Alekseev View of the Palace Embankment from the Petropavlovsk Fortress. Artist Alekseev
Fedor Yakovlevich Alekseev (between 1753-1755, St. Petersburg - 11 (23) November 1824, St. Petersburg) - Russian painter, contemporaries called him "Russian Canaletto". The largest master of Russian leaders.
Biography of the artist
Son of Storozha Academy of Sciences. In 1764, he was taught by the Father in training in the Imperial Academy of Arts, before that he studied in a garrison school.
In 1767, among the students of the class of ornamental sculpture, which Louis Rolland was led, then in the "picturesque class" in Heinrich Forendermin and A. Perezinotti.
In 1773-1777, it was improved as a theater artist in Venice, where he wrote and landscapes ("Embankment Schiavoni in Venice", 1775, Art Museum of the BSSR, Minsk).
In the 1790s. He made scenery of St. Petersburg ("View of the Palace Embankment from the Petropavlovsk Fortress", 1794, the Tretyakov Gallery), for which in 1794 he received the title of academician.
In 1802, Alekseev becomes the head of the class of promising painting at the Academy of Arts. Among his students were Sylvester F. Stedrin and M.N. Vorobyev.
For "Removing species" traveled to Kherson, Nikolaev, Bakhchisarai (1795), Poltava, Voronezh, Orel, and watercolor etudes, then wrote pictures ("Square in Nikolaev", Russian Museum, St. Petersburg).
The image of the fabulous, the Holy Russian city struck people. Moscow works attracted a huge number of customers to Alekseyev, among whom were the most prominent venoms and members of the imperial family. In 1800, at the request of Emperor Paul I, Alekseev, the types of Moscow writes. Pictures of their Alexeyev wrote on the basis of detailed watercolor sketches from nature. The artist enthusiastically examines the ancient Russian architecture.
Being in 1800-1802 in Moscow, he wrote two paintings from nature ("Red Square with the Cathedral of Basil Blessed", the Museum of the Institute of Russian Literature of the USSR Academy of Sciences, Leningrad, and "Type of Military Hospital", not preserved) and a row of watercolors.
In the 1810s. Created a new series of St. Petersburg landscapes ("View of the English Embankment", Russian Museum).
Gradually, the public begins to forget the aging artist. He died in poverty, in St. Petersburg, on November 11, 1824, leaving a large family without funds.
CREATION
Alekseev is the first in Russian painting Master of the cityscape.
In lyric, with a large fineness of executed paintings, he captured the strict appearance of St. Petersburg, the picturesque beauty of Moscow, the poetry of everyday urban life. He attracted a landscape in which architecture played a huge role. He traveled a lot and already at the beginning of the XIX century wrote the types of provincial cities of Russia.
Creativity Alekseev was an important stage in the addition of the traditions of the National School of Picturesque Landscape. His works, attractive for contemporaries and descendants, hills and artistic perfection of images, retained the appearance of Russian cities of the turn of the XVIII - XIX centuries, becoming more valuable historical documents of the era.
In the pictures "View of the stock exchange and admiralty from the Petropavlovsk Fortress" (1810, the State Tretyakov Gallery), "Type of Kazan Cathedral in St. Petersburg", "The view of the Admiralty and Palace Embankment from the first Cadet Corps" (1810th, State Russian Museum) main The heroes have become the new architectural structures of the capital, erected at the beginning of the XIX century. The complexity and dynamic of construction is different view of the Exchange, crowning the arrow of the Vasilyevsky Island.
The artist chose a point of view that contemporaries called "happy." She allowed to capture magnificent buildings in a single space, personified the power and prosperity of the young city.
Architectural "Avenue" turned into an image of an urban environment, full noise and movement. An important role in the St. Petersburg species of the beginning of the XIX century is played by scenes from the life of urban inhabitants, filling images by charm and human warmth.
In the pictures of the South Cycle ("View of the city of Nikolaev", "View of the city of Bakhchisaraya", etc.) There are some common features that allow you to judge the movement of the artist from the perspective to the classic organization of the canvas. The composition is organized clearly and logically clear. And one more characteristic feature of southern paintings is the appearance of Staffaja. All items are highly depicted, forming an entertaining genre scenes. They perform the functions of peculiar units of scale, allowing to present the size of buildings, areas, the height of trees.
Alekseev Fyodor Yakovlevich is the first in Russian painting Master of the cityscape.
In 1766- 73. He studied at the Academy of Arts, first in the class of "painting flowers and fruits", then in the landscaped. In 1773, the gold medal was received for the program landscape and was sent for three years in Venice to engage in painting theater decorations, although it did not fit his inclinations.
"Type of Petropavlovsk Fortress and Palace Embankment"
1799.
Canvas, oil 71.5 x 109
St. Petersburg
Next year, the artist is sent to Novorossia and Crimea to write seats that in 1787 visited Catherine II. So there are landscapes of southern cities - Nikolaev, Kherson, Bakhchisaraya. 
"View of the city of Nikolaev"
1799
Canvas, oil 197 x 178
Moscow
Repeating the Empress route, Alekseev made sketches and watercolor sketches. The paintings were written after returning. The city of Nikolaev is the Malorossiysk city, the sea and river port, founded during the Russian-Turkish War 1787-1791 on the command of Prince G.A. Potemkin. In 1788, shipyard was built here for the construction of ships, thanks to which the city became an important port and administrative center. The picture shows a view of Nikolaev from the river Ingul. On the banks of the river in the depths of the left - the Admiralty Cathedral, in the center you can see the buildings of the Black Sea Admiralty Board, on the right - a complex of official houses of the maritime department. Water has elling for storing rowing courts. To the left of them depicts a striped booth of the Moscow outpost.
