Famous artists of the USSR. Soviet painting - the history of modern art. The theme of war in painting

Despite the changing and contradictory situation in Russia, which affected the artists of the 20th century, they made their unique imprint on the history of Russian and, subsequently, Soviet fine arts. In the first 3 decades of the beginning of the century, many painters enthusiastically tried to create something unusual and new, each creator sought to make his own unique contribution to the development of his creativity. At this time, non-objective painting was gaining popularity, sometimes in the boring colors of Malevich and Kandinsky that were not entirely understandable to the common man.

In the early 1920s, various experiments and bold compositional and design solutions were replaced by constructivism. Practicality in design and revolutionary realism in painting are welcomed for the benefit of a new trend - socialism. Despite the vigorous propaganda, the search for novelty continued as before, many are experimenting, but there is a feeling of anxiety, this will last for a long time. Some (Serebryakov in their ranks) still travel abroad. For another 10 years they will be able to embody (or at least try) their own ideas and initiatives in their paintings.

But, already at the end of the 1920s, any manifestation of self-expression would be prohibited. Avant-gardists are beginning to be forced out of creative life, and those who disagree are subject to repression. Now every canvas must promote communism and Soviet ideology, and a new genre is emerging - socialist realism. Many art masters had to forget the past free life and to exist in the unpleasant conditions of such a difficult time, that is, to work for the glory of socialism, creating canvases about the ordinary life of the working proletariat and collective farmers.

In 1932, the Union of Artists was created, and art was divided into official and unofficial. Every figure in this movement, if he wants to have the opportunity to exhibit his works, must write in the genre of socialist realism. Other genres are simply prohibited, their representatives are not accepted into the “Union”, and their works are not allowed into any exhibition. The names of the “undesirables” are not listed anywhere; the authorities are doing everything to erase them from the world of art. In fact, painters have three options left: join the government and start drawing and writing about the necessary socio-ideology, continue to create, and get by with unofficial exhibitions; or, try to find a compromise.

Some try to continue experimenting, but simply cannot stand the pressure. “Official” artists are crowding out representatives of other genres, they enjoy the privileges of the “Union”, and earn a good living. Representatives of unofficial genres have to earn extra money by painting, drawing illustrations, or spend their talent, as a designer, on decorating halls, writing revolutionary posters. The worst for creative personality you can't imagine. The names of most of the “fighters” have not even survived to this day.

There are also bright representatives of socialist realism who work in the genre not out of coercion, but for ideological reasons. People like Sergei Gerasimov and Tatyana Yablonskaya devote themselves to work that allows them to earn money and become famous. And Fyodor Reshetnikov not only supports social realism, but harshly criticizes and even ridicules representatives of other genres (especially with the painting “The Secrets of Abstractionism”). The works of Vrubel are very noteworthy, who in his subjects often turned to mythical stories (“The Defeated Demon”, “ Six-winged seraph"). Art historians call this period the “Silver Age” of Russian culture.

Most painters find a compromise: they belong to the Union of Artists and paint portraits from time to time famous personalities, they paint thematic canvases or custom scripts, but devote their free time to neutral topics. Among such personalities are Vasily Baksheev, Boris Kustodiev, Konstantin Yuon. A striking example is Arkady Plastov. Even after his death he is considered an official artist, but the theme of most of his works remains rural landscapes, the life of collective farmers and ordinary people.

The opinion of art historians regarding the “Soviet” period is quite ambiguous. Some criticize painters for blindly glorifying communism and its leaders, well, because today it is possible and not dangerous. Others with understanding try to justify the creators who simply had no choice, and still others call the rare surviving works of underground figures, of which only a few have survived, true masterpieces. But, be that as it may, one thing remains undeniable: true talent has always made its way through. Despite all the troubles of that time, many artists of the 20th century devoted themselves to social realism and created paintings that became world-class masterpieces.

Plastov Arkady Aleksandrovich (1893–1972) Over the course of many years of creativity, he wrote many works, of which the canvases Haymaking and Harvest stand out. Tractor Drivers' Dinner, First Snow, In Summer, Sanya Malikov and others.

His biographical work was closely connected with the description of the life of ordinary people in the history of Soviet art. In Soviet times, this was a very popular topic, praising the proletarian spirit of the common people. Plastov’s works are imbued with a love of nature; he had deep respect for the simple life of peasants and is respected by them.

(1906–1988) Famous Russian painter of the USSR. His works include very popular works: Arrived for the holidays, A deuce again, For peace, Boys, Got your tongue and many other works.

Worked in the genre socialist realism, and is one of its most famous representatives. Reshetnikov, by his conviction, has always been a strong supporter of socialist realism; in this direction, he liked satire, so he was cool towards other styles of work. Being somewhat of a critic himself, in 1960 he created the canvas “Secrets of Abstractionism”; inspired by this work, he also wrote a book.

, (1884-1967) In her creative biography, the following works are noticeable: self-portrait “At the toilet”, Children at lunch, she likes to paint village women, one of the works “Whitening the Canvas”, Peasants at lunch, Ballerinas in the restroom, etc.

Without a doubt, Serebryakova belongs to the galaxy of the brightest realists of the 20th century. The subjects for her works and creative inspiration came to her from life itself. Like a lonely island in the ocean, it was washed by different currents: symbolism, the “World of Art”, impressionism, cubism. But she is invariably and persistently true to herself and her own principles.

