Shchedrin, Sylvester. Great Russian Talent in Italy
The size of the mansion matters
Once again, as you pass by the beautiful castle, mentally say “thank you” to the ambition of the rulers. It is thanks to the love of royalty to compare mansions that we can now enjoy the views of architectural monuments. In 136, the Roman Emperor Hadrian decided to outdo Augustus and build himself a larger and more beautiful mausoleum. This is exactly how it was born future castle Holy Angel in Rome. True, Adrian was not able to enjoy the sight of his brainchild - he died. His successor Antonin Pius brought the matter to an end, who placed Hadrian’s ashes in the tomb. Several more emperors found their resting place in the Castel Sant'Angelo, the last of whom was Septimius Severus.
Initially, the castle looked completely different from what we are used to seeing. Built according to the Etruscan model in the form of a round tower with a square plinth and a conical roof, it was faced with white marble. As John of Antioch wrote, on the roof stood a huge statue of Hadrian, who drove the chariot of Helios, drawn by four horses. As the historian wrote, the horses were so huge that an adult man could fit through the hole in the eye.
Emperor Hadrian built the castle as a mausoleum
Barbarian attacks and pestilence
At the beginning of the 5th century, Emperor Honorius turned the mausoleum into a fortification. But this did not help - in 410, the Visigoth army led by Alaric attacked Rome and plundered the city. The besieged personally smashed the statues in the castle and threw them at the attackers. And then the soldiers stole everything that was still valuable in it.
In the 6th century, a plague raged across Europe. According to legend, the city residents, led by Pope Gregory the Great, staged procession around the city. On the way to the Vatican, on the Elia Bridge (the future Bridge of the Holy Angel), the voices of angels were suddenly heard above the tower, singing “Hallelujah!” Then the pontiff saw the figure of the Archangel Michael above the castle, who sheathed his punishing sword. This meant that God had forgiven the city and the pestilence ended. From that moment on, the castle was nicknamed Sant'Angelo.
In 410 the Visigoth army plundered the mausoleum
From mausoleum to fortress
In the Middle Ages, the Castle of Sant'Angelo passed from hand to hand. Either in fear of the pope's wrath, rebellious barons took refuge in it, or the pontiffs themselves found refuge here from the discontented people. In the 14th century, the inhabitants of Rome seized the mausoleum and began to destroy it. In a rage, they tore down the slabs and stones covering the castle walls. Some of them were later used to pave streets.
Pope Gregory the Great saw the figure of the Archangel Michael on the roof of the castle
In the 15th century, the castle, already battered by life, was strengthened by Pope Alexander VI Borgia. Four bastions were erected around it and a main entrance was built. Gradually, the Castle of Sant'Angelo acquired its own secret underground passage. It was needed for the safety of the popes: according to this move, in the event of popular unrest, the pontiff could escape from the palace and take refuge in the fortress. In the 18th century, a statue of an angel was placed in the courtyard, which for a long time towered on the roof of the castle. Marble sculpture replaced by a bronze one, which still adorns the fortress. Among the unusual rooms in Sant'Angelo you can see, for example, the Hall of Justice, the Hall of Treasures and the special Secret Archive. There is also a small church in the castle. In it, to the left of the altar, hangs the indulgence of Pope Gregory XVI. According to the paper, the soldiers who guarded the castle were forgiven all their sins.
For some time, the Castle of Sant'Angelo served as a dungeon for individuals disliked by the popes. It was here that Galileo Galilei languished for some time. In one of the casemates, according to some sources, they kept famous architect Aristotle Fioravanti, the same one who built the Assumption Cathedral in Moscow. Count Cagliostro was also imprisoned in the castle.
An integral part of the image of the Castel Sant'Angelo is the bridge leading to it. It was also built by Emperor Hadrian to pave the way to the mausoleum across the Tiber. In 1450, a real tragedy happened on the bridge. A sea of pilgrims hurried across the bridge to St. Peter's Basilica.
In 1450, the Pont Sant'Angelo collapsed under the weight of a crowd.
The bridge railings could not withstand such an influx and collapsed, and dozens of people fell into the river. In the 16th century, it was on the Pont Sant'Angelo that the corpses of criminals were hung, so that others would be discouraged. The bridge is decorated with statues of the apostles Paul and Peter, as well as sculptures of 10 more angels.
