Russian painting of the first half of the 19th century. Painting of the first half of the 19th century Presentation of artists of the first half of the 19th century

The first half of the 19th century was a bright page in Russian culture. All directions - literature, architecture, painting of this era are marked by a whole constellation of names that brought Russian art world fame.
Culture developed against the background of the ever-increasing national self-awareness of the Russian people and, in connection with this, had a pronounced national character. The Patriotic War of 1812 had a significant impact on literature, theater, music, and fine arts, which to an unprecedented extent accelerated the growth of the national self-awareness of the Russian people and its consolidation.

Classicism

At the very beginning of the 19th century, classicism played a significant role in Russian painting.
One of the famous works of the beginning of the century on a historical theme is the painting by Dmitry Ivanovich Ivanov (1782 - after 1810) “Martha the Posadnitsa,” painted in 1808. The artist turns to the history of ancient Rus', the period of the struggle of the Novgorod principality with the growing Moscow principality.
The painting depicts Miroslav, who is preparing to lead the Novgorodians to fight Moscow, and receives the sword of Ratmir from the hermit Theodosius Boretsky. Miroslav was brought to the hermit by Theodosius’s daughter, Martha, who heads the Novgorod opposition. Both the nature of the plot and the artistic language of the picture correspond to the classic style.

Romanticism

Romanticism, a European movement that emerged at the turn of the 18th and 19th centuries, brought new views to Russian art. The development of romanticism in Russian painting is associated with the fashion for ruins, Freemasonic sacraments, chivalric novels and romances.
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. At the same time, romanticism in Russia has always been a form of artistic thinking, close in spirit to revolutionary and freedom-loving sentiments.

Portraits of Orest Kiprensky

Romanticism manifested itself most clearly in portrait art. A romantic portrait affirms the unique individuality of a person’s spiritual world; it is distinguished by spontaneity of expression, accuracy and sharpness of physiognomic characteristics, and lively emotionality.
The most significant portrait painter of the first third of the 19th century. was Orest Adamovich Kiprensky (1782-1836). Already in 1804, he created one of his most interesting works - a portrait of his stepfather, Adam Schwalbe.
In Kiprensky’s work, a unique type of chamber portrait was formed, revealing the spiritual life of a person with soulful depth. Most of Kiprensky's heroes are bearers of the highest kindness, highly moral, humanistic principles.

Alexey Gavrilovich Venetsianov

A remarkable painter, the creator of a unique national-romantic movement in Russian painting, was Alexei Gavrilovich Venetsianov (1780-1847), Borovikovsky’s favorite student. Venetsianov created a unique style, combining in his works the traditions of capital academicism, Russian romanticism of the early 19th century. and the idealization of peasant life. He became the founder of the Russian everyday genre.

Alexander Osipovich Orlovsky

Another famous representative of Russian painting at the beginning of the century is Alexander Osipovich Orlovsky (1777-1832). In the work of Orlovsky, as well as Kiprensky, romantic tendencies were clearly expressed. The artist was interested in free, strong people, and the national characteristics of various nationalities. In his paintings, Orlovsky sometimes depicted characteristic, poignant scenes. The artist’s favorite romantic image is a man on a horse. Riders and equestrian scenes surrounded by emotional landscapes are present in many of his works of art.

Vasily Andreevich Tropinin

The famous Russian portrait artist Vasily Andreevich Tropinin (1776-1857) continued his creative activity for more than half a century, while remaining a serf for most of his life. The best years of the artist’s work coincided with the heyday of Kiprensky’s talent. Both artists were close in their desire for simplicity and ease in the image of a person. However, Tropinin’s characters are more everyday and simpler, which indicates that the artist followed the new trends towards the democratization of art characteristic of that time.
Until the age of 47, he was in captivity. That’s probably why the faces of ordinary people in his canvases are so fresh, so inspired. And the youth and charm of his “Lacemaker” are endless.

One of the most famous and realistic portraits of A.S. Pushkin is the portrait painted by V. Tropinin in 1827.
The poet's clothing is very symbolic: the artist depicted him in a loose dressing gown thrown over a white shirt with a raised collar. A silk scarf casually tied over the collar and slightly tousled hair completes the look. True Russian Byron in a robe! It is not for nothing that Tropinin chose this particular outfit to depict Pushkin: like no other, it accurately conveys the main character traits of the poet, his love of freedom and freethinking.
The portrait shows not Pushkin the poet, but Pushkin the man. His whole posture speaks of his irrepressible energy; it may seem that in a moment he will get up and leave.
The artist masterfully managed to convey through the portrait the spirituality and rich inner world of Alexander Sergeevich, thanks to which the resulting image evokes delight and love from the audience.

Karl Pavlovich Bryullov

Karl Pavlovich Bryullov (1799-1852) was one of the most brilliant and at the same time controversial artists in Russian painting of the 19th century. Bryullov had brilliant talent and an independent way of thinking. Despite the trends of the times (the influence of romanticism), the artist was unable to completely get rid of the classicist canons. Perhaps that is why his work was highly valued by the far from advanced St. Petersburg Academy of Arts: in his youth he was its student, and later became an emeritus professor.