(1878-1927) One of the most brilliant masters and widely famous for his creativity. The most famous works Maslenitsa 1916, 1919 and 1920, Merchant counting money. Lilac 1906, with the proletarian spirit of the work Bolshevik. painted portraits, and it was with them that he began his work. Portrait of Chaliapin F. I. 1921,

Portrait of the wife of Yu. Kustodieva, 1903., Notgaft R.I. 1909. He loved to depict Russian holidays on his canvases. His canvases are truly stunning in color and flair. Here you will find a colorful Russian fair with Russian women covered in assorted women's scarves and men dressed up as peasants selling clay and wooden utensils. Kustodiev often painted magnificent women and full-figured compositions of not wealthy merchants, or people close to such occupations

(1875-1958) His most notable works: Winter the Sorceress, March Sun, Russian Winter, Ligachevo, Spring Sunny Day, End of Winter. Noon, etc. In a fashionable theme at the time, Yuon’s work also contains unusual paintings, one of them is the New Planet

The genres of Yuon's work spread in various fields of art. He created thematic works, painted many portraits of famous personalities and contemporaries. But Yuon’s vocation always came first with the landscape theme; Yuon, who was prone to impressionism, adhered to the traditional realistic style of writing.

(1917-2005) She is a prominent representative of the fine arts of the 20th century. Her most notable works: Before the start. 1947, Bread. 1959, Morning. 1954 and many others.

Like most of her colleagues, she works a lot in the genre of socialist realism, but also paints portraits, landscapes, and still lifes. Yablonskaya is one of the few representatives of socialist realism; these masterpieces were recognized not only by domestic, but also by world critics. Despite her state of health towards the end of her life, Tatyana Nilovna continued to engage in creativity.

(1884-1958) Of Krymov’s notable paintings: Summer day, Winter evening, Early morning, Windy day. Bull . New tavern and others. In addition to oil landscapes, Nikolai Krymov was fond of graphics and designed theatrical scenery.

The creativity of this remarkable master is associated with the developing in difficult Soviet era landscape painting. “The student surpassed his teacher” - this is exactly what can be said about Nikolai Petrovich Krymov, who received his first painting lessons in his life from his father, but never earned fame among the general public. His son, on the contrary, became famous as one of the most famous landscape painters of the twentieth century.

(1871-1960) In the field of painting he lit up such works as: “Rooks’ Nests”, “ White winter", "March snow" and "February blue", "Winter morning", "Clear autumn evening.

He created compositions with Lenin “Peasant Walkers at Lenin”, and many other works. - A prominent Russian painter, in his creative biography he was always faithful to the styles of impressionism. Grabar’s contribution to art is very versatile and fruitful; it is probably difficult to find a person of his time who would give himself for the benefit of Russian and Soviet art. He worked as a teacher, architect, writer, and headed museums and painting restorations. Awarded the Order of Lenin, the Red Banner of Labor and other awards.

(1910-1988) Of his most notable works, the works of 1947 stand out. At a meeting, 1949 Admission to the Komsomol, 1949 Goalkeeper, 1950 Discussion of the deuce and a painting painted in 1954 Returned.

Honored Academician of the Academy of Arts of the Soviet Union and Ukraine. For his services he was awarded two Stalin Prizes of the second degree, a member of the Communist Party since 1941. He left for the public heritage many works stored in many museums in Russia, Ukraine, as well as in Bulgaria and Japan.

Tutunov Sergey Andreevich (1925-1998) Among his works, the work Winter has come stands out. Childhood, created in 1960 in which management became interested Tretyakov Gallery, and the painting was purchased and placed in the halls of the Tretyakov Gallery.

The Soviet painter was born in Moscow in 1925 into a family of Russified Armenians, and graduated from art education in the Moscow art school(1939-1945), later in Moscow (1945-1951) he studied painting at the Surikov Institute, his teacher was P. D. Pokarzhevsky. Since 1953, he has been actively participating in various art exhibitions.

Popov Igor Aleksandrovich (1927-1999) loved the theme of city life with its inhabitants and reflected these compositions in his canvases: “Fishermen of Galich”, “Market Day”, “First Snow”, “Our Yard”, “At the Kyiv Station” and other.

He graduated from the Surikov Institute in 1951, a student of S. Gerasimov. People's Artist RSFSR, was the head of the Union of Artists of the RSFSR. Popov's work is mainly associated with landscape painting; he also turned to genre compositions and painted portraits. His works reflect deep perception life path and are imbued with a poetic concept and characteristic style of perception of the Russian nature of the northern outskirts.

Gerasimov Sergei Vasilyevich (1885-1964) Gerasimov wrote many works on the theme of folk life, one of the most notable is (Church of the Intercession on the Nerl 1953), (At the cart, 1906), (Weddings in a tavern", 1909), (Mozhaisk Rows" , 1908),

dramatic subjects (Oath of the Siberian Partisans 1933), (Mother of a Partisan 1947), often painted portraits and landscapes (Winter 1939), (Spring Morning 1953), graphic drawings (Front-line Soldier 1926), (Collective Farm Watchman 1933) and many other works. Talented Soviet painter and teacher, student of Korovin K. A. and Ivanov S. V. He began his work with watercolor works based on a special color scheme that contributes to its further development.

