Russian painting of the second half of the 19th century. Presentation - Russian art of the second half of the 19th century Russian painting of the 2nd half of the 19th century
II half of the 19th century
The rise and flowering of Russian painting.
The main task of painting is to criticize social
reality of that time.
Under the influence of democratic ideas, already in the 60s there appeared
paintings on current contemporary subjects that awakened thought,
calling on the viewer to think about Russian reality
and fight the surrounding evil. Russian democratic artists
continued the path begun by P.A. Fedotov.
Particular development in painting of these years was widely developed
everyday pictures of an accusatory nature.
RUSSIAN PAINTING of the second half of the 19th century.
In the second half of the 19th century. "Partnership" was organizedtraveling art exhibitions. This
association founded in 1870 by artists from Moscow and
St. Petersburg. Participation in the exhibition of the Itinerants with your own
works became an honor for every progressive
artist. In 1871 the first exhibition took place in
St. Petersburg Academy of Arts. They united in it
the best artists who created their own program, fundamentally
different from the academic one.
Main goal: organizing traveling exhibitions in
provincial cities of Russia.
Main task: a deep reflection of modern life.
RUSSIAN PAINTING of the second half of the 19th century.
Painting by purpose:Type of painting:
1. Easel (paintings);
2. Monumental-decorative (plafond
painting, theatrical decoration painting,
ornament, fresco, mosaic).
1.
2.
3.
4.
5.
Painting;
Decorative;
Iconography;
Theatrical and scenery;
Miniature.
RUSSIAN PAINTING of the second half of the 19th century.
Style in painting of the second halfXIX century:
1. Realism
Realism (from French Realisme
from Latin Realis - valid),
art direction,
characterized by image
social, psychological,
economic and other phenomena,
most appropriate
reality.
In the field of artistic activity
the meaning of realism is very complex and
contradictory. Its boundaries are changeable and
uncertain; stylistically he
many faces and many options. Within
new directions are being formed
genres - everyday picture, landscape,
still life, portrait in the genre of realism.
City dweller. Portrait of Alexandra Ivanovna Emelyanova.
In and. Surikov, 1902 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Genre of painting:1.
2.
3.
4.
5.
6.
7.
8.
9.
Domestic;
Portrait;
Scenery;
Historical;
Mythological;
Religious;
Still life
Battle
Animalistic.
Bright holiday of the beggar. V. I. Jacobi. Realism
RUSSIAN PAINTING of the second half of the 19th century.
Vasily Grigorievich Perov(1833-1882)
Took an active part in
organizations of the Partnership of Mobile
art exhibitions.
Type of art: painting
Style: realism (critical)
Works: “Procession for Easter”,
“Tea drinking in Mytishchi”, “Monastery
meal" - a topic related to
denunciation of the clergy;
“The last tavern at the outpost”, “Seeing off
deceased", "Drowned Woman", "Arrival
governesses in a merchant's house", "Hunters
at a halt", "Pugachev's Court", portrait
F.M. Dostoevsky" and others.
Portrait of I.M. Pryanishnikova. V.G. Perov, circa 1862 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Characteristics:1. Academic techniques (dryness of writing,
locality of color, convention
compositions);
2. Gray tones, expressive figures
(bent backs echo the lines of the silhouette
horses, arcs, hillocks, etc.);
3. The color scheme is gloomy;
4. Using a low horizon when making
monumental figures.
Portrait of A.N. Maykova. V.G. Perov, 1872 Realism
RUSSIAN PAINTING of the second half of the 19th century.
The plot of the “Tea Party” is alsolike "The Country Godfather"
progress", served
actual incidents,
which Perov observed in
travel time
outskirts of Moscow.
Similar tea party
happened before his eyes,
when he went to the Trinity St. Sergius Lavra. He saw and
smugly indifferent
monk, and timid novice,
which he later depicted on
your picture. Only,
what he added - old
a crippled warrior with a ragged figure
a boy whom he drives away
young maid.
Tea drinking in Mytishchi, near Moscow. V.G. Perov, 1862 Realism "Meal" was written in 1865. Perov deliberately resorts to edifying satirical contrasts. Huge cross with
the crucified Savior and the walking, drunken monastery brethren, who, it seems, do not care about Christ at all. Overeating
monks and a beggar woman with hungry children, hopelessly reaching out for alms. And next to him is an important dignitary with a swaggering lady
and the priest obsequiously bowing before them, counting on large donations to the monastery.
Meal. V.G. Perov, 1876 Realism Hunters at rest. V.G. Perov, 1871 Realism Sleeping children. V.G. Perov, 1870 Realism Troika. Artisan apprentices are carrying water. V.G. Perov, 1866 Realism Perov introduced new themes and images into the everyday genre, focusing on the tragic and hopeless aspects
life of the Russian poor.
Seeing off the deceased. Perov V.G., 1865 Realism The picture is constructed as a mise-en-scène of one of A.N.’s plays. Ostrovsky, favorite playwright V.G. Perova. In a merchant's house only
that a new face has appeared - the governess. All the inhabitants of the house look at her unceremoniously and appraisingly. The girl shrank
not daring to raise his eyes, and fiddling with the letter of recommendation in his hands. The scene is socially and psychologically acute, as in many
other paintings by Perov. Before us is the beginning of a future life tragedy. An educated girl "of the nobility"
forced to earn her own living, falls into captivity of the “dark kingdom” of the greedy and petty merchant
families. She will have to live in a world of limited and self-satisfied people, incomparably lower in spirit and development than her.
Arrival of the governess at the merchant's house.
1866 Realism Nikita Pustosvyat. Dispute about faith. V.G. Perov, 1880-1881 Realism Bathing a horse. V.A. Serov, 1905 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Valery Ivanovich Jacobi(1834-1902)
Russian artist, master of painting,
representative of art
"Itinerants"
Type of art: painting
Style: realism
Genre: historical (religious)
Works: "Prisoners' Halt" and
etc.
Characteristics:
The artist conveys tragedy through
gloomy color scheme.
