Presentation on the topic "Itinerant Artists". Presentation on the topic "Itinerant Artists" Presentation of Russian Peredvizhniki artists of the 19th century
Wanderers
- « The future is bright and wonderful…»
- N.G. Chernyshevsky
- « They felt like representatives of the Russian land.»
- I.E.Repin about the Wanderers
- In 1863, 14 graduate artists, led by I. Kramskoy, refused to paint a graduation picture on the proposed mythological theme “Feast in Valhalla” and demanded to choose the subject of the painting themselves, which they were categorically refused to do, after which many artists defiantly left the academy. The solution was this: it was necessary to form an independent artel of artists similar to communes, a union of Russian artists independent of the academic monopoly. It did not last long and disbanded after 7 years, although by this time in 1870 a new movement had arisen: the Association of Itinerants or the Association of Traveling Art Exhibitions of the TPHV and their movement around the cities of Russia, this is an association of professional artists. The work of the Peredvizhniki brought many artists together in unity and ideological positions, rejection of academicism with its decorative landscapes, fake theatricality and various mythologies. Russian Peredvizhniki artists sought to show in their works the ideological side of fine art, which was valued much higher than the aesthetic, setting themselves the task of widespread propaganda of fine art, the goal of which was the social and aesthetic education of the masses, bringing them closer to the life of democratic art. To reveal in his paintings the true living life of the oppressed peasantry, suffering from the power of landowners and the rich, this was the main task. Many works by the Peredvizhniki artists were painted from life in the style of genre painting, while other works were written under the imagination of real life. The Russian Itinerants demonstrated with great persuasiveness the existence of a new creative movement at the first exhibition that opened, gradually taking shape since the 60s. This exhibition showcased the paintings of the Wanderers - paintings by many famous artists in all popular genres: portrait, landscape and historical genres. In total, 47 exhibits were exhibited that revolutionized academic ideas about painting; this was the first step in the success of the Wanderers, who showed their paintings in a different dimension. The Association of Traveling Art Exhibitions disbanded in 1923, but during its existence the importance of painting in life in Russian society reached its culmination. Tretyakov himself was sensitive to painting and the art of the Itinerants, respected the hard work of artists, and almost all of his fortune was invested in paintings by the Itinerants. Subsequently, the entire collection of paintings became the property of Moscow.
- Life Everywhere.1888
- Stoker.1878
- They didn't wait. 1884-1888
- « This is the color of the best people, these are the engines of engines, this is the salt of the earth.”
- N.G. Chernyshevsky
- « What a character, what a whole life written here.”
- V.V. Stasov in a letter to Repin.
- "People are like rivers..."
- L.N. Tolstoy
- I.N. Kramskoy.1873
- N.N.Ge. 1884
- I.E.Repin.1887
- I.N. Kramskoy.1873
- I.E.Repin.1887
- M.P. Mussorgsky. 1881
- Protodeacon. 1877
- I.N. Kramskoy. Forest worker. 1874
- Mina Moiseev.
- Peasant with a bridle.1882
- Canvas, oil. 400 x 877
- “The artist is a servant of truth through beauty”
- I.N. Kramskoy
- “I will shake all their brains with the sufferings of Christ.
- I will make them cry, not be moved!" N.N.Ge
- N.N.Ge
- …Repin’s painting “Ivan the Terrible and His Son Ivan” should not be allowed into exhibitions and generally not be allowed to be distributed to the public in any other way.
- (Order of the Chief Police Chief of Moscow to P.M. Tretyakov)
- “I don’t understand the actions of individual historical figures without the people, without the crowd, I need to get them out into the street.”
- V.I.Surikov
- “The past in the present is my task.”
- M.P. Mussorgsky
- “I have always lived only in Russia.”
- V.M.Vasnetsov
- « ...learn from the living chronicle of the history of the world"
- V.V.Vereshchagin"
- Knight at a crossroads. 1878
- Bogatyrs. 1898
- Alyonushka.1881
- Ivan Tsarevich
- Gray Wolf.1889
- “There is no better country than Russia!”
- I.I. Levitan
- “He breathed life with nature alone.”
- E.A.Baratynsky
- The Rooks Have Arrived.
- In the wild north.... 1891
- “Autumn day. Sokolniki".
Wandering Artists
art
Made up Ershova Lyudmila Viktorovna ,
teacher of the 1st qualification category,
MOBU "Secondary School No. 3", Orenburg.
