Artist ivan kramskoy paintings gallery. Ivan Nikolaevich Kramskoy - realist painter of the second half of the 19th century
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Ivan Nikolaevich Kramskoy (May 27, 1837, Ostrogozhsk - March 24, 1887, St. Petersburg) - Russian painter and draftsman, master of genre, historical and portrait painting; art critic.
Self-portrait. 1874
Kramskoy was born on May 27 (June 8, new style), 1837 in the city of Ostrogozhsk, Voronezh province, in the family of a clerk.
After graduating from the Ostrogozh district school, Kramskoy was a clerk in the Ostrogozh Duma. From 1853 he was a photo retoucher; first, the future artist in several steps taught his fellow countryman MB Tulinov to “finish up photographic portraits with watercolors and retouching”, then he worked for the Kharkov photographer Ya. P. Danilevsky. In 1856 he came to St. Petersburg, where he was engaged in retouching in the then famous photograph of Aleksandrovsky.
In 1857, Kramskoy entered the St. Petersburg Academy of Arts as a student of Professor Markov.
In 1863, the Academy of Arts awarded him a gold medal for the painting "Moses exudes water from a rock." Until the end of his studies at the Academy, it remained to write a program for a large medal and get a foreign pension. The Academy Council offered the students a theme from the Scandinavian sagas "Feast in Valhalla" for the competition. All fourteen alumni refused to develop the topic and petitioned to be allowed each one to choose a topic of their choice. Subsequent events went down in the history of Russian art as the "Riot of the Fourteen". The Academy Council refused them, and Professor Ton noted: "If this had happened before, then all of you would be soldiers!" On November 9, 1863, Kramskoy, on behalf of his comrades, told the council that they, "not daring to think about changing the academic regulations, humbly ask the council to release them from participation in the competition." Among these fourteen artists were: I. N. Kramskoy, B. B. Venig, N. D. Dmitriev-Orenburgsky, A. D. Litovchenko, A. I. Korzukhin, N. S. Shustov, A. I. Morozov , K. E. Makovsky, F. S. Zhuravlev, K. V. Lemokh, A. K. Grigoriev, M. I. Peskov, V. P. Kreitan and N. V. Petrov. The artists who left the Academy formed the "Petersburg Artists' Artel", which existed until 1871.
In 1865, Markov invited him to assist in painting the dome of the Cathedral of Christ the Savior in Moscow. Due to Markov's illness, the entire main painting of the dome was done by Kramskoy, together with the artists Venig and Koshelev.
In 1863-1868 he taught at the drawing school of the Society for the Support of Applied Arts. In 1869, Kramskoy received the title of academician.
In 1870, the "Association of Traveling Art Exhibitions" was formed, one of the main organizers and ideologists of which was Kramskoy. Influenced by the ideas of Russian democrats-revolutionaries, Kramskoy defended the view of the high social role of the artist, the principles of realism, the moral essence and nationality of art.
Ivan Nikolaevich Kramskoy created a number of portraits of prominent Russian writers, artists and public figures (such as: Lev Nikolaevich Tolstoy, 1873; I.I. Shishkin, 1873; Pavel Mikhailovich Tretyakov, 1876; M.E.Saltykov-Shchedrin, 1879 - all are in the Tretyakov Gallery, portrait of Botkin [specify] (1880) - private collection, Moscow).
One of the most famous works by Kramskoy is Christ in the Desert (1872, Tretyakov Gallery).
Continuing the humanistic traditions of Alexander Ivanov, Kramskoy created a religious turning point in moral and philosophical thinking. He gave the dramatic experiences of Jesus Christ a deeply psychological interpretation of life (the idea of heroic self-sacrifice). The influence of ideology is noticeable in portraits and thematic paintings - “N. A. Nekrasov during the "Last Songs" period ", 1877-1878; Unknown, 1883; "Inconsolable Grief", 1884 - all in the Tretyakov Gallery.
The democratic orientation of Kramskoy's works, his critical insightful judgments about art, and persistent research into objective criteria for assessing the characteristics of art and their impact on it, developed democratic art and the worldview of art in Russia in the last third of the 19th century.
