Painting of the first half of the 19th century. European culture

Painting of the first half of the 19th century The first half of the 19th century is a bright page in Russian culture. All directions - painting, literature, architecture, sculpture, theater of this era are marked by a whole constellation of names that brought Russian art world fame.

Painting in the first half of the 19th century was of great importance in the life of society. The development of national self-awareness, caused by the victory in the Patriotic War of 1812, increased the people's interest in national culture and history, in domestic talents. As a result, during the first quarter of the century, public organizations arose for the first time, the main task of which was the development of the arts: the Free Society of Lovers of Literature, Science and the Arts, the Society for the Encouragement of Artists. Special magazines appeared, and the first attempts were made to collect and display Russian art. The small private “Russian Museum” of P. Svinin gained fame, and the Russian Gallery was created at the Imperial Hermitage in 1825. Since the beginning of the century, the practice of the Academy of Arts has included periodic exhibitions, which attracted many visitors. At the same time, admission to these exhibitions on certain days of the common people was a great achievement.

At the very beginning of the 19th century, classicism played a significant role in painting. However, by the 1830s, this direction was gradually losing its social significance, and was increasingly turning into a system of formal canons and traditions. Romanticism, a European movement that emerged at the turn of the 18th and 19th centuries, brought novelty to Russian art. One of the main postulates of romanticism, opposite to classicism, is the affirmation of a person’s personality, his thoughts and worldview as the main value in art. Securing a person’s right to personal independence gave rise to a special interest in his inner world, and at the same time presupposed the artist’s freedom of creativity. In Russia, romanticism acquired its own peculiarity: at the beginning of the century it had a heroic connotation, and during the years of the Nicholas reaction it had a tragic connotation. Having as its peculiarity the knowledge of a specific person, romanticism became the basis for the subsequent emergence and formation of the realistic movement, which established itself in art in the second half of the 19th century. A characteristic feature of realism was its appeal to the theme of modern folk life, the establishment of new themes in the art of peasant life. Here, first of all, it is necessary to note the name of the artist A.G. Venetsianova. The most fully realistic discoveries of the first half of the 19th century were reflected in the 1960s in the works of P.A. Fedotova.

Portraiture is characterized by outstanding achievements in Russian art of the first half of the 19th century. Russian portrait is the genre of painting that most directly connected artists with society, with outstanding contemporaries. The flourishing of portraiture is associated with the search for new principles of artistic creativity and the spread of romanticism in Russia. Romanticism is inherent in the portraits of artists O.A. Kiprensky, V.A. Tropinin, K.P. Bryullov. The most famous portrait painters of this time are O.A. Kiprensky. and Tropinin V.A. Kiprensky O.A. “Self-portrait” Tropinin V.A. "Self-Portrait", 1846

Kiprensky O.A. (). A special page in Russian painting is the artist’s female portraits. Each of his portraits captivates with insight into the spiritual depths of the image, unique originality of appearance, and excellent performing skills. The most famous portraits of E.S. Avdulina (1822), E.A. Teleshova (1828), D.N. Tail (1814). One of the pinnacles of Orest Adamovich’s work is the portrait of E.P. Rostopchina (1809). Portrait of E.S.Avdulina Portrait of E.A.Teleshova Portrait of D.N.Khvostova Portrait of E.P.Rostopchina

The famous portrait of the poet A.S. Pushkin (one of the best lifetime works) by Kiprensky. The poet himself wrote about this picture: “I see myself as in a mirror. But this mirror flatters me.” Portrait of Life Hussar Colonel E.V. Davydov (1809). The image of Davydov, created by Kiprensky, appears before the viewer as a symbol of the era of the wars with Napoleon, on the eve of the Patriotic War of 1812.