On November 29, 1871, the first traveling art exhibition opened in the halls of the St. Petersburg Academy of Arts. But this was not just another exhibition, there were many of these in St. Petersburg at that time, but the beginning, the first page of a new chapter in the history of Russian painting - the chapter about the Wanderers.
The final year students of the Academy had to write a graduation picture for a gold medal. The themes for the execution of the paintings, which were assigned by the Academy Council, were mainly taken from ancient mythology. This practice existed for a whole century, from the founding of the Academy
In the late 1850s - early 1860s, artistic youth began to react very sharply to the political and social changes taking place in Russia, were sympathetic to the trends of the “post-reform times”, and did not want to remain aloof from the problems of modern society. And therefore, in their diploma paintings, young painters, led by Kramskoy, wanted to turn not to mythological subjects that were far from reality, but to reflect the realities of their era
Who are they?
Russian artists of the 19th century For a long time, tired of the academic monopoly in the fine arts, they strived for independence in creative work.
in 1763.
Imperial Academy of Arts
November 9, 1863 14 most outstanding students of the Imperial Academy of Arts, admitted to the competition for the first gold medal applied to the Academy Council with a request to replace the competition task (painting a picture according to a given story from Scandinavian mythology “The Feast of the God Odin in Valhalla”) for a free assignment, painting a picture on a topic chosen by the artist himself.
In response to the Council's refusal, all 14 people left the Academy.
They lost financial support and lost their housing. But they were saved by friendship and faith in a common cause. Young artists began to live together, organizing an artel, took orders for portraits, paintings and earned money from this.
Later The artel was transformed into the Association of Traveling Exhibitions.
This event went down in history as "Riot of the 14." They were the ones who organized "Artistic Artel" later, in 1870, it was transformed into "Association of Traveling Art Exhibitions."
Aesthetically, the participants Partnerships , or Itinerants, purposefully opposed themselves to representatives of the official, academic artistic movement.
The founders of the society were:
Ivan Nikolaevich
Grigory Grigorievich Myasoedov
Nikolai
Vasily Grigorievich Perov.
Kramskoy
Nikolaevich
Since 1870 Kramskoy N.K.- founder and ideological leader of the Association of Traveling Art Exhibitions, a passionate promoter of realism in art.
Members of the Partnership considered it important to create paintings showing the history of the Russian people, modern life in Russia, and its nature.
In their activities, the Wanderers were inspired by the ideas of populism.
The purpose of the Partnership became enlightening the common people with his art, which was supposed to be transported along the route St. Petersburg-Moscow - Tver - Saratov - Samara and beyond. First exhibition took place V 1871.
Traveling exhibitions opened every year. Those who participated in them began to be called Itinerants. The life of the Partnership was built on cooperative principles.
Ivan Nikolaevich Kramskoy
"Christ in the Desert" 1872 (State Tretyakov Gallery)
In St. Petersburg, at the second traveling exhibition, viewers were captivated by the emotional expressiveness and monumental grandeur of the image. The motionless figure of a sitting man seemed to have grown into the gloomy, wild landscape of the rocky desert. Having been baptized, Christ spends forty days alone in the desert, in heavy thoughts. Deep sorrow is on His face, His hands are convulsively clenched, which will soon be pierced with nails. What is He thinking about?
Portraits Ivan Kramskoy deeply psychological and social.
Painting " Unknown"(1883) was first shown at the 11th TPV exhibition, where it produced the effect of a bomb exploding. The composition, plot and mood of this picture did not correspond at all to either the concept of the Partnership or the ideas of that time about what was permitted. There are several different versions of the creation of this work. One of them is a portrait of Kramskoy’s deeply beloved daughter, Sophia, also an artist.
with a tragic fate.
According to another version- the beautiful stranger who looks at us from the picture is a real person. This is a former peasant woman Matryona Savvishna. For her beauty, the lady took her as a maid. One day, a young nobleman, Bestuzhev, came to visit his aunt. He saw Matryona and married her. One day in the city she met her former owner. She apparently expected gratitude from her, but that was not the case! The former maid drove past without even giving her a glance!
Origin of the painting "Stranger" - remains a mystery.
The artist in his painting seems to be telling us: "Appearances are deceptive!".
Perhaps this was precisely the task of the artist, who painted a collective image of a woman of his time.
- Artist's intention:
- it was not a simple illustration to the gospel episode that the audience saw in front of them, but picture-symbol, embodied the problem choosing a life path, stood up before honest Russian people in the 70s. XIX century
- Should I sacrifice myself for the sake of fighting for justice?
