Development of Russian painting. Treasury of Russian painting: history of the Russian Museum

Treasury of Russian painting:
history of the Russian Museum

You can know the Hermitage exhibitions thoroughly, you can perfectly navigate the Tretyakov Gallery, you can be ready at any moment to give your friends an impromptu tour of the Pushkin Museum, but still not consider yourself an expert in Russian art.

And why all? Because without the Russian Museum there is no way in this matter! Today we remember the history of the museum, which houses one of the most large collections Russian painting in the world.

Art lover Alexander III

On April 13, 1895, Emperor Nicholas II issued a decree according to which the “Russian Museum named after Emperor Alexander III” was to be established in St. Petersburg. But the museum was officially opened only on March 8, 1898. But the idea of ​​​​creating a museum came to the mind of Alexander III and long before that.

In young age future emperor Alexander III was fond of art and even studied painting himself with Professor Tikhobrazov. A little later, his wife, Maria Fedorovna, shared his passion, and the two of them continued their studies under the strict guidance of Academician Bogolyubov.

Decree on the establishment of the Russian Museum
published by Nicholas II

It was then that Alexander decided to create a state museum in which paintings by Russian painters could be stored, and which would correspond to the prestige of the country, raise patriotic moods and all that. It is believed that the emperor first expressed the idea after the 17th exhibition of the Association of Itinerants in 1889, where he purchased Repin’s painting “Nicholas of Myra delivers three innocently convicted people from death.”

Ilya Repin “Nicholas of Myra saves three innocently convicted people from death”

Special status of the Russian Museum

By 1895, they managed to create a project for the construction of the building of the Museum of Russian Art at the Academy of Arts and even finish the estimate, but on October 21, 1894, Alexander III died, and it seemed that the museum would never become a reality. But Nicholas II got down to business. He decided to give the Mikhailovsky Palace, purchased to the treasury, for the needs of the museum.

Repin's painting inspired
Alexander III to create a museum

Objects of art placed in a museum were supposed to remain there forever - that is, they could not be taken away or transferred to some other place. The manager was appointed by the highest personal decree and had to belong to the Imperial House.

Manager of the Russian Museum
must have belonged to the Imperial House

Mikhailovsky Palace

From the world one by one - collection to the museum

At first, the museum’s collection was made up of those collected by Alexander III paintings, which were transferred from the Academy of Arts, the Hermitage, for example, famous painting Karl Bryullov "The Last Day of Pompeii". Winter, Gatchina and Alexander palaces. Part of the collection was acquired from private collections.

As Nicholas II decided, in the future the collection was to be replenished from the treasury, which even introduced a separate section for the museum, and thanks to possible donations.

Surprisingly, there were many of these, the size of the collection grew rapidly and almost doubled compared to the original 1.5 thousand works and 5,000 exhibits from the Museum of Christian Antiquities. The first staff of the museum included the “color of the nation” - the most outstanding scientists, art critics and historians, for example, A. P. Benois, P. A. Bryullov, M. P. Botkin, N. N. Punin and others.

Life of the museum in the 20th century

Thanks to the State Museum Fund, which worked in the first years after October revolution, the museum’s collection grew rapidly after 1917. Large gaps in the collection were filled; for example, for some time some movements of Russian painting were not represented in the museum at all, and the collection of some was extremely meager.

In 1922, the museum’s exhibition was for the first time built on a scientific-historical principle, which brought the museum to a qualitatively new level. But the building of the Mikhailovsky Palace alone was not enough for the expanding collection, and gradually the museum began to “conquer territory.”

In the 30s, the Benoit wing of Rossi in the Mikhailovsky Palace, which had been occupied until then by tenants, was vacated and transferred to the Russian Museum, and a little later the ethnographic department “moved out” from the parent nest of the Russian Museum, which became State Museum ethnography of the peoples of the USSR. In the 40s, the Benois building and the Mikhailovsky Palace were even connected by a special passage.

Benois building on the Griboyedov Canal

Where to go and what to see?

IN beginning of XXI centuries, the Summer Garden with its collection passed into the possession of the Russian Museum marble sculptures(yes, yes, in Summer Garden now there are only copies!), as well as those located in it Summer Palace Peter I, Coffee and Tea houses. The house of Peter I on Petrovskaya Embankment, which also belongs to the Russian Museum, was first built of logs, but after some time it was covered with a stone, and a little later - with a brick cover.

