonost. "Song

joys and sorrows"

On the surface of endless waters,

The yoke of the evil Tatars is broadcast,

Sunset in purple,

Broadcasts a series of bloody executions,

She speaks and sings

And coward, and hunger, and fire,

Unable to lift the troubled ones with wings...

The strength of the villains, the destruction of the right .

Theme of eternal struggle

The canvas “The Battle of Dobrynya Nikitich with the seven-headed Serpent Gorynovich” is dedicated to good and evil.

The serpent hung over the knight like a black cloud, and it seemed that it was about to swallow him up.

But Dobrynya is brave and courageous. In his entire posture one can feel the confidence of victory. .

"The Knight at the Crossroads"

Every person has to stand at a crossroads. Doubts overcome, the future is scary.

Russia faced the same choice in those years. Tsarist power or revolution? Which path should I take?

The epic combines historical facts and poetic fantasy. Vasnetsov was close to both. It is not for nothing that he painted not only pictures from Russian history, but also many purely fairy-tale characters.

"Ivan Tsarevich on a gray wolf"

"Snow Maiden"

"Baba Yaga"

His fabulous images are painted in such detail and realistically that it seems as if the artist saw them in reality.

In the playful dance of the Frog Princess we recognize the scope of the Russian soul.

"Princess"

frog »

"Koschei the Deathless"

The gloomy kingdom of Koshchei the Immortal is still trying today

seduce young souls.

Princess Nesmeyana turns away with disdain from the antics of her overseas admirers.

"Nesmeyana the Princess"

The presentation offers material on the work of V.M. Vasnetsov, the female images created by the artist are examined in detail: the Mother of God, fairy-tale princesses, Alyonushka, the Snow Maiden and portraits of his wife, daughter, niece, women close to Vasnetsov “in spirit”, who show us the versatility of what is called the Russian female soul, which becomes for Vasnetsov personification of the Motherland, Russia.

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Female images in the works of V. M. Vasnetsova Koreneva Olga Valerievna Municipal Educational Institution “Secondary School No. 72” G. Saratov

Viktor Mikhailovich Vasnetsov was one of the first masters of Russian painting who took up the most diverse areas of art - theatrical decoration, architecture, applied art and illustration. He knew enthusiastic admiration and a coldly restrained, to the point of complete rejection, attitude towards his work, enormous success and harsh criticism of his work, bordering on blasphemy.

“I think I won’t be mistaken when I say that the cook’s tales and the stories of wandering people made me fall in love with the present and past of my people for the rest of my life. In many ways, they determined my path and gave direction to my future activities,” Vasnetsov wrote. Many of the artist’s portraits are characterized by a search for a type of national beauty. By the way, he never painted them to order - he portrayed only those who were interesting to him and truly dear to him. Self-portrait. 1873.

In one of his first paintings, “The Reaper” (1867, Tver), the artist expressed the poetry and inner strength of his heroine, those traits that would become integral qualities of his female images. Vasnetsov felt the special character of the Russian woman and conveyed it in a form close to epic.

One of the first works in Russian art, where the poetry of folk tales is inextricably fused with the poetry and sincerity of native Russian nature, was the painting “Alyonushka”. In the summer of 1880, Viktor Mikhailovich lived in the village of Akhtyrka, several miles from Abramtsevo. He begins to write landscape sketches that convey the sad state of nature. Soon a sketch made in oil appears - a barefoot peasant girl, curled up in a ball, sits on a stone by the water. Behind her is a dark spot of forest. Thus, Vasnetsov’s great painting was gradually born. Sketch of the future painting "Alyonushka" (1880, GGT) "Pond in Akhtyrka" (Alenushkin Pond) (1880, Abramtsevo Museum).

“To express the soul so deeply, to present a type so poetically - this requires the talent of an artist,” critics wrote about the painting. “Alyonushka” seemed to live in my head for a long time, but I really saw it in Akhtyrka, when I met one simple-haired girl who captured my imagination. There was so much melancholy, loneliness and purely Russian sadness in her eyes... Some special Russian spirit wafted from her...” The girl’s frozen pose, bowed head, brown hair scattered over her shoulders, a look full of sadness - everything speaks of Alyonushka’s melancholy and grief. Nature is in tune with her mood; she seems to be grieving along with the girl.

The painting “Three Princesses of the Underground Kingdom” was supposed to personify the wealth of the depths of the awakened region. Vasnetsov took as a basis an old fairy tale about how the peasant son Ivan, going underground, found the kingdoms of gold, precious stones and iron (as in the fairy tale, in the picture - coal) and brought to earth the three princesses of these kingdoms. The skillful design of their clothing is amazing; it is not for nothing that Vasnetsov is famous as an excellent connoisseur and master of ornaments. No events take place in the picture, but the princesses and their outfits are painted with such painterly skill that you can look at them endlessly. It is quite obvious that the artist was looking for the ideal of female beauty.