"View of the city of Bakhchisaraya"
1798
Canvas, oil. 197 x 178.5 cm
State Russian Museum
St. Petersburg
Russia
"Square in Kherson"
Paper, Watercolor, Italian Pencil
1796 - 1797
Canvas, oil 23 x 40
State Tretyakov Gallery
Moscow
In 1800, Emperor Paul I gives Alekseev the task to write the types of Moscow. The artist became interested in the old Russian architecture. He stayed in Moscow for more than a year and fulfilled a large number of sketches from nature, according to which he subsequently created a series of picturesque canvases. Brought from there a number of paintings and many watercolors with views of the Moscow streets, monasteries, offended, but mainly a variety of images of the Kremlin. These species are distinguished by even documentality. Moscow works attracted numerous customers to Alekseyev, among whom were the most significant proprietors and members of the imperial family.
"Red Square in Moscow"
1801.
Canvas, oil. 81.3 x 110.5 cm
The landscape recreates the appearance of the first-hearth capital of the 18th-XIX centuries. Majestic monuments of medieval architecture are the main "heroes" of the paintings. Many verticals - churches, bell tower, towers are equalized by a calm horizontal canvas format. Such a composition likes the space of the Grand Theater Scene area. In the center of Red Square - the temple of Vasily blissful and frontal place. The Kremlin Wall and Spasskaya Tower closes the right side of the painting. In the foreground, on the left depicted the building of the main pharmacy, as well as trade ranks. To the right of the tower, behind the wall, the heads of the Ascension Monastery rise, the tent of the tsarist tower is visible to the left. The artist does not just "lists" the many and diverse buildings of the ancient capital, but also trying to create a holistic, uniform image of the city. People fill in the area, as well as thoroughly drawn numerous and expressive details - shopping shops, carriages, wagons, horses, dogs - everything participates in the disclosure of the city's image, make warmth and humanity.
In Moscow, Alekseeva is interested, first of all, an old architecture, a kind of color of the city, which emerged for centuries. As a true classicist artist, in addition, the theater decorator by education, Alekseev turns the majestic, but very clear, easily readable scene, where the ancient buildings act as the main characters, and the role of statists is assigned to the walking Muscovites.
Figures of people in the foreground larger than in the "form on the stock exchange and the admiralty from the Petropavlovsk fortress" (1810). In their appearance and clothing, the artist displays patriarchals, even reminiscent of the traditional old Russian structure and features, but from the point of view of the St. Petersburg fashion seeming archaic. Alekseev, St. Petersburg Master, who has passed a learning to Italy, looks at the city through the eyes of a European foreigner.
A similar attitude to Moscow expressed a contemporary artist poet K.N. Batyushkov: "Strange mixing of the ancient and the latest architecture, poverty and wealth, erections of European with the businesses and customs eastern!" 
"View of the Moscow Kremlin from the stone bridge"
Canvas, oil. 63 x 103 cm
State Russian Museum
View of Vladimir (Nikolsk) Gate of China-Cities. 1800-E.
"View of the Resurrection and Nikolsky Gate and the Neglin Bridge from Tverskaya Street in Moscow"
1811
Canvas, oil 78 x 110.5
State Tretyakov Gallery
Moscow
Majestic monuments of medieval Moscow architecture are the main "heroes" of the landscape of Alekseev. In the foreground, the artist depicted a bridge across the River Negling, leading to the Resurrection (Iversky) gate with two tents towers and the Iverly chapel between drives. The building of the main pharmacy is adjacent to the gate, in which the university was originally located. On the right depicts the Arsenal Tower of the Moscow Kremlin. Between the Resurrection Gate and the Arsenal Tower - part of the Kilitary Wall. Left can be seen the building of the coil. Sunlight stains the entire landscape in warm, golden tones. Carefully peering into images of numerous citizens, crowding on the square, you can get an idea of \u200b\u200bthe appearance of Muscovites of the turn of the XVIII-XIX centuries. Carenets, wagons, horsemen on horseback, dogs - all this seems to be an artist important to create an image of the first-hearth capital. Dar P.A. Buryshkin in 1917.
"Cathedral Square in the Moscow Kremlin"
Canvas, oil 81.7 x 112
State Tretyakov Gallery
Moscow
In the picture, the artist depicts the Cathedral Square - the main and most ancient ensemble of the Kremlin, whose unique architectural appearance has been formed by the beginning of the XVI century. In the center of the composition, in the depths of the Square - the Assumption Cathedral, the main temple of the Moscow state, where the Russian autocrats were married to the kingdom. For him, the Church of the Twelve Apostles, Chios Monastery and the Senate Building are visible. On the right - the complex of the bell tower of Ivan the Great, which was created for more than a hundred years. Directly behind the bell tower is visible Spasskaya and a number of the tsarist tower. Because of the walls, the heads of the Pokrovsky Cathedral appear (Vasily Blessed Church). In the first plan, on the left, the building of the grain chamber with the red porch is depicted, on the right - a fragment of the western facade of the Arkhangelsk Cathedral.
Illumination at the Cathedral Square in honor of the coronation of Emperor Alexander I. 1802
View from Lubyanka to Vladimir Gate.1800-E
View of the Church of Grebidskaya Mother of God and Vladimir Gate of China-Cities. 1800-E.
View of the church of Nikola Big Cross on Ilyinka
Ivan the Great belltower. 1800-E.
Moskvoretskaya Street with people. 1800-1802.
Holiday icons of the Kazan Mother of God on Red Square
"Boyarskaya Playground or Bed Porch and Savior Temple for Golden Grid in the Moscow Kremlin"
1810
Canvas, oil. 80.5 x 110.5 cm
State Tretyakov Gallery
Square in front of the Assumption Cathedral in the Moscow Kremlin
View of the educational house. 1800-E.