Serov Valentin Alexandrovich.
"Portrait of Ida Rubinstein"

Among the most famous works of art stored in the Russian Museum are the icons of Andrei Rublev and Simon Ushakov, the paintings of Bryullov " Italian noon" and "The Last Day of Pompeii", Aivazovsky's "The Ninth Wave" and "Wave", "Barge Haulers on the Volga" by Repin, "The Knight at the Crossroads" by Vanetsov, "Suvorov's Crossing of the Alps" by Surikov, "Portrait of Ida Rubinstein" and "Abduction Europe" by Serov, "Portrait of F. I. Chaliapin" by Kustodiev.

But this is only a small part of those beautiful paintings by Russian painters that are kept in the Russian Museum.

Name: History of Russian painting - XVIII century.

The rapid development of Russia during the time of Peter the Great makes it partly similar to Western Europe Renaissance. The art of portraiture began to develop rapidly; By the middle of the century, thanks to the general rise of culture, Russian fine art became professional. After Peter, still lifes and desudeportes became popular themes in painting. Classicism became the symbol of Catherine's reign in art. Historical painting is developing, and the art of portraiture ceases to be elitist. At the end of the century, the emergence of the everyday genre and the emergence of landscape as a separate direction took place.

Name: History of Russian painting - First half of the 19th century.

Name: History of Russian painting - First half of the 19th century.

For fine arts, the first decades XIX century- the beginning of the golden age. It was at this time Russian artists reached the highest craftsmanship, which allowed them to stand on a par with the best masters European art. The works collected in this volume reflect the rise of classicism, the spread of romanticism and the emergence of realism in all aspects of Russian painting.

Name: History of Russian painting - The turn of the 19th and 20th centuries.

The balance of power was fading into oblivion artistic life Russia second half of the 19th century centuries: on the one hand - the routine art of the Academy of Arts, on the other - the Wanderers.
IN late XIX century, young artists began to look for their own paths in painting. At the same time, the Abramtsevo circle was formed, which put forward new tasks that were not inherent in the Partnership’s program. And then - in the 1900s - for the first time in Russian artistic life, an abundance of different associations arose: they all came out with their own programs, manifestos, and platforms.

Federal Agency for Railway Transport

Siberian State University communication lines

Department " Philosophy and cultural studies»

(name of the department)

Great names of Russian painting

Essay

In the discipline "Culturology"

Head Developed

Student gr. D-113

Bystrova A.N. ___________ Fitkova I. V.

(signature) (signature)

_______________ ______________

(date of inspection) (date of submission for inspection)

2011

1. Introduction ………………………………………………………………...2
2. Development of art in the XIII………………………………………………………4
3. Art at the turn of the XI V - X V ………………………………………....5
4. Art XVI………………………………………………………..7
5. Development of art in X V II century…………………………………………..7
6. Art in X V III……………………………………………………...10
7. Art XIX - early XX centuries……………………………………12
8. Development of art in the revolutionary era of the USSR…………………16
9. Conclusion……………………………………………………………17
10. References……………………………………………………..18

Introduction

Love painting, poets!

Only she, the only one, is given

Souls of changeable signs

Transfer to canvas.

Nikolai Zabolotsky.

Nikolai Zabolotsky quite rightly notes that any changes in social space are reflected in the works of poets, writers, painters, public figures

Among the many types of art, there are three special ones - the most important, in my opinion: literature, music, fine arts. Word, sound, image - without them all other forms of art are impossible: not a play, not a film, not a pop concert. They listen to music, heroes literary works readers imagine mentally, in their imagination. And we see works of fine art with our eyes. It is the oldest of the three main ones people did not yet know how to speak, but they were already creating images, cave drawings, For example. art created by artists. They depict the world as we all see it, and as it is seen by one single person, the artist himself. Everything can be depicted: and visible world objects, people, animals, and the invisible world of feelings joy and sorrow, truth and lies, good and evil. . The history of our state can be studied not only from documents and artifacts, but also from the artistic heritage of our great ancestors. Painting is no exception. To write the essay, I used “Essays on Russian culture IX-XVIIcenturies" (authors A.V. Muravyov, A.M. Sakharov), "Essays on the history of Russian culture of the XVIIIcentury" by B.I. Krasnobaeva, "History of Russian Art" by V.N. Alexandrova. These books give the main stages of the cultural history of our country, their features and distinctive features. The development of culture is considered as part of history, which helps to reveal objective patterns historical process. IN different eras in Russia, such outstanding painters as Andrei Rublev, Dionysius, Levitsky and Rokotov, Kiprensky and Fedotov, Bryulov and Ivanov, Repin and Surikov, Vrubel and Serov and many other masters who brought Russian artistic culture true and undeniable glory.