Vasnetsov painted the painting “Three Princesses of the Underground Kingdom” twice. In a fragment of the second painting, the princess of coal is depicted with her arms lying along her body, which gives the figure calmness and majesty. She is very beautiful in her blue-black dress with precious jewelry. The artist depicted the princesses in luxurious decorations, symbolizing the riches of the earth. You can admire for a long time the shine of the brocade, the pearl kokoshniks, the scattering of precious stones, and the majesty of the poses. The artist seemed to be looking for an image of eternal femininity, the strength of the earth, hence the somewhat static, monumental nature of the composition. One of the characters - the third, youngest princess - will receive further development in female images. The hidden spiritual sadness of this humbly proud girl will be found both in his portraits and in fictional images.

Princess Frog. The canvas is permeated with cheerful, clear sounds and colors, glorifying the Russian beauty, the wise Frog Princess. Her ancient Russian emerald-colored outfit here is solemn and regally beautiful, like the princess herself.

Sleeping Beauty. Perhaps the most symbolic meanings are the paintings “Nesmeyana the Princess” and “The Sleeping Princess” - in each of them one can read the idea of ​​the history of Rus', on one - tortured by the conquerors, on the other - sleeping, forgotten by descendants. But here, too, the artist retains special care in painting female images. Nesmeyana the Princess", 1916-26

His decorations and costumes for the spring fairy tale by A.N. also became a new word for the artist. Ostrovsky's "The Snow Maiden", first staged on the Mamontovs' home stage in 1882, and then, in 1885, in a private opera by Savva Ivanovich to the music of Rimsky-Korsakov. For the first time, scenery appeared on the Russian stage, inseparable from the overall concept of the performance and influencing its scenography as a whole. It was an image of fabulous Ancient Rus', the kingdom of the good Tsar Berendey. The Snow Maiden stands out for its thoughtful, sad mood and mystery. Her appearance was born from a soft combination of colors - blue and ocher. The figurine is slightly touched with white, as if dusted with snow. The Snow Maiden is a dream of beauty, the femininity of native nature (1885, PT) Kupava

Years later, Vasnetsov again returns to the image of the Snow Maiden. The painting depicts a girl wandering alone through a snowy forest. Here is what the researcher of creativity N.A. Vasnetsova writes about this. Yaroslavtseva: “Anxiety lurks in the bright face of the Snow Maiden... The girl’s fear is of a deep nature, it is rather a premonition of imminent death from love - love for people... Vasnetsov’s female image rises to a divine sound, the heavenly and earthly are intertwined in it...” The researcher sees in the face of the Snow Maiden a resemblance to Vera Mamontova, who for Vasnetsov personifies the image of “pure snow-covered Russia.” The Snow Maiden, as interpreted by Vasnetsov, is not just an ideal female image. This is an expression of a dream of beauty, this is nature that has become animated for some time. "Snow Maiden". 1899 Tretyakov Gallery

I would like to add Elena the Beautiful to this image. With a timidly lowered gaze, meek and captivating, the princess bowed her head on the chest of her betrothed. Vasnetsov’s method of working on images was the same. He was looking for a prototype in reality. I wrote a sketch of Mamontov’s niece, young Natalia Mamontova, for Elena the Beautiful. For Vasnetsov, it was not the external resemblance that was important, but the mood, the internal state of mind of the model. The Russian princess is truly beautiful in her magnificent royal attire. Vasnetsov acts as a brilliant colorist and subtle psychologist. Grace, nobility, a certain spiritual concentration, charm shines through in this wonderful image of Ivan Tsarevich on a gray wolf. 1889

“Portrait of Tatyana Viktorovna Vasnetsova,” the only daughter of Viktor Mikhailovich, was made in 1897, when she turned 18 years old. She was an artist and dedicated her life to her father and to preserving his legacy. Under her, the House became a museum; thanks to Tatyana Viktorovna, all of Vasnetsov’s drawings and paintings, the workshop, and the entire house were preserved intact. The portrait expresses the depth of personality of this extraordinary girl. Vasnetsov was looking for in the model a feeling that could be expressed through pose and general mood.

The artist will always look for the generalized features of the fairy-tale beauty, the Russian “swan”, the one to whom so many songs and fairy tales are dedicated among the people and whose features are so close to him. Vasnetsov’s female images are generally captivating. He wrote only those close to him “in spirit,” as he himself said. This is Elizaveta Ivanovna Mamontova, and her daughter Verusha, and Elena from Kiev, Lelya Prahova. For Vasnetsov, there was no person closer to him in spirit than Elizaveta Grigorievna Mamontova. It was she who said that work in the Vladimir Cathedral was “the path to the light,” and he agreed with her. The 1885 portrait reveals the secrets of her soul (Abramtsevo Museum). Detail of the portrait of Vasnetsov's great friend - the charming Verushka Mamontova (1896, Abramtsevo Museum).