The culture of the Soviet and post-Soviet period is a bright large-scale round of Russian heritage. The events of 1917 became the reporting point in the development of a new way of life and the formation of a new way of thinking. The mood of society in the 19th - early 20th centuries. resulted in the October Revolution, turning point in the history of the country. Now a new future awaited her with its own ideals and goals. Art, which in a sense is a mirror of the era, also became a tool for implementing the tenets of the new regime. Unlike other types artistic creativity, painting, which forms and shapes human thought, penetrated into people’s consciousness in the most accurate and direct way. On the other hand, pictorial art was least subordinate to the propaganda function and reflected the experiences of the people, their dreams and, above all, the spirit of the time.

Russian avant-garde

The new art did not completely avoid the old traditions. Painting, in the first post-revolutionary years, absorbed the influences of the futurists and the avant-garde in general. The avant-garde, with its contempt for the traditions of the past, which was so close to the destructive ideas of the revolution, found adherents in the form of young artists. In parallel with these trends in the fine arts, realistic trends developed, which were given life by critical realism XIX century This bipolarity, which matured at the moment of changing eras, made the life of the artist of that time especially tense. Although the two paths that emerged in post-revolutionary painting were opposites, we can nevertheless observe the influence of the avant-garde on the work of realistic artists. Realism itself in those years was diverse. Works of this style have a symbolic, propaganda and even romantic appearance. The work of B.M. absolutely accurately conveys in symbolic form the grandiose change in the life of the country. Kustodieva - “Bolshevik” and, filled with pathetic tragedy and uncontrollable jubilation, “New Planet” by K.F. Yuona.

Painting by P.N. Filonov with his special creative method- “analytical realism” - is a fusion of two contrasting artistic movements, which we can see in the example of a cycle with the propaganda name and meaning “Entering the World’s Heyday.”

P.N. Filonov Ships from the series Entering into global prosperity. 1919 Tretyakov Gallery

The unquestioningness of universal human values, unshakable even in such time of troubles expresses the image of the beautiful “Petrograd Madonna” (official title “1918 in Petrograd”) by K.S. Petrova-Vodkina.

A positive attitude towards revolutionary events infects the light and filled with a sunny, airy atmosphere creativity of the landscape painter A.A. Rylova. The landscape “Sunset”, in which the artist expressed a premonition of the fire of revolution, which will flare up from the growing flame of the judgment fire over the past era, represents one of the inspiring symbols of this time.

Together with symbolic images organizing the rise folk spirit and, like an obsession, there was a trend in realistic painting, with a craving for a concrete representation of reality.
To this day, the works of this period contain a spark of rebellion that can express itself within each of us. Many works that were not endowed with such qualities or that contradicted them were destroyed or forgotten, and will never be presented to our eyes.
The avant-garde forever leaves its mark on realistic painting, but a period of intensive development of the direction of realism begins.

Time for artistic associations

1920s - the time of creation of a new world on the ruins left by Civil war. For art, this is a period in which various creative associations developed their activities in full force. Their principles were shaped in part by early artistic groups. The Association of Artists of the Revolution (1922 - AHRR, 1928 - AHRR), personally carried out orders from the state. Under the slogan of “heroic realism”, the artists who were part of it documented in their works the life and everyday life of man - the brainchild of the revolution, in various genres of painting. The main representatives of AHRR were I.I. Brodsky, who absorbed the realistic influences of I.E. Repin, who worked in the historical-revolutionary genre and created a whole series of works depicting V.I. Lenina, E.M. Cheptsov - master of the everyday genre, M.B. Grekov, who painted battle scenes in a rather impressionistic manner. All these masters were the founders of the genres in which they performed most of their work. Among them, the canvas “Lenin in Smolny” stands out, in which I.I. Brodsky conveyed the image of the leader in the most direct and sincere form.

In the film “Meeting of the Membership Cell” E.I. Cheptsov very reliably, without contrition, depicts the events that took place in the life of the people.

M.B. creates a magnificent joyful, noisy image filled with stormy movement and celebration of victory. Grekov in the composition "Trumpeters of the First Cavalry Army".

The idea of ​​a new person, a new image of a person is expressed by the trends that have emerged in the portrait genre, the bright masters of which were S.V. Malyutin and G.G. Ryazhsky. In the portrait of the writer-fighter Dmitry Furmanov S.V. Malyutin shows a man of the old world who managed to fit into the new world. Announces itself new trend, which originated in the work of N.A. Kasatkina and developed in to the highest degree in female images of G.G. Ryazhsky - “Delegate”, “Chairwoman”, in which the personal principle is erased and the type of person created by the new world is established.
An absolutely accurate impression is formed about the development of the landscape genre when seeing the work of the leading landscape painter B.N. Yakovleva - “Transport is getting better.”

B.N. Yakovlev Transport is getting better. 1923

This genre depicts a renewing country, the normalization of all spheres of life. During these years, the industrial landscape came to the fore, the images of which became symbols of creation.
The Society of Easel Painters (1925) is the next artistic association in this period. Here the artist sought to convey the spirit of modernity, the type of new man, resorting to a more detached transmission of images due to the minimum number expressive means. The works of "Ostovtsev" often demonstrate the theme of sports. Their painting is filled with dynamics and expression, as can be seen in the works of A.A. Deineki "Defense of Petrograd", Yu.P. Pimenova "Football" and others.