Russian painting has undergone many changes during its formation, but has retained its originality; within the framework of this project, I consider it necessary to trace the process of formation of the Russian tradition in painting.

Target: carry out an overview of the work of great Russian artists (from the 14th to the 20th centuries) in the context of the socio-cultural characteristics of the period of creativity of a particular artist. Theoretical object of study: representatives of Russian painting represented by artists, schools, trends

Development of art in the 13th century

Russian art in general, and Russian painting in particular emerged from art Kievan Rus, which cannot yet be called completely original, because along with Christianity, Prince Vladimir brought from Byzantium and artistic traditions. They are intricately intertwined with pagan culture, gradually changing over time. The most important sources of Russian art at the stage of its formation were folk decorative and fine arts, as well as Byzantine samples. Fast social political and cultural development Russian lands leads to the creative processing of these sources and to the emergence of an original and majestic style in architecture, fresco, and decorative art of Rus'. The development of original Russian icon painting begins. But in the 13th century, due to the Mongol-Tatar invasion, these cultural processes slowed down and even stopped; a significant part of the monuments of pre-Mongol Russian culture was irretrievably lost. The Mongol invasion, having destroyed many Russian cities, caused enormous damage to Russian urban culture, but from the middle of the 11th century V centuries indicate signs of revival. At the turn of XI V - X V centuries, Moscow knew not only the works of Constantinople masters, but also the works of South Slavic artists: one of the greatest painters At that time, Theophanes the Greek, who arrived from Novgorod as a fully established master. The skill of Theophanes the Greek aroused the desire of Moscow painters to imitate him. Many of Theophan the Greek's works have not reached us, except for the icons of the Annunciation Cathedral.

Art at the turn of the XI V - X V

The rise of Moscow art prepared the work of the great Russian artist Andrei Rublev. Major milestone in the art of the turn of the 11th V - X V centuries began the formation of the Moscow school of painting, which was headed by the outstanding artist Andrei Rublev. In his icons and paintings, Rublev developed such a perfect artistic language that throughout the 15th century his style became the leading one.

Unfortunately, it is not known exactly when Andrei Rublev was born. Most researchers consider the year 1360 to be the date of birth of the artist. Andrei Rublev was a monk of the Trinity-Sergius and then the Savior-Andronikov monasteries. In 1405, together with Theophan the Greek and Prokhor from Gorodets, he painted the Annunciation Cathedral. Feofan’s imperious, stern, emotionally rich pictorial language, the violation of traditional iconographic schemes, and the extraordinary change of images could not fail to make a deep impression on Rublev. It is very significant that Rublev’s name is mentioned in third place in the chronicles of that time. From this we can conclude that at that time Andrei Rublev was not only the youngest, but also the least famous author.

Andrei Rublev and under his leadership, many temples were painted, and also painted whole line Deesis, festive and prophetic icons.

B 1425 14 27 Rublev together with Daniil Cherny and painted by other mastersTrinity Cathedral of the Trinity-Sergius Monasteryand created the icons of his iconostasis. Icons have been preserved; they are made in different manners and are of unequal artistic quality. The time when new internecine wars were brewing in Rus' and the harmonious ideal of man, which had developed in the previous period, did not find support in reality, also affected Rublev’s work. In a number of works, Rublev managed to create impressive images; in them one can feel dramatic notes that were not previously characteristic of him (“Apostle Paul”). Some sources call the painting of the Spassky CathedralAndronikov Monastery(in the spring of 1428; only fragments of ornaments have survived) last job Rublev.

A number of works are also attributed to him, the attribution of which to Rublev’s brush has not been definitely proven: frescoesAssumption Cathedral on Gorodokin Zvenigorod (late XIV early 15th centuries; fragments have been preserved), icons “Our Lady of Vladimir” (about 1409 , Assumption Cathedral, Vladimir), “The Savior is in Power” ( 1408 , Tretyakov Gallery), part of the icons of the festive rite (“Annunciation”, “Nativity of Christ”, “Candlemas”, “Baptism”, “Resurrection of Lazarus”, “Transfiguration”, “Entry into Jerusalem” all about 1405 ) Annunciation Cathedral of the Moscow Kremlin (the iconostasis of this cathedral, according to the latest research, comes fromSimonov Monastery), part of the miniatures "Gospel Khitrovo"(around 1395, Russian state library , Moscow).