Elena Prakhova (1871-1948) was the daughter of Adrian Viktorovich Prakhov, an art historian, chairman of the commission for the construction of the Vladimir Cathedral, the same one who ordered its paintings from Viktor Mikhailovich. The Prakhov family became Vasnetsov’s spiritual refuge in Kyiv for many years. In their home he found rest, recognition and worship. There was a special understanding between him and the young Lelya Prahova, who taught him his beloved Bach - Lelya, like her mother, was an excellent pianist, amazingly silk embroidered on religious subjects based on Vasnetsov’s drawings. Despite the age difference, Vasnetsov had a great friendship with Elena Prakhova. Her portrait (1894, GTT) speaks of the refinement of taste and spiritual beauty of this girl. Her fingers gently touch the keys, as if producing a “silver sound”, which was typical for Prahova’s performance of Bach and Beethoven.

Vera Savvishna Mamontova repeatedly posed for V.M. Vasnetsov. And in every image there is purity, light and poetry, severity and restraint. The artist admires his model Boyarishna (Portrait of V.S. Mamontova) 1884, oil on canvas,

What smoothness, fluidity of the lines of light arms, neck, dark head with a daisy threaded into her hair. And the white dress with a modest pattern, and the grape branch - a symbol of paradise - in almost childish hands, and the half-open mouth, and the wonderful deep look of brown eyes - everything is meaningful, full of poetry, understanding of the entire depth of this enchanting nature. Vera is in the full bloom of youth and beauty, she is twenty-one years old. But, probably, for Vasnetsov she was an expression of something higher, perhaps his Russia, which he loved so deeply. In any case, after some time, he sends her to Italy, where she travels, poems as “an addition to the portrait dedicated to the homeland: “Only one is dear to me... I am only one Rus'... burning my heart with love, I will give the saint to Rus' " Vera herself expresses that type of female beauty, which for Vasnetsov contains a spiritual ideal. "Portrait of Vera Mamontova" is a harmony of heavenly and earthly, which was finally completed in the image of the Mother of God in the Vladimir Cathedral. Portrait of V.S. Mamontova", oil on canvas, 146x87, 1896, Abramtsevo Museum

How was the image of the Mother of God born in the artist? Whether it was childhood impressions that contributed to this, or Raphael’s Sistine Madonna, widely reproduced in illustrated magazines, or our own youthful desire to express the ideal (“Beauty for us was not in itself, but served as a reflection and expression of the highest spiritual beauty, that is, internal, and not external only,” Vasnetsov explained to V.V. Stasov), but back in 1871, as a twenty-three-year-old student at the Academy of Arts, he made a sketch in which the future image of the Mother of God had already been found in general terms. And ten years later, for the iconostasis of the wonderful Abramtsevo church, he will paint the Mother of God in a violet-purple maforia, holding her son in her arms with raised arms. But for now this is only the image of a beautiful young woman who embodies the ideal of holy motherhood. Fragment of the Mother of God in Vladimir Cathedral

Having climbed the high steps of the Vladimir Cathedral, you can already see Her through the open doors from the porch. She comes from the depths of heaven towards him, slightly delaying her step. In the thick golden radiance, Her dark figure is majestic and stern. Big eyes and iconographic face are full of an unearthly mournful feeling. With a strong and gentle movement She presses her Son to her chest. The deep blue color of the sleeves of Her dress seems to warm the child and protect him. She is above you and with you. There is peace and forgiveness in her soul. Fragment of the Vladimir Cathedral with the iconostasis, altar and altar apse (1885 - 96)

The Mother of God Vasnetsova stood on a par with the Madonnas of the best painters of the world. The image of the Mother of God was painted by Russian icon painters, glorified in the paintings by great and anonymous painters of Italy, France, Germany, and all Christian countries. Viktor Mikhailovich Vasnetsov did not repeat anyone. Mosaic - The Mother of God on the throne with the Son on her knees (1899 - 1901, Russian Museum) The Mother of God and the Child of the Vladimir Cathedral. Sketch. 1893-1895

Fairy-tale princesses, Alyonushka, Snegurochka - fictional images and portraits of his wife, daughter, niece, women close to Vasnetsov “in spirit” show us the versatility of what is called the Russian female soul, which for Vasnetsov becomes the personification of the Motherland, Russia. The artist’s deeply personal emotional experiences allowed him, with extraordinary simplicity and humanity, to embody in the image of the Mother of God the beauty of femininity, the strength of maternal feeling and soulful spirituality. The ideal female image has finally been completed.

Slide 1

Center for ART Education, All-Russian competition “Pride of the Fatherland”: Anniversaries of Russia in 2013 (history and culture)
Presentation for the MHC lesson Topic: V.M. Vasnetsov (165th birthday) Teacher of Music and MHC Natalya Viktorovna Boeva ​​Student Kondrashov Mikhail, 10th grade MBOU PGO “Secondary School No. 8” (Municipal budgetary educational institution of the Polevsky urban district “ Secondary school No. 8"), the city of Polevskaya, Sverdlovsk region

Slide 2

The multifaceted talent of Viktor Mikhailovich Vasnetsov (1848 - 1926)