Prayer of Moses after the Israelites crossed the Black Sea. 1861
Reading Portrait of Sophia Nikolaevna Kramskoy, the artist's wife. 1866-1869
Female portrait. 1867
Portrait of the artist K. A. Savitsky. 1871
Mermaids. 1871
Portrait of the artist M.K. Klodt. 1872
Christ in the wilderness. 180 x 210 cm.1872
Portrait of AI Kuindzhi. 1872
Beekeeper. 1872
A girl with a loose braid. 1873
Portrait of I.I.Shishkin. 1873
Portrait of the writer Leo Tolstoy. 1873
An offended Jewish boy. 1874
Woodsman. 1874
Portrait of the Writer Ivan Alexandrovich Goncharov 1874
Peasant's Head 1874
Portrait of Sophia Nikolaevna and Sophia Ivanovna Kramskoy, the artist's wife and daughter. 1875
Portrait of the writer Dmitry Vasilievich Grigorovich 1876
Portrait of Pavel Mikhailovich Tretyakov. 1876
Portrait of the sculptor Mark Matveyevich Antokolsky. 1876
N. A. Nekrasov during the period. The last songs. 1877-1878
Portrait of the writer Mikhail Evgrafovich Saltykov (N. Shchedrin). 1879
Portrait of Adrian Viktorovich Prakhov, art historian and art critic. 1879
Moonlit Night 1880
Portrait of Doctor Sergei Petrovich Botkin 1880
Portrait of the actor Vasily Vasilyevich Samoilov. 1881
Portrait of the publisher and publicist Alexei Sergeevich Suvorin. 1881
Portrait of Anatoly Ivanovich Kramskoy, the artist's son. 1882
Portrait of Sophia Ivanovna Kramskoy, the artist's daughter. 1882
Girl with a cat. 1882
Unknown. 1883
Peasant with a bridle Mina Moiseev. 1883
Actor Alexander Pavlovich Lensky as Petruchio in Shakespeare's comedy "The Taming of the Shrew." 1883
Phlox flowers bouquet. 1884
Inconsolable grief. 1884
Kramskoy, painting a portrait of his daughter, Sophia Ivanovna Kramskoy, married Juncker. 1884
Portrait of the philosopher Vladimir Sergeevich Solovyov. 1885
Portrait of Alexander III. 1886
Children in the forest. 1887
Fully
The main direction of his work is portrait and historical painting.
He was born on May 27 in the Voronezh province. Kramskoy's father was a clerk in the local Duma. OIvan received his education at the Ostrog School, which he graduated at the age of twelve.
He graduated from college with a certificate of honor, he studied well. In the year he received his first education, the young man lost his father. Ivan had to earn extra money in the same Duma where his father worked, he served as a scribe in the Duma.
At the age of 15, Kramskoy was a student of the Ostrog icon painter, from whom he took over the skill for a year. He also worked as a retoucher for a photographer, originally from Kharkov, and earned his living wandering around, photographing various events.
The Kharkiv resident introduced Kramskoy to his work. Ivan began traveling with the photographer around the country for three years. During this time, he improved his skills in retouching.
In 1857, fate threw Kramskoy to the capital of the Empire. In St. Petersburg, he worked in a photo studio and soon entered the. In 1863, Kramskoy received a small gold medal from the Academy of Arts for the painting "Moses exudes water from a rock."
It is worth noting that Ivan Nikolaevich was endowed with a certain charisma, was a leader by nature. Over the years of study at the Academy, he managed to prove himself well and gain great authority in the team of its students.
To graduate from the Academy of Arts and receive a large gold medal, which promised a pensioner's trip to European countries, he had to write a series of works.
The Council of the Academy offered 14 graduates, including Ivan Nikolaevich, the theme of painting - scenes from Scandinavian mythology. All 14 students refused to write a paper on this topic, as they considered it very distracted from real life.
The artists came up with a proposal to the council so that each of them should choose the theme of their work. The council refused. The artists, in turn, asked for advice on excluding them from the competition. This event went down in the history of Russian culture as the "Riot of the Fourteen".
14 rioters formed the "Petersburg Artists' Artel", which was formed on the initiative of Ivan Nikolaevich. The year 1870 was marked by the creation of the "Association of Traveling Art Exhibitions", Kramskoy should be considered the ideological inspirer and founder of this organization.
In the artist's biography there are many good ones, which are known to everyone today. Kramskoy is a significant figure in Russian history who had a great influence on the development of art in Russia. In fact, he was the educator of the next generation of Russian realist artists.