Let's take a very short walk from the Basilica of St. Peter's to the castle of St. Angela. The total length of the route is less than a kilometer.
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Reconciliation Street
Via della Conciliazione is one of the important streets of Rome, located in the Borgo district. The length of the street is about 500 m. It connects the Castel Sant'Angelo to west bank Tiber River with St. Peter's Square. Via della Conciliazione was built during Mussolini's redevelopment of Rome in 1936-1950. as the main road to St. Peter's Square. During the construction of the street in 1936-1950, the medieval buildings of the area, which were shelters for pilgrims from all over the world, were destroyed. The street is lined with many tourist shops, as well as a number of significant historical and religious buildings.
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Church of Santa Maria in Traspontina [41.9026763N 12.4621439E]
Santa Maria in Traspontina, otherwise called "Church of St. Mary Beyond the Bridge” by architect G. Peruzzi, is a Carmelite church in Rome. Located on the site of an ancient Roman pyramid, which in the Middle Ages was considered the tomb of Romulus. Under Pope Alexander Borgia, the pyramid was demolished. Her image can be seen on the bronze doors of the portal of the Basilica of St. Peter and Giotto's triptychon in the Vatican Pinacoteca. At this place near the castle of St. Angela, the first gunners' church was erected, but destroyed in 1527 to expand the line of cannon fire from the castle. Church in modern form erected in 1566. Santa Maria in Traspontina is the only church in Rome whose dome does not have a drum. This was done in order to prevent further destruction during artillery shelling from the castle. Interior decoration and an early 17th-century altarpiece, the main altar by Carlo Fontana (1674).
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Victor Emmanuel II Bridge [41.901219N 12.4643165E]
The Victor Emmanuel II Bridge is a bridge over the Tiber River, built according to a design developed in 1886 by the architect Ennio De Rossi. The bridge was built for about a quarter of a century. Construction work was delayed, the completion date was repeatedly postponed, and the bridge was opened only on June 5, 1911. The bridge, named after Emperor Victor Emmanuel II, connected historical Center Rome with the Vatican. It replaced several ancient bridges that had already been destroyed before that time. Directly near the bridge, fragments of the ancient Bridge of Nero are preserved. The stone three-arch bridge has a total length of 108 meters. Both its edges are decorated with mounted high pedestals big bronze sculptures winged Victoria and above each of the piers - massive allegorical sculptural groups of travertine.
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Bridge of St. Angela [41.9018698N 12.4664247E]
The Pont Sant'Angelo is a pedestrian bridge over the Tiber, built in 134-139. Roman Emperor Hadrian. Since the bridge led to Hadrian's mausoleum, the Romans called it "Hadrian's Bridge" or "Aelius Bridge". In 1450, the bridge railings could not withstand the influx of pilgrims rushing to the celebration at the Cathedral of St. Peter, and fell into the river; many pilgrims died. From the 16th century a custom was established to hang the bodies of executed criminals on the bridge. At the same time, statues of the apostles Peter and Paul appeared on the bridge, to which, at Bernini’s suggestion, ten more statues of angels were subsequently added.
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12*. Corner sculptures. Angel with a spear ( Domenico Guidi); Angel with St. sponge ( Antonio Giorgetti); St. Paul ( Paolo Romano, 1463); St. Peter ( Lorenzetto, 1530)
13*. Sculptures on the bridge. Angel with the inscription ( Giulio Cartari); Angel with a cross ( Hercule Ferrata); Angel with a column ( Antonio Raggi); Angel with Veronica's veil ( Cosimo Fanzelli); Angel with a cover with dice ( Paolo Naldini); Angel with a crown of thorns ( Paolo Naldini); Angel with nails ( Girolamo Lucenti); Angel with whips ( Lazzaro Morelli)
Castle St. Angela
Castel Sant'Angelo - Roman architectural monument, also known as Hadrian's Mausoleum, sometimes called the Sorrowful Castle, is a tall cylindrical building in Adriano Park on the banks of the Tiber. Originally built by order of the Roman Emperor Hadrian as a mausoleum, and also as a tomb for other emperors, the last of whom was buried Caracalla, later used by the popes as a fortress against barbarian raids. The castle was once considered the most tall building in Rome.
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After the Visigoths captured the fortress in 410, Sant'Angelo was completely destroyed. The barbarians scattered the emperor's ashes to the wind, and carried away everything they could carry away. What little remained was subsequently taken over by the Vatican. In the 14th century, the fortress became a castle, and large-scale reconstructions were carried out inside and out.