Slide 3

May 15, 2013 will mark the 165th anniversary of the birth of Viktor Mikhailovich Vasnetsov (1848 - 1926)
Kuznetsov N. D. Portrait of V. M. Vasnetsov (1891)
Viktor Mikhailovich Vasnetsov is an outstanding Russian painter, architect, master of historical and folklore painting. The elder brother of the artist Apollinary Vasnetsov (1856-1933) and folklorist Alexander Vasnetsov (1861-1927). One of the founders of the national-romantic version of Russian Art Nouveau.
The work of Viktor Vasnetsov will be re-evaluated more than once, like all human deeds, but history will undoubtedly note the significance of this phenomenon, which has been closely associated with Russian artistic life for almost 60 years. I. Grabar. V.M. Vasnetsov (essay)

Slide 4

Viktor Mikhailovich Vasnetsov, born in 1848 in the village of Lopyal, Urzhum district in the Vyatka province. The artist’s great-grandfather graduated from the seminary’s drawing class. His father, Mikhail Vasilyevich Vasnetsov, was an educated rural priest.
The Vasnetsovs’ village house combined different ways of life. Mikhail Vasilyevich, himself a widely educated person, tried to give children a comprehensive education, to develop inquisitiveness and observation in them. The family read scientific magazines, drew, and painted in watercolors. Grandmother Olga Alexandrovna was fond of painting in her youth. The future artist was breathtaking with happiness when the grandmother opened the lid of the old chest where the paints were.
V.M. Vasnetsov, together with his brother Apollinaris, did not grow up in isolation, but in close contact with peasant children. Since childhood, the artist was imbued with the poetry of folk tales, legends and beliefs, the beauty of folk art, and the colorful ritual side of life. He perceived nature as an animated being. It was childhood that laid the moral and spiritual foundations of the artist’s personality, which over time resulted in wonderful paintings known throughout the world.
Victor Vasnetsov. Vyatka River. Fragment. 1878

Portrait of the artist A.M. Vasnetsova. 1872

Self-portrait. 1868
Slide 5
Repin I. - Portrait of Viktor Vasnetsov. 1882
Vasnetsov Portrait of I.E. Repin 1882
I.N. Kramskoy Self-portrait.1867
A group of gymnasium teachers in 1867. In the first row, on the far right is N.A. Chernyshev

Slide 6

Bryusov calendar. 1871
Away. 1871
And from 1871, first due to illness, and then due to lack of time, the regularity of attending classes was disrupted. During these years, he completed about two hundred illustrations for the People's Alphabet, Stolpyansky's Soldier's Alphabet, and Vodovozov's Russian Alphabet for Children. He illustrated the fairy tales The Little Humpbacked Horse, The Firebird and others. Along with illustrations, Vasnetsov also worked on independent themes. Numerous drawings from these years depict townspeople, peasants, and individual everyday scenes. Contemporaries praised Vasnetsov as a “typist.” In 1875, forced to earn his own living, and succumbing to the desire to improve in painting on his own, Vasnetsov left the academy. Later, he explained the reason for his departure: “I wanted to paint pictures on themes from Russian epics and fairy tales, but they, the professors, did not understand this desire. So we parted.” After graduating from the Academy, he traveled abroad. He began exhibiting his works in 1869, first participating in exhibitions of the Academy, then in exhibitions of the Itinerants. He was a member of the Mamontov circle in Abramtsevo. In 1893, Vasnetsov became a full member of the Academy of Arts.
The year he entered the Academy of Arts was 1868. Already at the beginning of his studies, V.M. Vasnetsov received two small and one large silver medals for his success in drawing and for sketches from life. In 1870 his father died. The need to earn a living became even more urgent, as Vasnetsov took his sixteen-year-old brother Apollinaris, later a famous artist, to St. Petersburg.
Portrait of father M.V. Vasnetsov. 1870
Portrait of A.M. Vasnetsova. 1878

Slide 7

Girlfriends. 1878
Children destroy nests. Early 1870s
On the rubble. Early 1870s
Out-of-touch. 1871
Collector monk. Early 1870s
Peasant at the table. 1877
Winter. Early 1870s
Merchant family in the theater. 1869
Biryuchi. 1885
For water. 1880
Reaper. 1867
Tea drinking in a tavern (In a tavern). 1874
Beggars-singers (Bogomolets). 1873
Bookstore. 1876
Ivan Petrov, peasant of the Vladimir province. 1883
News of the capture of Kars. 1878
Military telegram. 1878
Duck-hunter. 1889
Peasant with a pole. 1877

Slide 8

Returning to Russia, Viktor Vasnetsov got married to Alexandra Vladimirovna Ryazantseva. He built his family in the likeness of his father's, patriarchal family. Vasnetsov lived for almost fifty years in happy family harmony.