Boyarskaya playground in the Moscow Kremlin. 1810-E.
View of Moscow from the Troitsk gate of the Kremlin. 1810-E.
View in the Kremlin on the Senate, Arsenal and Nikolsky Gate
View of the temple of Vasily blissful from Moskvoretskaya Street
Passionate Square
Kremlin. Troitskaya and Kutafia Tower. Right - Church of Nicola in a boot
Trinity-Sergiyev Lavra
View of Moscow
In the 1800s. Alekseev is the head of the class of promising painting at the Academy of Arts (from 1802) again returned to his beloved theme of St. Petersburg. But now addiction to the harmony of the holistic space of paintings by the artist changed great interest in the world of people and their lives against the background of the same beautiful palaces and a wide Neva. His works as if the city's noise appeared. People with their everyday affairs are now the whole foreground of the canvases. Forms have become more clear, volume, harder, flavor significantly wrapped, painting has acquired a special density. These are "type of English embankment from Vasilyevsky Islands", "view of the Admiralty and palace embankment from the first Cadet Corps", "View of the Kazan Cathedral in St. Petersburg", "View on the Arrow of the Vasilyevsky Island from the Petropavlovsk Fortress"
View of Mikhailovsky Castle and Connyabl Square in St. Petersburg around 1800
"View of Mikhailovsky Castle in St. Petersburg by Fontanka"
About 1800.
Canvas, oil. 156 x 185 cm
State Russian Museum
St. Petersburg
Russia
The picture was written in the year of the construction of the Exchange Building, so that the famous architectural ensemble of the central part of St. Petersburg was finally developed. The artist sought to present the capital of the Russian Empire with an exemplary city, in which the nature and creation of human hands merged. The semantic accent in the composition is occupied by the Exchange Building. From him to the Neva leads an architecturally designed descent. To the left of the Exchange - the Rostral Column. Behind the Exchange is the building of the Twelve College. The opposite bank of the Neva is built up with palaces and administrative buildings: in the depths - the old building of the Senate (before the house of A.P.Bestuzheva-Ryumin), Admiralty with the domes of the Church of the Church of the Church of Dalmatsky, due to him. In the left side of the picture, the Winter Palace is visible. On the wide water stroit of the Neva, which was called the main avenue of St. Petersburg, slides a lot of large and small vessels. 
"View of the stock exchange and admiralty from the Petropavlovsk Fortress"
1810g.
Canvas, oil. 62 x 101 cm
State art gallery.
Alekseev, when constructing a composition, uses the classic principle, comparing the first plan, marked with a brown left corner and a dark cloud on the right, and a greenish-blue open space in depth.
The building of the exchange is presented a few on the right, so that the center of the composition turns out to be a spectacular panorama of the Neva. In the background, the Winter Palace and Admiralty form a single ensemble with heaven and the river, as if claiming the idea of \u200b\u200bharmony of mind and nature for the era of enlightenment.
The artist shows St. Petersburg. So, how he saw contemporaries, as the ideal capital of the enlightened state. Poet K.N. Batyushkov wrote: "Take a look at the embankment, on this huge palaces one of the other majestic! On this houses, one of the other is more beautiful! Look at the Vasilyevsky Island, [...] decorated with a stock view, Rostral columns and granted embankment [...]. Like Majestin And beautiful this part of the city! [...] Now, from the exchange with any pleasure, my eyes should go along the shores and is lost in the distance between the two embankments, the only one in the world! "
November 7, 1824 on the square in the Bolshoi Theater. 1824.
Gradually, the audience forgets an aging artist. This wonderful painter died, many years and stubbornly, proven to be a landscape system, in a great poverty, leaving a large family. The Academy was forced to issue money on his funeral and benefit of widow and small children.
Introduction 3.
1. Youth of the artist and education 4
2. Creativity of painter 5
3. History of writing and analysis of work 9
F.Ya. Alexseev. Red Square in Moscow.
Conclusion 12.
List of references 13.
Introduction
Trips of the best graduates of the Academy of Arts for internships in Italy and France have greatly contributed to the formation of Russian painting as secular art in the 18th century.
Fedor Alekseev, sent to Venice to improve the creation of theatrical scenery, very soon manifests its present purpose. His copies of the most famous Italian masters of the cityscape (Bellotto, Guard, Canaletto) brought him fame and, most importantly, material independence, which allowed F. Alekseev to fully express himself in accordance with the vocation - Impressively reproduce the types of St. Petersburg, Moscow, and others in his pictures Russian cities.
His work (view of the Palace embankment from the Petropavlovsk Fortress, 1794; Type of Kazan Cathedral in St. Petersburg; Cathedral Square in the Moscow Kremlin; view of the city of Nikolaev, 1799; view of the stock exchange and admiralty from the Petropavlovsk fortress, 1810; and others) brought F.Ya. Alekseev Recognizing contemporaries as a leading painter of the city landscape. The presented works allow us to appreciate the talent and the vocation of the wonderful Russian artist.
Fedor Yakovlevich Alekseev - the first in Russian painting Master of the cityscape. With the name of Fyodor Alekseev in Russian art, the image of classical St. Petersburg is connected. Thanks to this artist, the city landscape was formed as an independent genre.
The purpose of this work is the creative life of F.Ya. Alekseeva.
To achieve the goal, it is necessary to allocate a number of tasks:
- Consider childhood and youth by the artist.
- Describe the formation of a painter.
- Highlight the creative life of the master.