- for the highest ideals, or succumb to the sense of self-preservation, withdraw into personal well-being?
Vasily Grigorievich Perov
“Seeing off the dead man” 1865.
Painting "Troika" as if it continues the story about the fate of unfortunate children who lost their father.
Thin, pale, exhausted children, struggling, barely pull a sled with a huge icy barrel of water. “How can you tolerate this?” - every person asked himself,
standing in front of this picture.
The artist deeply sympathized with his heroes and wanted other people to experience the same feelings when they saw his works.
The unbearable weight of immeasurable human grief grips the viewer at the sight of such a picture. The artist visually embodied all the pain of orphaned children clinging to their father’s coffin, and the grief of their mother, sadly and hopelessly hanging her head.
Orphans, 1864
Grigory Grigorievich Myasoedov (1834 – 1911) 1887.
“Time of Sadness (Mowers)”
State Russian Museum, St. Petersburg.
The mowers depicted at work seem to be singing a solemn hymn to nature, sounding in a golden field with rye, in a high blue sky with white fluttering clouds. The compositional perspective chosen by the painter - from below, from behind the ears of rye - emphasizes the monumentality and grandeur of the image of the country. 1872. "The zemstvo is having lunch" . State Tretyakov Gallery Moscow.
This is the most significant painting by Myasoedov, exhibited at the Second Traveling Art Exhibition. Zemstvo - elected bodies of local self-government in Russia in the 1860s. The peasants depicted in the picture apparently came with some kind of request to the members of the zemstvo, but were forced to sit under the door, content with their meager lunch and left to their sad thoughts.
In the window you can see a servant washing the dishes: the gentlemen probably ate well, and the problems of those asking for them will not interest them for a long time. The artist shows the contrast between poverty and wealth.
This work serves as a kind of calling card of the Itinerant artist.
The picture reflects peasant life, which unites all generations into a single working team.
Nikolai Nikolaevich Ge (1831 – 1894) 1863. "Last Supper"
Russian Museum. Saint Petersburg.
The painting brought real popularity to the artist. This is a canvas imbued with unprecedented dramatic emotion, distinguished by a new interpretation of the gospel plot. For this painting, Ge immediately received the status of professor from the Academy of Arts. In 1871, he participated in the first exhibition of Peredvizhniki artists, presenting his work"Peter I interrogates Tsarevich Alexei in Peterhof."
. This painting became another success for the artist; it is distinguished by its particular truthfulness and authenticity. In the faces of father and son, Ge saw a confrontation between two forces of that time. Peter
I looks at his son with an angry and menacing look, condemning him for some offense. His majestic and proud posture speaks of obvious discontent. He looks expectantly at as if he was waiting for his excuses or repentance for what he had done. His turned position in the opposite direction from his son may indicate that it is as if he does not even want to hear what his son is saying.
Alexey, in turn, obediently stands in front of his father. He feels guilty. He may even be afraid of his father's wrath. Piercing gaze of Peter I
as if it were burning him from the inside.
A major role in the development of the art of the Itinerants was played by the famous
art researcher and critic V.V. Stasov.
P. M. Tretyakov, philanthropist, collector of works of Russian fine art, founder of the Tretyakov Gallery By purchasing works by the Itinerants for his gallery, he provided them with important material and moral support. Many of the works of the Peredvizhniki were commissioned
Pavel Mikhailovich Tretyakov.
Vladimir Vasilievich Stasov
Pavel Mikhailovich Tretyakov
In the ranks Itinerants lit up and shone forever brightest stars of Russian painting
Isaac
Levitan
Alexei
Savrasov
Michael
Nesterov
Basil
Surikov
Basil
Polenov
Arkhip
Kuindzhi
Valentine
Serov
Ilya
Repin
These masters raised the bar of Russian painting to unprecedented heights.
"Morning in a pine forest"
The artist loved the forest and its nature very much, admired every bush and blade of grass, moldy tree trunks decorated with branches sagging from the weight of foliage and pine needles. Shishkin reflected all this love on an ordinary linen canvas, so that later the whole world could see the unsurpassed skill of the great Russian master. Looking at the picture, you feel the presence of the viewer. The human mind is completely immersed in the atmosphere of the forest with marvelous and mighty giant pine trees.
"Ship Grove" was exhibited for the first time in a traveling exhibition, and aroused universal praise and admiration from fellow artists and visitors. The painting is inspired by the artist’s lyricism and love for the forest with its inexhaustible wealth; it is easily perceived by all lovers of forest nature.