Rublev's creativity is one of the pinnacles of Russian and world culture. Rublev's most famous work is the Trinity icon, painted in 1425-1427 for the Trinity-Sergius Monastery. The plot is based on a biblical legend that tells how three beautiful young men appeared to the elder Abraham, and how he and his wife Sarah treated them under the shade of the Mamvrian oak tree. In Rublev’s icon, everything secondary and unimportant is discarded; the figures of Abraham and Sarah, numerous dishes are missing, only three figures of angels remain. The middle of the angels is Christ. All three figures seem to form a circle. The painting has a very calm, but at the same time consistent and clear rhythm of circular movement, to which the entire composition is subordinated; the colors are pure and harmonious. The combination of colors of green, blue and yellow, as well as the color of ripe rye, chosen by Rublev, has never before sounded so bright in Russian painting.

Thus, the Moscow school of icon painting differs from Novgorod icons in the spirituality of images, the flexibility of figures, and the harmonious consistency of color. In contrast to the energetic red, yellow, white, dark blue, olive green, which Novgorod masters constantly resort to, Moscow painting is dominated by light transparent tones and shades of blue, golden brown, pale green, cherry brown and lilac.

In the work of Andrei Rublev, Russian art made a huge and very important step along the path of the formation of a realistic principle with individual freedom of artistic creativity, the harsh ascetic tradition was overcome Byzantine art. The works of Andrei Rublev are humanistic, they reveal beauty and strength human soul, they are imbued with love for people.

Art XVI

In the 80s X V century, a Russian centralized state takes shape and the remnants of dependence on the Mongol-Tatar khans disappear, Moscow becomes the capital of a large state. Its importance as a center of unifying cultural heritage reunited lands. The main task of art becomes the glorification of Rus', which gives political meaning to many works of painting. X V I century. Leading position in late X painting V century was occupied by the Moscow school. The centralization of power and the strengthening of the role of the church in the life of the state led to an even greater subordination of art to official ideology. These phenomena manifested themselves to a certain extent in the work of the greatest Moscow master of the late 19th century. V beginning X V I century - Dionysius. He was most likely born in 1440; unlike Andrei Rublev, he was not a monk. His two sons Vladimir and Theodosius were also painters and helped him in his works. The creative activity of Dionysius was closely connected with the highest secular and spiritual circles of the state. The master carried out the most important orders of the Metropolitan and Grand Duke, in particular in connection with the victory won in 1480 over the army of the Tatar Khan Akhmat. The most complete creativity of Dionysius is reflected in the paintings of the Ferapontov Monastery; this painting is dedicated to the theme of praise to the Mother of God bright combination colors, colorful patterns of clothes, many depicted herbs and flowers create a festive and solemn impression. The art of Dionysius, for all its splendor, loses some wonderful qualities compared to the Rublev era: if Rublev was interested primarily in the internal, spiritual world man, Dionysius has a desire for external beauty and decorative splendor.

Development of art in X V II century.

In Russian painting X V I century, a number of innovations favorable for further development art. Russian masters for the first time begin to reproduce pictures of everyday life, nature and people in their modern appearance. Thus, in the painting of the 16th century, features appeared that prepared the development of realistic principles. V II centuries.

For a long time in the literature the view of X was widespread V 2nd century as a time of decline ancient Russian painting, the art of this time, when compared with the time of Andrei Rublev and Theophanes the Greek, was considered as lower in strength and means of artistic representation.Indeed in painting X V There are no works of the 2nd century marked by such perfect composition of pictorial skill and spirituality as in the works of the great masters of the 10th century V - X V I centuries. Time of Troubles, “rebellious age”, church schism, all these events influenced the development of Russian art X V II centuries.

X V The 2nd century was a turning point in history in the field of painting, when extremely important processes took place, primarily the desire for “secularization,” the strengthening of secular elements, and the tendency toward realism.