1. Youth of the artist and education
F.Ya. Alekseev was born in St. Petersburg in 1753 or 1754. The information about the life of the artist has been preserved a little, the exact date of his birth has not yet been established. The father of the future landscape player, Yakov Alekseevich, the retired soldier, served as a guard at the St. Petersburg Academy of Sciences. Original education Alekseev as a soldier's son received in a garrison school. In early 1767, as of the Father, the boy was accepted into the Academy of Arts, the pupil of the third age. For some time, Alekseev studied painting "fruits and flowers" (so in the academy called the genre of still life). However, teachers noticed the tendency of young men to the image of species and architectural motives and a year before the end of their studies were transferred to the newly organized class of landscape painting 1.
In 1773, Alekseev graduated from studying at the Academy, having received a small gold medal for a picturesque landscape, which is unfortunately not known. Gold medal gave the right to continue art education abroad, at the expense of the Academy. Since the machine landscape at that time had a lot in common with the art of theater decorations, Alekseeva was sent to Venice to improve in the field of decorative painting. In Venice, a young artist stayed for more than three years. Initially, he mastered the techniques for creating theatrical scenery, while studying the "draw of perspective" in the workshops of Venetian artists, Giuseppe Maretti and Pietro Gaspary. These masters were representatives of the outgoing Baroque style and created architectural compositions in which fantastic structures of different eras were adjacent. Alekseyev was striving to engage in machine landscape painting, reflecting the features of a new style - classicism. Architectural and natural species performed in this style were distinguished by the accuracy of the image and at the same time, a well-designed organization of space that gives the picture image an exalted, generalized character. Alekseev arranging his Venetian teachers and, without waiting for the resolution of the Academy, went to Rome, where he hoped to master the new landscape direction.
2. Creativity of painter
The desire of the artist to personal and creative independence met opposition from the resident of the Academy in Venice, Marquis Merutsi, who fell Russian pensioners. Meruzzi forced Alekseeva to return to Venice, but the stroke student preferred classes with Maretti and Gaspari independent work from nature. In Venice, Alekseev for the first time shifted to the image of the urban "lead." His mentors in this were the works of the famous Venetian painters Antonio Cantelto and Bernardo Bellotto. Copying their paintings, Alekseev mastered the composite techniques for building the space of the cityscape. The artist perfectly mastered the classic technique of writing by lescing, which allowed to give the color decision to special transparency and depth. His gift of the painter Alekseev managed to show the copies performed in 1776 with the work of Kanaletto "Architectural Fantasy". Picture, called "The inner view of the yard with a garden. Loggia in Venice "(State Russian Museum), was intended for the Academy of Arts and demonstrated the successes achieved by the artist in painting architectural" prospectuses ". Because of the Intrigue, Meruzzi, the picture arrived in St. Petersburg with a big delay, which was very damaged by the further career of the artist. Despite the obvious pictorial advantages of work, Alekseyev was not awarded for her the title of "appointed" in academicians. The initial decision of the Academy on the extension of the pensioner's term to his pet was also canceled, and Alekseev was forced to return to St. Petersburg in the summer of 1777 2.
In early 1779, Alekseev was determined to the Directorate of the Imperial Theaters of the Painter at the Theater School. In the form of the list, drawn up by the artist at the end of life, it was stated that he was in the service in the Directorate for almost seven years and "proved to be successful", raising one of the first students, landscape player V.P. Petrova. Original work performed by Alekseev for the theater, unfortunately, have not been preserved.
Another, important sphere of the artist's activities in the 1780s was to copy the works of Western European landscape players, including the Cantelto and Belloto familiar to him. The works of these artists were in the assembly of the Imperial Hermitage. Ordered copies of Empress Catherine II. The artist proudly noted that the empress "... I found a great pleasure to watch my works and was always awarded." Copies performed by Alekseyev with the types of Venice Cantelto and species of the Messenger Complex Zwinger in Dresden Brushes Bellotto can be called creative interpretations of originals. Significantly reducing the size and scope of repetitions, Alekseev created the chamber in the nature of the work that differs in an independent color solution. Copies written by the artist from the works of German landscapeist Ya.F. differ coloristic identity Hakkerta - "Type of Catania and Etna" and "Lipari and Stromboli View". The originals depicting the bay at the foot of the ethna volcano on Sicily and the islands in the Mediterranean, acquired from the author Grand Prince Pavel Petrovich. They were bright samples of the modern direction in landscape painting, in which Alexey himself was striving to work.
Passing a long copy of the copy, Alekseev managed to develop his own picturesque handwriting. It is not surprising that the first of the famous original landscapes of the artist immediately acquired the status of masterpieces. In 1793, Alekseev wrote "Type of Petropavlovsk Fortress and Palace Embankment" (State Museum-Manor "Arkhangelsk"), and in a year he fulfilled a pair to him "View of the Palace Embankment from the Petropavlovsk Fortress" (State Tretyakov Gallery). Views of St. Petersburg were the frontier in the work of the landscape player. In the summer of 1794, Alekseev received the title of "appointed" in the academician for a copy written in Venice from the Kanaletto painting, and a few months later, the title of academician of promising painting for the "view of the city of St. Petersburg on the Neve-River" was awarded.
The views of the northern capital of the early 1790s add up to a single panorama of the Palace embankment from the summer garden to the old Admiralty building. In them, Alekseev appeared to the articulated master of the city landscape, creating an amazing image of a harmonious dream city. The silhouette of the embankment is a single integer with the space of the landscape. The blurry of the bluish-gray gamma tones creates the effect of transparency and the depths of the air and the water element in which the buildings are immersed. It is noteworthy that the sophistication of the color of the Alekseev was not always the result of the application of multilayer lesses. In the landscape of 1794, all the richness of color the artist handed over in a practically the only colorful layer, thanks to its unique pictorial talent.
