Presentation on the topic of Fedotov Pavel Andreevich. Fedotov Pavel Andreevich - Russian officer and artist
From the artist's biography Pavel Andreevich was born in Moscow on June 22, 1815 on one of the outskirts of Moscow in Ogorodniki in the family of a titular councilor. The artist's father dreamed of a military career for his son. Pavlusha will remember for the rest of his life the stories of his father, a former Suvorov soldier, about campaigns and battles. Pavel Andreevich was born in Moscow on June 22, 1815 on one of the outskirts of Moscow in Ogorodniki in the family of a titular councilor. The artist's father dreamed of a military career for his son. For the rest of his life, Pavlusha remembered the stories of his father, a former Suvorov soldier, about campaigns and battles. The main facade of the Cadet Corps of the Catherine Palace in Lefortovo. Antonio Rinaldi. P.A. Fedotov Portrait of his father At the age of eleven, Pavel Fedotov was assigned to the First Moscow Cadet Corps. At the age of eleven, Pavel Fedotov was assigned to the First Moscow Cadet Corps.
From the history of the cadet corps of Russia Under Nicholas I, the most harmonious and rational system for organizing cadet corps and managing them took shape. In 1824, the Smolensk Cadet Corps, which arrived from Yaroslavl, was located in the Catherine Barracks in Moscow. At the same time, the corps was renamed the 1st Moscow Cadet Corps, which was classified as a first-class military educational institution. Nicholas I
In 1830 he was made a non-commissioned officer, in 1833 he was promoted to sergeant major, and in 1833 he graduated from the course as the first student, and his name, according to established rules. In 1830 he was made a non-commissioned officer, in 1833 promoted to sergeant major and in 1833 graduated from the course as the first student, and his name, according to established custom, was included on an honorary marble plaque in the assembly hall of the building. P.A. Fedotov graduated from the corps with the rank of lieutenant and received the most prestigious appointment: in the Life Guards Finnish Regiment, in St. Petersburg. P.A. Fedotov graduated from the corps with the rank of lieutenant and received the most prestigious appointment: in the Life Guards Finnish Regiment, in St. Petersburg. Cadet Fedotov. portrait of Stromilov. 1828
The Finnish Life Guards Regiment was formed in December 1806. in Strelna and Peterhof as the Battalion of the Imperial Militia, and already in 1808. assigned to the guard. In October 1811 it was reorganized into three battalions and called the Life Guards Regiment. In Russia, the army was divided into army and guards corps. FROM THE HISTORY OF THE FINNISH LIFE GUARDS REGIMENT The barracks complex of the FINNISH LIFE GUARDS REGIMENT The Guard is a selected part of the army, enjoying some service advantages over army regiments. Service in the guard could provide Fedotov with a career, success and money for the rest of his life.
Fedotov - officer Regimental life began. In the first months, Fedorov was fascinated by the life of the guards officers - feasts, cards, funny songs. But a little time passed, the novelty lost its charm. More and more often, behind the external splendor of parades, he saw the empty, thoughtless life of a guards officer. Family portrait
In the watercolor and oil portraits of fellow soldiers, the military lacked the romantic aura of a heroic personality that was usual for that time. The comrades in the regiment appear before the audience casually, without any pose, they are modest and intelligent, the artist treats his heroes with sympathy, but soberly and objectively. Fedotov made many sketches of soldier’s life. He drew caricatures and portraits of friends, scenes from regimental life. "Fedotov and his comrades in the Life Guards Finnish Regiment"
Meeting in the camp of the Life Guards of the Finnish Regiment of Grand Duke Mikhail Pavlovich on July 8, 1837 State Russian Museum, St. Petersburg
Academy of Arts. Saint Petersburg. After three or four years of service in the regiment, the young officer began attending evening drawing classes at the Academy of Arts, on the Neva Embankment. There he tried to more strictly study the forms of the human body and make his hand more free and obedient in conveying visible nature. Fedotov often visited the Hermitage as a student of the Academy. Hermitage Museum. Neva embankment
K. P. Bryullov Self-Portrait Fedotov was greatly impressed by Bryullov’s painting “The Last Day of Pompeii.” It was exhibited at the Academy of Arts. And in 1840, Fedotov was allowed to become Bryullov’s student. But Fedotov never became Bryullov’s student: he still did not believe in his talent. "The Last Day of Pompeii" Pompeii"
Fedotov - a painter Free time became less and less, doubt crept into his soul more and more often: maybe he would never be a real artist? Experiencing an irresistible attraction to art and accepting the advice of I. A. Krylov (who was one of his favorite writers), he retired in 1844. At first, while studying with A.I. Sauerweid, Fedotov thought of devoting himself to battle painting. The brilliant old man, who saw some of Fedotov’s works, convinced him to give up soldiers and horses and engage exclusively in the everyday genre. That's what Fedotov did. I. A. Krylov.