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The castle perfectly reflected the essence of papism of the Renaissance - the luxurious papal apartments were adjacent to the prison in which Giordano Bruno, the famous Italian scientist and philosopher, spent six years in captivity.
16. Painting Dutch artist Gaspar van Wittel (1690s), who lived almost his entire life in Italy. 
Emperor Hadrian began building the fortress in 135 as a mausoleum for himself and his family. After Hadrian's death, construction was completed in 139 by his successor Antoninus Pius. The mausoleum was similar to an Etruscan tumulus: on a square base (side length - 84 m) there was a cylinder (diameter - 64 m, height about 20 m), crowned with a mound, and on its top sculptural group- the emperor in the form of Helios, ruling the quadriga. The mausoleum contained the funeral urns of emperors, starting with Hadrian and ending with Septimius Severus. In those days the castle looked completely different. According to the chronicles, the entire structure was lined with white marble, and had a different shape from today's.
17. Model of the mausoleum. 
With the onset of difficult times, the mausoleum was constantly strengthened, eventually turning it into an impregnable fortress with powerful walls. This gigantic structure was then incorporated into the walls surrounding the city built under Aurelian and began to be used for military and strategic purposes.
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According to legend, in 590, during a plague epidemic, Pope Gregory the Great saw the Archangel Michael at the top of the fortress, who sheathed his sword, which meant the end of the disaster - hence the name - Castle of the Holy Angel.
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At the end of the 15th century, St. Peter's Basilica - the heart of the Vatican - was still under construction, but masses were already taking place there. Next to the temple under construction there already existed The Sistine Chapel. These buildings and the Castle of Sant'Angelo were connected by a long fortified corridor - passetto, through which the pontiff could safely enter the castle at any time. Pope Alexander VI used this hidden passage to escape during the attack on Rome by the troops of King Charles VIII of France in 1494, and in 1527, along this corridor, Pope Clement VII managed to escape from the Vatican after the city was captured by the multinational troops of Emperor Charles V.
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Benvenuto Cellini, sculptor, jeweler, and author of famous memoirs, was in the besieged castle at that time and took an active part in repelling the attacks. A few years later, he was imprisoned in the castle as a prisoner and managed to do the impossible - he escaped from prison. The master did not remain free for long: he was again taken into custody and, however, was later released. In the entire history of the castle, this is the only person who managed to escape from the castle.
21. Prison in the castle 
Pope Alexander VI Borgia made a great contribution to the restoration of the castle, as well as the entire residential part of the Vatican. It was under him that many wall and ceiling drawings were created, and a courtyard named after the pope was built. In this courtyard they took place theatrical performances especially for the Borgia Pope and his family, and torture and executions often took place, at which the Pope was usually present in person. In general terms, from the Renaissance to the present day, the appearance of the castle and its layout have not changed significantly.
22. “New Rome. Castle of the Holy Angel" (Sylvester Shchedrin, 1823-1825). IN Tretyakov Gallery Three of the eight created canvas options are stored. 
The most famous owner of the Castel Sant'Angelo is, of course, the 214th Pope Alexander VI Borgia. He was the initiator of many restoration works in the castle. By the end of the 1490s, Sant'Angelo acquired a look similar to today's.
23. Painting by Alexander Bryullov with a similar plot (1823-1826). 
In the Hall of Justice in the 16th century. court hearings were held. The castle has the papal apartments, the courtyard of Alexander VI, the hall of Clement VII, the halls of Clement VIII, the loggia of Paul III and the loggia of Paul IV; adjacent to the latter are the premises in which the prison was located. There is a library here, as well as a Treasure Hall and a Secret Archive. From the castle terrace, above which the figure of an Angel rises, one can see great view to the city.
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25. Cathedral of St. Petra 
26. Vittoriano 
The castle has many galleries, usually running along the perimeter of the fortress.
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The Angel's Courtyard received this name because it housed a 16th-century marble statue of the Archangel Michael. work by Raffaello de Montelupo (1544), which before XVIII century was at the top of the castle. A suite of medieval halls, rebuilt in the 17th century, extends from the courtyard.