As his wife later recalled, when they moved to Moscow, the artist loved to wander through the old Moscow streets. And when he returned home, he often said: “How many miracles I have seen!” His historical paintings were born under the impression of walking through historical places.
In the late 70s, V.M. Vasnetsov became interested in heroic epic images. Despite the disapproving reviews of most critics about the “heroic” paintings, Vasnetsov continued to paint them. Bogatyrs were a brilliant end to the heyday of the artist’s creativity. After V.M. Vasnetsov continued to work on fairy-tale and epic images until the end of his life, but these images no longer had the same power.
Portrait of the artist's son. 1899

Portrait of Tatyana Viktorovna Vasnetsova, the artist’s daughter. 1897

Messengers. Early morning in the Kremlin. Beginning of the 17th century Vasnetsov Apollinaris
Slide 9
Akhtyrsky oak. Early 1880s
The village of Akhtyrka, not far from Khotkov, has been known since 1504. Until the end of the 18th century. it was called Dudkino (Dutkino). From the middle of the 18th century. The village was owned by nobles from the Trubetskoy family. In 1772, a wooden church was built in the village in honor of the Akhtyrka Icon of the Mother of God and it began to be called after the temple - Akhtyrka. One of the dachas in Akhtyrka in the summer of 1881 was photographed by the artist V.M. Vasnetsov, who wrote here the sketches “Pond in Calm”, “At the Edge”, “Sedge”, “Calm”. Here Vasnetsov also worked on his famous painting “Alyonushka”, which I.E. Grabar called it a charming lyrical poem about a wonderful Russian girl, one of the best paintings of the Russian school. “Alenushkin Pond”, depicted on Vasnetsov’s canvas, is still preserved in Akhtyrka.
Sedge. 1880
Pond in Okhtyrka. 1880
Edge of a spruce forest. 1881

Calm. 1881

Okhtyrka. 1879
Slide 10
The artist believed that stylization was necessary in historical portraits, but he approached portraits of his contemporaries from a different point of view. In portraits of 1883, 1884 a lyrical and poetic tendency can be traced (portraits of N. A. and T. A. Mamontov).
Self-portrait. 1873
Portrait of A.V. Vasnetsova, the artist’s wife. 1878
Portrait of Vera Savvishna Mamontova. 1896.
Portrait of Natalya Anatolyevna Mamontova. 1883
Portrait of Tatyana Anatolyevna Mamontova. 1884
The artist painted all the natural landscapes near the village of Abramtsevo, which was the estate of I. S. Mamontov. Abramtsevo occupies an exceptional place in the artist’s creative life.

Slide 11

Landscape near Abramtsevo. 1881
Abramtsevo. The village has been known since the 17th century. In 1843, the Abramtsevo estate was purchased by the writer S. T. Aksakov. N.V. Gogol, I.S. Turgenev, F.I. Tyutchev and others came to him in Abramtsevo. In 1870-1900 the estate belonged to S.I. Mamontov. During this period, many artists and performers often visited and worked in the estate - V. D. Polenov, V. M. Vasnetsov, V. A. Serov, I. E. Repin, M. V. Nesterov, I. I. Levitan, M. A. Vrubel, F. I. Shalyapin, M. N. Ermolova. During Soviet times, a holiday village of artists grew up around the estate.
The emergence of Abramtsevo-Kudrin wood carving in the vicinity of the Abramtsevo-Kudrinsk estate at the end of the 19th century is associated with the artists of the Abramtsevo circle. First of all, it is due to E.D. Polenova, who organized a carpentry and carving workshop in the estate of S.I. Mamontov in 1882, in which carvers from the surrounding villages studied and worked: Khotkovo, Akhtyrki, Kudrino, Mutovki. Currently, Abramtsevo-Kudrinsk carving masters are being trained by the Abramtsevo Art and Industrial College named after V. M. Vasnetsov.
Oak grove in Abramtsevo. 1883
Bouquet. Abramtsevo. Early 1880s - Vasnetsov Viktor Mikhailovich.
In the park. Late 1870s

Slide 12

Sleeping princess. 1900-1926, oil on canvas, 214x452 cm
Princess Frog. 1901-1918
The Princess at the Window (Princess Nesmeyana). 1920
Princess Nesmeyana. 1914-1926

Slide 13

Vasnetsov is actively working on introducing folklore into Russian painting, reflecting aspects of the Russian national character (“Flying Carpet”, 1880). In his paintings on fairy-tale subjects, the artist combines folklore fantasy with religious teaching and a scientific view of the world.
Carpet plane. 1880. Oil on canvas
Carpet plane. 1919-1926
Carpet plane. 1926

Slide 14

Victor Vasnetsov. Ivan Tsarevich on a gray wolf. 1889. Oil on canvas. 249 x 187. Tretyakov Gallery, Moscow, Russia.
In the evening, when the sun began to sink to the west, which is why the air became not very hot, Princess Elena the Beautiful went into the garden for a walk with her nannies and the court noblewomen. When she entered the garden and was approaching the place where the gray wolf was sitting behind the bars, suddenly the gray wolf jumped over the bars into the garden and grabbed the princess Elena the Beautiful, jumped back and ran with her as fast as he could. He ran into an open field under a green oak tree, where Ivan Tsarevich was waiting for him, and said to him: “Ivan Tsarevich, quickly sit on me, on the gray wolf!” Ivan Tsarevich sat on him, and the gray wolf rushed them both to the state of King Afron. The nannies, mothers and all the noblewomen of the court, who were walking in the garden with the beautiful princess Elena, immediately ran to the palace and sent a chase to catch up with the gray wolf, however, no matter how much the messengers chased, they could not catch up with the gray wolf and turned back.
Alyonushka. 1881. Oil on canvas
Baba Yaga. 1917
Koschei the Immortal. 1926-1927
Alenushkin Pond (Pond in Akhtyrka). 1880
Alyonushka. 1880
Alyonushka. 1881
Alyonushka. 1881