The artistic and ideological quest of Russian social thought and the expectation of change are reflected in the painting by K.P. Bryullov "The Last Day of Pompeii".
In 1830, Bryullov visited the excavations of the ancient city of Pompeii. He walked along the ancient pavements, admired the frescoes, and in his imagination that tragic night of August 79 AD arose. e., when the city was covered with hot ash and pumice of the awakened Vesuvius. Three years later, the painting “The Last Day of Pompeii” made a triumphant journey from Italy to Russia.

Alexander Andreevich Ivanov

In the first half of the 19th century. The artist Alexander Andreevich Ivanov (1806-1858) lived and worked. He devoted his entire creative life to the idea of ​​the spiritual awakening of the people, embodying it in the film “The Appearance of Christ to the People.” He worked on this picture for more than 20 years, into which he invested all the power and brightness of his talent. In the foreground of his grandiose canvas, the courageous figure of John the Baptist, pointing the people to the approaching Christ, catches the eye. His figure is shown in the distance. He has not arrived yet, he is coming, he will definitely come, says the artist. And the faces and souls of those who wait for the Savior brighten and become clear. In this picture he showed, as I. E. Repin later said, “an oppressed people yearning for the word of freedom.”

Pavel Andreevich Fedotov

An important stage in the formation of Russian realistic painting of the 19th century is associated with the name of Pavel Andreevich Fedotov (1815-1852). Fedotov had keen powers of observation and was sensitive to the shortcomings of the social system. Possessing the talent of a satirist, the artist, for the first time in Russian painting, gave the everyday genre a social, critical expression. In his paintings, the painter showed the life of the townspeople: among the characters in his works were merchants, officers, officials, and the poor. Fedotov attached great importance to observations of the life around him, and made a lot of sketches from life. Often the actions of his paintings are based on conflict, where social characteristics of people are given.
The script for the film “Major's Matchmaking” is based on an ordinary marriage of convenience between the daughter of a wealthy merchant and a bankrupt nobleman major. At that time, such transactions were commonplace: some sought to get money, while others sought rank in society, and the family simply needed to survive; bankruptcy was an inevitable collapse.

In 1848, his painting “Fresh Cavalier” was presented at an academic exhibition. The painting depicts an official who, the day before, was awarded his first award - an order - and now in his dreams he is already ascending the career ladder to the very top, imagining himself either as a mayor or as a governor.
It was a daring mockery not only of the stupid, complacent bureaucracy, but also of academic traditions. The dirty robe in which the main character of the picture was dressed was very reminiscent of an antique toga. Bryullov stood in front of the canvas for a long time, and then said to the author, half-jokingly, half-seriously: “Congratulations, you defeated me.”

Despite the diversity of creative individuals and the differences in specific artistic tasks, the general trend in Russian painting of the first half of the 19th century was to bring all genres of art closer to life. This tendency is reflected in the appeal of most artists to modern subjects and problems, in attention to the inner world of man, to the experiences of the artist himself. That is why acquaintance with the work of masters of the first half of the 19th century evokes in the viewer a vivid sense of the era and gives an idea of ​​the thoughts and feelings of Russian society.

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European culture. 19th century painting

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Contents: 1. Art movements 2. Romanticism 3. Realism 4. Impressionism 5. Conclusion 6. References

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Directions in art. XIX century History of the XIX century. opens not the calendar year 1801, but the year 1789. The Great French Revolution (1789-1799), which destroyed the monarchy and established a republic, determined the development of European culture for a long time. Fig. 1 “Taking of the Bastille on July 14, 1789”, Jean-Pierre Uel

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In the fine arts of the 19th century. painting comes first. It reflects classicism, romanticism with realism, and decadence. In the last third of the century, on the verge of realism and decadence, a new direction appeared - impressionism (from the French “impression” - impression). Impressionism occupied a place in the history of art equal to entire pictorial eras, although the movement itself covered only 12 years and 8 exhibitions.

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“The nineteenth century will differ from all previous centuries in its accurate and fiery portrayal of the human heart.” Stendhal Fig.2 E. Delacroix “Liberty leading the people”, 1830

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Romanticism A new direction in European culture - romanticism (French romantisme) - expressed the views of the younger generation at the turn of the 18th-19th centuries, who were disappointed in the truisms of the Enlightenment. The world of romantics is mysterious, contradictory and limitless; the artist had to embody its diversity in his work. The main thing in a romantic work is the feelings and imagination of the author. For the romantic artist there were and could not be laws in art: after all, everything that he created was born in the depths of his soul. The only rule that he respected was loyalty to himself, the sincerity of artistic language. Fig. 3 “Wanderer above the sea of ​​fog.” Caspar David Friedrich, 1818.