Canvases by Fedotov academicians. The artist almost hopelessly locked himself in his studio, redoubled his work on studying painting techniques, and by the spring of 1848 he painted two paintings, one after another, based on the sketches already in his album: “Fresh Cavalier” and “Choosy Bride.” Having been shown to K. Bryullov, then all-powerful at the Academy of Arts, they delighted him; Thanks to him, and even more to their merits, they brought Fedotov from the academy the title of appointed academician. "The Picky Bride" So that the age does not end alone, The beauty has not yet faded at all, For the first. whoever approached her, went: And she was glad, she was glad that she married the cripple. I.A. Krylov “The Picky Bride”
"The Major's Matchmaking" Fedotov's main work is the painting "The Major's Matchmaking" (1848), depicting the scene of the reception of the groom - an officer by a merchant family. Here one of the most characteristic phenomena of Russian life of the 40s is noticed. The desire of part of the merchants to rise on the social ladder one step higher and another on the other hand, the desire of many representatives of the bankrupt nobility to improve their affairs with a profitable marriage, “The Major’s Matchmaking” (1848),
“Aristocrat’s Breakfast”…Morning. A young gentleman is having breakfast in a richly decorated room. For breakfast he has a piece of black bread, and next to him on a chair is an advertisement for the sale of oysters. Of course, he would prefer to eat oysters, but there is no money, and he stuffed his mouth with black bread. Suddenly the poodle, the “aristocratic dog” that was customary to keep in secular houses, smelled the guest. The guest is still outside the door, but his gloved hand is visible, grasping the curtain. The young man has a frightened expression on his face: looking at the door, he covers the bread with a book. Who is this young man? An empty loafer, for whom the most important thing in life is to be known as a rich gentleman, to shine in society, to be dressed in the latest French fashion. He usually lives on credit, at someone else's expense.
“Widow” While working on this painting, Fedotov thought about his younger sister Lyubochka. Her husband, an officer, died and left her nothing but debts. What does the future hold for her? Hunger, poverty, the bitter fate of a Russian woman - an officer's widow. Here she is standing by the chest of drawers, her face is sad, thoughtful and submissive. Maybe she buried her husband yesterday, and today the creditors came to the house. How to live? While working on this picture, Fedotov thought about his younger sister Lyubochka. Her husband, an officer, died and left her nothing but debts. What does the future hold for her? Hunger, poverty, the bitter fate of a Russian woman - an officer's widow. Here she is standing by the chest of drawers, her face is sad, thoughtful and submissive. Maybe she buried her husband yesterday, and today the creditors came to the house. How to live?
“Anchor, more anchor!” Small, as always with Fedotov, the canvas of the unfinished painting “Anchor, more anchor!” presents the viewer with the everyday life of an officer in the Nikolaev army, serving in some remote corner of Russia. The meaninglessness and purposelessness of this man’s existence, which kills every living feeling in him, is the theme of the picture, which condemns the destructive influence that the system of the Nicholas military, so familiar to Fedotov from his own experience, had on man. The relaxed pose of the officer lying face down on the bench, the red, feverish light of a lonely candle create a feeling of hopeless loneliness and emptiness of existence.
“Fresh Cavalier” Fedotov’s first significant work was the small painting “Fresh Cavalier” (1846; Tretyakov Gallery), a satirical depiction of the complete moral and spiritual insignificance of the bureaucratic world of St. Petersburg and Moscow in the 40s. Here we see a lively altercation between an official, who has just risen from his bed after a feast, and his cook, a cheeky young woman. In the whole appearance of this sleepy man, sloppily dressed in a torn robe with a freshly received medal on his chest, there is an indescribable mixture of arrogance and limitation.
The artist very often writes and draws himself: here he is, a young, brilliant guardsman in full dress uniform; Here he is playing cards with his regimental comrades; Here he is painting a portrait of the little dog Fidelka; his portrait is depicted on the chest of drawers next to the widow... And every time, depicting himself, he seems to laugh at himself, sometimes good-naturedly, slyly, sometimes sadly.
This is Fedotov’s last self-portrait – gloomy and hopeless, the artist’s eyes are restless, wary, sick. “...I saw myself in terrible hopelessness, I was lost, I felt some kind of delirium every minute,” he wrote then in an unsent letter to Yulenka Tarnovskaya. Constant poverty, many years of overwork, nervous tension and the collapse of beautiful illusions had a fatal effect. In the spring of 1852, Fedotov showed signs of mental disorder. On November 14, the artist passed away. The artist's last self-portrait.
Conclusion: The name of this artist is well known to art lovers. He is known mainly for his humorous and sarcastic paintings. It is no coincidence that Fedotov was called “Gogol in Russian painting”, and his creative credo “a picturesque anecdote”. His life, like that of most painters of that time, was difficult: poverty, illness, constant struggle for existence and a tragic early end. We are left with his interesting work.