The highest level of development of painting art in X V II century is associated with the activities of the outstanding artist Simon Ushakov (1626-1686). A native of the townspeople, Simon Ushakov worked in the Armory and was elevated to the rank of nobility. The significance of this master is not limited to the numerous works he created, in which he sought to overcome artistic dogma and achieve true portrayal- “as it happens in life.”

Evidence of Ushakov’s progressive views is the “Word to a Lover of Icon Painting,” which he apparently wrote in the 60s. In this treatise, Ushakov places a high value on the purpose of the artist, who is capable of creating images of “all intelligent creatures and things... to create these images with varying degrees of perfection and, through various arts, to make what is conceived easily visible.”

Ushakov considers painting to be higher than all the “arts existing on earth”, which “is superior to all other types because it depicts the represented object more delicately and vividly, more clearly conveying all its qualities...”.
Ushakov likens painting to a mirror that reflects life and all objects

“A Word to a Lover of Icon Painting” was dedicated by the Ushakovs to Joseph Vladimirovich, a Moscow painter, a native of Yaroslavl, who enjoyed considerable fame in the 40-60s. Joseph Vladimirov is the author of an earlier treatise on icon painting, in which he, although not as clearly as Ushakov, also declared himself: a supporter of innovation and demanded greater vitality in art.

Ushakov - artist, scientist, theologian, teacher - was a man of a new era, a new type of thinker and creator. Being an innovator in art, he at the same time understood the value ancient traditions Russian culture and carefully protected them. It was precisely because of these qualities and his noted rare breadth of views that he was able to stand at the head of Russian art for more than thirty years.

While educating his students and trying in every possible way to pass on his knowledge to them, he even conceived the idea of ​​publishing a detailed anatomical atlas. “Having the talent of icon painting from the Lord God... I did not want to hide it in the ground... but I tried... to fulfill with skillful icon painting that alphabet of art that contains all the members human body, which in various cases are required in our art, and decided to carve them on copper boards...” Ushakov wrote about his plan, but the atlas, apparently, was not published.

From the first years independent creativity Ushakov's interest in depicting the human face was determined. Famous work Ushakov is his “Savior Not Made by Hands,” in which the artist depicted a classically correct face, its volume, the fabric on which, according to church tradition, the image of Christ appeared very well.

By persistently repeating this theme, the artist sought to get rid of the conventional canons of icon painting and achieve a flesh-colored complexion, a restrained but clearly expressed volume of construction and an almost classical regularity of features. True, the icons of the Savior by Ushakov lack the spirituality of Russian icons of the 14th-15th centuries, but this is to a certain extent redeemed by the artist’s sincere efforts to recreate a living human face on the icon as believably as possible.

Ushakov painted an icon of Our Lady of Vladimir, called “Planting the Tree of the Russian State” (1668). This icon should be considered a picture of the triumph of Russian statehood. In the lower part of it are depicted the wall of the Moscow Kremlin, behind it the Assumption Cathedral, the main shrine of the Russian state. At the foot of the cathedral, Prince Ivan Kalita, the collector of Russian lands, and Metropolitan Peter, who was the first to transfer the metropolitan see from Vladimir to Moscow, are planting the tree of the Russian state. On its branches there are medallions with portraits of all the most significant political figures Ancient Rus'. In the central, largest medallion, there is an icon of Our Lady of Vladimir, revered as the patroness of Moscow. Below, on the Kremlin wall, stand Tsar Alexei Mikhailovich and Tsarina Maria Ilyinichna with princes Alexei and Fedor. Ushakov tried to make the portraits of the king and queen perhaps more similar.

Information has been preserved about a number of portraits painted by Ushakov. Some of them were performed in a technique new to ancient Russian art. oil painting. Unfortunately, none of these portraits have been discovered so far. For characteristics extremely versatile personality Ushakov, it should be pointed out that he was not only a theorist, a painter, a draftsman - a “flag bearer”, the author of many drawings for engravings reproduced by Russian engravers of the second half XVII century, but, apparently, he engraved himself: he is credited with the sheets “Fatherland” (Trinity) and “The Seven Deadly Sins” engraved on copper with a dry point in the 60s.