In 1795, on the task of the Academy, Alekseev went on a trip to Malorossia and Crimea, "remove the views" of cities in which Empress Catherine II was visited shortly before. The artist visited Nikolaev, Kherson, visited the ancient Bakhchisarai. Based on inventive impressions, at the end of the 1790s, Alekseev wrote a series of picturesque panels with the views of these cities. (It is now stored in the Kherson Museum of Museum, the State Russian Museum, the State Tretyakov Gallery) Large sizes of Panel indicate that they are intended for palace interiors. Performing an order, Alekseev applied the skills of the decorator received in Venice. Generalization of the manner of the letter, the flatness of the depicted space, the saturated color range of works demonstrates a different line of the masters talent, whose artistic manner has changed depending on the creative task set before him.
In 1800, on the command of Emperor Paul I, Alekseev arrived in Moscow, "for removing different species." Together with the assistants from the number of academic pupils, A. Kunavin and I. Moshkov, the artist spent in the first-grade capital for more than a year. Moscow attracted a landscape player with medieval structures, unusual for a resident of St. Petersburg. In a letter to the President of the Academy of Arts A.S. Stroganov Alekseev reported: "At the discretion of Moscow, I found so many excellent items for paintings, which I am in bewilderment, from which the species before starting: I had to decide, and I had already started the first sketch of the square with the Church of Vasily Blessed and the winter would use for writing a picture." The painting "Red Square in Moscow" (1801, the State Tretyakov Gallery) became the most famous woven waters. On it, the artist presented ancient architectural monuments - the Kremlin wall from the Spasskaya Tower, the Cathedral of the Intercession, which is on the Rib, called the temple of Vasily blissful, frontal place. The space of the square turned into the likeness of the theatrical scene, on which the daily life of Muscovites unfolds. In the picture, Alekseev created not only an expressive architectural image of the city, but also showed a variety and variety of Moscow life 3.
Under the leadership of Alekseev, his students have created many watercolor drawings that have captured the appearance of the "doubtful" Moscow. Most structures depicted on them are temples and monasteries, royal termes and a triumphal gate - died during the Patriotic War of 1812, others were destroyed later. The drawings entered the so-called "portfolio" of Moscow species, which has become the basis for creating picturesque works. Written by Alekseev in the 1800s - 1810th years "Cathedral Square in the Moscow Kremlin", "View on the Resurrection and Nikolsky Gate and the unlong bridge from Tverskaya Street in Moscow" (State Tretyakov Gallery), and others, already for contemporaries Alekseeva acquired The nature of historical documents. One of the most striking artistic images of Moscow, created by Alekseev, became the "type of Moscow Kremlin and Stone Bridge" (State Historical Museum). He was engraved S.F. Galaktionov, made many illustrated editions and even porcelain products of that time.
In the 1800s, Alekseev again turned to the image of his hometown, St. Petersburg. In the pictures "View of the stock exchange and admiralty from the Petropavlovsk Fortress" (1810, the State Tretyakov Gallery), "Type of Kazan Cathedral in St. Petersburg", "The view of the Admiralty and Palace Embankment from the first Cadet Corps" (1810th, State Russian Museum) main The heroes have become the new architectural structures of the capital, erected at the beginning of the XIX century. The complexity and dynamic of construction is different view of the Exchange, crowning the arrow of the Vasilyevsky Island. The artist chose a point of view that contemporaries called "happy." She allowed to capture magnificent buildings in a single space, personified the power and prosperity of the young city. Architectural "Avenue" turned into an image of an urban environment, full noise and movement. An important role in the St. Petersburg species of the beginning of the XIX century is played by scenes from the life of urban inhabitants, filling images by charm and human warmth.
A huge contribution to the development of the landscape genre Alekseev made a teacher. In 1802, the landscape player was awarded the title of professor and was produced in Counselors of the Academy of Arts. From 1803 to death, he headed the class of promising painting. Some of Alekseev's pupils worked in his workshop, helping him to fulfill numerous orders for Moscow and St. Petersburg species, especially in recent years, when the master himself sick. One of the best disciples Alekseeva became M.N. Vorobyov, headed after the death of the teacher, a domestic landscape school. F.Ya died Alekseev 11 (November 23 - on a new style) of 1824 in St. Petersburg.
3. History of writing and analyzing the work of F.Ya. Alexseev. Red Square in Moscow.
On July 25, 1800, the Council of the St. Petersburg Imperial Academy of Arts in accordance with the command of Paul I sent academician of Painting F.Ya. Alekseeva "to remove different species" to Moscow. Here he worked until 1802. For a year and a half, the artist wrote a number of landscapes that make it possible to imagine how the first-hearty capital of Russia appeared at the turn of the XVIII-XIX centuries. In a letter to the President of the Academy of Arts A.S. Stroganov Alekseev wrote: "On the inspection of Moscow, I found so many excellent items for paintings, which I am in bewilderment, from which the species began to start; I had to decide, and I had already started my first sketch from the square with the Church of Basil Blessed and the winter we use to Scripture the picture. "
In his picture F.Ya. Alekseev does not just list the many and diverse buildings of the ancient capital, but, as it was, it was typical of his understanding of the landscape picture, trying to create a holistic, uniform image of the city. In the center of Red Square, the Pokrovsky Cathedral (Church of Vasily Blessed) is depicted. In front of him - the frontal place from which the royal decrees and other major messages were announced in ancient Russia. The ridicular part of the picture is closed by the Kremlin wall and Spasskaya Tower. To the right of the tower, behind the wall, the heads of the Ascension Monastery rise, the tent of the tsarist tower is visible to the left. Majestic monuments of medieval Moscow architecture are the main "heroes" of the landscape. They constitute a balanced, harmonious composition, likening the pattern of the graph of the grand theatrical scene. Sunlight, pouring on the left, paints the entire landscape in warm, golden tones.