Tropinin Vasily Andreevich (). The son of a serf, himself a serf until 1823. His ability to draw appeared in childhood; he studied at the Academy of Arts in St. Petersburg, showed brilliant academic success, and received silver and gold medals. But the master sent him to a Ukrainian estate, where the artist lived for about 20 years, painted, built and painted a church. Tropinin V.A. painted a huge number of portraits, not only of famous and famous people, but also representatives of the people. Particular attention is paid to the lifetime portraits of the great poet A.S. Pushkin and the hero of the Patriotic War of 1812 I.P. Bagration. “Portrait of Bagration P.I.” “Portrait of A.S. Pushkin”, 1827

In portraits of his contemporaries, people from the people, the artist shows the inner beauty of a person. So, in the film “The Lacemaker” Tropinin V.A. managed to find a rare harmony of physical and moral beauty, social certainty of the type of girl from the people and the poetry of the image. “The Lacemaker” is typical of Russian painting of the pre-Peredvizhniki period: the traditions of the 18th century are intertwined here with the signs of the new era. “Girl with a Pot of Roses”, 1820 “Guitar Player”, 1823 “Lacemaker”, 1823 “Gold Seamstress”, 1826

Karl Pavlovich Bryullov () was one of the brightest and at the same time controversial artists in Russian painting of the 19th century. Bryullov had brilliant talent and an independent way of thinking. He was brought up in the family of an artist, from childhood he was passionate about painting, and at the age of 10 he entered the Academy of Arts. In 1822, Karl Bryullov went to Rome to study the art of the Renaissance masters. “Self-portrait”, 1834 “Self-portrait”, 1848 “Portrait of Countess Yu. P. Samoilova with her adopted daughter Amazilia Pacini” “Portrait of Alexei Tolstoy”, 1832

During the Italian period of his creativity, Bryullov devoted significant attention to portraiture and painted the famous portrait painting “Horsewoman”. In the painting “Italian Morning,” he turned not to historical and mythological subjects, but to the everyday scene of the grape harvest. In 1836, Karl Pavlovich Bryullov became a professor at the St. Petersburg Academy of Arts, taught at the Academy, and during this period also painted about 80 portraits. “Fortune Svetlana”, 1836 “Horsewoman”, 1832 “Italian afternoon”, 1832 “Portrait of the Shishmarev sisters, 1839

The historical genre was considered the highest in the Academy. The best works of this genre were the works of K. P. Bryullov, including “The Last Day of Pompeii.” This painting is a striking example of academic art, but elements of romanticism are already visible.

The history of the creation of the painting “The Last Day of Pompeii”. In 1827, at one of the receptions, the artist met Countess Yulia Pavlovna Samoilova, who became his artistic ideal, closest friend and love. Together with her, Karl goes to Italy to inspect the ruins of the ancient cities of Pompeii and Herculaneum, which were destroyed by a volcanic eruption in 79 AD. e. Impressed by the description of an eyewitness to the tragedy of the Roman writer Pliny the Younger, Bryullov realized that he had found a theme for his next work. For three years, the artist collected material in archaeological museums and excavations so that each object painted on the canvas corresponded to the era. All work on the painting lasted six years. In the process of working on the painting, many sketches, drafts, sketches were made, and the composition itself was rebuilt several times. When the work was presented to the general public in mid-1833, it caused an explosion of admiration and admiration for the artist. Previously, no painting from the Russian school of painting had achieved such European fame. In 1834, at exhibitions in Milan and Paris, the success of the painting was amazing. In Italy, Bryullov was elected an honorary member of several art academies, and in Paris he was awarded a Gold Medal. The success of the film was predetermined not only by the successfully found plot, which corresponds to the romantic consciousness of the era, but also by the way Bryullov divides the crowd of dying people into local groups, each of which illustrates one or another affect - love, self-sacrifice, despair, greed. The force shown in the picture, destroying everything around, invading the harmony of human existence, evoked among contemporaries thoughts about a crisis of illusions, about unfulfilled hopes. This painting brought the artist worldwide fame. The customer of the painting, Anatoly Demidov, presented it to Tsar Nicholas I.