As the basis for their artistic creativity, members of another well-known association - “The Four Arts” - chose the expressiveness of the image, due to the laconic and constructive form, as well as a special attitude to its coloristic saturation. The most memorable representative of the association is K.S. Petrov-Vodkin and one of his most outstanding works of this period is “The Death of a Commissar”, which through a special pictorial language reveals a deep symbolic image, symbol of the struggle for a better life.

Among the members of the “Four Arts” P.V. also stands out. Kuznetsov, works dedicated to the East.
The last major artistic association of this period seems to be the Society of Moscow Artists (1928), which differs from the others in the manner of energetic sculpting of volumes, attention to chiaroscuro and plastic expressiveness of form. Almost all of the representatives were members of the “Volt of Diamonds” - adherents of futurism - which greatly affected their creativity. The works of P.P. were indicative. Konchalovsky, who worked in different genres. For example, portraits of his wife O.V. Konchalovskaya conveys the specificity of not only the author’s hand, but also the painting of the entire association.

By the decree “On the restructuring of literary and artistic organizations” on April 23, 1932, all artistic associations and the Union of Artists of the USSR was created. Creativity has fallen into the sinister shackles of rigid ideologization. The freedom of expression of the artist - the basis of the creative process - has been violated. Despite this breakdown, artists previously united in communities continued their activities, but new figures took leading importance in the pictorial environment.
B.V. Ioganson was influenced by I.E. Repin and V.I. Surikov, in his canvases one can see a compositional search and interesting possibilities in coloristic solutions, but the author’s paintings are marked by an excessive satirical attitude, inappropriate in such a naturalistic manner, which we can observe in the example of the painting “At the Old Ural Factory.”

A.A. Deineka does not stay away from the “official” line of art. He is still true to his artistic principles. Now he continues to work in genre themes, and also paints portraits and landscapes. The painting “Future Pilots” well shows his painting during this period: romantic, light.

The artist creates a large number of works on a sports theme. His watercolors painted after 1935 remain from this period.

Painting of the 1930s represents a fictional world, the illusion of a bright and festive life. It was easiest for the artist to remain sincere in the landscape genre. The genre of still life is developing.
The portrait is also subject to intensive development. P.P. Konchalovsky writes a series of cultural figures (“V. Sofronitsky at the piano”). Works by M.V. Nesterov, who absorbed the influence of painting by V.A. Serov, show a person as a creator, the essence of whose life is creative search. This is how we see the portraits of the sculptor I.D. Shadra and surgeon S.S. Yudina.

P.D. Korin continues the portrait tradition of the previous artist, but his painting style consists of conveying rigidity of form, a sharper, more expressive silhouette and harsh coloring. Generally, great value The theme of the creative intelligentsia plays in the portrait.

Artist at war

With the advent of the Great Patriotic War, artists began to take an active part in hostilities. Due to direct unity with events, in the early years works appear, the essence of which is a recording of what is happening, a “picturesque sketch”. Often such paintings lacked depth, but their rendering expressed the artist’s completely sincere attitude and the height of moral pathos. The portrait genre is coming to relative prosperity. Artists, seeing and experiencing the destructive influence of war, admire its heroes - people from the people, persistent and noble in spirit, who showed the highest humanistic qualities. Such trends resulted in ceremonial portraits: “Portrait of Marshal G.K. Zhukov" brushed by P.D. Korina, cheerful faces from the paintings of P.P. Konchalovsky. Portraits of the intelligentsia M.S. are important. Saryan, created during the war years, is the image of academician “I.A. Orbeli”, writer “M.S. Shaginyan" and others.

From 1940 to 1945 the landscape also develops and everyday genre, which were combined in his work by A.A. Plastov. “The Fascist Flew Over” conveys the tragedy of life during this period.

The psychologism of the landscape here further fills the work with sadness and silence. human soul, only the howl of a devoted friend cuts through the wind of confusion. Ultimately, the meaning of the landscape is rethought and begins to embody the harsh image of wartime.
Thematic paintings stand out separately, for example, “Mother of the Partisan” by S.V. Gerasimov, who is characterized by a refusal to glorify the image.

Historical painting creates images in a timely manner national heroes past. One of such unshakable and confidence-inspiring images is “Alexander Nevsky” by P.D. Korina, personifying the unconquered proud spirit of the people. In this genre, towards the end of the war, a tendency toward simulated dramaturgy is emerging.

The theme of war in painting

In post-war painting, ser. 1940 - end In the 1950s, the theme of war, as a moral and physical test, from which Soviet people emerged victorious, occupied a leading position in painting. The historical-revolutionary is developing, historical genres. The main theme of the everyday genre is peaceful labor, which was dreamed of during the long war years. The canvases of this genre are permeated with cheerfulness and happiness. Artistic language the everyday genre becomes narrative and gravitates toward life-likeness. In the last years of this period, the landscape also undergoes changes. In it, the life of the region is revived, the connection between man and nature is again strengthened, and an atmosphere of tranquility appears. Love for nature is also glorified in still life. Portrait is getting an interesting development in creativity different artists, which is characterized by the transfer of the individual. Some of the outstanding works of this period were: “Letter from the Front” by A.I. Laktionov, a work like a window into a radiant world;

the composition “Rest after the battle”, in which Y.M. Neprintsev achieves the same vitality of the image as A.I. Laktionov;

work by A.A. Mylnikova's "On Peaceful Fields", joyfully rejoicing about the end of the war and the reunification of man and labor;

original landscape image of G.G. Nyssky - “Above the Snows”, etc.