Ushakov had a great influence on the development of Russian painting at the end of the 10th century. V II century, when his students Grigory Zinoviev, Tikhon Filatiev, Fyodor Zubov performed a number of works in the spirit of Ushakov’s traditions. A remarkable phenomenon in the history of Russian pictorial art X V In the 2nd century there was a school of Yaroslavl masters. The influence of secular, townsman culture was clearly manifested here. The range of subjects has expanded, the secular principle is decisively invading the church-dogmatic. The artists boldly use familiar images of Russian life in scenes sacred history: a peasant horse is depicted in the plowing scene of Cain, reapers in pink and blue shirts are waving Russian sickles. The church fiercely resisted the new direction in painting, but this could no longer prevent its liberation from church icon painting traditions.

Art in X V III

At the end of X V II beginning of X V III century, Russian art is experiencing a decisive turning point; there is a transition from medieval religious forms to secular ones, close to European art new time. Russian artists, quickly mastering European models, introducing into them their own understanding of form and national content. In 1757, the Imperial Academy of Arts was created, which began training highly qualified artists who combined experience and artistic heritage previous generations with the needs of Russian artistic life. The Baroque style became widespread in the art of Russia, the leading genre of painting and graphics became the portrait, and the historical and landscape genres also received significant development.

I would like to dwell in more detail on the work of Dmitry Grigorievich Levitsky (1735-1822).Already in his early works, he showed himself to be a first-class master of ceremonial portraiture, capable of finding an expressive pose and gesture, combining the intensity of color with tonal unity and richness of shades.

Fame came to the artist in 1770, when at an exhibition in St. Petersburg Academy art, the public saw 6 first-class portraits by his brush. Among them Special attention attracted ceremonial portrait architect A.F. Kokorinov (1769), author of the project for the building of the Academy of Arts and its first director.

For this portrait Levitsky was awarded the title of academician of painting. At the same time, he was offered to head the portrait class of the Academy of Arts, the head of which he remained until 1788. The gallery of portraits of his contemporaries created by the artist brought him well-deserved fame.

In the 1780s, the artist created a unique portrait gallery of Russian cultural figures. They are particularly warm intimate portraits Levitsky, created during the heyday of the artist’s work (mid-1770s - early 1780s). Also in 1773 the master executed a portrait of D. Diderot, which amazed his contemporaries with his life-like persuasiveness and exceptional truthfulness in recreating the appearance of the philosopher. The encyclopedist, writer and critic is shown by Levitsky very simply: Diderot is depicted without a wig, bald, with folds of skin under his eyes, but the hidden behind comes to the fore external features strong and complex human nature. The face testifies to creative talent, courage, fortitude and inquisitiveness of mind. One of the best creatures Levitsky portrait of young M. Dyakova (1778), poetic, cheerful, painted in a rich range of warm colors.

Realism and humanistic character of advanced Russian art X V III centuries were fully manifested in the work of D. G. Levitsky.

Art XIX - early XX centuries

In the first half of the 19th century, the development of art in Russia was significantly influenced by socio-historical processes - the national patriotic upsurge associated with the victory over Napoleon in the Patriotic War of 1812, and the emergence of the anti-monarchist movement, which resulted in the Decembrist uprising in 1825. Romantic tendencies appeared in painting (portrait, historical genre), and by the middle of the century the democratic orientation of art was intensifying ( everyday genre). IN genre system Academy of Arts everyday picture was given tertiary importance, but the progressive Russian artist Alexey Gavrilovich Venetsianov. (1780-1847) established the everyday genre and realistic painting in general as an equal and important field of art.

Venetsianov's brushes include a portrait gallery of his contemporaries: the artist painted N.V. Gogol (1834), V.P. Kochubey (1830s), N.M. Karamzin (1828). For the title of academician, Venetsianov was asked to paint a portrait of the inspector of the Educational School of the Academy, K. I. Golovachevsky. A.G. Venetsianov depicted him surrounded by three boys, symbolizing the union of “the three most noble arts”: painting, sculpture and architecture. However, the images of peasants he painted brought A.G. Venetsianov the greatest fame. "Reapers"“The Sleeping Shepherd”, “Zakharka”, “The Barn”, “At the Harvest”. “Girl with Cornflowers” ​​is considered one of Venetsianov’s best peasant portraits. With soulful lyricism, Venetsianov touches on the subtlest notes of a person’s intimate experience, revealing his reverent spiritual world. This makes the image he created spiritual and beautiful.