Ivan Nikolaevich Kramskoy died on March 24, 1887, right at work - he was painting a portrait of Dr. Rauchfus and suddenly fell. The doctor tried to help, but still, he was powerless.
And van Kramskoy participated in the famous student revolt of the Academy of Arts: he refused to write a competitive work on a given topic. After leaving the Academy, he first founded the Artel of Free Artists, and later became one of the founders of the Association of the Itinerants. In the 1870s, Ivan Kramskoy became a renowned art critic. Many collectors bought his canvases, including Pavel Tretyakov.
Member of the "Riot of Fourteen"
Ivan Kramskoy was born in Ostrogozhsk in the family of a clerk. Parents hoped that their son would become a clerk, like his father, but the boy loved to draw from early childhood. A neighbor, self-taught artist Mikhail Tulinov taught young Kramskoy to paint with watercolors. Later, the future artist worked as a retoucher - first for a local photographer, and then in St. Petersburg.
Ivan Kramskoy did not dare to enter the capital's Academy of Arts: there was no elementary art education. But Mikhail Tulinov, who by this time had also moved to St. Petersburg, invited him to study one of the academic disciplines - drawing from plaster. The sketch for Laocoon's head became his opening work. The Council of the Academy of Arts appointed Ivan Kramskoy as an apprentice to Professor Alexei Markov. The aspiring artist learned not only to write, but also prepared cardboard for the painting of the Cathedral of Christ the Savior in Moscow.
In 1863, Ivan Kramskoy already had two medals - Small Silver and Small Gold. Ahead was the creative competition - those who passed it with success received the Big Gold Medal and a six-year trip abroad for pensioners.
For the competition work, the council offered students a plot from Scandinavian mythology - "Feast in Valhalla". However, at this time, interest in genre works grew in society: paintings depicting everyday life became popular.
The students of the Academy were divided into innovators-genre painters and historians, faithful to the old traditions. 14 out of 15 applicants for the Grand Gold Medal refused to paint competitive canvases on a mythological plot. At first, they submitted several petitions to the council: they wanted to choose topics on their own, demanded that the examination papers be considered publicly and given reasoned marks. Ivan Kramskoy was a "deputy" from the group of fourteen. He read the requirements before the council and the rector of the Academy and, having been refused, left the exam. The comrades followed his example.
“... In the end, just in case, we stocked up with petitions stating that“ for home or some other reasons, I, such and such, cannot continue the course at the Academy and I ask the Council to issue me a diploma corresponding to the medals I was awarded ” ...
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One by one, the students came out of the conference rooms of the Academy, and each one took out a fourfold request from the side pocket of his frock coat and put it in front of the clerk, who was sitting at a special table.
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When all the petitions had already been submitted, we resigned from the board, then from the walls of the Academy, and I finally felt myself at this terrible freedom, to which we all so eagerly strove. "Ivan Kramskoy
Artel of free artists
Ivan Kramskoy. Self-portrait. 1867. State Tretyakov Gallery
Ivan Kramskoy. Girl with a cat. Portrait of a daughter. 1882. State Tretyakov Gallery
Ivan Kramskoy. Reading. Portrait of Sofia Nikolaevna Kramskoy, the artist's wife. 1869. State Tretyakov Gallery
After graduation, young artists had to leave the workshops of the Academy, where they not only worked, but also lived - often with relatives or friends. There was nothing to rent new apartments and workshops for. To save comrades from poverty, Kramskoy proposed to create a joint venture - the Artel of Free Artists.
Together they rented a small building, where they each had their own workshop and a large common meeting room. The farm was run by the painter's wife, Sophia Kramskaya. Soon the artists got orders: they drew illustrations for books, painted portraits, made copies of paintings. Later, a photo studio appeared in the Artel.
The association of free artists flourished. Ivan Kramskoy was in charge of the Artel's business: looking for customers, distributing money. In parallel, he painted portraits, gave drawing lessons at the Society for the Encouragement of Artists. Ilya Repin was one of his students. He wrote about Kramskoy: “That's a teacher! His judgments and praises were very weighty and had an irresistible effect on the disciples. ".
In 1865, the painter began to paint the domes of the Cathedral of Christ the Savior in Moscow using cardboard, which he created during his years at the Academy.
At the end of 1869, Ivan Kramskoy left Russia for the first time to get acquainted with Western art. He visited several European capitals, visited museums and art galleries there. Kramskoy's impressions of Western painters remained contradictory.