Severe style replacing socialist realism

Art 1960-1980s is a new stage. A new “severe style” is being developed, the task of which was to recreate reality without everything that deprives the work of depth and expressiveness and has a detrimental effect on creative manifestations. He was characterized by conciseness and generalization artistic image. Artists of this style glorified the heroic beginning of harsh everyday work, which was created by the special emotional structure of the picture. The “severe style” was a definite step towards the democratization of society. The main genre in which adherents of the style worked was the portrait; group portraits, everyday genres, historical and historical-revolutionary genres were also developing. Prominent representatives of this period in the context of the development of the “severe style” were V.E. Popkov, who painted many self-portraits and paintings, V.I. Ivanov is a supporter of group portraits, G.M. Korzhev, who created historical paintings. The essence of the “severe style” can be seen in the film “Geologists” by P.F. Nikonova, “Polar Explorers” by A.A. and P.A. Smolinykh, "Father's Overcoat" by V.E. Popkova. In the landscape genre, interest in northern nature appears.

Symbolism of the era of stagnation

In the 1970-1980s. A new generation of artists is being formed, whose art has influenced to some extent the art of today. They are characterized by symbolic language and theatrical spectacle. Their painting is quite artistic and virtuosic. The main representatives of this generation are T.G. Nazarenko ("Pugachev"),

whose favorite theme was celebration and masquerade, A.G. Sitnikov, who uses metaphor and parable as a form of plastic language, N.I. Nesterova, creator of controversial paintings ("The Last Supper"), I.L. Lubennikov, N.N. Smirnov.

Last Supper. N.I. Nesterova. 1989

Thus, this time appears in its diversity and diversity as the final, formative element of today's fine art.

Our era has revealed a huge wealth of the pictorial heritage of previous generations. The modern artist is not limited by practically any framework that was decisive, and sometimes hostile, for the development of fine art. Some part contemporary artists tries to adhere to the principles of the Soviet realistic school, some find themselves in other styles and directions. The trends of conceptual art, which are ambiguously perceived by society, are very popular. The breadth of artistic expression and ideals that the past has provided us must be rethought and serve as the basis for new ones. creative ways and creating a new image.

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For painting of the early 19th century. classicism was not as fruitful as it was for architecture and sculpture. The stronghold of classicism in painting at that time was the Imperial St. Petersburg Academy of Arts, the center artistic life countries. But the social upsurge of the beginning of the new century was reflected here too. Back in the 1790s, one of the first societies in the country that dealt with issues of “the structure of the internal life of Russia” arose at the Academy. Many of its members then joined the “Free Society of Lovers of Literature, Science and the Arts,” created with the direct participation of Radishchevites. In 1802, among artists, a project was born for an independent, purely artistic community that would specifically deal with issues of art. The influence of the “free society” had a beneficial effect on the artistic life of the country. He maintained an interest in national history and civic motives in art. Academic teachers and its president himself, A. S. Stroganov, were among the most respected members of the Society.

The gradual retreat of Alexander I from the liberalism of the first years of his reign also affected the life of the Academy. As reactionary elements strengthen, strict bureaucratic control is established over the academy. Step by step, it is losing contact with advanced trends in art and is losing its role as the ideological center of national artistic life. To a certain extent, its pedagogical system acquired features of dogmatism over time.

Under Nicholas I, the regulation of academic life became even more intense. The Academy is transferred from the jurisdiction of the Ministry of Public Education to the jurisdiction of the Ministry of the Household. Through his personal intervention in her affairs, Nicholas I established the official direction in art.

The features of the art cultivated by the Academy at the beginning of the 19th century can be observed in the works of three of its students and professors: Andrei Ivanovich Ivanov, Alexei Egorovich Egorov and Vasily Kozmich Shebuev.

The creativity of these masters reveals the originality of the manifestation of high classicism in painting. Unlike XVIII classicism century, it frees itself from the influence of baroque art, strives for extreme simplicity and clarity figurative language, to the emphasized plasticity of forms, to the severity of the drawing. Impeccable logic in the development of the plot, strict compliance of the plot with the chosen theme and rationalism in the construction of the composition become the alpha and omega of this direction. At the same time, problems of color recede into the background; color often gravitates towards locality.

Ivanov, Egorov and Shebuev graduated from the Academy of Arts simultaneously in 1797 as students of I. A. Akimov and G. I. Ugryumov and immediately began their pedagogical activity. In 1803, Egorov and Shebuev went on a retirement trip to Rome, where they stayed until 1807, while Ivanov remained in Russia.

Typical works by A. Ivanov are “The Feat of a Young Kievite” and “The Combat of Mstislav the Udaly with Rededey.” They contain a lot of that civic pathos that permeated the consciousness of the progressive Russian people at the beginning of the century and during the Patriotic War. A. Ivanov, as a member of the Free Society, was especially close to civic and patriotic ideals. In both paintings, the image of a courageous, spiritual, young athlete is contrasted with a powerful, but overweight and awkward warrior, personifying the rough physical Sioux.