Bibliography 1. Fedotov: Album / Author-comp. E.D. Kuznetsov. – M.: Image. art, p. 2. BEKM - a large computer encyclopedia of Cyril and Methodius 3. Danilova G. I. World artistic culture: from the 17th century to the present. Profile level: academic. For 11th grade..- M.: Bustard Karpova T. Pavel Fedotov: scenes from ordinary life. // “Peasant Woman” Sher N.S. Stories about Russian artists. M.: Det. Lit. – From Beloshapkin Ya. Anchor, more anchor! // The Art of Beloshapkin Ya. Breakfast of an Aristocrat // The Art of Beloshapkin Ya. Pavel Fedotov // The Art of Beloshapkin Ya. Fresh Cavalier // The Art of Beloshapkin Ya. The Major's Matchmaking // Art
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Fedotov Pavel Andreevich is a highly talented draftsman and painter, the founder of the humorous genre in Russian painting, the son of a very poor official, a former soldier of Catherine’s times.
Self-portrait. P.A.Fedotov
Slide 3
From the artist's biography
Pavel Andreevich was born in Moscow on June 22, 1815 on one of the outskirts of Moscow in Ogorodniki in the family of a titular councilor. The artist's father dreamed of a military career for his son. For the rest of his life, Pavlusha remembered the stories of his father, a former Suvorov soldier, about campaigns and battles.
The main facade of the Cadet Corps of the Catherine Palace in Lefortovo. Antonio Rinaldi.
P.A.Fedotov Portrait of a father
At the age of eleven, Pavel Fedotov was assigned to the First Moscow Cadet Corps.
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From the history of Russian cadet corps
Under Nicholas I it develops
the most slender and rational
cadet system
buildings and their management.
In 1824, the Smolensk Cadet Corps, which arrived from Yaroslavl, was located in the Catherine Barracks in Moscow. At the same time, the corps was renamed the 1st Moscow Cadet Corps, which was classified as a first-class military educational institution.
Nicholas I
Slide 5
In 1830 he was made a non-commissioned officer, in 1833 he was promoted to sergeant major, and in 1833 he graduated from the course as the first student, and his name, as usual
custom, included in the honorary
marble plaque in the assembly hall of the building.
P.A. Fedotov graduated from the corps with the rank of lieutenant and received the most prestigious appointment: in the Life Guards Finnish Regiment, in St. Petersburg.
Cadet Fedotov. portrait of Stromilov. 1828
Slide 6
The Finnish Life Guards Regiment was formed in December 1806. in Strelna and Peterhof as the Battalion of the Imperial Militia, and already in 1808. assigned to the guard. In October 1811 it was reorganized into three battalions and called the Life Guards Regiment. In Russia, the army was divided into army and guards corps.
FROM THE HISTORY OF THE FINNISH LIFE GUARDS REGIMENT
Complex of barracks of the FINNISH LIFE GUARDS REGIMENT
The Guard is a selected part of the army, enjoying certain service advantages over army regiments.
Service in the guard could provide Fedotov with a career, success and money for the rest of his life.
Slide 7
Fedotov - officer
Regimental life began. In the first months, Fedorov was fascinated by the life of the guards officers - feasts, cards, funny songs. But a little time passed, the novelty lost its charm. More and more often, behind the external splendor of parades, he saw the empty, thoughtless life of a guards officer.
Family portrait
Slide 8
In watercolor and oil portraits of fellow soldiers, the military is deprived of what was usual for that time
romantic aura of a heroic personality. The comrades in the regiment appear before the audience casually, without any pose, they are modest and intelligent, the artist treats his heroes with sympathy, but soberly and objectively.
Fedotov made many sketches of soldier’s life. He drew caricatures and portraits of friends, scenes from regimental life.
"Fedotov and his comrades in the Life Guards Finnish Regiment"
Slide 9
Meeting at the camp of the Life Guards of the Finnish Regiment of Grand Duke Mikhail Pavlovich
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Academy of Arts. Saint Petersburg.
After three or four years of service in the regiment, the young officer began attending evening drawing classes at the Academy of Arts, on the Neva Embankment. There he tried to more strictly study the forms of the human body and make his hand more free and obedient in conveying visible nature.
Fedotov often visited the Hermitage as a student at the Academy.
Hermitage Museum. Neva embankment
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Peasant world of A.G. Venetsianov
Self-portrait
- “On the arable land. Spring".
- "Shepherd with a pipe"
- "The Shepherd Boy"
- "At the Harvest. Summer"
- "The threshing floor"
Slide 12
K. P. Bryullov
Self-portrait
Bryullov’s painting “The Last Day of Pompeii” made a great impression on Fedotov. It was exhibited at the Academy of Arts. And in 1840, Fedotov was allowed to become Bryullov’s student. But Fedotov never became Bryullov’s student: he still did not believe in his talent.