Before flooding the 1824th. Russian Kanaletto, recognized during the life of academics and connoisseurs of art, Fyodor Alekseev occupies a special place in the history of painting of the XVIII century as one of the founders of the National School of Urban Landscape.
Fedor Alekseev. Venice. View of the embankment of the Schiavony (fragment). 1775. National Art Museum of the Republic of Belarus, Minsk, Belarus
Fedor Alekseev. The inner view of the yard with a garden. Loggia in Venice (fragment). 1776. State Russian Museum, St. Petersburg
Fedor Alekseev. View of the Palace Embankment from the Petropavlovsk Fortress (fragment). 1810. State Russian Museum, St. Petersburg
Fyodor Alekseev was born in 1753 in St. Petersburg and took place from soldiers. So in the XVIII century they called a special textual group. The exact date of birth of the artist and detailed information about his parents has not been preserved. It is only known that the father of the future artist, Jacob Alekseev, after dismissal from the service he worked as a guard at the Academy of Sciences.
As a child, the future artist went to garrison school. He diligently studied, especially he liked the drawing and geometry. The father dreamed of arranging the Son to the Academy of Arts - In the XVIII century, many of her pupils took place from the allocations and lower ranks. In 1766, Jr. Alekseeva took to the Imperial Academy of Arts, immediately in the third class.
Professor and director of the Academy of Arts Painter Anton Losenko noticed that the boy is good in painting complex figures and architectural structures. Losenko translated Alekseev from the class of ornamental sculpture Louis Rollan to the picturesque, who were led by Henry Fondramint and Antonio Perezinotti. In class, pupils studied the principles of working with architectural and landscape scenery. The young man showed himself to a diligent student: in 1773 he was awarded a small gold medal for one of the training landscaped works. This award gave the title of class artist II and civilian CHin 12th grade in the rank tab.
In the same year, the academy, who noticed Talent Alekseev, sent him to Venice for "Larger improvement in painting is promising." The academies needed theatrical artists, and this skill was best taught in Italy.
The next four years Alekseev spent in Venice. Work in the workshops of mentors - theatrical decorators Giuseppe Maretti and Pietro Gasparri - he was not so interesting. The soul was modern Italian painting - he studied the city landscapes of famous artists Giovanni Canteltto and Bernardo Belotto. His history and history of art were interested: the painting of the XVI century Polat Veronese, which he with delight described in his diary, was particularly impressed by the young man:
This is the most famous and agrees inventory, which one can only see. The architecture in the ona picture is delivered in such a fair point that everything is visible between the Toligiy Most of the people without the slightest confusion ...
Fedor Alekseev about the picture of Paolo Veronese "Marriage in Cana Galilee"
Inspired by the works of Italian artists, Fyodor Alekseev worked hard on his first city landscapes: "Venice. View of the embankment of the Schiavony "," The inner view of the yard with a garden. Loggia in Venice. "
Returning to his homeland, in St. Petersburg, on behalf of the Academy of Arts Alekseev, decorated the scenery for the imperial theaters. This work did not like the painter, so all his free time he gave the favorite case - landscapes. Like other graduates of the Academy, he worked, creating copies of famous paintings by Western European artists. The artist's skill appreciated even Empress Ekaterina II and invited him to work in the Hermitage - to make copies of the museum's masterpieces. Most often, these were the landscapes of the famous Italian painter Canaletto, and soon Fedor Alekseeva nicknamed Russian Canaletto.
In 1786, Alekseev nevertheless left the work of the theater decorator and began to create original landscapes. In eight years he received the title of academician for the painting "View of the Palace Embankment from the Petropavlovsk Fortress."
"... I found so many beautiful items for paintings": Types of St. Petersburg, Moscow and South
Fedor Alekseev. Red Square in Moscow (fragment). 1801. State Tretyakov Gallery, Moscow
Fedor Alekseev. View of the city of Nikolaev (fragment). 1799. State Tretyakov Gallery, Moscow
Fedor Alekseev. Square in Kherson (fragment). 1796. State Tretyakov Gallery, Moscow
In the 1790s, on behalf of Catherine II Fedor Alekseev went to the south of the Russian Empire - drawing landscapes of places where the Empress visited during a trip to the Crimea in 1787. In the south, he lived two years. There, Alekseev made many watercolor sketches and sketches, which in St. Petersburg used to create full-fledged paintings - "View of the city of Nikolaev", "Square in Kherson" and other works.
Picture ["View of the city of Bakhchisaraya"] lively - everything is there, and the right time in nature, and movement; But do not come to the picture closer - the charm will disappear.
Peter Petrov, art historian and historian, 1860s
Critics often reproached Alekseev in excessive monumentality. They noticed that the artist uses in painting the principles of decorative art - pays a lot of attention to the form of objects. This was especially manifested in the composition: he always sought to transfer all the details of architectural structures with maximum accuracy. Sometimes Alekseev still moved away from reality and complemented urban landscapes unfinished or never existed buildings - he relied on the picturesque tradition of the XVIII century. Almost all the paintings of the artist belong to the very popular in Venice of those times the genre of the lead - a detailed image of the cityscape.
Alekseev loved Petersburg and often wrote his views. His paintings resembled the canvas of Italian masters. He took a similar color gamut, mostly bright colors, and achieved the effect of "transparency" - it seemed that the artist would not use oil, and watercolor.