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Library Hall
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Paolina Hall
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Perseus Hall
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Treasure Hall
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National Castle Museum
48. Luca Signorelli 
49. Niccolo Poussin 
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52. Bust of Pope Paul III 
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Paul III's bedroom
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59. Papal throne 
60. Monumental fireplace 
61. Well in the courtyard of Alexander VI 
62. Bath of Clement VII 
63. Hall of urns, where funeral urns were located. 
64. Diagonal ramp leading to the urn hall. 
A traditional short video to complement my story.
Sylvester Shchedrin (1791-1830) “New Rome. Castle of the Holy Angel", 1823
Oil on canvas, 47x60, Russian Museum
Sylvester Shchedrin (1791-1830) is one of the most captivating artists in Russian art and we dedicate our 100th publication to him.
The artist saw what is displayed on this canvas almost every day, because he lived very close to this place. A painting that is one of the main milestones in Shchedrin's works.
After all, the plot in it can be interpreted differently than before in his paintings. Here in the foreground are the old houses of poor residents, beginning to crumble, located along the Tiber River. They are not dirty, they look quite neat, but their age outweighs them in trying to look decent. Near the houses there are boats of local residents, several of them are about to go out onto the river, some are empty.
Quite a few people are on the shore, they are busy with their usual affairs, not at all distracted by dirty waters rivers. Simple peasants are drawn very carefully, adding vitality and brightness to the image.
It seems that it is a rather cool morning, because the sky is high and painted in cold silvery-gray tones. However, in the picture everyone can breathe easily, there is a lot of air in the plot. It was written by a master of painting on outdoors oil on canvas.
If in the foreground there are old houses of local residents, then in the background, in the background, “old” Rome is depicted. These are the Castel Sant'Angelo and St. Peter's Basilica, which are supposed to represent the grand, but no longer so important, old view of Rome. Located in the depths of the picture, they are nothing more than just a kind of background. The urban poor and their dilapidated houses in the foreground point to the new Rome. With this painting the author wanted to show the combination of the eternal and the temporary, the high and the low in one image.
source: "Hermitage" group. Vitaly Ilyin.
Artist Sylvester Shchedrin (1791 – 1830).
Russian painter, landscape painter, who became one of the founders realistic direction landscapes in Russian. It can be argued that his works became the starting point in the formation of such worldwide famous painters, like Savrasov, Shishkin, Levitan and Vasiliev.
The artist Sylvester Feodosievich Shchedrin was born in February 1791 in St. Petersburg, in the family of the famous sculptor, rector of the Academy of Arts, professor of sculpture class Theodosius Shchedrin.
At the age of nine, Sylvester became a graduate of the Academy of Arts in the landscape class. After eight years of study, he received his first medal for success in creativity.
In 1811, Sylvester Shchedrin graduated from the academy with a Great Gold Medal and the right to “pension” abroad. However, the artist’s departure from Russia was prevented by the invasion of Napoleon’s troops in 1812 and the trip had to be postponed until 1818.
In 1818, the artist left for Italy and never returned to his homeland.
While still a student at the Academy, the artist painted several remarkable landscapes, which adhere to the canons of landscape from the time of classicism, however, art historians talk about attempts to deviate from the canons and bring the landscapes closer to the real and more accurate type of landscape.
The landscapes of S.F. Shchedrin are close in nature to the general orientation of the romanticism of O.A. Kiprensky. Shchedrin's romantic tendencies are not of a self-sufficient, declarative nature. For both of them, romanticism consisted of a lyrical, personal perception of man and nature, but not turning into a subjective perception.
It is Shchedrin who has a clearly direct observation of nature.
Main theme Italian period the artist’s creativity is the nature of Italy, the formation of the image of “Golden Italy”, in which everything breathes grandeur and peace, paintings about happiness and kindness. Where there are cozy coves and deep shadows from lazy foliage, bright rays of the sun and the leisurely flow of life.
Over the years, the painter’s palette becomes lighter, the traditional brown-ocher tones disappear, and the colors become purer.
However, let art historians and critics write about colors and tones.
I want to invite you to admire the beauty that the artist created until his death in 1830.
Sylvester Shchedrin was buried in the city of Sorrento.
Russian talents in Italy.
Shchedrin, Sylvester Feodosievich (1791-1830);
Shchedrin, Sylvester Feodosiyevich
Bryullov, Karl. Portrait of the artist Sylvester Shchedrin. 1824 Russian Museum, St. Petersburg.