Slide 15

In 1885, Vasnetsov created a series of drawings for the production of N. A. Rimsky-Korsakov’s opera “The Snow Maiden” at the Moscow Private Russian Opera Mamontov, based on the lyrical fairy tale by A. N. Ostrovsky. In these drawings, the artist combined a fairyland with observations of village life, pagan antiquity and contemporary folk art. These sketches revealed the animated character of “Vasnetsov’s nature.”
Prologue. Scenery sketch for N.A. Rimsky-Korsakov's opera The Snow Maiden. 1885
Chambers of Tsar Berendey. 1885
Zarechnaya settlement Berendeyevka. 1885
In the production of “The Snow Maiden” the artist for the first time established the creative equality of the graphic designer with the playwright and composer. “The Snow Maiden” became a stimulus for new phenomena in Russian theater.
Bobyl and Bobylikha. 1885
Wise Tsar Berendey. 1885
Mizgir. 1885
Kupava. 1885
Berendeyki. 1885
Brusila and Berendey guys. 1885
Snow Maiden. 1885
Spring. 1882
Snow Maiden and Lel. 1885-1886
Yarilina Valley.
Spring is Red. 1885
Father Frost. 1885

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From the point of view of the new popular understanding of the topic, one can also consider the artist’s work on the stage embodiment of “The Snow Maiden”. When Repin saw Vasnetsov’s scenery and costumes for this opera, he wrote to Stasov: “Vasnetsov made drawings for the costumes. He made such magnificent types - delight... I am sure that no one there will do anything like that. It's just a masterpiece."
Snow Maiden. 1899

Slide 17

Stone Age. Feast. 1883
Portrait of V.N. Goshkevich, founder of the historical and archaeological museum in Kherson. 1887
In the first five years of the 1880s, Vasnetsov became interested in monumental painting. In the fall of 1882, the artist received an invitation from the famous archaeologist Uvarov to paint monumental and decorative paintings for the Historical Museum in Moscow. Vasnetsov began his understanding of painting as a special type of painting art with the frieze “Stone Age” (1882 - 1885), which was accepted with admiration by his contemporaries.
Stone Age. Frieze detail2. 1882-1885
Stone Age. Frieze detail1. 1882-1885
Stone Age. Hunting for mammoth. Fragment of a museum painting

Slide 18

In 1880, Vasnetsov completed one of his most significant paintings. The theme of the painting was the field after the battle and death of Igor Svyatoslavich’s regiments, which became a heroic outpost on the borders of their native land, when “Igor’s banners fell and the Russians perished on an unknown field.” The pictorial rhythm of the picture is close to the epic sound of “The Tale of Igor’s Campaign.” For the audience, everything was new in this film, and new things are not immediately accepted.
“After the massacre of Igor Svyatoslavich with the Polovtsians.” 1880. Canvas, oil. 205 x 390. Tretyakov Gallery, Moscow, Russia.
Guslars. 1899. Perm State Art Gallery
Battle of the Scythians with the Slavs. Late 1870s
Accordion. 1910

Slide 19

The Knight at the Crossroads. 1882. Canvas, oil. 167 x 299. State Russian Museum, St. Petersburg, Russia. The final version of the painting was painted in 1882 for Savva Ivanovich Mamontov. The inscription on the stone corresponds to the epic texts, but is not completely visible. In a letter to Vladimir Stasov, Vasnetsov writes:
“On the stone it is written: “No matter how straight you go, you won’t be alive - there is no way for a passer-by, a passer-by, or a flyover.” The following inscriptions: “to go in the right direction - to be married; go to the left - you will be rich” - they are not visible on the stone, I hid them under the moss and erased some of them. I found these inscriptions in the public library with your kind assistance.”
The original version of the painting from 1882, stored in the State Russian Museum

Slide 20

Bogatyri (Three Bogatyrs). 1898. 222x321 cm. Oil on canvas. Tretyakov Gallery, Moscow, Russia.
In the center is Ilya Muromets, simple and powerful, one can feel calm, confident strength and wisdom from life experience in him. Strong in body, in one hand, tensely raised to his eyes, he has a club, in the other a spear, he, despite his formidable appearance, is filled with “goodness, generosity and good nature.” The hero on the right, the youngest, “brave in appearance” is Alyosha Popovich. A young handsome man, full of courage and boldness, he is a “soul-guy”, a great inventor, singer and psaltery player, in his hands he has a bow and a spear, and a harp is attached to the saddle. The third hero, Dobrynya Nikitich, is representative and dignified, in accordance with the epics. Subtle facial features emphasize Dobrynya’s “knowledge,” his knowledge, culture, thoughtfulness and forethought.
Victor Mikhailovich Vasnetsov. Bogatyrs. 1898
Knight. 1883
Knight on horseback. Bogatyr. 1878
Bogatyrsky leap. 1914
Oleg at the horse bones. 1899
Fight between Dobrynya Nikitich and the seven-headed Serpent Gorynych. 1913-1918
Oleg's farewell to his horse. 1899