Both paintings assert the superiority of the sublime, heroic principle over the spontaneous principle, not illuminated by the light of reason. Episode from national history turned into the apotheosis of the national spirit. It was in these works that the Academy’s advanced aspirations in painting were expressed in the language of its favorite genre - the genre historical painting.

The works of A. Ivanov are still in many ways close to the baroque traditions in Russian historical painting of the late 18th century. This is evidenced by the allegorical figure of Glory hovering over the young man, the special pathos of the movement, the dynamics of the scenes, and the decorative features in his solution.

The more established principles of high classicism appear before us in the work of “Russian Raphael” Egorov, known for his excellent drawings.

Egorov’s program painting is the painting “The Torment of the Savior.” According to many contemporaries, she was best work artist. Everything here is typical of classicism of the early 19th century. Simplicity and strict logic of composition, small number characters, the calmness of their movements and the balance of emotions, the simplicity of poses, the neutral background - all this is sharply different from the visual means and techniques of Russian historical painting of the late 18th century. Expressive and correct drawing, perfect knowledge of the plasticity of the human body determines the dignity of Egorov’s painting. There is no doubt that there is some abstractness in solving its ethical problems - the triumph of spiritual strength over physical strength. The restraint of the color scheme of the canvas, based on olive-brown and ocher shades, borders on dryness. It is no coincidence that contemporaries, who defended the most advanced views on the tasks of art, lacked in this picture the immediacy of their vision of the world.

Egorov and Shebuev, upon returning to St. Petersburg from Italy, worked mainly on church orders. It was they who were entrusted with the painting work for the new Kazan Cathedral, this unique symbol of Russian national dignity, a building conceived, executed and decorated by “natural Russian artists”

But church painting was the least interesting part of the art of both artists. The paintings that are not associated with official clients bear more individual features: portraits of Princess Goitsyna and Sukhanov by Egorov.

Egorov’s works demonstrate the emergence of new trends in Russian historical painting. Religious themes come to the fore: French examples give way to Italian art of the 16th century, most of all Raphael and the masters of the Bolognese school.

Egorov’s small painting “Rest on the Flight to Egypt” is typical. Motives and layout techniques go back to the high Renaissance. This picture is not without a certain grace. The entire structure of her images bears the stamp of a unique harmonious calm, which testifies to the artist’s great talent. The fact that Egorov’s sense of harmony of forms and lines could be combined with a living sense of nature is also evidenced by the small “Bather”

Shebuev's paintings are characterized by romantic quests. This is his self-portrait with a fortune teller, where he presented himself in the costume of a dandy of the 17th century. The tondo “John the Baptist,” which depicts a half-naked boy drinking water from a mountain spring, is also interesting. Inspired by creations French classicism The 17th century, revered by the Academy of Poussin, the picture attracts with its sincerity. The call for spontaneity and simplicity, animating the advanced art of the beginning of the century, is heard here too. Shebuev’s later work, his large historical canvas “The Feat of the Merchant Igolkin,” belongs to a different period in the development of Russian academic painting. Here, some traditions of classicism of the beginning of the century, with its solid pattern and distinct plasticity, appear in combination with the cold artificial pathos of late romanticism. It is no coincidence that Andrei Ivanov, who until the end of his life professed the classicist ideals of strict logical conditionality of all elements of the image, seems that the Swedish soldiers in this picture are running towards Igolkin so quickly that they must certainly run past him.

Text: Natalya-51

Children's and women's portraits in Russia at the beginning of the 19th century

Children's portrait XVIII century, with all its charm, is still very conventional. In essence, its theme is a child almost looking like an adult or playing at an adult. Examples of this can be found among the works of A. Vishnyakov, F. Rokotov and others.

The portrait of a boy by I. Drozhdin is somewhat more specific in understanding the artistic task. However, here the very “childishness” of the image has a somewhat speculative declarative character: it is the embodied “blank slate” of educational philosophy. There are very few individual features in the portrait, and there are no emotions.

Kiprensky's portrait of a child is close to Tropinsky's portrait of his son Arseny. The image of the latter is rather inspired by sentimentalist ideals and the similarity here is not in belonging to romanticism, from which Tropinin is more distant than Kiprensky. However, it is characteristic that the task of creating child portrait understood here as a reflection of the human value of young age.

Typical for a child's portrait of the early 19th century. and later than these portraits, an image of the boy Tomilov by Alexander Grigorievich Varnek. Despite a certain dryness of execution inherent in many of Warnek’s works, what is captivating here is the simplicity of the artist’s concept, the spontaneity of the transfer of nature and the seriousness of the expression of a child’s face, in which the characteristics of age are clearly expressed: shiny, as if just washed cherries on a saucer - a successfully found detail - gives the image a unique freshness.

Artists of this era are no strangers to romance in the depiction of women. To appreciate the full degree of spirituality and lyrical fullness female images Kiprensky, it is enough to compare them with contemporary female portraits by A.G. Varnek. For example, two excellent portraits of this painter: the daughters of the sculptor I. P. Martos and the poetess Anna Petrovna Bunina. In addition to masterful execution, we find in these works fidelity to nature, simplicity of compositional design, cuteness and grace in the general appearance of the girls, but they completely lack that inner trepidation that Kiprensky’s women are endowed with.