Autumn. Y.V.Ivanovich, 1872 Realism Jesters at the court of Empress Anna Ioannovna. I'M IN. Ivanovich, 1872 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Illarion Mikhailovich Pryanishnikov(1840-1894)
Russian genre painter, actual
Member of the St. Petersburg Academy of Arts.
Type of art: painting
Style: realism (critical)
Genre: household
Works: “Jokers”, “Empty” and
etc.
Characteristics:
The artist depicted a poor old man,
who tried to please the rich, having lost
your dignity.
Calls on the viewer to condemn the dark
merchant world, to the sympathy of the “small”
to a person. The images are expressive.
Cruel romances. THEM. Pryanishkov, 1881
Realism Procession. THEM. Pryanishkov, 1893 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Nikolai Vasilievich Nevrev(1830-1904)
Type of art: painting
Style: realism (critical)
Genre: everyday life, portrait
Works: “Bargaining. scene from serf life"
(two landowners peacefully bargain about the price of
serf, the assembled servants sadly wait
deciding the fate of the unfortunate woman).
Characteristics:
Calls on the viewer to remember the hard
contradictions of modern Russia.
Portrait of M.S. Shchepkina. N.V. Nevrev, 1862 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Traits of talent clearly emergedartist: observation,
ability to be lively and accurate
socio-psychological
characteristics, rich colors
painting.
Peter I in foreign attire. N. V. Nevrev,
1903 Realism Oprichniki. N.V. Nevrev. Realism
RUSSIAN PAINTING of the second half of the 19th century.
Ivan Nikolaevich Kramskoy(1837-1887)
He was the leader and soul of the Partnership
traveling exhibitions.
Type of art: painting
Style: Realism
still life,
Works: Portrait of L.N. Tolstoy - managed
convey the mind and wisdom of the great writer, at the same time
time emphasized modesty and simplicity;
Portrait of I.I. Shishkina;
Portrait of F.A. Vasiliev (landscape artist);
"Christ in the Desert";
"Unknown", "Peasant with a Bridle",
“Inconsolable grief”, etc.
Portrait of the artist G. G. Shishkin. I.I. Kramskoy,
1873 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Characteristics:1. conveys not only external, portrait
similarity, but also reveal the spiritual appearance
depicted;
2. laconism of poor language;
3. few details;
4. special care in execution
head and hands.
Alexander III. I.I. Kramskoy, 1886 Realism Christ in the desert. I.I. Kramskoy, 1872 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Pavel Petrovich Chistyakov(1832-1919)
Artist-teacher, teacher of famous
Russian artists like V.I. Surikov,
V.M. Vasnetsova, V.A. Serov, M.A. Vrubel.
Chistyakov provided great assistance in
shaping their skills.
Type of art: painting
Style: realism
Genre: portrait, historical, everyday life,
still life.
Works: “Kamenotos”, “Italiancachuchara”, etc. Patriarch Hermogenes refuses the Poles to sign the letter. P.P. Chistyakov
RUSSIAN PAINTING of the second half of the 19th century.
Vasily Maksimovich Maksimov(1844-1911)
Coming from the very midst of the people - son
peasant - Maksimov did not break ties
with the village, and this gave great
the vitality of his works.
Type of art: painting
Style: realism (critical)
Genre: household
Proizedeniya: “The arrival of the sorcerer on
peasant wedding", "Family
section”, “Everything is in the past”, etc.
Characteristics:
He described the life of his contemporary
Russian village, contrasting light
and its dark sides; theme of decay
patriarchal peasant family.
Portrait of a boy. V.M. Maksimov, 1871 Realism Mechanic boy. V.M. Maksimov, 1871 Realism The arrival of a sorcerer at a peasant wedding. V.M. Maksimov, 1875 Realism All in the past. V.M. Maksimov, 1889 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Grigory Grigorievich Myasoedov(1835-1911)
Type of art: painting
Style: realism (critical)
Genre: domestic, landscape
Works: “Zemstvo is having lunch”, “Mowers”
and etc.
Characteristics:
Reflected the lack of rights of the Russian people after
"liberation" of the peasants.
Used the technique of opposition
(calm external everyday plot, bright
sounds social denunciation). Mowers. G.G. Myasoedov. Realism The zemstvo is having lunch. G.G. Myasoedov. Realism
RUSSIAN PAINTING of the second half of the 19th century.
Alexey Ivanovich Korzukhin(1835-1894)
Type of art: painting
Style: realism (critical)
Genre: everyday life, historical
Works: “Before Confession”,
“In the monastery hotel”, etc.
Characteristics:
Subtly conveyed the mood of the parishioners,
some are very far from religious
thoughts.
The composition is natural and seamless:
masterfully found the position of each figure,
endowing them with gestures. The drawing is clear and crisp,
dim light falls softly on everything
objects in harmony of red and blue.
Grandmother with granddaughter. A.I. Korzukhin Bachelorette party. A.I. Korzukhin, 1889 Realism Parsley is coming. A.I. Korzukhin, 1889 Realism Parting. A.I. Korzukhin, 1872 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Konstantin Apolonovich Savitsky(1844-1905)
Representative of the Itinerant Movement,
a wonderful master of genre painting.
Type of art: painting
Style: realism (critical)
Genre: household
Works: “Repair work on
railway", "Dispute on the boundary",
“Meeting the Icon”, “Seeing Off to the War”
"Hookman" and others.
Characteristics:
Showed the laborers - diggers and
loaders; peasants
Enoch. K.A. Savitsky, 1897 Realism To war. K.A. Savitsky, 1888 Realism To war. K.A. Savitsky, 1888 Realism. Fragment Meeting the icon. K.A. Savitsky, 1878 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Vladimir Egorovich Makovsky(1846-1920)
Type of art: painting
Style: realism
Genre: household
Works: “Visiting the Poor”, “Collapse
bank", "On the Boulevard" (1887), "Date"
Characteristics:
Small size paintings, clearly reveals
plot and psychology of the characters.
The problem of the “little” person.
Empress Maria Feodorovna. V.E. Makovsky,
1912 Realism Young woman with a mirror.
V.E. Makovsky, 1916 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Nikolai Alexandrovich Yaroshenko(1846-1898)
Ukrainian painter, portraitist.