Slide 21

In the spring of 1876, after leaving the Academy, Vasnetsov, at the invitation of Repin, with whom they were especially friendly, came to Paris, where he worked for more than a year. Thanks to Repin, Vasnetsov plunges into the study of the artistic life of Paris, filled with intense struggle. The artist meets S.I. Mamontov and, together with Polenov, receives an invitation from him to settle in Moscow. The canvas “Acrobats (Shows in the vicinity of Paris)” (1877), written in Paris, was of a genre nature.
Booths in the vicinity of Paris 1876-1877
Acrobats (At a festival in the vicinity of Paris). 1877
Game of preference. 1870s
Preference. 1879

Slide 22

Upon returning to Moscow, Vasnetsov was captivated by the personality of Ivan the Terrible and in 1897 the artist created the easel painting “Tsar Ivan Vasilyevich the Terrible,” in which he embodied the idea of ​​​​creating a national style that combined modern painting with the poetics of Russian art of the pre-Petrine era.
Rough sketch for the image of Ivan the Terrible. Early 1880s
Ivan groznyj. 1883-1884
Tsar Ivan Vasilyevich the Terrible. 1897
Ivan groznyj. 1884
The artist believed that stylization was necessary in historical portraits, but he approached portraits of his contemporaries from a different point of view.
Nestor the chronicler. 1919
Nestor the chronicler. 1885-1893
Alipius the painter. 1885-1893
Sergius of Radonezh. 1882
Council of Saints of the Ecumenical Church1. 1885-1896
Council of Saints of the Ecumenical Church2. 1885-1896
Prince Andrei Bogolyubsky. 1885-1896
Princess Evdokia. 1885-1893
Prince Alexander Nevsky. 1885-1893
Duchess Olga. 1885-1893

Slide 23

At the end of the 19th and beginning of the 20th centuries, the artist completed a number of architectural projects. He was the author of the project for his house in Moscow (1894); author of the pavilion project for the World Exhibition in Paris (1898); Chamber of Facets; Red Porch; project for the transition from the Armory Chamber to the Kremlin Palace (1901); houses of I. E. Tsvetkov on the banks of the Moscow River (1901 - 1903); projects for the ornamental design of the Grand Kremlin Palace (1901 - 1903). Vasnetsov was one of the participants in organizing the exhibition of the Tretyakov Gallery, donated to Moscow in 1904, for which he designed the facade and designed wooden showcases for displaying icons. At the site of the murder of Grand Duke Sergei Alexandrovich in the Kremlin, Vasnetsov created a memorial cross (1905), destroyed under Soviet rule and recreated on the territory of the Moscow Novospassky Monastery.
Project of the Russian pavilion at the Paris Exhibition. 1898 Unfortunately, it was not implemented.
Project of the facade of the Tretyakov Gallery. 1900
Facade project of the Tretyakov Gallery

Slide 24

Baptism of Rus'. 1885-1896 Baptism of Russia - the introduction of Christianity as a state religion in Kievan Rus, carried out at the end of the 10th century by Prince Vladimir Svyatoslavich.
Baptism of Prince Vladimir. 1885-1893
Baptism of Prince Vladimir. 1890

Slide 25

The joy of the righteous in the Lord. The threshold of heaven Triptych, (left side)
The joy of the righteous in the Lord. The threshold of heaven Triptych, (central part)
The joy of the righteous in the Lord. The threshold of heaven Triptych, (right side)
This canvas is one of the most popular among the paintings painted by Vasnetsov. There are many detailed people in the picture who have been given the Kingdom of Heaven (Paradise). On everyone’s face one can read the indescribable feeling conveyed by Vasnetsov. The lightness and weightlessness of each figure makes you believe in what is happening on the canvas. But in the background, standing like a motionless rock, is the Kingdom, the Trinity and everyone depicted in the picture. Trinity (Greek Αγία Τριάδα, lat. Trinitas) is a theological term reflecting the Christian teaching about the Trinitarian nature of God. God the Father is the creator of all things (visible and invisible). God the Son (Jesus Christ) is eternally born of God the Father. God the Holy Spirit proceeds eternally from God the Father.