The most important place in the painting of Russia in the middle XIX century is occupied by the artist Karl Pavlovich Bryullov, who created portraits of Countess Samoilova, E.P Saltykova, O.P Ferzen, K.A Tonna, A.N Lvova, he painted more than 80 portraits. His characteristic dramatic perception of life was embodied in the painting “The Last Day of Pompeii” (1830-1833).

The spread of democratic ideals among the Russian intelligentsia led to the development of new aesthetic views. Artists joined the fight for fair social orders, critical realism became widespread in painting.

Important role The Association of Traveling Art Exhibitions, created in 1870, played a role in the artistic life of the country in the second half of the 19th century.

The partnership united around itself all the best painters and sculptors of the second half of the 19th - early 20th centuries. These are Perov and Kramskoy, Myasoedov and V. Makovsky, Savitsky and Maksimov, Pryanishnikov and Ge, Savrasov and Shishkin, Kuindzhi and Dubovskoy, V. Vasnetsov and Polenov, Kostandi and Pimonenko, Gun and Nevrev, Repin and Surikov, Serov and Levitan, Yaroshenko and Nesterov, Kasatkin and S. Ivanov, Pozen and Andreev, Popov and Arkhipov, Baksheev and Byalynitsky-Birulya and many others. At some exhibitions of the Itinerants, Antokolsky, Vereshchagin, K. Korovin, S. Korovin, Malyavin and others participated as exhibitors.
In the 70-80s, the activities of the Partnership reached their peak. Leading place on traveling exhibitions belonged to paintings by Repin, as well as Surikov, Kramskoy, Polenov, Nesterov, Myasoedov, Makovsky, Perov. In their work they reflected the most significant phenomena of the surrounding reality in all their complexity and contradiction. The Peredvizhniki had a huge influence on all aspects of the artistic life of Russia, on the formation of national art schools. Among the members of the Partnership and exhibitors were artists different nationalities. Many of them became the founders of realistic, democratic art their peoples.

At the beginning of the 70s, for the first time, the talent of one of the great painters of the 19th century manifested itself clearly and strongly.Repin Ilya Efimovich (1844-1930). One of Repin's first paintings to gain wide recognition was a large group portrait Slavic composers, commissioned by an entrepreneurA. A. Porokhovshchikova.

In 1872 for his programmatic work “The Resurrection of Jairus’s Daughter” he received a Grand Gold Medal and the right to 6 years of study in Italy and France, where he completed his art education.

Since 1873 Repin travels abroad asAcademy pensioner. In Paris he writes “The Parisian Cafe” and the fabulous “Sadko”.

The work that immediately put Repin in the forefront of Russian artists was the painting “Barge Haulers on the Volga” (1870-1873), which awakened compassion for the people oppressed by slave labor. Upon Repin's return from France in 1876, the period of the highest flowering of his creativity began. He acts as a portrait painter, a master of household and historical painting. The portrait was not only the leading genre, but also the basis of Repin’s work in general. Creates a gallery of images of outstanding representatives of Russian social thought science and culture. In his best portraits of V.V. Stasov, L.N. Tolstoy, M.P. Mussorgsky Repin achieves fullness of life and versatility of characterization thanks to amazing compositional depiction and activity visual arts. The tendency towards psychological drama in depicting situations is also reflected in historical painting Repin: “Ivan the Terrible and his son Ivan”, “The Cossacks write a letter to the Turkish Sultan.”

Clarity and accessibility figurative language the highest realistic skill, truth of character, interest in the burning issues of our time the guarantee of the enduring value of Repin’s artOf course, the history of Russian painting does not end there. The end of the 19th and beginning of the 20th century was a turning point in all spheres of social, political and spiritual life in Russia. All forms of art advocated renewal artistic language, a style emerged that affected all plastic arts, called Art Nouveau. Artists of the association “World of Art” (1898-1924) and “Union of Russian Artists” (1903-1923) played a major role in the popularization of domestic and Western European art. At the beginning of the 20th century, the latest trends of the West penetrated into Russian art - symbolism, primitivism, various directions modernist art. Avant-garde associations of artists appear « Blue Rose», « Jack of Diamonds", "Donkey's Tail", Cubo-futurism and abstract art are spreading.

Let us dwell on the work of Kazimir Severinovich Malevich (1878-1935). K.S. Malevich - Russian avant-garde artist , teacher, art theorist, philosopher, founder Suprematism directions in abstract art, a combination of colored simple geometric shapes (square, circle, triangle), as well as volumetric shapes superimposed on a plane.