The artist painted landscapes, collected material for the painting from
life of the Ural workers, but illness prevented him
realize these creative ideas.
Type of art: painting
Style: realism (critical)
Genre: everyday life, portrait, landscape
Works: “Student” (1883) - bright, charming
the image of an advanced Russian girl striving for knowledge, for
active social activities;
“Stoker” (1878) - “Student”,
"Prisoner" etc.
Portrait of M.E. Saltykova-Shchedrina, I.N. Kramskoy, etc.
Life is everywhere. ON THE. Yarosheno, 1888
RUSSIAN PAINTING of the second half of the 19th century.
Characteristics:1. simple in composition: often one or two figures, cat.
expressed complex ideological content.
2. conveys social status;
3. portraits convey deep psychologism.
Student. ON THE. Yaroshenko
RUSSIAN PAINTING of the second half of the 19th century.
“Stoker” (1878), art. ON THE. Yaroshenko –showed the image of the Russian proletarian, simplicity and
naturalness is combined with some
significance. Artist by play of light
emphasized an expressively calm pose
worker, his sinewy hands.
Fireman. ON THE. Yaroshenko, 1878
RUSSIAN PAINTING of the second half of the 19th century.
Ilya Efimovich Repin(1844-1930)
Russian painter, portraitist, master
historical and everyday scenes.
Type of art: painting
Style: realism (critical)
Genre: everyday life, historical, portrait
Works: “Barge Haulers on the Volga” (1873
G.),
“Religious procession in the Kursk province” (1880-1883), “Arrest of the propagandist”, “Not
were waiting" (1884), "Ivan the Terrible and his son
Ivan" (1885), "Cossacks write a letter
Turkish Sultan" (1878-1891), etc.
Portrait of V.D. Polenova. I.E. Repin, 1877 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Characteristics:1. Brightness, freshness of color;
2. Variety of artistic techniques:
chaotic, bold strokes;
3. Complex composition: “Barge Haulers on
Volga" - the burlatskaya artel is a dark spot
stands out against the background of the sunny expanse,
as if a powerful force, emphasizing the idea:
light nature and heavy
forced labor;
4. In his works he conveys simplicity
image of the Russian people;
5. Conveys opposition: on
the peasants come to the fore,
cripples, etc. in the background - elegant
pure crowd-public.
I.E. Repin. Portrait of P.M. Tretyakov. 1882-1883
Realism
RUSSIAN PAINTING of the second half of the 19th century.
In portraits Repin paints bright images,emotional, expressive: light
free brushstroke, lively plastic
structure of form, purity and sonority
color relationships, use
textures.
Portrait of M.P. Mussorgsky and others.
Portrait of the composer M. Mussorgsky. I.E. Repin, 1881 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Based on numerous studies,written during a trip to
Volga with artist F.A. Vasiliev,
young I.E. Repin created a painting
impressive expressiveness
nature and protest against heavy
the labor of working people.
RUSSIAN PAINTING of the second half of the 19th century.
Exhibited in March 1873painting "Barge Haulers on the Volga" immediately
attracted attention.
"Never before has a bitter fate
no human pack animals
appeared before the viewer
canvas in such a terrible mass, in
such a huge piercing
chord. What kind of human mosaic is this?
all over Russia,” wrote V.V.
Stasov, the mouthpiece of the then
left-wing public.
Contemporaries saw in the picture
the strength of the spirit of the masses. ABOUT
the picture started talking, appeared
many laudatory articles. Name
Repin became widely known.
Barge Haulers on the Volga. I.E. Repin, 1870-1873 Realism Barge Haulers on the Volga. I.E. Repin, 1870-1873 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Painting by I.E. Repina presentsis a kind of physiological
research on the topic “How people
laughing."
Fragment. Realism
RUSSIAN PAINTING of the second half of the 19th century.
Greatness of character, love of freedom wantedcapture I.E. Repin in the Cossacks,
"daring people" and "the most talented people of their
time,” as the artist spoke about them. IN
to some extent Repin transported him to the past
what I wanted to see in modern times - my own
social ideals. And it's beautiful
he depicts a free past
poetically exaggerated.
The Cossacks write a letter to the Turkish Sultan. I.E. Repin, 1880-1891
Fragment
RUSSIAN PAINTING of the second half of the 19th century.
It’s interesting what the Cossacks write to the Turkishto the Sultan. In the book “People's Memory of
Cossacks" provides three examples of such
correspondence. Below is the text of one of the
Cossacks' responses to the Sultan. "What the hell are you
knight, what the hell... and you and your army
devours! You are the devil's secretary
Our God is a fool, a Turkish lawyer,
Babylonian locksmith, Macedonian hawk moth,
Alexandrian cotolup, Small and Big
Egyptian swineherd, Armenian pig, Cossack
Sagaidak, Podolsk executioner, Lutheran
horse belt, Moscow monster,
gypsy... scarecrow. you won't have
Christian sons, and we will not thy army
We are afraid. We will fight on land and water
you, damned enemy son, damn you
mother, unbaptized forehead, m... So you
Cossacks said to the Zaporozhye army... The numbers are not
we know because we don’t have a calendar, month
in the sky, and the year is in the calendar, our day is like this,
how about you, kiss us and get away from us,
because we will beat you. Zaporozhye
Koshevoy troops with camaraderie. 1619
June 15th."
The Cossacks write a letter to the Turkish Sultan. I.E. Repin,
1880-1891 Fragment The Cossacks write a letter to the Turkish Sultan. I.E. Repin, 1880-1891
Realism
RUSSIAN PAINTING of the second half of the 19th century.
Many are expressively written in the picturetypes of gentlemen and clergy - in I.E. Repina
they are all negative. Especially
expressive smug and stupid
landowner carrying a miraculous icon, and
local rich man (behind the lady's back) -
farmer or contractor who made a living from
unjust money.
It is noteworthy that I.E. Repin is wrong
depicted the famous icon
"Our Lady of Kursk Root", with
which was celebrated every year in the province
national religious procession. However, it is
this particular icon is
meaningful basis and popular
celebrations, and the picture plot. Apparently
the iconic image itself had no meaning for
artist, despite the fact that he started
learn painting as an icon painter.