In this last work Shishkin In 1898 he demonstrated all his skill acquired over many years, which did not fade away at all by the end of his life.
An excellent landscape artist, master of the lyrical Russian landscape. His famous painting “The Rooks Have Arrived”. In it, the artist revealed all the subtle beauty of the Russian landscape, inspired by extraordinary lyricism and the mystery of existence, which overturned all contemporaries’ ideas about their native Russian nature.
V.G. Perov
A.K.Savrasov (1830-1897)
A.K. Savrasov . "The Rooks Have Arrived". 1871 .
I.N. Kramskoy
I.I.Shishkin (1832 -1897)
“The Cossacks write a letter to the Turkish Sultan”
basis paintings Ilya Repin became a historical event in 1676. Plot masterpiece- Zaporozhye Cossacks write a response to the proposal of the Turkish Sultan to go over to the side of the Ottoman Empire. Then the Cossacks of the free Zaporozhye Sich protected the country from the Turks. Sultan Mahmud IV sent a letter to the Zaporozhye Cossacks, offering to surrender to him without resistance. Wanting to intimidate the Cossacks, the Turkish Sultan cited many of his titles in the title of the letter. The Cossacks only laughed at the pompous style of the letter and wrote their own, very caustic response to the Sultan. There is no main character in the picture; many Cossacks are represented here, and each of them
colorful in its own way. Each one is painted with such care, as if the artist created only his portrait.
Ilya Efimovich Repin (1844-1930).
"Barge Haulers on the Volga", 1873. A typical example of the creativity of the Itinerants. Repin became a member of the partnership in 1878. The recorded oppression of the poor was a call for mercy towards the common man. It’s amazing how, in a gray crowd seemingly depersonalized by hard work, the painter revealed the individual traits of each of the barge haulers, endowed them with character, destiny, readable in the faces worn out by years of adversity.
Vasily Ivanovich Surikov (1848 – 1916)
Wonderful Russian artist, beautiful master of color and coloring of paints, painting techniques, who knew Russian life and customs of past eras very well. In many of his works Surikov portrayed tragic fragments of Russian history, reflecting bright psychological images their heroes in large-scale canvases . Surikov’s canvases are an artistically recreated story, the main character which is Russian people.
To the golden fund of Russian artistic culture famous paintings included:
“Boyaryna Morozova”, “Morning of the Streltsy Execution”, “Menshikov in Berezovo”, Suvorov’s Crossing of the Alps”, etc. This is a whole poem about the struggle and suffering, heroism and tragic trials of the Russian man.
"Boyaryna Morozova " - a picture that conveys the maximum amount of emotions, depicting a scene from the period of church schism in the 17th century. Surikov solves one of the most important problems of substantive form. As we move, the internal connection between each character and the noblewoman herself is revealed. The degree of very different and contrasting conditions is determined. There is fear, pity, fear, sympathy, ridicule, curiosity.
"Morning of the Streltsy Execution" 1878-1881
On the canvas we see not the execution itself, but the minutes full of enormous psychological stress before the inevitable execution. The action takes place in Moscow on Red Square, against the backdrop of St. Basil's Cathedral.
Last head of the partnership , elected in 1918, was
Radimov Pavel Alexandrovich (1887 – 1967)
In 1922 he organized the 47th exhibition of the Itinerants.
P.A. Radimov’s debut took place at the 39th exhibition of the Association of Itinerants and was considered successful. In 1914 for the painting "Old Mezzanine" P. Radimov is accepted as a member of the Association of Traveling Exhibitions. His guarantors were I.E. Repin and V.D. Polenov. During these same years, books of his poems “Field Psalms” and “Earthly Robe” were published. Radimov the artist Cycles of landscape and genre works were created dedicated to central Russia and Central Asia.
"An artist is a poet! A poet in painting and an artist in poetry." These words define the creative path P.A.Radimov.
Association of Traveling Art Exhibitions is a key milestone in the development of Russian art. The Peredvizhniki artists became, in a way, symbol of Russian painting of the 19th century. Having emerged as a reaction to the dead, lifeless art of the Academy of Arts, the Partnership of the Peredvizhniki became the most widespread and influential artistic association in the history of Russia. Never before or after this has the art of Russian artists been so close and understandable to the masses.
The Association of Traveling Art Exhibitions disbanded in 1923. however, during its existence, the importance of painting in the life of Russian society reached its culmination and played a huge role in the development of realistic art of that era.