"The last day of Pompeii"
Slide 13
Fedotov - painter
Free time became less and less, doubt increasingly crept into his soul: maybe he would never be a real artist?
Experiencing an irresistible attraction to art and accepting the advice of I. A. Krylov (who was one of his favorite writers), he retired in 1844.
At first, while studying with A.I. Sauerweid, Fedotov thought of devoting himself to battle painting.
The brilliant old man, who saw some of Fedotov’s works, convinced him to give up soldiers and horses and engage exclusively in the everyday genre. That's what Fedotov did.
I. A. Krylov.
Slide 14
Fedotov's canvases
The artist almost hopelessly locked himself in his studio, redoubled his work on studying painting techniques, and by the spring of 1848 he painted two paintings, one after another, based on the sketches already in his album: “Fresh Cavalier” and “Choosy Bride.” Having been shown to K. Bryullov, then all-powerful at the Academy of Arts, they delighted him; Thanks to him, and even more to their merits, they brought Fedotov from the academy the title of appointed academician.
"The Picky Bride"
So as not to end up alone
Quite a beauty so far
hasn't bloomed
For the first one. who's coming to her
got married, went:
And I was glad, I was glad that I married a cripple.
I.A. Krylov
"The Picky Bride"
Slide 15
"Major's Matchmaking"
Fedotov’s main work is the painting “The Major’s Matchmaking” (1848), depicting the scene of the reception of the groom-officer by the merchant family. Here one of the most characteristic phenomena of Russian life of the 40s is noticed - the desire of part of the merchants to rise one step higher on the social ladder and, on the other hand, the desire of many representatives of the bankrupt nobility to improve their affairs with a profitable marriage.
"Major's Matchmaking" (1848),
Slide 16
"Breakfast of an Aristocrat"
…Morning. A young gentleman is having breakfast in a richly decorated room. For breakfast he has a piece of black bread, and next to him on a chair is an advertisement for the sale of oysters. Of course, he would prefer to eat oysters, but there is no money, and he stuffed his mouth with black bread. Suddenly the poodle, the “aristocratic dog” that was customary to keep in secular houses, smelled the guest. The guest is still outside the door, but his gloved hand is visible, grasping the curtain. The young man has a frightened expression on his face: looking at the door, he covers the bread with a book.
Who is this young man? An empty loafer, for whom the most important thing in life is to be known as a rich gentleman, to shine in society, to be dressed in the latest French fashion. He usually lives on credit, at someone else's expense.
Slide 17
"Widow"
While working on this painting, Fedotov thought about his younger sister Lyubochka. Her husband, an officer, died and left her nothing but debts. What does the future hold for her? Hunger, poverty, the bitter fate of a Russian woman - an officer's widow. Here she is standing by the chest of drawers, her face is sad, thoughtful and submissive. Maybe she buried her husband yesterday, and today the creditors came to the house. How to live?
Slide 18
“Anchor, more anchor!”
Small, as always with Fedotov, the canvas of the unfinished painting “Anchor, more anchor!” presents the viewer with the everyday life of an officer in the Nicholas Army, serving in some remote corner of Russia. The meaninglessness and purposelessness of this man’s existence, which kills every living feeling in him, is the theme of the picture, which condemns the destructive influence that the system of the Nicholas military, so familiar to Fedotov from his own experience, had on man.
The relaxed pose of the officer lying face down on the bench, the red, feverish light of a lonely candle create a feeling of hopeless loneliness and emptiness of existence.
Slide 19
"Fresh Cavalier"
Fedotov’s first significant work was the small painting “Fresh Cavalier” (1846; Tretyakov Gallery) - a satirical depiction of the complete moral and spiritual insignificance of the bureaucratic world of St. Petersburg and Moscow in the 40s. Here we see a lively altercation between an official, who has just risen from his bed after a feast, and his cook, a cheeky young woman. In the whole appearance of this sleepy man, sloppily dressed in a torn robe with a freshly received medal on his chest, there is an indescribable mixture of arrogance and limitation.
Slide 20
There is an old, old proverb in the world: “Tell me who you know, and I will tell you who you are.”
With no less meaning, one can perhaps say: “Show me your home, and I will determine your habits, your character.”
Alexander Ivanovich Kuprin
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The artist very often writes and draws himself: here he is, a young, brilliant guardsman in full dress uniform; Here he is playing cards with his regimental comrades; Here he is painting a portrait of the little dog Fidelka; his portrait is depicted on the chest of drawers next to the widow... And every time, depicting himself, he seems to laugh at himself, sometimes good-naturedly, slyly, sometimes sadly.