Procession of the cross in the Kursk province. I.E. Repin, 1881-1883 Fragment. Realism Procession of the cross in the Kursk province. I.E. Repin, 1881-1883 Realism Procession of the cross in the Kursk province. I.E. Repin, 1881-1883 Fragment The painting was created according to the Highest order accepted by I.E. Repin in April 1901. Having received permission
attend meetings of the State Council, the artist set the condition that all members of the Council
posed for him, which was necessary to create a grandiose group portrait. In the picture
depicts 81 dignitaries of the State Council, headed by Emperor Nicholas II and members
reigning house.
1901, on the day
centenary anniversary of its establishment. I.E. Repin, 1903 realism The ceremonial meeting of the State Council on May 7, 1901, on the day
centenary anniversary of its establishment. I.E. Repin, 1903
Exhibiting the painting Ceremonial meeting of the State Council on May 7
I.E. Repin, 1903 Fragment. The central part of the picture Ceremonial meeting of the State Council on May 7, 1901
year, on the day of the centenary of its establishment.
I.E. Repin, 1903. Fragment. Right side of the picture Ceremonial meeting of the State Council on May 7
1901, on the centenary anniversary of its establishment.
I.E. Repin, 1903. Fragment. Left side of the picture
RUSSIAN PAINTING of the second half of the 19th century.
Growing social discordwave of Narodnaya Volya
terror, of which he fell victim
sovereign emperor
Alexander II, forced
an artist like everyone else
society, think about
the growth of the revolutionary
movements in Russia. In pictures
“Under Convoy” (1876), “Refusal
from confession" (1879-1885),
“We Didn’t Expect” (1884), “Arrest
propagandist" (1880-1892)
found its reflection
danger threatening the country, but
artist, unfortunately
instead of judging
revolutionaries, belonged to
sympathize with them - in spirit
general intellectuals
moods.
We didn't wait. I.E. Repin, 1888 Realism Arrest of a propagandist. I.E. Repin, 1880-1889 Realism
RUSSIAN PAINTING of the second half of the 19th century.
The full title of the painting is “Princess SophiaAlekseevna a year after her imprisonment
Novodevichy Convent, during the execution
Streltsy and torture of all her servants in 1698
year." I.E. Repin wrote about his work:
“None of my previous paintings
satisfied me like this - this one for me
managed to solve it very close to how I did it
I imagined even finishing as much as I could.”
Princess Sophia. I.E. Repin, 1879 Realism Ivan the Terrible and his son Ivan November 16, 1581. I.E. Repin, 1885 Realism I.E. Repin brilliantly graduated from the Academy of Arts in 1871 with the competition painting “The Resurrection of the Daughter”
Jairus." For this program work, Repin received a Big Gold Medal and the right to 6 years of study at
Italy and France, where he completed his artistic education. Creating a diploma canvas, Repin
I kept looking back at the academic requirements, but went beyond them.
Resurrection of Jairus' daughter. I.E. Repin, 1871 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Alexey Kondratyevich Savrasov(1830-1897)
Type of art: painting
Style: realism
Genre: landscape
Works: “The Rooks Have Arrived” (1871),
"Country Road"
Characteristics:
Conveys modest corners of Russian nature,
subtle poetry and true beauty.
The Rooks Have Arrived. A.K. Savrasov, 1871 Realism Losiny Island in Sokolniki. A.K. Savrasov, 1869 Realism Rainbow. A.K. Savrasov1875 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Fedor Alexandrovich Vasiliev(1850-1873)
Type of art: painting
Style: realism
Type of art: painting
Genre: landscape
Works: “Wet Meadow” (1872), “In
Crimean Mountains" (1873), etc.
Characteristics:
1. looked for the sublime in the landscape
romantic beginning.
2. complex composition, simple motive:
upward movement;
3. rich shades of color.
RUSSIAN PAINTING of the second half of the 19th century.
Ivan Ivanovich Shishkin(1832-1898)
Master of the national Russian landscape.
Type of art: painting, graphics (drawing,
etching)
Style: realism
Genre: landscape
Works: “Rye”, “Forest Spaces”,
“Crimean nuts” (drawing), “Morning in
pine forest"
“In the forest of Countess Mordvinova” (sketch-painting,
where the artist achieved painting mastery)
etc.
Forest in spring. I.I. Shishkin, 1884 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Characteristics:Distinct accuracy in the transfer of all details.
By the 1880s he had overcome excess
descriptiveness and dryness of some of his early
works and achieved harmony of the generalized
monumental image of nature at
careful attention to detail.
Noon. In the vicinity of Moscow. I.I. Shishkin,
1869 Realism In the forest of Countess Mordvinova. Peterhof. I.I. Shishkin, 1891 Realism Morning in a pine forest. I.I. Shishkin, 1889 Realism Pinery. Mast forest in Vyatka province. I.I. Shishkin, 1872
Realism Ship Grove. I.I. Shishkin, 1898 Realism Rye. I.I. Shishkin, 1878 Realism Oak Grove. I.I. Shishkin, 1887. Kiev Museum of Russian Art.
Realism
RUSSIAN PAINTING of the second half of the 19th century.
Arkhip Ivanovich Kuindzhi(1842-1910)
The artist constantly worked from life.
The artist studied spectacular, sometimes difficult
perceptible moments of the life of nature.
Type of art: painting
Style: realism
Type of art: painting
Genre: landscape
Works: “Night on the Dnieper”, “Dnieper
morning", "evening", "sunset", etc.
Characteristics:
A generalized image of nature is present
decorativism.
Birch Grove. A.I. Kuindzhi, 1901 Realism In “Birch Grove” the artist achieved an extraordinary decorative effect, created an image of the sublime,
sparkling, radiant world. A joyful and painful sunny day is captured in the picture in clean,
sonorous colors, the shine of which is achieved by contrasting juxtaposition of colors. Cutting off with the top edge
paintings of the crowns of birches, Kuindzhi leaves in the center individual green branches that come into view. They
are drawn in a light pattern against the background of the darker greenery of distant trees, making it even more
the sensation of bright sunlight intensifies. The green color gives the painting an unusual harmony.
penetrating into the blue color of the sky, into the whiteness of birch trunks, into the blue of the stream.