Internet resources:
- http://art-portrets.ru/hudojniki_peredvijniki.html
- http://ilyarepin.ru/ ?
- http://tphv.ru/idea2.php
- http://www.liveinternet.ru/users/gregoryh/post247805396
- http://www.palitra.co/post/363
In 1863, 14 graduate artists, led by I. Kramskoy, refused to paint a graduation picture on the proposed mythological theme “Feast in Valhalla” and demanded to choose the subject of the painting themselves, which they were categorically refused to do, after which many artists defiantly left the academy. The solution was this: it was necessary to form an independent artel of artists similar to communes, a union of Russian artists independent of the academic monopoly. It did not last long and disbanded after 7 years, although by this time in 1870 a new movement had arisen: the Association of Itinerants or the Association of Traveling Art Exhibitions of the TPHV and their movement around the cities of Russia, this is an association of professional artists. The work of the Peredvizhniki brought many artists together in unity and ideological positions, rejection of academicism with its decorative landscapes, fake theatricality and various mythologies. Russian Peredvizhniki artists sought to show in their works the ideological side of fine art, which was valued much higher than the aesthetic, setting themselves the task of widespread propaganda of fine art, the goal of which was the social and aesthetic education of the masses, bringing them closer to the life of democratic art. To reveal in his paintings the true living life of the oppressed peasantry, suffering from the power of landowners and the rich, this was the main task. Many works by the Peredvizhniki artists were painted from life in the style of genre painting, while other works were written under the imagination of real life. The Russian Itinerants demonstrated with great persuasiveness the existence of a new creative movement at the first exhibition that opened, gradually taking shape since the 60s. This exhibition showcased the paintings of the Wanderers - paintings by many famous artists in all popular genres: portrait, landscape and historical genres. In total, 47 exhibits were exhibited that revolutionized academic ideas about painting; this was the first step in the success of the Wanderers, who showed their paintings in a different dimension. The Association of Traveling Art Exhibitions disbanded in 1923, but during its existence the importance of painting in life in Russian society reached its culmination. Tretyakov himself was sensitive to painting and the art of the Itinerants, respected the hard work of artists, and almost all of his fortune was invested in paintings by the Itinerants. Subsequently, the entire collection of paintings became the property of Moscow.
Description of the presentation by individual slides:
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“Itinerant Artists” Municipal budgetary educational institution Susat secondary school h. Susat, Semikarakorsky district, Rostov region Prepared by: Badalyan Elya Eduardovna teacher of fine arts of the highest qualification category MBOU DO SSHI, MBOU “Susat Secondary School” 2015
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THE Wanderers are artists who were members of the Russian art association - the Association of Traveling Art Exhibitions, formed in 1870. They turned to depicting the everyday life and history of the peoples of Russia, its nature, social conflicts, and exposing social orders. The ideological leaders of the Wanderers were I. N. Kramskoy and V. V. Stasov. The main representatives are I. E. Repin, V. I. Surikov, V. G. Perov, V. M. Vasnetsov, I. I. Levitan, I. I. Shishkin.
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Vladimir Vasilievich STASOV (1824-1906), Russian art and music critic, art historian, honorary member of the St. Petersburg Academy of Sciences (1900). Son of V.P. Stasov. Ideologist and active participant in the creative life of the “Mighty Handful” and the Association of Itinerants; opposed academicism, for realism, the national character of art. Monographs and articles about music, painting, sculpture, Russian composers and artists. Works in the field of archaeology, history, philology, folkloristics.
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KRAMSKOY Ivan Nikolaevich (1837-87), Russian painter. One of the founders of the Artel of Artists and the Association of Itinerants, who approved the principles of realistic art. The portraits of Russian cultural figures (L.N. Tolstoy, 1873; Nekrasov, 1877-78) and peasants (Polesovshchik, 1874) are remarkable in their depth of social and psychological characterization. Thematic canvases are devoted to philosophical and ethical problems (“Christ in the Desert,” 1872), and the disclosure of complex emotional movements (“Inconsolable Grief,” 1884).
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"Christ in the Desert" "Portrait of an Unknown Woman" "Portrait of the Artist I.I. Shishkin"
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"Portrait of an Unknown Woman"
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SHISHKIN Ivan Ivanovich, Russian artist. An outstanding master of landscape, he organically combined the features of romanticism and realism in his painting and graphics. Having graduated from the Moscow School of Painting, Sculpture and Architecture in 1856, the future master studied at the St. Petersburg Academy of Arts (1856-60). Of particular importance for Shishkin were the natural impressions received in his native places (where he often visited), as well as on the island. Valaam and in the vicinity of St. Petersburg and Moscow.