Slide 25
This is Fedotov’s last self-portrait – gloomy and hopeless, the artist’s eyes are restless, wary, sick. “...I saw myself in terrible hopelessness, I was lost, I felt some kind of delirium every minute,” he wrote then in an unsent letter to Yulenka Tarnovskaya.
Constant poverty, many years of overwork, nervous tension and the collapse of beautiful illusions had a fatal effect. In the spring of 1852, Fedotov showed signs of mental disorder.
The artist's last self-portrait.
Slide 26
Conclusion:
The name of this artist is well known to art lovers. He is known mainly for his humorous and sarcastic paintings. It is no coincidence that Fedotov was called “Gogol in Russian painting”, and his creative credo “a picturesque anecdote”. His life, like that of most painters of that time, was difficult: poverty, illness, constant struggle for existence and a tragic early end. We are left with his interesting work.
Slide 32
Bibliography
- Fedotov: Album / Auto-composition. E.D. Kuznetsov. – M.: Image. art, 1990. - 64 p.
- BEKM - large computer encyclopedia of Cyril and Methodius
- Danilova G.I. World artistic culture: from the 17th century to the present. Profile level: academic. For 11th grade..- M.: Bustard. 2006.
- Karpova T. Pavel Fedotov: scenes from ordinary life. // “Peasant Woman.” - 1997. - No. 4
- Sher N.S. Stories about Russian artists. M.: Det. Lit. – 1966.- P.7-52
- Beloshapkina Ya. Anchor, more anchor! // Art.- No. 13.-2009.
- Beloshapkina Ya. Breakfast of an aristocrat // Art.- No. 13.-2009.
- Beloshapkina Y. Pavel Fedotov // Art.- No. 13.-2009.
- Beloshapkina Ya. Fresh gentleman // Art.- No. 13.-2009.
- Beloshapkina Y. Matchmaking of a major // Art.- No. 13.-2009.
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A SELECTION OF WORKS BY REALISTS. P. A. FEDOTOV (1815-1852) Municipal educational institution secondary school No. 36 Completed by: Natalya Korelskaya, 11th grade
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A selection of the most outstanding works of painting by the realist artist Pavel Andreevich Fedotov. Realism is a direction in art characterized by the depiction of social, psychological, economic and other phenomena that are as close to reality as possible. In the field of artistic activity, the meaning of realism is very complex and contradictory. Its boundaries are changeable and uncertain; stylistically it has many faces and many options. Within the framework of the direction, new genres are being formed - everyday painting, landscape, still life, portrait in the genre of realism. The term “realism” was first used by J. Chanfleury to designate art that opposes romanticism and symbolism. The birth of realism is most often associated with the work of the French artist Gustave Courbet (1819-1877), who opened his personal exhibition “Pavilion of Realism” in Paris in 1855.
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Pavel Andreevich Fedotov is an outstanding Russian painter and draftsman. He was born in Moscow on June 22, 1815, in the parish of Kharitonia, in Ogorodniki. His father had a small wooden house; He was a poor man, his family was large, and the children, including Pavlusha, grew up without much supervision. At the age of eleven he was sent to the cadet corps. The boy’s abilities were brilliant, his memory was extraordinary, and the authorities could only be embarrassed by the fact that in the margins of Fedotov’s school notebooks there was a whole collection of portraits of teachers and guards, and in addition, in caricature form. Having begun his military service as an ensign in the Finnish Life Guards Grenadier Regiment in St. Petersburg, Fedotov studied music, translated from German, wrote epigrams for his comrades, and drew caricatures of them. He did not have any funds; in his free time from service, he took up caricatures and portraits, which were extremely successful and attracted the attention of connoisseurs. After much convincing, he even decided to leave the service and retired with a pension of 28 rubles 60 kopecks a month. He had no right to this pension: it was assigned to him only by the special grace of Emperor Nikolai Pavlovich, who appreciated his talent and assumed that he would make a good battle painter. Fedotov moved to Vasilyevsky Island, rented a small room from the landlady and entered the Academy. K. Bryullov had a great influence on him. In academic classes, under the guidance of Professor Sauerweid, who also apparently doubted his talent, he studied battle painting. At home, he depicted the most ordinary genres, illuminated by the author’s most good-natured humor. Ivan Andreevich Krylov, having seen Fedotov’s sketches, wrote him a letter in which he advised him to stop working in the genre of battles and move on to depicting everyday life. Fedotov believed the fabulist and left the Academy. In 1847, he painted his first painting, which he decided to present to the professors. This painting was called “Fresh Cavalier”. Another painting, “The Picky Bride,” was written based on the text of Krylov’s famous fable. Even such ardent admirers of monumental painting as Bryullov could not help but recognize the true talent in these works, and advised Fedotov to continue his studies in the same direction. At the exhibition of 1849, both these two paintings and a new, much more advanced one, “The Major’s Matchmaking,” appeared for the first time. For his last painting, the artist was awarded the title of academician. The public stood in front of these paintings with undisguised surprise and delight: it was a new revelation, a new world discovered by the artist. Until now, Russian life, as it is, in all its real frankness, has not yet appeared in painting. She brought the artist material well-being, but, unfortunately, fate came to the artist’s aid too late. He dreamed of going to London and studying with the genre artists there, but the illness was already nesting in him and undermined his health. A tense, nervous life and unhappy love contributed to the development of a serious mental illness in him. In the spring of 1852, he conceived a new painting, “The Return of a College Girl to her Parental Home.” But the artist became increasingly abnormal and needed strict supervision. He had to be placed in a mental hospital, and there he ended his sad existence. He was buried on November 18, 1852. There are few paintings left after Fedotov.