Birch Grove. A.I. Kuindzhi, 1879 Realism Elbrus in the evening. A.I. Kuindzhi, 1898-1908 Kursk art gallery.
Realism Snowy peaks. A.I. Kuindzhi, 1890-1895 Chuvash Art Museum.
Realism
RUSSIAN PAINTING of the second half of the 19th century.
Vasily Dmitrievich Polenov(1844-1927)
Achieved the best results in the landscape. Master
national Russian landscape.
Type of art: painting
Style: realism
Genre: landscape, everyday life, historical
Works: “Moscow courtyard”, “Grandmother’s garden”,
“Overgrown pond”, etc.
Characteristics:
An unassuming image of a typical corner of an old
Moscow: grassy backyards, a church with a tent
bell tower, slow and calm life.
In his works, he most likely contemplates this life than
penetrates her. He is delighted by the freshness of the beautiful early
greenery, light gentle sky, clear clear air
summer day. Bright juicy color.
Moscow courtyard. V.D. Polenov, 1878. Fragment.
Realism Moscow courtyard. V.D. Polenov, 1878 Realism Grandmother's garden. V.D. Polenov, 1878 Realism Overgrown pond. V.D. Polenov, 1979 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Isaac Ilyich Levitan(1860-1900)
Type of art: painting
Style: realism
Genre: mood landscape.
Works: March”, “Fresh Wind. Volga",
“Above Eternal Peace”, “Vladimirka”,
“Summer Evening”, etc.
Characteristics:
The basis of art is the desire
convey feelings and
person's mood. Conveying lyricism in
in his works: optimistic (Fresh
wind. Volga), romance (Summer evening),
monumentality (Above eternal peace), etc.
Rich color range, accurate
compositional calculation.
Autumn day. Sokolniki. I.I. Levitan, 1879 Realism Gold autumn. Slobodka. I.I. Levitan, 1889 Realism Lake. I.I. Levitan, 1899-1900 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Nikolai Nikolaevich Ge(1831-1894)
Type of art: painting
Style: realism
Genre: historical, everyday life,
religious
Works: The Last Supper", . "Peter I
interrogates Tsarevich Alexei
Petrovich in Peterhof”, etc.
Features:
"The Last Supper" - was dedicated
religious theme. The artist created
a scene full of drama,
immersed in the deep thoughts of Christ.
Calvary. N.N. Ge Last Supper. N.N. Ge Catherine II at the tomb of Empress Elizabeth. N.N. Ge, 1874 Realism,
Itinerants In the film “Peter I interrogates Tsarevich Alexei Petrovich in Peterhof” N.N. Ge expressed the aggravated
a conflict between two individuals behind whom stood the fate of Russia.
Peter I interrogates Tsarevich Alexei Petrovich in Peterhof. N.N. Ge, 187 1g. Realism,
Itinerants
RUSSIAN PAINTING of the second half of the 19th century.
Vasily Ivanovich Surikov(1848-1916)
Surikov was born in Krasnoyarsk into a family of small
a clerk, descended from an ancient Cossack family.
He grew up in a patriarchal Siberian environment. From children's
he was interested in art for years and started studying early
painting, performing various works, including
brightly colored icons.
Going to 1868 to St. Petersburg, entered the Academy
arts
Type of art: painting
Style: realism
Genre: historical, everyday life, landscape
Works: “The Morning of the Streltsy Execution”, “Menshikov in
Berezovo",
“Boyaryna Morozova”, “Stepan Razin”, “Taking the Snowy
town”, “Suvorov’s crossing of the Alps”, etc.
Portrait of O.V. Surikova. IN AND. Surikov, 1888 Realism Menshikov in Berezovo. IN AND. Surikov, 1883 Realism
RUSSIAN PAINTING of the second half of the 19th century.
The film reveals a tragic and ominousthe figure of Peter's temporary worker.
Confidant and favorite of Peter I,
His Serene Highness Prince Izhora after death
took away his patron in full
state power into their own hands. But
soon in the vicissitudes of court intrigue
Alexander Danilovich suffered terrible things
crash. He was demoted, hugely
his property was confiscated, and he himself
family sent to eternal exile in
Tobolsk province - in Berezovo. By
paths to the place of Siberian exile, in Kazan,
his wife died. He also dies in exile
eldest daughter Maria, once engaged to
Emperor Peter II, grandson of Peter I, and
himself, who was uncrowned
ruler of Russia.
Menshikov seems huge in low and
cramped hut. He is immersed in joyless
thoughts. As if rushing in front of him
his brilliant past, in which
now nothing can be fixed and
change.
Menshikov in Berezovo. Fragment. IN AND. Surikov, 1883 Realism The painting “Boyaryna Morozova” is dedicated to the schism in the Russian Orthodox Church that occurred in the middle
XVII century.
In the monumental canvas, Surikov combined the scope of artistic design with complex construction
compositions, plein air explorations, decorativeness and the highest level of technical performance.
Boyarina Morozova. IN AND. Surikov, 1887 Realism Against church innovations
Patriarch Nikon spoke
associate of the archpriest
Avvakum - Feodosia
Prokopievna Morozova,
nee Sokovnina.
Rich, noble and noble
the noblewoman spoke earnestly
supporter of the ancient
piety. In 1673 she
was exiled to Borovsky
the monastery where she died
in two years. Image
Morozova extremely
expressive. Ascetic for
faith rules over the crowd
and at the same time is
an integral part of it.
Rebellious Old Believers
placed in the center
compositions. In peasant
firewood, in the monastic
she throws up her vestments
shackled hand with
double-fingered godfather
a sign. Her frantic
the appearance sets
emotional impulse
street crowd.
Boyarina Morozova. Fragment of F.P. Morozova. IN AND. Surikov, 1887 Realism On the right side
paintings by Surikov
depicted people
sympathizers
Morozova. Same
Old Believers
like two fingers
blesses the noblewoman
holy fool sitting on
snow in heavy chains and
in rags. Beggar woman with
the bag fell to her knees
before Christ
martyr. Iconographic
beauty in yellow
bowed before the handkerchief
bow to her. Squeezing
hands, quickly
The princess walks behind the sleigh
Evdokia Urusova - sister
Feodosia Prokopievna.