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LEVITAN Isaac Ilyich, Russian artist. The greatest master of Russian landscape of the late 19th century, who laid down the principles of symbolism and modernity in this genre. Son of a railway employee. In the early 1870s. Levitan's family moved to Moscow. In 1873-85, the future master studied at the Moscow School of Painting, Sculpture and Architecture, where V. D. Polenov and A. K. Savrasov had the greatest influence on him. “I have never loved nature so much, I have never been so sensitive to it. Without this feeling there cannot be a true artist. But this insight is a source of deep suffering for me. Could there be anything more tragic than to feel the infinite beauty of the surroundings, to notice the innermost secret, to see God in everything and not be able, realizing one’s powerlessness, to express these great sensations.”
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Perov Vasily Grigorievich (1833-1882) Born into the family of a prosecutor. He studied at MUZHVZ, where he later taught. After graduation, he lived and worked in Paris for some time. The artist’s work is dominated by genre and portrait painting. He was awarded the title of Academician and then Professor. He was a member of the Peredvizhniki Association, which he left due to ideological and creative differences.
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“Troika” “Hunters at a halt” “The arrival of the governess at the merchant’s house” “Tea drinking in Mytishchi”
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Viktor Mikhailovich Vasnetsov (1848 - 1926) is a Russian artist who became famous for his depictions of historical and folklore scenes. Vasnetsov was born on May 15, 1848 in a small village in the Vyatka province in the family of a priest. Education was received at the Vyatka Theological Seminary. But the artistic style was improved while studying at the St. Petersburg art school. The final moment of training was graduation from the Academy of Arts in 1873. Vasnetsov's paintings were first presented at an exhibition in 1869, while still studying. Then Vasnetsov collaborated with the Association of Traveling Exhibitions. The main subjects of Vasnetsov's paintings were fairy tales, everyday situations, and then historical, epic, and religious motifs. In 1893 he became a member of the Academy of Arts, and after 1905 - the Union of the Russian People. The Vasnetsov Museum is located in Moscow, also in St. Petersburg, Kirov, and the village of Ryabovo, Kirov region. Viktor Vasnetsov died on July 23, 1926.
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"Bogatyrs" "The Knight at the Crossroads" "Alyonushka" "Three Princesses of the Underground Kingdom" "Ivan Tsarevich on the Gray Wolf" "Koschei the Immortal"
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Ilya Efimovich Repin (1844 - 1930) is an artist famous for his portraits, as well as the depiction of historical and everyday scenes. Ilya was born in Chuguev on July 24, 1844. In Repin's biography, learning to paint began at the age of thirteen. And in 1863 he moved to St. Petersburg to study at the Academy of Arts. During his studies there, he performed well, receiving two gold medals for his paintings. In 1870 he went to travel along the Volga, doing sketches and sketches in the meantime. It was there that the idea of the canvas “Barge Haulers on the Volga” was born. In addition to painting, he led a workshop at the Academy of Arts. In 1874, Repin became a member of the Wanderers Association, at whose exhibitions he presented his works. The year 1893 in Repin's biography is indicated by his entry into the St. Petersburg Academy of Arts as a full member. The village in which Repin lived became part of Finland after the October Revolution. Repin died there in 1930.
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Surikov Vasily Ivanovich (1848-1916), painter. Born on January 24, 1848 in Krasnoyarsk in the family of a Cossack officer. He received his first painting lessons from a gymnasium teacher, Grebnev. From 1869 to 1875 he studied at the Academy of Arts in St. Petersburg. In 1877 he moved to Moscow. In 1881 he joined the Association of Traveling Art Exhibitions and became a member of the Union of Russian Artists. He traveled abroad several times. The theme of most of Surikov's works is the past of Russia. Surikov’s first significant work, “The Morning of the Streltsy Execution” (1881), immediately brought fame to the author. The painting “Menshikov in Berezovo” (1883) shows the mental struggle and loneliness of the famous comrade-in-arms of Peter I in remote Siberian exile. Surikov's last major work was “Stepan Razin” (1907). The canvas reflects popular ideas about the leader of the Peasant War of the 17th century. The artist also created a number of portraits and watercolors. Died on March 19, 1916 in Moscow.
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“Boyaryna Morozova” “Morning of the Streltsy Execution” “Menshikov in Exile” “Conquest of Siberia by Ermak”