We observe romantic heroization not only in women's portraits Kiprensky, but also in the works of Varnek. In his early self-portraits, for all the egocentrism and narcissism of the person depicted in them, joy and fullness of life were evident: the later self-portrait depicts the artist as tired, carelessly dressed. The coolish “daytime” tones do not hide the faded colors of his slightly flabby face. The romanticized image gives way to the prosaic truth of life.

The romantic affirmation of poetic integrity is replaced by a realistic view of the individual and his social connections, a view that sometimes testifies to the emptiness of the artist’s inner world. Characteristic of this time is an interesting group portrait of Kiprensky - “Newspaper Readers in Naples.” The portrait is typical of romanticism in its design. Unlike the group portrait of sentimentalism, which usually depicted members of the same family, the romantic group portrait unites like-minded people, connected primarily by spiritual ties. The portrait depicts Russians or, according to another version, Poles reading an article in Naples about revolutionary events in Poland 1830-1831. The contrast between the motionless concentration of the listeners and the inner excitement that each of them undoubtedly experiences gives a romantic tension to the “atmosphere” of the portrait. Despite the fact that those depicted are grouped very closely and literally “breathe in each other’s faces,” in each of them one feels some kind of isolation, concentration on their own thoughts. They don't exchange a word or a glance. The feeling of disconnection is further enhanced by the emphasized, almost tangible plasticity of the volumetric form, its isolation. In the “readers of the newspaper” I would like to see not only people cut off from their homeland during one of the most tragic periods of its history, but people of the post-Decembrist period, who grew up on the humanistic and educational ideals of the early 19th century. and felt their powerlessness and loneliness in new social and political circumstances.

A new phase in Kiprensky’s work as a portrait painter - and not only Kiprensky - reflected the features of the new, post-Decembrist period of Russian culture.

One of the most interesting, largely independent areas of portraiture at this time was pencil portraiture. Like pastels, it replaced those that were beginning to go out of fashion: miniatures on bone and enamel, silhouettes and engravings. The drawing was the most striking phenomenon of the flowering of chamber, intimate portraiture, extremely common in the first half of the century. It was in the chamber portrait, where the artist’s thought develops more freely, that the interest in the world of human feelings, in the spiritual life of man, which was typical for the era, was most directly reflected.

Interesting are the portrait drawings of Orlovsky, Kiprensky, Venetsianov, and the early P. Sokolov. Among them, the undisputed primacy belongs to the works of Kiprensky. They are very diverse in design and execution. There are carefully designed drawings here, which, despite the lack of color, are close in their completeness and in the nature of the interpretation of the image to portraits painted in oil. Such are, for example, “Mother with Child” (portrait of Preuss) or the portrait of P. A. Olenin.

Russian and Soviet symbolist painter, graphic artist, art theorist, writer and teacher.
Born in the city of Khvalynsk, Saratov province, in the family of a shoemaker.
He received his artistic education at the St. Petersburg Central School of Technical Drawing and at the Moscow School of Painting, Sculpture and Architecture.
In 1911 he became a member of the World of Art association.
In 1924 he became a member of the Four Arts association.
During Soviet times, Petrov-Vodkin worked a lot as a graphic artist and theater artist.
The painting “Bathing the Red Horse” (1912) brought fame to Kuzma Petrov-Vodkin, made his name known throughout Russia and caused a lot of controversy. Until the last moment, Petrov-Vodkin feared that the painting would not be put on public display, since even then he guessed what possible interpretations were possible connecting the image of the red horse and the fate of Russia. And indeed, this work
was perceived by contemporaries as a kind of sign, a metaphorical expression of the post-revolutionary (1905) and pre-revolutionary (1917) era, as a kind of prediction and premonition of future events. But if contemporaries only felt the prophetic character of “The Bathing of the Red Horse,” then descendants already confidently and convincingly declared the significance of the painting, declaring it “the petrel of the revolution in painting.” The epic power of the fiery horse, the gentle fragility and peculiar sophistication of the pale youth, the sharp patterns of waves in a small bay, a smooth arc of a pink shore - this is what this unusually multifaceted and especially heightened picture is made of. The fate of the picture is full of a wide variety of adventures. Painting for a long time
stayed in Sweden. The director of a Swedish museum offered to sell the painting to the artist's widow. Maria Fedorovna refused, and only in 1950 the canvas was returned to Soviet Union(together with ten other works by K. Petrov-Vodkin). From the artist's widow, the painting ended up in the collection of the famous collector K. K. Basevich, who presented it as a gift in 1961
Tretyakov Gallery.
In the 1910s, a special artistic and theoretical system of Petrov-Vodkin took shape, where main role plays the principle of “spherical perspective”, which allows him, depicting nature from top and side angles, to convey the feeling of “the earth as a planet”. Even his still lifes are “planetary” in their own way, monumentally significant.
A sincere “fellow traveler” of the revolution, the master created epically idealized images of the Civil War. But the picture is from 1919. Anxiety (1934), with a St. Petersburg worker who is called into the militia in the middle of the night, is naturally perceived as a premonition of Stalin’s “Great Terror” with its night arrests.
K. S. Petrov-Vodkin was not an artist who would have been completely satisfactory for the Soviet regime. A symbolist with the Parisian school, an icon painter in the past, who did not hide his interest in icons and religious art even in the era of militant materialism, did not fit the format of the Soviet calendar. And maybe Kuzma Sergeevich would have shared the fate of many talented people, rotted in the Gulag, had he not died on the night of February 14-15, 1939.