Slide 26

The Virgin and Child: she seems to be hovering above the earth, her typically Russian face is beautiful, full of love and sorrow. In the face of the baby, whom she carefully hugs to herself and carries into the world, there is a premonition of upcoming torment and suffering, but there is also compassion for sinners. It is not for nothing that the artist himself, speaking about his icon painting works, stated: “My art is a candle lit before the face of God...”. Vasnetsov worthily resumed the living and visible school of icon painting. Subsequently, recalling this period of creativity, the artist was surprised: “Apparently, in youth everything is possible.” He fell from the scaffolding and was broken. To perform difficult work, strong strength of mind and body was required. Many years later, in response to the artist Nesterov’s remark about whether Viktor Mikhailovich had buried himself in fairy tales from life, he replied: “Where was it higher after the Vladimir Cathedral? Where? Write bills of sale? After God?! No higher! But there is something that stands on par. This, brother, is a fairy tale.”
View of the altar. Interior of St. Vladimir Cathedral in Kyiv

Slide 27

Theotokos of Vladimir Cathedral
Virgin and Child. 1901 Oil on canvas. 209x88. Original for the mosaic of the Church of the Resurrection of Christ. State Russian Museum, St. Petersburg
Our Lady Hodegetria. Sketch of the altar mosaic of the Church of Mary Magdalene in Darmstadt. 1899
Theotokos is an honorary name for the Blessed Virgin Mary, the mother of Jesus Christ, who miraculously conceived and gave birth to the God-Man from the Holy Spirit; before Christmas and after Christmas Virgo.

Slide 28

The only begotten son is the Word of God. 1885-1896
Christ the Pantocrator. 1885-1896
Four beings, or four evangelists, are depicted near Christ. Matthew as an angel, Mark as a lion, Luke as a calf, John as an eagle. The term "tetramorph" was later used to describe their iconography. Tetramorph (Greek τετραμορφος - four-shaped).
Sabaoth (Hebrew צבאות‎, Tsevaot, literally “Lord of Hosts”) is one of the titles of God in the Jewish and Christian traditions. This name can mean either “Lord of the armies of Israel” or “Lord of the armies of Angels.” In the Old Testament, the word Sabaoth appears beginning in the First Book of Kings.
1885-1896. God of hosts

Slide 29

Jesus Christ (ancient Greek: Ἰησοῦς Χριστός) or Jesus of Nazareth is the central figure in Christianity, which views him as the Messiah prophesied in the Old Testament; most Christian denominations believe that he is the Son of God who rose from the dead.
1885-1896. Crucified Jesus Christ
Savior. 1901
Savior wearing a crown of thorns. 1906

Slide 30

Descent from the Cross. 1888-1901 fragment

Slide 31

Victor Vasnetsov. Warriors of the Apocalypse.1887. Canvas, oil. Sketch of the painting of the Vladimir Cathedral in Kyiv. State Museum of the History of Religion, St. Petersburg, Russia. "The Four Horsemen of the Apocalypse" is a term describing four characters from the sixth chapter of the Revelation of John the Theologian, the last of the books of the New Testament. They are often called the Conqueror (Antichrist), War, Famine and Death. God calls them and gives them the power to wreak holy chaos and destruction in the world. The appearance of each of the horsemen is preceded by the Lamb removing the seals from the Book of Life. After removing each of the first four seals, the tetramorphs exclaim to John - “come and see” - and apocalyptic horsemen appear in front of him one by one.

Slide 32

Having devoted his life to serving goodness and beauty, he could not accept the “new” life with its political cataclysms, revolution and civil war without pessimism, fatigue and disappointment. More and more often, contemporaries saw the artist in Trinity Church. The bent figure of Viktor Mikhailovich seemed to confirm his words: “God must not be blurted out, but suffered through.”
V.M. Vasnetsov died on July 23, 1926 at the age of 79. After evening tea he headed to his little room. After some time, the family heard something fall. The artist died of a broken heart, instantly, without illness or suffering. They say that this is how the soul leaves, which seeks Divine beauty and truth and finds peace in heaven.

It was only after his death that his contemporaries truly appreciated his work. In an article published in the Bulletin of Knowledge, it was written that in the history of Russian painting, the role of Vasnetsov is “equivalent and equivalent” to the role of Pushkin in Russian poetry. And there is no exaggeration in this assessment.

“Vasnetsov became a pioneer, leading the era of the “search for Rus'” (Grabar) in Russian art, bringing new beginnings, ideas and trends that radically changed Russian art of the late 19th - early 20th centuries.”

Angel with a lamp. 1885-1896

Slide 33
M. Allenov, E. Allenova, Y. Astakhov, etc. “Masters of Russian painting” Moscow, “White City” - 2008 S. M. Petkova “Handbook of world culture and art” Rostov-on-Don, “Phoenix” - 2008 “Great Artists” volume 30 “Viktor Mikhailovich Vasnetsov” JSC “Publishing House “Komsomolskaya Pravda””, 2010 Viktor Mikhailovich Vasnetsov: Letters. Diaries. Memories. Judgments of contemporaries / Comp., intro. Art. and note. ON THE. Yaroslavtseva. – M.: Art, 1987. – 496 p., http://tphv.ru/vasnecov_sklarenko3.php (Russian artist Viktor Vasnetsov in the book by V. Sklyarenko) http://ru.wikipedia.org/wiki/Vasnetsov,_Viktor_Mikhailovich http://www.nearyou.ru/vvasnetsov/0vvasnbio1.html
House-museum of V. M. Vasnetsov