In 1800, Fyodor Alekseev observed how the Mikhailovsky Castle and the residence of Paul I ended. Soon it appeared "view of the Mikhailovsky Castle and the Square of Connyabl in St. Petersburg." The emperor liked the picture so much that Alekseyev complied with the rank of college assessor. Soon on behalf of the sovereign, the artist ordered a series of city landscapes of Moscow.
The emperor wanted to see in the pictures of Moscow Rus. In addition, members of the Academy of Arts instructed Alekseev "To remove all the terrain, wonderful on historical and archaeological" in the pictures and drawings.The artist enthusiastically took up work. He had a lot of time to spend in the archives to explore the old city plans. Alekseev approached the order responsibly - it was the city landscapes of Moscow that became the top of his work. Small watercolor sketches and monumental canvases formed a whole cycle. After that, orders from the most noble people fell on it.
He wrote the first works of the Moscow cycle from nature, among them - the picture "Red Square with the Cathedral of Vasily Blessed". However, the artist did not be limited to the image of the Red Square alone. In October 1800, he wrote Count Alexander Stroganov, President of the Academy of Arts: "At the discretion of Moscow, I found so many excellent items for paintings, which I am in bewilderment, from which the species before starting: I had to decide, and I already started the first sketch of the square with the Church of Basil Blessed and the winter we use to write a picture."
For the next year, Fyodor Alekseev and his students - Alexander Kunavin and Illarion Moshkov - created a series of Moscow landscapes. These paintings depict the famous architectural structures, many of which are already lost, - churches and monasteries, estates and residences. Among the most significant works of this period, "Type of Church of Nikola Big Cross on Ilyinka", "A view of the passionate area in Moscow", "Panoramic view of Kolomenskoye" and others. In 1801, the artist personally presented the emperor Alexander I the most famous from these works - the picture "Red Square in Moscow".
Fedor Alekseev. Type of Ivanovo (Tsarskaya) Square (fragment). 1810th. State Research Museum of Architecture named after A.V. Schuseva, Moscow
Fedor Alekseev. View of the Resurrection and Nikolsky gates and the unlit bridge from Tverskaya Street in Moscow (fragment). 1811. State Tretyakov Gallery, Moscow
Fedor Alekseev. Area inside the Moscow Kremlin (fragment). 1810th. Museum-Reserve "Tsarskoe Village", Pushkin, St. Petersburg
In 1802, Fyodor Alekseev returned from Moscow to St. Petersburg, but for several more years created Moscow cityscapes - "Square inside the Moscow Kremlin", "View on the Resurrection and Nikolsky Gate and the unlong bridge from Tverskaya Street in Moscow", "View of Ivanovo ( Royal) square. " The views of the "primitive" brought Alexeyev glory both in their homeland and abroad. Young artists studied in his works, and the painter constantly ordered copies of the most famous paintings. The artist's works were evaluated and at the Academy - Fedor Alekseeva were invited to teach, and they were given to lead the class of "promising painting", where he taught pupils the basics of working with landscapes. Later, the artist awarded the title of advisor.
Types of Alekseev strengthened interest in the appearance of old Russian cities, to the architectural monuments of the Patriotic Starny. They opened a new type of landscapes, dictated by interest in Russian history and antiquity monuments.
Alexey Fedorov-Davydov, art historian, researcher of creativity Fyodor Alekseeva
In 1810, Alekseev again began to create landscapes of St. Petersburg: "The appearance of the arrow of Vasilyevsky Island from the Petropavlovsk Fortress", "View of the English Embankment". One of the versions of the painting "The view of the Admiralty and Palace Embankment from the first Cadet Corps" was in the collection of writer Pavel Svignin for a long time.
Wisely What to give an advantage in this picture ["View of the Admiralty and Palace Embankment from the first Cadet Corps"]: Everything in it is so correct and naturally, everything is touched so masterfully brush that everywhere is noise and movement, as in nature itself.
Pavel Svignin, writer
In the last works, as art historians, Fyodor Alekseev began to move away from the school of Cantelto and Academism. He added light carelessness and refined decorativeness into his paintings.
When Alekseyev is only Canaletto, he is interesting and they are famously admire; When he becomes himself - Fyodor Alekseyev, he immediately converts to a significant figure in Russian art, in the artist who has enormous influence on the Russian landscape of the first half of the XIX century.
Igor Grabar, art historian, painter and restorer
Until recent years of life, Fedor Alekseev worked at the Academy of Arts, in parallel, continued to write paintings. On November 19, 1824, the most devastating flood in the history of the city collapsed for St. Petersburg, and Alekseev decided to capture him. A few days after its last sketch, on November 23, 1824, the artist died. He was 71 years old. The painter was buried at the Smolensk Orthodox Cemetery of St. Petersburg.
Fedor Alekseev. View of the admiralty and palace embankment from the first cadet corps (fragment). 1810th. State Russian Museum, St. Petersburg
Fedor Alekseev. Petersburg flood of 1824 on the square near the Bolshoi Theater (fragment). 1824. State Russian Museum, St. Petersburg
Fedor Alekseev. View of the English embankment (fragment). 1810th. State Russian Museum, St. Petersburg
1. Seven years old Fedor Alekseev created decorations for theaters of St. Petersburg. None of his theatrical work has been preserved. The decorations in Russia of the XVIII century were very in demand: they were repeatedly reworked and transported from the theater to the theater, and the dilapids were written off or destroyed. Only a small sketch of the interior decoration of the fantastic temple is preserved - the picture "in the temple" with the signature "1820". Researchers believe that the date of work was significantly later than it was created. "In the temple" too different from the rest of the artistic heritage of Fyodor Alekseeva and in all signs refers to his early work.