Boyarina Morozova. Fragment of the Old Believers. IN AND. Surikov, 1887 Realism View of the monument to Peter I on Senate Square in St. Petersburg. IN AND. Surikov,
1870 Realism In the uprising of the Streltsy, Surikov saw a direct connection with the rebellious spirit of the Russian people. The people became the main thing
hero of the picture. “I don’t understand the actions of individual historical figures,” said the artist, “without the people, without
crowds." Surikov was the first artist to show that the main active force of history is
the masses.
The morning of the Streltsy execution. IN AND. Surikov, 1881 Realism
RUSSIAN PAINTING of the second half of the 19th century.
V. I. Surikov with exceptional talentshowed in his works heroic
exploits of the masses in the national
stories. The artist interprets the legendary
alpine crossing primarily as
national feat.
The plot of the picture did not require much
in-depth psychologism in the interpretation
characters. Yet they are very much in the picture
varied, and the painter managed
convey in faces, poses and gestures
going down an icy cliff
soldiers various emotional
condition. General composition of the picture
expressively conveys not only the difficulty
descent, but the uncontrollability of the overthrowing
soldier's avalanche.
Suvorov's crossing of the Alps in 1799. IN AND. Surikov, 1899
Realism Folk fun became the theme of Surikov’s film “The Capture of the Snowy Town.” Winter holiday scene
filled with optimistic sounds. The artist glorifies the courage and cheerfulness of the people. Plot
The paintings are an ancient festive game of Siberian Cossacks, familiar to Surikov. Towards the last day of Maslenitsa
a snow fortress was being built, which was to be taken in a mock battle. They flocked for fun
numerous participants and spectators. Some of them tried to break through to the fortress, others defended it, and
Still others looked with interest at the competition of dashing daredevils.
Taking the snowy town. IN AND. Surikov, 1891 Realism The painting depicts the battle on the Irtysh of the Cossack squad under the leadership of Ermak with the Siberian Tatars.
But Surikov not only showed the struggle of these two forces, he revealed their character, truthfully and clearly presented the essence and
the significance of the historical event. The viewer in front of the picture stands amazed not only by what is boiling in front of him
a terrible battle, but also because in front of him there is a clash of two hostile sides,
an event takes place that was predetermined by the entire course of Russian history and, in turn, determined
her further path. In Ermak, Surikov elevated the traits of folk characters to the level of epic greatness.
Conquest of Siberia by Ermak. IN AND. Surikov, 1895 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Viktor Mikhailovich Vasnetsov(1848-1926)
Born in Vyatka and was the son of a priest.
Type of art: painting
Style: realism
Genre: domestic (1870), historical,
mythological
Works: “Book Shop”, “With
apartment to apartment", "Military telegram" and
etc.
“After the massacre of Igor Svyatoslavovich with
Polovtsy", "Alyonushka", "Bogatyrs", "Ivan
prince on a gray wolf”, etc.
Characteristics:
The people are the heroes (the image of the valiant
sons of Russians who died a brave death,
defending our native land).
Ivan Tsarevich on a gray wolf. V.M. Vasnetsov, 1889
RUSSIAN PAINTING of the second half of the 19th century.
In his best paintings on fairy tales, the artistthere is a desire to convey the fabulous in
real life images, for example:
“Alyonushka” is an image of a simple village
girls, against the background of a thin transmitted
romantic landscape. conveys bitter
the fate of a poor peasant orphan girl.
“Bogatyrs” - conveys greatness, valor,
wisdom, patriotism. Its heroes are not just
an epic about three heroes, warriors and defenders.
Alyonushka. V.M. Vasnetsov, 1881 Bogatyrs. V.M. Vasnetsov, 1881-1898 The artist conceived “The Knight at the Crossroads” in the early 1870s. The painting was created based on the epic “Ilya Muromets and
robbers."
The painting from 1882 is distinguished by its monumentality and thoughtful compositional design. The work was realized
Vasnetsov’s general artistic tendency: to embody, with the help of pictorial means, essential things, as the painter understood them,
national character traits. To do this, he combined folklore fiction and
absolutely realistic details that were carefully worked on.
Knight at a crossroads. V.M. Vasnetsov, 1882 Beggar Singers (Bogomoltsy). V.M. Vasnetsov, 1873 Kirov regional
Art Museum named after V.M. I am. Vasnetsov
RUSSIAN PAINTING of the second half of the 19th century.
Vasily Vasilievich Vereshchagin(1842-1904)
Came from a small-scale environment.
As a young man he graduated from the Marine Corps, but
replaced a brilliant career in the sea
officer for a troubled profession
artist, entering the Academy of Arts.
Type of art: painting
Style: realism
Genre: domestic, battle (1860), portrait
Works: “Apotheosis of War”,
"Fatally Wounded", "Forgotten"
“Attack by surprise”, etc.
Series of portraits: “Worker”, “Old Woman”, etc.
The artist sees before him, first of all, not
a brilliant “theater of war”, and
the everyday and bloody side of war.
Mortally wounded. V.V. Vereshchagin, 1873 Realism
RUSSIAN PAINTING of the second half of the 19th century.
Characteristics:In his works the artist told
to the viewer about war as the greatest evil
capitalist world as a huge
human drama. The artist was not worried
bloody spectacles. war, not
spectacular battles, and great heroism and
great suffering of the people.
Accurate reproduction of details (detailing).
The desire for a harmonious color, but where
a variety of colors can be seen.
Trophies are presented. V.V. Vereshchagin, 1872 Realism Doors of Timur (Tamerlane). V.V. Vereshchagin,
1871-1872 Realism
RUSSIAN PAINTING of the second half of the 19th century.
The artist embodied in the picture"Apotheosis of War" its main
creative idea - “war is
shame and curse of humanity." On
frame of a painting by V.V. Vereshchagin
left the inscription: “Dedicated to everyone
to the great conquerors who have passed,
present and future."