This is a short post about the famous Russian artist in Italy, about whom
Russian is not very well remembered, or even not very well remembered in artistic circles,
and the general public most often does not even know the name.
That's how it works.
But this Russian talent influenced not only Russian painting,
but also Italian!
And when?!
A little later than the 1st quarter of the 19th century! Therefore, do not believe in any mysticism,
but live now and today.
There will be no other life. And no one needs us after death.
Except for worms.
Shchedrin Sylvester. Mergellina promenade in Naples. 1827.
By 1827, the talent of this wonderful artist for several years now
opened up completely and he developed his own unique style.
But after this picture, his life remained for three years.
Italians sometimes speak and communicate with God quite directly.
I did not begin to figure out the purpose of this crucifix on the shore,
but I definitely have a sense of spontaneity in
communication between residents and workers is coastal strip with Christ.
Maybe this feeling was created by the talent of the artist, but I feel it.
Look at the white houses on the embankment. We will see it in full later.
This is interesting in itself.
But there are definitely too many people in this picture. They bother me.
And you?
Shchedrin Sylvester. Old Rome. 1824
Old Rome consists of what remains of the Empire
and from many centuries after the end of the Roman Empire.
This is what we see.
A simple idea.
Shchedrin was the case when genetics and social circle did the right thing
a leap in talent in the next generation.
His father was a famous sculptor in Europe (in France) and in Russia,
professor and rector of the Academy of Arts.
His uncle was famous landscape painter in the style of classicism.
Sylvester's brother became an architect and academician.
Genetics and the circle of the best creative forces, in which this family communicated
did their job.
This does not necessarily happen under these circumstances. But often
all together produces new talent from among a talented family.
When Shchedrin completed his education in Russia in 1811, he had in his arms
There was a large gold medal for success at the Academy.
This medal gave the right to a pension (maintenance) for traveling abroad (to Italy),
to continue education.
Shchedrin, Sylvester. New Rome. Castel Sant'Angelo 1824/1825
But due to the Napoleonic Wars, Shchedrin was able to travel to Italy only in 1818.
This work, together with the work "Lake Albano in the vicinity of Rome",
there is a time when Shchedrin threw back
canons of the Academy and created new landscape And own style.
The Academy then stood on oak classicism.
Classicism focused on classic works antiquity.
It was allowed to continue what the ancients had created.
But without departing from the canons.
The fact is that in France classicism was ending and was already
Delacroix, the creator of ROMANTICism, won. But then there was no Internet. Communication and
The exchange did not take place quickly.
With this remarkable work of Shchedrin, contemporaries fairly and simply
admired immensely.
Look. Shchedrin threw away the ossified academic requirements,
and created a composition with a clearly understandable and noticeable foreground and background.
Shchedrin, Sylvester New Rome. Castel Sant'Angelo 1823-1825
State Tretyakov Gallery, Moscow
In front of us on foreground New Rome, with its buildings and daily worries.
And how successfully and accurately (I feel so. There may be other opinions) Shchedrin conveyed to us
a sense of the lives of these fishermen and their families.
And Shchedrin simply masterfully created Old Rome in the background.
To the right and in the distance is the Castel Sant'Angelo, which is linked like an axis across the Tiber
With modern houses poor people on the left.
The Tiber, so beautifully written, is the axis that links New Rome and
his daily life with St. Peter's Basilica and
The Vatican Palace in Old Rome, which stands
almost on the horizon.
What a wonderful job! How wonderfully the artist combined, without feeling
foreignness, the poor fishermen of today for him, and the greatness of creativity
gone days.
He had such a reserve of movement and desire for the new, for the avant-garde,
that if he had lived longer, I have no doubt that he would have easily understood
and adopted impressionism.
Did you know..?. Nothing! Now you'll find out.
Shchedrin Sylvester Feodosievich. Grotto in Florence. 1826
Shchedrin was one of the very few artists of that time who
We worked on a plein air. And Shchedrin simply worked for hours in an open air. Almost
like Monet or any of the Impressionists. Then everything was written at home, in the studio.
He probably still, according to the tradition of that time, finished and polished the work in the workshop.
But he was very different from
contemporaries because he worked so much plein air.
Too much text. I hope you can handle it. This work was not just admired.
She was constantly ordered. Shchedrin painted this picture at least eight times. But,
most likely even ten times. And each time, Shchedrin rewrote this work creatively.
In different lighting, at different times of day, etc.