Ivanov Alexander Andreevich (gg.) A special place in the historical genre is occupied by A.A. Ivanov’s monumental canvas “The Appearance of Christ to the People,” on which he worked for 20 years. Executed in compliance with the basic norms of classical painting, it combines the ideals of romanticism and realism. The main idea of the picture is confidence in the need for moral renewal of people.

The history of the creation of the painting “The Appearance of Christ to the People.” In 1833 (from 1830 to 1858 the artist lived in Italy), Alexander Andreevich conceived the idea of a new monumental painting. This world-famous painting became the apogee of his work; it revealed the artist’s powerful talent to the fullest. Working on the painting occupied all the artist’s thoughts and time; More than three hundred preparatory sketches from nature and album sketches were completed, many of which became independent works. While working on the painting, Ivanov re-read literature on history, philosophy, religious teachings, and rethought the concept and plot several times. In Italy, the artist found himself in a difficult financial situation. Ivanov lived on benefits that he managed to obtain from various institutions or patrons. He saved on every little thing. Alexander Andreevich spent almost all the money that he managed to get on maintaining a huge workshop, buying art materials and paying models. After several breaks in working on the painting, the artist finally finished it by 1857. But the painting “The Appearance of Christ to the People,” shown by the artist after returning to Russia in 1857, first in the Winter Palace, then at the Academy of Arts, was received rather restrainedly.

About the portrait art of the artist Ivanov A.A. This is evidenced by the portrait of N.V. Gogol, painted in 1841, with whom the painter had a close friendship. A painting from the “Italian” period of the painter’s work, “The Appearance of Christ to Mary Magdalene after the Resurrection,” on which he worked from 1834 to 1836. This canvas was sent to St. Petersburg, where it received positive reviews. The painting was placed in the Hermitage art gallery. The Academy Council appreciated the artist’s work, which strictly complied with the classical canons, and awarded him the title of academician.

Self-portrait, 1848 Fedotov Pavel Andreevich (). The founder of critical realism in Russian painting. In his genre paintings he expressed major social problems. During his childhood he studied at the First Moscow Cadet Corps. Thanks to his phenomenal memory, Pavel studied well, science came easily to him. Even then, in the first years of his studies, Fedotov showed a desire for painting. Over time, drawing grew into a passion. Fedotov's first works were related to military themes. He enters the Academy of Arts. He did not completely take on faith everything that was taught at the Academy, which determined the formation of his own view of painting, different from the frozen canons of academicism. After retiring, the artist created talented works of social direction, showing the author’s critical position in relation to reality.

“Fresh gentleman”, 1846 “The picky bride”, 1847 The first work of the artist P.A. Fedotov, painted in oil - “Fresh gentleman” - dates back to 1846. Both academic professors and democratic spectators liked this genre picture. A year later, Fedotov painted another painting, “The Picky Bride.” With the direct participation of Bryullov, these two paintings were accepted for the academic exhibition of 1847.

“The Major’s Matchmaking,” 1851 For the later painting “The Major’s Matchmaking,” the Academy Council awarded Pavel Andreevich the title of Academician. Portraits occupied an important place in Fedotov’s work, of which “Portrait of N. Zhdanovich,” painted in 1849, stands out. “Portrait of N. Zhdanovich at the piano”, 1849

Venetsianov Alexey Gavrilovich (), the founder of the domestic everyday genre (genre painting). His paintings poeticized the life of ordinary Russian people and were dedicated to the daily work and life of peasants. “Self-Portrait”, 1811 Born in Moscow, in the family of a merchant. He studied at a private boarding house, served in the Postal Department, and was fond of painting since childhood. He was a student of the famous artist V.L. Borovikovsky. In 1811 A.G. Venetsianov was elected academician of the St. Petersburg Academy of Arts.