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Characteristic features of the direction: - lively flavor; - freer composition; - direct image of reality; - idealization and poetry of the country, serving as a counterbalance to the shortcomings of civilization; - the plot depicts passions, feelings, action; - what the artist depicts is filled with pathos and excitement. Fig.4 Francisco Goya “Sabbath of Witches”. 1797-1798

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Often the creations of the romantics shocked society with their complete rejection of prevailing tastes, negligence, and incompleteness. The famous French painter Eugene Delacroix, the leader of romanticism, argued that art “gives only a hint, is only a bridge between the soul of the artist and the soul of the viewer.” Fig.5 Delacroix E. “Massacre on Chios”

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Realism The term “realism” was first used by the French literary critic J. Chanfleury in the 50s. 19th century to denote art opposed to romanticism and symbolism. The birth of realism is most often associated with the work of the French artist Gustave Courbet (1819-1877), who opened his personal exhibition “Pavilion of Realism” in Paris in 1855. Fig.6 Courbet G. “Windwinners”, 1853

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Characteristic features of the direction: - painting depicts everyday reality; - simple composition, earthy colors; - the country, work, simple life serve as the plot; We recognize critical realism, romantic realism. Fig.7 Courbet G. “Stone crushers”

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Impressionism (derived from the French impression - impression) is a movement in European painting that originated in France in the mid-19th century. The impressionists avoided any details in the drawing and tried to capture the general impression of what the eye sees at a particular moment. They achieved this effect using color and texture. The title of Claude Monet's landscape is “Impression. Sunrise" and gave the name to the work of these artists.

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The Impressionists proposed a new vision of the world and new principles of painting. They perceived the surrounding reality as an endless change of impressions. The picture becomes, as it were, a separate frame, a fragment of the moving world. Freshness and spontaneity appeared in the depiction of the everyday life of a modern city, its landscapes, views, life and entertainment of its inhabitants. The most important rule of the Impressionists was to work in the open air - in the open air, thanks to which in their landscapes they were able to create a feeling of sparkling sunlight, the richness of the colors of nature, and convey the movement of air. Fig.8 Monet K. “Landscape in Monaco” Fig.9 Cezanne P. “Houses in Provence”, 1882 For the culture of the 19th century. characterized by multi-style, struggle between different directions, and the onset of crisis phenomena. The nature of a person’s interaction with the surrounding reality changes fundamentally: a contemplative attitude appears, a desire for sensory contact with the world, and this is realized in different ways in different movements. XIX century was a century of ups and downs, a century of contradictions, but it prepared that turning point in the consciousness and culture of mankind, which divided the traditions of the classical and modern eras.

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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 was able to show with accusatory pathos many of the 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

“Russian architecture of the 19th century” - Montferrand. Beginning of the 19th century The building of the New Hermitage. Public interest in works of art. Karl Ivanovich Rossi. Russian architecture in the first half of the 19th century. Voronikhin. Beauvais. Ton Konstantin Andreevich. Classicism. The largest representatives. Zakharov. The beginning of the "golden age".

“Painting of the 19th century” - Sylvester Feodosievich Shchedrin. Alexey Gavrilovich Venetsianov. Vasily Andreevich Tropinin. Ivan Constantinovich Aivazovski. Orest Adamovich Kiprensky. 19th century painting. Russian painters. Russian painters of the early 19th century established their own principle. Alexander Andreevich Ivanov. Coming from a Russified German family, the son of a woodcarver.

“Theater of the 19th century” - Dramatic creativity. New socio-psychological drama. Russian Drama Theatre. 19th century theater. Acting skills. Realistic theater of Western Europe. Basic principles. Contribution to the development of Russian theater. Melodrama by Russian authors. Russian realistic theater. Western European theater of romanticism.

“Russian realism” - Barge haulers on the Volga. Troika. Rural religious procession at Easter. From the history of realism in Russian painting. Basic principles of realistic theatrical art. Glinka settled in St. Petersburg. Pavel Andreevich Fedotov (1815-1852). Kramskoy Ivan Nikolaevich (1837-1887). Shishkin Ivan Ivanovich (1832-1898). Vereshchagin Vasily Vasilievich.

"Critical Realism" - Rye. Gold autumn. Vasily Ivanovich Surikov. A.P. Chekhov. Russian painting of the second half of the 19th century. Isaac Ilyich Levitan. Unknown. Alyonushka. Vasily Grigorievich Perov. Ivan Nikolaevich Kramskoy. Critical realism. Portrait painting. Master of Russian historical painting. Historical painting.

“Russian realism in painting” - The meaning of “realism”. Rainbow. Repin. The work of an individual artist. Shishkin Ivan Ivanovich (1832-1898). Break. Kuindzhi Arkhip Ivanovich (1842-1910). Before the storm. Critical orientation of realism. Pavel Andreevich Fedotov (1815-1852). Perov. Reproduction of reality “as it is.” Landscapes by Russian artists.

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"