That's why you see two various works. WONDERFUL!
Moreover, all these 8 or 10 versions are different and made in different time day and year
in different lighting - shouldn't we remember Monet with his exactly the same things,
but decades later?
Or Pizarro with his such wonderful, and written at different times of the day and at
different weather, avenues? Such a talent was Shchedrin.
There are very few works by Shchedrin in Russia. Connoisseurs of the West have many of his works.
You probably noticed that the dark picture lives in the Tretyakov Gallery. And in total
Tretyakov - three versions of this work.
I wanted to tell you about the history of the Castel Sant'Angelo, but that would be too much bookishness.
Shchedrin Sylvester. View of Naples from the road to Posilipo. 1829
I sometimes put this picture “New Rome” at 4000 pixels (light) as a background on the screen,
and Rome moves away from me into the depths of the Internet, along with the dome of the Cathedral, for kilometers.
This dome was repeated in the world in great buildings three times.
St. Paul's Cathedral in London, St. Isaac's Cathedral in St. Petersburg and the Capitol in
Washington, in which (in the Capitol) sits the US Congress, hated by the unfortunate Mikhail Zadornov.
I think that since Zadornov has such problems with the Americans, isn’t it easier for him?
take a young fighter's course somewhere with Hamas, and go and rush Congress or the White House.
Just to calm his broken heart nervous system? What do you think?
We've already missed one great job. Look at this one. In Russia there is simply no one,
I didn’t paint landscapes at such a level and with such skill back then. Just look
for all. Up for air! How skillfully the haze is made, and we feel the SEA!
Please note that in Naples at that time there were not only impoverished fishermen. And thanks
the fact that the mad Napoleon was gone --- and the Industrial Revolution was moving in Europe
(not in Russia! the tsar, Kankrin and the government were against!) in full swing ---
V port city Enterprising people appeared and, accordingly, money appeared.
What a beautiful white stone embankment, isn’t it? And a cool road along the embankment.
For decades, Odessa was the fastest growing city in the Empire - of course!
are waiting for you in Odessa! - near Sholom Aleichem two provincials talk like this
Jews --- until at the turn of the century Jews began to leave in droves due to pogroms, and the number
laws and instructions against Jews exceeded 650 during the time of Alexander III.
In my opinion, the young people in the picture cannot agree on which direction to go.
Nothing else comes to mind. What is your opinion?
Shchedrin Sylvester. View from Petrovsky Island to Tuchkov Bridge and Vasilyevsky Island in St. Petersburg. 1815
This is a completely different job. This is the work that Shchedrin did for the Academy in Russia.
Remember that he couldn’t leave because of Napoleon?
This work fully complies with all the canons, according to which Russian Academy
Artists were trained to paint landscapes. Boring!
Look, compare with the brilliance of previous works,
and you will understand everything.
Shchedrin Sylvester Feodosievich. Veranda entwined with grapes. 1828
Verandas and terraces, this was a subject that Shchedrin loved very much. And Italian
The public really liked it too. It conveys shadow on a sunny day in such a way that we feel cool.
And the composition in which he placed people (landscape) attracted and was
a new word. He also rewrote these works more than once, because there were many orders.
And rewrote it in different lighting.
I say - like Monet or Pizarro! When, previous work "New Rome" and more
one (will come later) Shchedrin established his attractive style, it became fashionable
an artist. And since then he has not had time to fulfill orders.
Bryullov already lives in Italy and is already quite famous, but truly famous
he came to Italy later.
In the end, all of Bryullov's glory rests on his
decorative, beautiful works. And Madame Samoilova, she looks great again.
What else FAMOUS did Bryullov write?
Ivanov hasn’t arrived yet.
The famous Russian artist Shchedrin worked in Italy, who was among
founders of the Posillipo school.
Posillipo - a district of Naples above the sea... Shchedrin founded the school not as educational institution.
He, together with others, founded the DIRECTION ITALIAN painting, which
called the Posillipo school. ITALIAN painting, not Russian.
Shchedrin, Sylvester Veranda entwined with grapes 1828 Tretyakov Gallery
Please note that this version is from the Tretyakov Gallery.
Shchedrin, Sylvester "Lake Albano in the vicinity of Rome" No later than 1825.
In 1923, the pension that Shchedrin received from Russia ended. Shchedrin, more
not at all famous, he stayed in Italy at his own risk. He has money
Of course it wasn't.