In 1818, Venetsianov left government service, got married and moved with his family to the Safonkovo estate, which belonged to his new wife. It is here, far from the bustle of the city, that Alexey Gavrilovich finds the main theme of his work. Venetsianov discovers an inexhaustible source of inspiration, a variety of subjects and images. The enormous contribution of Alexei Gavrilovich Venetsianov to the development of Russian painting is the creation of his own school, his own method. From private portraits of peasants, the artist comes to magnificent artistic compositions in which folk life, its aura, finds a multicolored expression for it. In 1822, for the first time, the work of the artist A.G. Venetsianov was presented to the emperor. The painter received a thousand rubles for it, and the work itself was placed in the Diamond Room of the Winter Palace. The name of the painting was “Cleansing the beets.” This canvas became a kind of “turning point” in Russian painting, the emergence of a new direction in Russian art of the everyday genre. It was Venetsianov who achieved the popularity of this style of painting among the people.

In the 1820s, Alexei Gavrilovich painted several small paintings, so-called “peasant portraits,” depicting girls with a jug of milk, a scythe, beets, cornflowers, a boy with an ax or sleeping under a tree, an old man or an old woman. “Girl in a headscarf”, 1810 “Zakharka” “Girl with a jar of milk”, 1824 Peasant woman with cornflowers.

“On the arable land. Spring." 1820 At the harvest. Summer. It should be noted the peculiarity of the images of peasant women, characteristic of many of the artist’s paintings: their majesty, calm dignity, businesslike expression on their faces. The prototype of the peasant woman for the painting “On the arable land. Spring” served as the artist’s wife. She is a young, slender woman in a long sundress, leading two horses across a field. No less famous is the painting “At the Harvest. Summer". This work is distinguished by the harmony of artistic images: Venetsianov’s love for the working peasant people allowed him to depict true beauty in it.

Let's check your knowledge: 1. What artistic trends coexisted in painting in the first half of the 19th century: A) classicism, sentimentalism, realism B) realism, abstractionism, sentimentalism C) classicism, romanticism, realism 2. Which artist painted the portrait of A.S. Pushkin , about which the poet said: “I see myself as in a mirror. But this mirror flatters me”: A) Kiprensky B) Tropinin D) Venetsianov 3. Which of the artists of the first half of the 19th century is the founder of the domestic everyday genre in painting: A) Bryullov B) Venetsianov D) Fedotov 4. Which of the artists of the first half of the 19th century century is the founder of critical realism in Russian painting: A) Tropinin B) Fedotov C) Ivanov A.A.

Answers: 1.B) classicism, romanticism, realism 2.A) Kiprensky 3.B) Venetsianov 4.B) Fedotov 5.K.P. Bryullov “The Last Day of Pompeii” 6. A.G. Venetsianov “On the arable land. Spring" 7.P.A. Fedotov “Fresh Cavalier” 8.A.A. Ivanov “The Appearance of Christ to the People” 9.V.A. Tropinin “The Lacemaker” 10. O.A. Kiprensky “Portrait of A.S. Pushkin"

Presentation on the topic "Painting of the second half of the 19th century" on history in powerpoint format. In this presentation for schoolchildren, students get acquainted with famous Russian artists of the second half of the 19th century and their works. Presentation author: Lyudmila Ivanovna Fedotova

Fragments from the presentation

Russian painting of the second half of the 19th century addressed the same social issues as literature. The leading direction in it was critical realism.
One of the largest artists of this direction is Vasily Grigorievich Perov. He managed to show with accusatory pathos many unsightly aspects of his modern life.

The Wanderers

In 1863, an extraordinary event occurred in the artistic life of Russia. 14 graduates of the Academy of Arts refused to paint paintings on the subject of Scandinavian mythology required for obtaining diplomas. Not receiving permission to freely choose, the rebels left the Academy and founded an artel of artists in St. Petersburg, which in 1870 was transformed into the Association of Traveling Art Exhibitions.
The leader and theoretician of the Wanderers was Ivan Nikolaevich Kramskoy.

Ivan Nikolaevich Kramskoy

Kramskoy entered the history of Russian painting primarily as an outstanding portrait painter. He created a whole series of images of Russian cultural figures - portraits of M.E. Saltykov - Shchedrin, N.A. Nekrasov, L.N. Tolstoy.
Many of Kramskoy’s works stand on the verge of a portrait and a thematic painting.