The painting shows a scorched
desert, there are dead dry things in it
trees, black ominous crow.
In the depths of the canvas - destroyed
Asian city. In the foreground
mound of human skulls.
I left such traces on my way.
14th century conqueror
Tamerlane, famous
unparalleled cruelty.
The apotheosis of war. V.V. Vereshchagin, 1871 Fragment. Realism The apotheosis of war. V.V. Vereshchagin, 1871 Realism “Taj Mahal Mausoleum” is perhaps the best landscape painting by V.V. Vereshchagin, written in the traditions
perspective “veduta” (documentary accurate architectural landscape). The artist managed to show in the picture
subtle harmony of architectural forms.
Taj Mahal Mausoleum in Agra. V.V. Vereshchagin, 1874-1876 Realism They are celebrating. V.V. Vereshchagin, 1872 Realism The end of the Battle of Borodino. V.V. Vereshchagin, 1899-1900 Realism
Master of romantic seascape. Pavel Andreevich Fedotov. Master of historical painting. Vasily Andreevich Tropinin. Orest Adamovich Kiprensky. Master of the historical genre. His works. Finely detailed portraits. Karl Petrovich Bryullov. Master of satirical direction. The founder of the peasant everyday genre. Russian artist. Alexander Andreevich Ivanov. Ivan Constantinovich Aivazovski. Alexey Gavrilovich Venetsianov.
“The 19th century in art” - Eternity. Here are paintings by two artists. "The 19th century in the mirror. Claude Monet. Honoré Daumier. Disturbed by the sleep of the dead. Hans Christian Andersen. Reproductions of paintings by Paul Cézanne. Works of art. Impressionism. Characteristic features of the work of Paul Gauguin. Features of classicism. Features. Work of art. Eugene Delacroix. Characteristic features of creativity Vincent van Gogh's main artistic movements.
"Theatres of Saratov" - Academic Opera and Ballet Theater. Performances based on works of Russian and foreign classics. Saratov Operetta Theater. Puppet theater "Teremok". The Saratov Circus named after the Nikitin brothers has a rich history. Performance "Gosling". “Sunny Clown” – Oleg Popov. Saratov Academic Theater for Young Spectators. Saratov Russian Comedy Theater. Kiselev Youth Theater. Circus performances in Saratov. Theaters of Saratov.
“Architecture of the second half of the 19th century” - Facade of the large Kremlin Palace in Moscow. Architects' buildings. The direction was based on imitation of elegant Moscow architecture. Archive of the State Council in St. Petersburg. The movement that proclaimed the “Russian-Byzantine” style. The building of the Historical Museum in Moscow. City Duma in Moscow. Upper shopping arcades in Moscow. Direction in architecture. Baltic Station. Tent tops, turrets, and patterned decors are in fashion.
"World Cinema" - French cinema. Film schools. Film art. Indian film. Short film. American cinema. Documentary film. Type of artistic creativity. Russian cinema. Film festivals and film awards. Types of cinematography. Soviet cinema.
"The Development of Sculpture" - Sculpture often served as a means of decoration. Sculpture of ancient civilizations. Clay figurine of a woman. Bodies of statues. Female image. Sculptural portraits. The reliefs were made on stone plates. Early Kingdom. Period of the XVIII dynasty. Nok civilization. Paleolithic Venus. Worker figures. Expression of the comprehensive idea of despotism. Scythian gold reliefs. Primitive sculptors. Development of sculpture.
Slide 1
Russian art of the second half of the 19th century
Slide 2
The second half of the 19th century is the time of the mighty flowering of all Russian art. A sharp aggravation of social contradictions led to a great social upsurge in the early 60s. The defeat of Russia in the Crimean War (1853-1856) showed its backwardness and proved that serfdom hampered the development of the country. The best representatives of the noble intelligentsia and commoners rose up against the autocracy. The revolutionary ideas of the 60s were reflected in literature, painting, and music. Leading figures of Russian culture fought for the simplicity and accessibility of art; their works sought to truthfully reflect the life of the disadvantaged people.
Slide 3
Fine art of the second half of the 19th century
Since the 50s of the 19th century, realism has become the main direction of Russian fine art, and the main theme is the depiction of the life of ordinary people. The approval of the new direction took place in a stubborn struggle with adherents of the academic school of painting. They argued that art should be higher than life, there is no place in it for Russian nature and social and everyday themes. However, the academicians were forced to make concessions. In 1862, all genres of fine art were given equal rights, which meant that only the artistic merits of a painting were assessed, regardless of the subject matter.
Slide 4
This turned out to be not enough. The very next year, a group of fourteen graduates refused to write dissertations on given topics. They defiantly left the Academy and united in the “Artel of Artists”, headed by I. N. Kramskoy. The artel became a kind of counterweight to the Academy of Arts, but disbanded after seven years. Its place was taken by a new association - the “Association of Traveling Art Exhibitions”, organized in 1870. The main ideologists and founders of the partnership were I. N. Kramskoy, G. G. Myasoedov, K. A. Savitsky, I. M. Pryanishnikov, V. G. Perov. The society's charter stated that artists should not depend financially on anyone; they would organize exhibitions themselves and take them to different cities.
Slide 5
The main theme of the paintings of the Itinerants was the life of ordinary people, peasants, and workers. But if A.G. Venetsianov in his time depicted the beauty and nobility of the peasants, the Wanderers emphasized their oppressed position and need. The paintings of some Peredvizhniki depict real scenes from the daily life of peasants. Here is a quarrel between a rich man and a poor man at a village gathering (S. A. Korovin “On the World”), and the calm solemnity of peasant labor (G. G. Myasoedov “Mowers”). V. G. Perov’s paintings criticize the lack of spirituality of church ministers and the ignorance of the people (“Rural procession at Easter”), and some are imbued with sincere tragedy (“Troika”, “Seeing off the dead man”, “The last tavern at the outpost”).