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“The Picky Bride” 1847 P.A. Fedotov took Krylov’s famous fable “The Picky Bride” about a fastidious beauty who year after year refused all applicants, until she suddenly realized: “The beauty, until it has completely faded, For the first one who I got married to her, went, And I was glad, I was glad that I married a cripple.” The decisive moment was chosen that made it possible to understand everything - the fates of people explaining themselves to each other, and the essence of the explanation itself, and what would follow. The characters actually live through such an important situation for them, completely surrendering to their feelings. The things around are strictly selected, and not a single one of them seems superfluous: the top hat with the gloves placed in it, overturned by the Groom when he briskly rushed to the feet of the Bride, and the furnishings.
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"The Picky Bride" 1847 Tretyakov Gallery, Moscow
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"Fresh Cavalier" 1848 Morning of the official who received the first cross and represented the official who had barely come to his senses after the feast given to him on the occasion of receiving the order. The official himself is depicted in a wretched robe, with his head curled in papillots, barefoot and arguing with the cook, who shows him the soles of his boots. Under the table one of yesterday's guests is visible, sleepily watching the home scene.
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"Fresh Cavalier" 1848 Tretyakov Gallery, Moscow
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"Major's Matchmaking" 1848. This painting is a highly artistic image from Moscow merchant life. The center of the picture is occupied by the bride, dressed in a wide muslin dress from the 1840s, who rushed out of the room at the news that the groom had arrived. Her mother, dressed like a merchant, in a silk warrior, caught her by the dress; the old father hastily plows in his Sibirka; The housekeeper, nanny and maid are bustling around the snack table. The matchmaker in a silk coat, with the inevitable handkerchief in his hands, stands at the door, announcing the groom. The groom himself is visible through the open door: he is a brave, mustachioed major, in whom one can partly catch the facial features of the artist himself. Only the kitten remains indifferent to the general commotion, occupying the very foreground of the picture and carefreely washing itself on the parquet floor of the merchant's living room.
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"The Major's Matchmaking" 1848 Tretyakov Gallery, Moscow
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“It’s all cholera’s fault!” 1848. Fedotov spent a long time fiddling with the plot “It’s All Cholera’s Blame,” sketched out hot on the heels of recent sad events that still haven’t lost some of their poignancy. However, this plot was conceived in a rather ironic spirit. A small home party, one guest has fallen from his chair, having too much to drink, and there is a bustle around him: a woman is rubbing his chest with a brush, the owner is reaching out with a glass of tea, there is a heated, almost to the point of a fight, argument between the two ladies about the necessary means, and the victim Meanwhile, he lies flat with his arms outstretched - the serious is mixed with the comic. “Our brother reproaches the evil one for his sins. So, when there is fear of cholera in the city, everything is to blame for everything. All cholera is to blame. So, when someone gets their hands on something tasty, they can’t resist it, so much so that in a healthy time, it’s time for the stomach to digest it. So sometimes forgetting fear At friendly feasts They will drink one wine Half a dozen for a brother You look bad, who is to blame It’s all cholera’s fault.”
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“Fashionable Wife” (“Lioness”), 1849. The painting depicts a society lady standing in the middle of the living room in a “fashionable” pose. She is smartly dressed, which cannot be said about her husband. There is a thin cigarette in her mouth, all her thoughts are occupied with only one thing - fashion, clothes, external gloss. Amidst the decay of the home, dirt and greyness, all this looks very ironic. “Before she was a lady and had an exemplary reputation, she went to the market with a cook, she salted cucumbers and mushrooms and took care of the cinders. I walked abroad and lived in Paris - I returned as a lioness.”