Vasily Ivanovich Surikov

The pinnacle of realism in Russian painting of the second half of the 19th century is rightly considered to be the work of Ilya Efimovich Repin and Vasily Ivanovich Surikov, whose canvases created a collective image of the Russian people.
Repin’s works “Barge Haulers on the Volga”, “They Didn’t Expect”, “Refusal of Confession”, “Arrest of the Propagandist” had the loudest public resonance.
Surikov’s canvases are an artistically recreated story, the main character of which is the Russian people. “The Morning of the Streltsy Execution”, “Menshikov in
Berezovo”, “Boyaryna Morozova”, “The Conquest of Siberia by Ermak” - these paintings were included in the golden fund of Russian artistic culture.

Viktor Mikhailovich Vasnetsov

V.M. Vasnetsov turned to the genre of Russian folk tales. His Paintings are imbued with the spirit of folk tales. Religious quests and reflections on the fate of the people - the hero.

Ivan Ivanovich Shishkin

The main object of attention of many artists was the Central Russian landscape, the harsh nature of the Russian North. I.I. Shishkin’s paintings create the impression of power, strength, and greatness of Russian nature, which should be inherent in the heroic people.

Arkhip Ivanovich Kuindzhi

A special place in the landscape of the second half of the 19th century is occupied by Arkhip Ivanovich Kuindzhi, who was a Master of amazing lighting effects. “Ukrainian Night”, “Night on the Dnieper”, “Birch Grove”

Ivan Constantinovich Aivazovski

Ivan Konstantinovich Aivazovsky most of all loved to depict the sea. His paintings were extremely popular

Slide 2

What is painting?

Painting is a type of fine art associated with the transmission of visual images by applying paints to a rigid or flexible surface. There are five types of painting: easel (existing regardless of the place of creation), monumental (on architectural structures), decorative (intended to decorate or emphasize a structure), theatrical and decorative (creating a visual image of a performance), miniature (an area that is truly exciting and fascinating)

Slide 3

Styles of Russian painting.

In the 18th century, the style of classicism dominated Russian painting. However, by the 1830s, this direction was gradually losing its social significance and increasingly turning into a system of formal traditions. Such traditional painting becomes cold, official art.

Slide 4

Later, romanticism, a European movement, appeared in Russian art. One of the main postulates of romanticism, opposite to classicism, is the affirmation of a person’s personality, his thoughts and worldview as the main value in art. In Russia, romanticism acquired its own peculiarity: at the beginning of the century it had a heroic connotation, and then a tragic one.

Slide 5

Romanticism became the basis for the subsequent emergence of the realistic movement, which established itself in art in the second half of the 19th century. A characteristic feature of realism was its appeal to the theme of modern folk life, the establishment of a new theme in art - the life of peasants.

Slide 6

Portraiture is characterized by outstanding achievements in Russian art of the early 19th century. Throughout the century, the Russian portrait will be the genre of painting that most directly connected artists with society, with outstanding contemporaries. After all, as you know, artists received a large number of orders from individuals specifically for portraits.

Slide 7

Painting in the first half of the 19th century acquired greater significance in the life of society than it did in the 18th century. The development of national identity caused by the victory in the Patriotic War of 1812. As a result, during the first quarter of the century, public organizations arose for the first time, for example, the Society for the Encouragement of Artists. The Russian Gallery was created at the Imperial Hermitage in 1825.

Slide 1

19th century painting.

Slide 2

What is painting?
Painting is a type of fine art associated with the transmission of visual images through the application of paints to a rigid or flexible surface. There are five types of painting: easel (existing regardless of the place of creation), monumental (on architectural structures), decorative (intended to decorate or highlight a structure), theatrical decorative (creating a visual image of a performance), miniature (an area that is truly exciting and fascinating)

Slide 3

Styles of Russian painting.
In the 18th century, the style of classicism dominated Russian painting. However, by the 1830s, this direction was gradually losing its social significance and increasingly turning into a system of formal traditions. Such traditional painting becomes cold, official art.