Slide 6
S. A. Korovin “On the World”
Slide 7
G.G. Myasoedov "Mowers"
Slide 8
V. G. Perov “Troika”
Slide 9
I. N. Kramskoy’s painting “Christ in the Desert” reflects the problem of moral choice, which invariably arises before everyone who takes responsibility for the fate of the world. In the 60-70s of the 19th century, representatives of the Russian intelligentsia faced such a problem. But it was not only the life of the people that interested the Wanderers. Among them were wonderful portrait painters (I. N. Kramskoy, V. A. Serov), landscape painters (A. I. Kuindzhi, I. I. Shishkin, A. K. Savrasov, I. I. Levitan).
Slide 10
Not all artists of the second half of the 19th century openly opposed the academic school. I. E. Repin, V. I. Surikov, V. A. Serov successfully graduated from the Academy of Arts, taking all the best from it. The works of I. E. Repin include folk (“Barge Haulers on the Volga”, “Religious Procession in the Kursk Province”), revolutionary (“Refusal of Confession”, “Arrest of the Propagandist”), historical (“Cossacks writing a letter to the Turkish Sultan”) Topics. V. I. Surikov became famous for his historical paintings (“The Morning of the Streltsy Execution”, “Boyaryna Morozova”). V. A. Serov was especially good at portraits (“Girl with Peaches”, “Girl Illuminated by the Sun”).
Slide 11
I. E. Repin “Barge Haulers on the Volga”
Slide 12
I. E. Repin “Refusal of Confession”
Slide 13
V. I. Surikov “Morning of the Streltsy Execution”
Slide 14
V. A. Serov “Girl with Peaches”
Slide 15
In the last decades of the 19th century, Russian artists began to pay more attention to the technique of drawing, stylization, combination of colors - everything that would soon become the main features of avant-gardeism with its search for new forms of artistic expression. In the 19th century, Russian painting went through a long and complex path of development from classicism to the first signs of modernity. By the end of the century, academicism had completely outlived its usefulness as a direction, giving way to new directions in painting. In addition, art became closer to the people thanks to the activities of the Itinerants, and in the 90s of the 19th century the first public museums were opened: the Tretyakov Gallery in Moscow and the Russian Museum in St. Petersburg.
Slide 16
Russian music of the second half of the 19th century
The second half of the 19th century is a time of mighty flowering of Russian music, as well as all Russian art. Chamber and symphonic music went beyond the aristocratic salons where it had previously been heard and became available to a wider circle of listeners. The organization of the Russian Musical Society (RMS) in 1859 in St. Petersburg and a year later in Moscow played a great role in this. The wonderful Russian pianist Anton Grigorievich Rubinstein gave a lot of strength and energy to the organization of the RMO. The Russian Musical Society set as its goal “to make good music accessible to large masses of the public.” Russian artists had the opportunity to perform in concerts organized by the RMO.
Slide 17
The opening of conservatories in St. Petersburg and Moscow bore fruit within a few years. The very first releases gave Russian art wonderful musicians who became the pride and glory of Russia. Among them was Tchaikovsky, who graduated from the St. Petersburg Conservatory in 1865.
In 1862, the first Russian conservatory was opened in St. Petersburg. A.G. Rubinstein became its director. And in 1866, the Moscow Conservatory was opened, headed by Anton Grigorievich’s brother, Nikolai Grigorievich Rubinstein, also a highly educated musician, an excellent pianist, conductor and a good teacher. For many years he headed the Moscow Conservatory, was a friend of Tchaikovsky and other leading musicians, artists and writers of Moscow.
Slide 18
An educational institution of a mass educational nature was the Free Music School, opened in 1862 on the initiative of Miliy Alekseevich Balakirev. Its goal was to provide the average music lover with basic musical theoretical information and skills in choral singing, as well as playing orchestral instruments. Thus, in the 60s, musical educational institutions with different orientations appeared for the first time in Russia.
Slide 19
In the musical creativity of the 60s, the leading place was occupied by Tchaikovsky and a group of composers who were part of the Balakirev circle. We are talking about the “New Russian School”, or, as Stasov once called it in his article, the “Mighty Handful”: “... how much poetry, feeling, talent and skill a small but already mighty group of Russian musicians have,” he wrote about one of the concerts conducted by Balakirev.
Slide 20
In addition to Balakirev, the “Mighty Handful” included Cui, Mussorgsky, Borodin and Rimsky-Korsakov. Balakirev sought to direct the activities of young composers along the path of national development of Russian music, helping them practically master the basics of compositional technique. An excellent pianist and composer himself, he enjoyed enormous prestige among his young friends. Rimsky-Korsakov later wrote about him in his book “Chronicle of My Musical Life”:
“They obeyed him unquestioningly, for the charm of his personality was terribly great. Young, with wonderful moving, fiery eyes... speaking decisively, authoritatively and directly; ready every minute for wonderful improvisation at the piano, remembering every bar known to him, memorizing instantly the compositions played to him, he had to produce this charm like no one else. Appreciating the slightest sign of talent in another, he could not, however, feel his superiority over him, and this other also felt his superiority over himself. His influence on those around him was limitless...”
Slide 21
Getting acquainted with the history and life of the Russian people, the composers of the “Mighty Handful” (except for Cui) carefully collected and studied Russian folk songs with great love. Folk song received a wide and multifaceted implementation in their works. In their musical creativity, the composers of the “Mighty Handful” sought to rely on the melodic structure of Russian and partly Ukrainian songs. Like Glinka, they were passionately interested in the music of the eastern peoples, especially the Caucasus and Central Asia. Tchaikovsky was also keenly interested in folk songs. But unlike the composers of the Balakirev circle, he more often turned to contemporary urban folk songs, to the characteristic intonations of everyday romance. The development of Russian music took place in the 60s and 70s in a tireless struggle with conservative critics and bureaucratic officials who gave preference to foreign touring performers and fashionable operas by foreign authors, which created insurmountable obstacles to the production of Russian operas. According to Tchaikovsky, Russian art “had neither place nor time left for shelter.”
Slide 22
The importance of Russian art of the second half of the 19th century is great. Despite obstacles and persecution, it helped the people fight for freedom and for the realization of bright ideals. Many wonderful works have been created in all fields of art. Russian art of that time opened up new paths for the further development of folk and national artistic creativity.
Slide 23
Thank you for your attention
The work was prepared by Alexandra Maslova