Self-portrait.1918.

Our Lady of Tenderness of Evil Hearts.1914-1915.
St. Petersburg. State Russian Museum.

1919. Alarm. 1934.
St. Petersburg. State Russian Museum.

Death of the Commissioner. 1928.
St. Petersburg. State Russian Museum.

Pink still life.1918.

Morning still life.1918.
St. Petersburg. State Russian Museum.

Bathing the red horse.1912.
Moscow. State Tretyakov Gallery.

1918 in Petrograd.1920.
Moscow. State Tretyakov Gallery.

Portrait of Anna Akhmatova. 1922.
Saint Petersburg. State Russian Museum.

Among painting fans there are many connoisseurs of paintings created during the Soviet period. Despite the fact that at that time ideology came to the fore, other genres of fine art were actively developing, sometimes even contrary to general trends. The culture of this era is special. The 20th century was marked by many historical upheavals in Russia - two revolutions, collectivization, the Great Patriotic War, the war in Afghanistan, perestroika... And despite this, the very spirit of the time was permeated with optimism, nationalism, and faith in a better future. All this could not be reflected in the painting.

The revolution of 1917 opened new era in the history of our country. The bipolarity created in the first post-revolutionary years, the transition from one cultural and historical-political formation to another, the clash of values ​​- all this influenced Soviet painting. It was to this time that the Russian avant-garde dates back to which the prominent representatives were the futurists, imagists, cubists, symbolists and representatives of other art schools.

The avant-garde also had a huge influence on realist artists, who were actively supported by the Soviet government. Prominent representatives of that time, combining avant-garde, symbolism and realism - B.M. Kustodiev, K.F. Yuon, P.N. Filonov.

The 1920s went down in the history of fine arts as a time of artistic groups. The most famous and influential:

• Association of Artists of the Revolution, who carried out a special order from the state, the main principle is heroic realism (I.I. Brodsky, E.M. Cheptsov, M.B. Grekov, etc.);
• Four arts that preferred imagery and brevity in their works (K.S. Petrov-Vodkin and others);
• Society of Moscow artists who borrowed a lot from futurism and impressionism (P.P. Konchalovsky and others)

In 1932, artistic groups were dissolved and the Union of Artists of the USSR was created by a special resolution. From this time on, social realism began to flourish.

Painting of the war and post-war period

With the advent of the Great Patriotic War, most artists, like other Soviet citizens, were sent to the front. The main genre of that time was pictorial and front-line sketches. Another important trend of that period was ceremonial portraits, which were painted mainly by generals, famous heroes, and partisans.

IN post-war period followed by a rethinking of previous events. Main directions:

• the theme of the war, from which the Soviet man emerged victorious, admiration for the heroism of ordinary soldiers;
• historical genres, appeal to the past and mythology;
• painting and still life.

Painters not only admire the military feats of warriors, but also glorify the peaceful creative work that they dreamed of during the war. The paintings of Soviet artists of that time became more cheerful and believable, the authors were looking for new forms and genres of expressing their mood. The realistic portrait genre is developing. Paintings from this particular period are especially valued by collectors.

“Severe style” and the period of stagnation

Starting from the 60s of the 20th century, the so-called “severe style” - a special type of socialist realism - began to prevail in Soviet painting. The task that artists of that period set for themselves was to depict reality without a touch of romanticism and embellishment. Painters glorified everyday work, painted portraits of workers and front-line soldiers, and group portraits and self-portraits received particular development. In landscape genres, a special interest appeared in the northern “harsh” nature. Prominent representatives of this era are artists V.E. Popkov, V.I. Ivanov, G.M. Korzhev, A.A. and P.A. Smolin, P.F. Nikonov.

In the 70-80s, replaced " harsh style“A new direction is coming, which is characterized by symbolism, artistry, and theatricality. Artists tried to fight grayness everyday life, absurdism, bureaucracy. The plasticity and metaphorical nature of the works acquires particular importance; painters create paintings with ambiguous content. Famous creators of that period - N.N. Smirnov, A.G. Sitnikov, N.I. Nesterova, I.L. Lubennikov.

On the one hand, after the collapse of the USSR, all formal prohibitions were lifted from artists, on the other hand, the consolidating and guiding force disappeared, economic conditions changed, artists stopped fulfilling state orders and were forced to either become commercially successful or leave the profession.

The post-Soviet period is characterized by a polyphony of styles. Someone tries to adhere to the principles of socialist realism, someone develops new themes and directions, someone is inspired by historical examples and becomes a neoclassicist or neo-avant-garde.

Painting goes beyond the conventional framework of the genre. Conceptual art appears and street graphics (graffiti) develop. A special area worth highlighting is computer graphics and animation. Some artists combine different genres of art and stage performances or install installations.

But soviet art as a phenomenon of the era retains its value. A rethinking of the past is taking place, and interest in the paintings of Soviet artists is being revived.