Malevich was fond of impressionism. An example would be the seriespaintings spring garden: “Blossoming apple trees”, “Spring”, “Spring blooming garden”.In the work of Malevich at the end of the first decade XX century, different trends coexist. This includes impressionism, combined with Cézanneism ("River in the Forest"), and modernism, manifested in sketches for fresco painting ("The Triumph of Heaven"), and ever-increasing expressionist and fauvist elements. This compactness, layering of different styles and manners on top of each other is characteristic of both modern Russian art and Malevich’s work.

At the second “Last Futurist Exhibition of Paintings” in 1915, entitled “0.10 (zero-ten)”, held in Petrograd, Malevich shows 39 new paintings. These were non-objective works presented under the title “New Pictorial Realism”. Among the paintings was the famous “Black Square”. “Black Square,” according to Malevich’s plan, embodies the idea of ​​a new spirituality, is a kind of icon, a plastic symbol of a new religion. This was the beginning of Suprematism.

Malevich died on May 15, 1935. The urn with his ashes was buried near the dacha in Nemchinovka. The location is marked by a white cube with a black square on it.

The art of the pre-revolutionary years in Russia was marked by the extraordinary complexity and inconsistency of artistic quests, but along with experimenters in the field of abstract forms, the “Miriskusniks”, “Goluborozovites”, and “allies” continued to work in Russian art of this time. There was also a powerful current of neoclassical movement, an example of which is the work of Zinaida Evgenievna Serebryakova. It has its roots in the high national traditions Russian art, primarily Venetsianov - “Peasants” (1914), “Harvest” (1915), “Whitening the Canvas” (1917)

Development of art in the revolutionary era of the USSR

The revolutionary era occupies a special place in the history of Russian art. The total transformation of socio-economic and political life contributed to the entry of the most radical art movements into the arena of artistic life. Numerous groups and individual artists have made experimentation the main principle of their creativity. This art was later received common name Russian avant-garde. (Works by P.N. Filonov, A.M. Rodchenko).

By the beginning of the 1930s, the authorities established strict control over art. The years of Stalinism were one of the most tragic periods in the history of Russia and its art. The freedom of expression of the artist was violated, the method of socialist realism was formed, artists had to glorify the idea of ​​socialism, the triumph of collective consciousness. At the same time, with the beginning of the Great Patriotic War artists take an active part in the fight against the enemy, showing their civil position and patriotism. The work of such artists as A.A. dates back to this period. Plastov, S.V. Gerasimov, A.A. Deineka. IN last years war is one of the best paintings created Kukryniksy (a union of three artists M.V. Kupriyanov, P.N. Krylov, N.A. Sokolov) “Flight of the Nazis from Novgorod.”

As a reaction to the rejection of socialist realism in the early 1960s, a “severe style” emerged in painting. Artists P. Nikonov, N. Andronov, V. Popkov, O. Filatchev, M. Savitsky and others, in search of the truth of life, turned to a restrained conventional form, rejecting any descriptiveness. The heroic principle in the works of the “severe style” is born from the truthfulness in the transfer of harsh everyday life from here and the name. V. Popkov “Builders of the Bratsk Hydroelectric Power Station.” P. Nikonov “Our Everyday Life” and others.

Conclusion

Having studied the specified literature, I became acquainted with creative activity great Russian artists of the 15th-20th centuries, and came to the conclusion:

Outdated forms are gone forever public organization, the way of life and views of people have changed, but just like several hundred years ago modern man excite the marvelous creations of spiritual culture created a long time ago;

A characteristic feature of Russian artists, and above all the great masters, was close unbreakable bond their art with social life, progressive scientific thought;

They enriched traditions Russian art, asserted his nationality and humanism, high moral ideals;

Russian art has always been distinguished by its citizenship and patriotism.

I believe that knowing and loving everything priceless that you have created with your talent outstanding masters Russia, this is not only a duty, but also a duty of every modern educated person.

Thanks to working on this topic, I became closer to the world of art.

Bibliography

1. B.I. Krasnobaev. “Essays on the history of Russian culture of the 18th century” Moscow: Enlightenment, 1987.

2. A.V. Muravyov, A.M. sugars "essays on the history of Russian culture of the 9th-17th centuries." Moscow: Enlightenment, 1984

3. V.N Alexandrov. “History of Russian Art” Minsk: Harvest, 2007.