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“Breakfast of an Aristocrat” 1851 After the success of the painting “Major’s Matchmaking,” Fedotov, going through his sketches, decided to dwell on the topic suggested by the feuilleton. The situation presented in the picture is not ugly or ugly in itself. The plot, as always with Fedotov, is clear enough: an impoverished aristocrat sits in a luxurious, ostentatious interior. Hearing the guest's footsteps, he hides a piece of bread, which makes up his entire breakfast. We cannot see the guest, but only the hem of his coat and a gloved hand pushing back the curtain. The noise in the hallway took the “aristocrat” by surprise and he hastily tries to cover up the evidence with a book. Before us is one of Fedotov’s favorite themes - lies, deception, hiding behind apparent prosperity. The superbly written interior with the established beauty of the objects inhabiting it is contrasted with the world of deception into which the hero is plunged. This comparison contains a moralizing meaning. Fedotov gave it a touch of comedy; it was not for nothing that he remembered in connection with the picture a wise folk saying: “there is silk on the belly, but there is crack in the belly.”
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“Widow” 1851 “Widow” is marked by a special, deliberate simplicity. There is only one figure in the picture and there is no action. In a dim, simply decorated room, a young pregnant woman in a black mourning dress stands leaning on the chest of drawers. There was an expression of deep sadness and thoughtfulness on her face. On the chest of drawers, next to the icon, there is a portrait of a young officer in a hussar uniform - the late husband of the widow. In a dark corner of the room, near the bed, a candle, forgotten from the night, burns; she illuminates a basket in which the few things that still belong to the young woman are somehow folded; the furniture is no longer hers - it has been described, and government seals are attached to it. The husband left only debts as an inheritance, the creditors described the property, and the widow will have to leave that cozy little world in which she was recently the mistress. A bleak future opens before her. The scene painted by Fedotov is marked by the same relaxed naturalness that characterizes his satirical paintings. In the appearance of the widow there is nothing ostentatious, nothing deliberate, no pose; it contains the same unvarnished truth of life that constitutes the very essence of Fedotov’s painting.
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“Players” 1852 In the film, Fedotov tried to depict what was happening from the point of view of a lost hero, to whom his partners seemed like terrible phantoms. The players were together for several hours spent in mutual deception, rivalry and struggle. But then what had to happen happened. The winners, with their heavy heads, stiff lower backs and aching joints, found themselves in one world, and the loser, with a feeling of complete hopelessness that gripped him, found himself in another. Light, space and movement separated them in the painting. He is calm and motionless. They squirm and move. Crushed and overthrown, he froze, one hand still clutching the glass of wine. The loser is almost ridiculous: a half-smoked cigarette sticks stupidly out of his mouth, he looks like a madman and, apparently, is close to it. The players are faceless and lifeless. There is no feeling, nothing human in them. Only baseness and devastated souls.
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The presentation on the topic “The Work of the Artist Pavel Fedotov” can be downloaded absolutely free on our website. Project subject: MHC. Colorful slides and illustrations will help you engage your classmates or audience. To view the content, use the player, or if you want to download the report, click on the corresponding text under the player. The presentation contains 7 slide(s).
Presentation slides
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The founder of critical realism in Russian painting. It is enough to take a quick glance at the totality of this artist’s works to recognize in them two directions, which, however, do not represent a sharp transition from one to the other. Works related to the first direction are limited to drawings and sketches. They strongly respond to the influence of Hogarth Hogarth - English artist, founder and major representative of the national school of painting
Realism by Pavel Fedotov
Slide 3
Pavel Fedotov flaunted universal human weaknesses. Their main idea is emphasized by the addition of side episodes to the main scene expressing it; the artist does not skimp on accessories that can enhance the intelligibility of the plot.
What Pavel Fedotov wrote about
Slide 4
The very idea that formed the basis of the composition became more and more serious and closer to life. Striving to go in this direction and overcoming the difficulties that arose in front of him at almost every step in an insufficiently submissive technique, Fedotov, thanks to his sharp mind, rare observation and persistent hard work, achieved brilliant results.
Ideas of Pavel Fedotov
Slide 5
Slide 6
"Widow"
Fedotov's works in philately
"Players" "Officer and Orderly"
Slide 7
"Major's Matchmaking"
Fedotov's works in philately part 2
"The Picky Bride"
"Lioness"
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State budgetary educational institution
secondary school No. 17
Vasileostrovsky district of St. Petersburg
Lesson-presentation
"Artist Pavel Andreevich Fedotov"
Teacher: Bakulina Galina Alekseevna,
The purpose of the lesson:
In the context of the development of Russian fine art of the 1st half of the 19th century, introduce students to the work of P. A. Fedotov, whose St. Petersburg period of life is associated with Vasilyevsky Island.
Provide basic information about the biography of P. Fedotov, as well as the address of his stay on Vasilyevsky Island;
Introduce the features of the artist’s creative method using the example of the painting “Major’s Matchmaking”;
Develop basic skills in analyzing a work of art;
To create the need to communicate with original works of art in museum halls.
During the classes:
Organizational beginning.
Main part.
Repetition of previously covered topics.
1st half of the 19th century?
1 slide. Painting by F.A. Bruni "The Death of Camilla, Horace's Sister."
Answer: classicism.