2. At the beginning of the 20th century, the Russian collectors turned out to be a postcard depicting the Petersburg flood of 1824. She was the signature "Alekseev". Until 1907 it was believed that Artist Alexander Alekseev, a student Alexei Venetianova, was written. Art historian Igor Grabar denied it. He noticed that Alexander Alekseev in 1824 was only 13 years old, and the picture wrote a mature author. "It's hard to assume that it was he [Alexander Alekseyev] was the author of the painting; Meanwhile, in the lists of artwork works of the Tsarskostsky Palace, where the picture came from, there was a member that Her is Alexeyev. Flooding, as you know, was November 7, [Fedor] Alekseev died on November 11th. Picture written in appearance, in one or two sessions, thus could be the last work of a tireless artist made by a chaining hand ", - Praised Grabar in Essay about Fedor Alekseev.
The artist who created his name as a new genre in Russian art is a genome of the cityscape. Amazing talent and the general style of his paintings are one of the best in world painting. The name of an amazing artist - Alekseev Fyodor Yakovlevich.
Biography
Alekseev Fedor Yakovlevich was born in 1754 (the exact date of birth is absent in historical sources) in the poor family. In 1766, his father turned to the enrollment of the Son to the Academy of Arts, and his request was performed. Fyodor Alekseev begins his studies in the class of painting flowers and fruits, after which it is transferred to the class of the landscape, and in 1773 he successfully ends the academy. For the best writing of the software landscape, it is handed a gold medal. Continue the training of a talented young man is sent to Venice for specialization in decorative painting. This is a special type of writing decorations for theater. During his studies, Fedor Alekseyev, in addition to the main occupation, is enthusiastically engaged in the study of Venetian artists depicting a landscape, such as the Canal, Guard, Pirase Engravings, who at that time lived in Rome. But the artist raises the discontent of the academic authorities for his new knowledge.
Road to art
After graduating from its specialization in Venice, the artist Fyodor Alekseev returns to St. Petersburg and is arranged to work as a painter in the School of the Theater. Approximate dates of this period of his life - 1779-1786. Due to the passionateness of landscapes, in addition to theatrical scenery, Fedor Alekseeva met in his homeland quite cool and refused further training to get the title of academician. But the artist puts himself a goal Show Academy, to which he is capable, and together with this work the artist combines copying of the landscapes of Cantelto, Belldotto, Robert and Bern in the Hermitage opened.
Thanks to the successful work in the Hermitage, he leaves the service in the School. Its creative reproduction of originals has repeatedly repeated their picturesque system that work has gained great success. Successful activities brought Fedor Alekseev to Glory, the nickname "Russian Canaletto", for which the Academy gives the artist the possibility of independently writing his paintings. Of course, they became landscapes.
The originality of the artist Fyodor Alekseeva
Proving your ability to draw on their own, the artist writes a number of famous paintings with species of St. Petersburg. Some of the most significant: "Type of Petropavlovsk Fortress and Palace Embankment" (1793) and "View of the Palace Embankment from the Petropavlovsk Fortress" (1794).
Using the knowledge that I purchased in Venice, Fyodor Alekseev creates his image solemn and along with this living city. At the same time, in his paintings, he retains the laws of classicism important in the XVIII century and connects the perfect and real. For the works in 1794, the artist Fyodor Alekseyev gives the title of academician of promising painting.
Creative way
After receiving the honorary title Fedor Alekseev receives a task to draw those places where in 1787 was Empress Catherine II. The artist will recreate the beauty of such southern cities such as Nikolaev, Kherson, Bakhchisarai in his canvas.
And in 1800, the emperor Paul I himself instruct Fedor Alekseev to write Moscow. In the time that the artist spent in this city (a little more than a year), he brings several paintings and a large number of watercolors, which depicts the types of Moscow streets, monasteries, outskirts. But the most important thing is the unique images of the Kremlin. Among them, they received the greatest popularity of "Red Square in Moscow" and "Boyarskaya playground, or a bed porch and the Church of Christ the Savior for the Golden Grille in the Moscow Kremlin."
Moscow work is so highlighted by their accuracy and documentality, which is attracted to the artist of new customer buyers. Among them are famous people, and members of the imperial family.
Fame of artist as a landscapeist
From the 1800s. Fyodor Yakovlevich becomes the leader of the class of promising painting at the Academy of Arts and again draws on his favorite theme - St. Petersburg. At the same time, the artist travels a lot in Russia and captures the types of provincial cities.
More than life appears in his paintings, it seems that now the images will come to life. They become similar to documentary historical pictures. More and more artist depicts people. They go to the forefront of cloths with palaces, embankments and streets. People with their everyday affairs, wagons, workers. Details are written even more clearly, harder, the color scheme looks warmer, and painting acquires special saturation. The work of that time includes "Type of Kazan Cathedral in St. Petersburg", "" The type of English embankment from Vasilyevsky Island "and others. In the warm range, with a thin drawing of the smallest details.
Fedor Alekseeva's paintings are distinguished by special "warm" light and movement. The sky acquires a gentle azure hue, and the clouds are the retirement of the sunset.
Last years of the artist's life
No one is eternal, and over time, the glory of Alekseeva Fyodor Yakovlevich begins to fade, and the audience forgets him. The famous landscape officer dies in 1824 in great poverty. After him, the wife and children remain, and the Academy of Arts allocates material assistance to organize the funeral and for the further existence of the family.
Despite the sad end of his life, the artist Alekseev Fyodor Yakovlevich is one of the most famous creators of the genre of the cityscape. Queues in the Tretyakov Gallery, State Hermitage, Russian Museum are built up to his paintings. His work is studied in educational institutions. He is remembered, and in the world of painting his name is highly appreciated, and Biography Fedor Alekseeva - as an example of what you need to go for your vocation, no matter what.