This work "Lake Albano..." together with "New Rome" and even in to a greater extent
than "New Rome", created Shchedrin's style.
Here, against the canons of Academic classism, he removed and softened the boundaries between
subject and rear general plan. And again against classicism, he stopped using
Only formal, mandatory colors. And in “New Rome” he already used silver ones,
greenish and bluish colors and shades.
This is a very successful job. Look.
Shchedrin Sylvester. Large harbor on the island of Capri. 1828
Here are two more identical works, but written differently. The fact is that
Shchedrin began to become seriously ill around this time. And this, plus news from
post-Decembrist Russia, caused a reaction from the artist.
In the last two years,
Dark and black-toned details appeared in his works, painted like nightmares, etc.
These two works are from the time when his anxiety began.
Do not forget that medicine could not help him with his illness.
I don't know what it was. It was not a mental illness.
See how much darker the second work is? She presses directly.
Around that time the colors became darker,
and there is anxiety in the air, or even stronger than anxiety.
Shchedrin, Sylvester. Naples 1819
This work was written when Shchedrin had just arrived and wrote according to academic canons.
Green melancholy.
So boring as this work was, they continued to paint the landscape in Russia until they began to follow that
new that Shchedrin created.
Look for yourself at last works. Except one. I'll tell you about her.
Shchedrin, Sylvester, Terrace on the seashore.
The town of Cappuccini near Sorrento. 1827.
Another terrace. There are several options. Maybe Shchedrin,
who really loved painting verandas and terraces, wrote them because
that they calmed him down?
That's how they are written. I can't show everything.
Shchedrin, Sylvester. Moonlight night in Naples 1828
This work delighted both the public and the artists. and she still looks great.
What talent! Kuindzhi wrote “Night on the Dnieper” more than half a century later.
After half a century, we need to surpass and do differently. He did it his way. His "Night..." amazes with its exoticism.
But in my opinion "Moonlit Night in Naples" is real painting, not circus tricks.
Shchedrin Sylvester In the vicinity of Sorrento near Castellammare 1828
Shchedrin Sylvester Feodosievich. View from the grotto of Vesuvius and Castello dell'Ovo on a moonlit night
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Shchedrin, Sylvester Self-portrait 1817 Tretyakov
When Shchedrin died, some people from Russia tried to move his works to Russia.
I don't know the details, but they almost didn't succeed. Probably, as always, in poor Russia
there was no money.
Some of his works are in the Russian Museum and the Tretyakov Gallery. The bulk of Shchedrin's works
is in Italian museums and private collections around the world.
Shchedrin was a real, great talent.
Russian landscape artist
Shchedrin, Sylvester Feodosievich (1791-1830)
died in the city of Sorrento on November 8 (new style) 1830.
He did not live to be 40 years old, 2 months and 5 days.
Benjamin.
"New Rome. Castle of the Holy Angel"- a series of paintings by Sylvester Feodosievich Shchedrin, written in the early Roman period (1821-1825).
The Tiber embankment is depicted near the house where the artist lived.
This series is a turning point in Shchedrin's work. First of all, the plot itself is interpreted in a new way: fishing boats on the water with people, the walls of residential buildings are the foreground, and “old” Rome (Castle of the Holy Angel and the Cathedral of St. Peter) moves into the depths and becomes a kind of background. This series of landscapes is a very successful experiment by Shchedrin the plein air painter, a master of outdoor painting. The color scheme in these landscapes also changes: the gloomy brown tones of Shchedrin’s first works are now replaced by cooler ones - silver, blue and greenish tones.
According to one of his contemporaries, “the artist had to repeat this view eight times... Each time he changed the air and tone of the picture.”
Compositional unity is achieved through the depiction of the Tiber. If to the right and in the distance rise the majestic buildings of the Castel Sant'Angelo, the Cathedral of St. Peter and the Vatican Palace, personifying “old Rome”, then on the left the composition is closed by the houses of the urban poor - “New Rome” (Trastevere quarter). By this Shchedrin emphasizes that in “ Eternal City“High and low, eternal and temporary exist side by side. Ordinary Romans on the banks of the Tiber are depicted with special care, giving the picture genuine vitality and authenticity.
Painting “New Rome. Castle of the Holy Angel" had big success, and subsequently the artist often repeated this motif in different lighting. The State Tretyakov Gallery houses three versions of the painting.
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