2 slide. Paintings by O.A. Kiprensky: portrait of E. Davydov, portrait of Pushkin A.S.
Answer: romanticism.
3 slide . Painting by A.G. Venetsianov “At the harvest. Summer".
Answer: sentimentalism.
4 slide. Paintings by P.A. Fedotov “Major’s Matchmaking”, “Breakfast of an Aristocrat”.
Please note that these paintings differ in style and theme from the previously presented works. The author of these paintings is P.A. Fedotov, who reflected in his works an original vision of contemporary life.
Today we will get acquainted with the work of this artist, one of the founders of realism in Russian fine art of the 1st half of the 19th century, whose life is connected with Vasilyevsky Island.
New topic.
Epigraph- “Fedotov... touched such deep notes that no one had ever hit in Russian art before” (V.V. Stasov).
Problematic question: How was P. Fedotov’s work different? Who is the main character of his works?
Start of the presentation.
1 slide. Topic: “Artist Pavel Andreevich Fedotov”
2 slide. Self-portrait of P.A. Fedotova.
A short biography of life in St. Petersburg.
3 slide . Barracks of the Imperial Life Guards of the Finnish Regiment (Embankment
Lieutenant Schmidt, house 43).
“Meeting in the camp of the Life Guards of the Finnish Regiment of Grand Duke Mikhail Pavlovich on July 8, 1838.”
“Playing cards (P.A. Fedotov and his comrades in the Life Guards Finnish Regiment).” 1840
Here, P. Fedotov lived in one of the officer’s apartments while serving in the Imperial Life Guards Finnish Regiment.
Briefly about the service. The beginning of creativity. Fedotov - regimental artist. He paints events of regimental life, portraits of friends and comrades in service. (Message from one of the students).
4 slide. The building of the Academy of Arts (University Embankment, building 17).
An officer of the Finnish regiment P. Fedotov came to art in an unusual way.
In his free time from service, he attended drawing classes at the Academy of Arts, which was located not far from the regiment barracks. Here he first acquired professional skills as an artist.
5 slide. Paintings “Fresh gentleman” or “Morning of the official who received the first cross.” 1846
Question: Who is the main character of these paintings?
The artist focuses on the life of a little person.
Fedotov brought to art not only new themes and subjects, but also a unique interpretation of them. His works are chamber in nature. The plot is presented as a “window” into the world of real life of these people. The artist's gaze is full of attention and sympathy.
Fedotov solves the scene in such a way that the viewer becomes a participant;
When interpreting a scene realistically, he is very attentive to details that reveal more deeply the context of the plot;
Good quality and thoroughness of the drawing;
Restraint of color, built on subtle nuances of color;
Restrained chiaroscuro, which allows not only to reveal form and space, but also places semantic accents.
The artist's most popular painting. In 1849 it was exhibited at an exhibition in St. Petersburg. For her, Fedotov received the title of Academician of Household Painting.
Analysis of the picture.
The artist introduces us to the merchant's house, where everyone is preparing to receive the groom. An ordinary, unremarkable episode from the life of a merchant acquires a generalizing meaning in this work. Fedotov did not simply ridicule the vanity of the merchant, the self-interest of the major, the affectation of the bride or the rudeness of the mother. He made the morality of people of various classes the object of his criticism. “The Major's Matchmaking” is a satire, a satirical denunciation of the mores of the time, which turned marriage into a transaction. But the artist perceives life wisely, seeing both dark and light sides in it. He castigates these dark sides, but at the same time his mockery is combined with frank sympathy and sadness. Telling his story, the artist admires every little detail in the picture, masterfully writing out all the details.
7 slide. “Portrait of N.P. Zhdanovich at the harpsichord.” 1850.
The portrait is called the pearl of Russian portrait art.
Fedotov did not isolate himself within the framework of the everyday genre. Turning to a portrait is an indicator of the versatility of his work.
The late period of creativity is associated with a state of personal devastation, which introduces tragic notes into his works.
8 slide. Painting “Anchor, more anchor!”, “Players”.
These paintings, painted in the year of the artist’s death, did not arouse interest among his contemporaries and remained unnoticed.
Students' answers to a problematic question.
Fixing the material in the form of a game “Today in class I learned that...”
Summarizing.
Homework:
Prepare a story about any painting by P. Fedotov you like.
Where is the memorial plaque dedicated to Fedotov located on Vasilyevsky Island? What other addresses of V.O. related to the artist's name?
Bibliography:
G. Gor, V. Petrov “Artist Fedotov”, Moscow, 1951
G.A.Zagyanskaya “Pavel Andreevich Fedotov”, Moscow, Art, 1977
MHC. Romanticism and realism. Manual edited by L.V. Peshikova, Vlados, 2004
D. V. Sarabyanov “P.A. Fedotov”, 1985
E. Kuznetsov “Pavel Fedotov”, Leningrad, Art, 1990