"Today I examined the Royal Museum ... Everything that I saw makes an overwhelming impression."
Ivan Kramskoy, from a letter to his wife
When Ivan Kramskoy returned to Russia, he had a conflict with one of his comrades: he accepted a pensioner's trip from the Academy, which was against the rules of the "fourteen". Kramskoy left the Artel, and soon the association of free artists disintegrated.
Founder of the Association of the Wanderers
Ivan Kramskoy. Portrait of Ilya Repin. 1876. State Tretyakov Gallery
Ivan Kramskoy. Portrait of Ivan Shishkin. 1880. State Tretyakov Gallery
Ivan Kramskoy. Portrait of Pavel Tretyakov. 1876. State Tretyakov Gallery
Soon Ivan Kramskoy became one of the founders of a new creative association - the Association of Traveling Art Exhibitions. Among its founders were also Grigory Myasoedov, Vasily Perov, Alexey Savrasov and other artists.
“The partnership has the goal of: organizing ... in all cities of the empire, traveling art exhibitions in the following types: a) providing the inhabitants of the provinces with the opportunity to get acquainted with Russian art ... b) developing a love of art in society; c) facilitating the sale of their works for artists. "
From the Charter of the Association of Traveling Art Exhibitions
Ivan Kramskoy. May night. 1871. State Tretyakov Gallery
Ivan Kramskoy. Christ in the wilderness. 1872. State Tretyakov Gallery
At the very first exhibition of the Itinerants in 1871, Ivan Kramskoy presented his new work - "May Night". A picture of mermaids flooded with moonlight, the painter wrote in Little Russia based on the story of Gogol. The canvas with a mystical plot did not correspond to the program of the Wanderers, but the work was successful with both artists and critics, and immediately after the exhibition it was bought by Pavel Tretyakov.
“I am glad that with such a plot I didn’t finally break my neck and if I didn’t catch the moon, then something fantastic came out ...”
Ivan Kramskoy
In 1872, Kramskoy finished the painting "Christ in the Desert". “For five years now He has stood before me relentlessly; I had to write Him to get rid of ", - he wrote to his friend, artist Fyodor Vasiliev. For this canvas, the Academy of Arts wanted to award Kramskoy the title of professor, but he refused. The painting was bought by Pavel Tretyakov for a lot of money - 6,000 rubles.
In the 1870s, Kramskoy created many portraits of the artist Ivan Shishkin, Pavel Tretyakov and his wife, writers Leo Tolstoy, Taras Shevchenko and Mikhail Saltykov-Shchedrin, and Dr. Sergei Botkin.
Ivan Kramskoy not only wrote canvases, but also published critical articles. He called for getting rid of the influence of the Academy of Arts on art, advocated the creation of painting schools and workshops where young artists could learn from experienced painters and at the same time maintain their own style. Kramskoy insisted that artists receive a good education: "To criticize the masses, you need to stand above the masses and know and understand society in all its interests and manifestations.".
Ivan Kramskoy. Unknown. 1883. State Tretyakov Gallery
Ivan Kramskoy. Inconsolable grief. 1884. State Tretyakov Gallery
In the 1880s, "Unknown" became one of the most sensational works of the artist. The heroine of the canvas - a beautiful lady dressed in the latest fashion - was discussed by both critics and the public. The audience was intrigued by her personality, a little arrogant look and an impeccable outfit in the fashion of those years. In the press, the painting was described as a "Russian Mona Lisa", critic Vladimir Stasov called the painting "Cocotte in a Carriage". However, art connoisseurs paid tribute to the skill of Kramskoy, who subtly painted both the face of the unknown lady and her exquisite clothes. After the 11th exhibition of the Itinerants, where the painting was exhibited, it was bought by a major industrialist Pavel Kharitonenko.
Association of Traveling Art Exhibitions
Kramskoy Ivan Nikolaevich (1837-1887)
Ivan Nikolaevich Kramskoy (1837 - 1887), Russian artist, critic and art theorist. Born in Ostrogozhsk (Voronezh province) on May 27, 1837 in a poor bourgeois family.
From childhood he was fond of art and literature. Since childhood, he was a self-taught artist, then, on the advice of one drawing lover, he began to work with watercolors. After graduating from the district school (1850) he served as a scribe, then as a retoucher for a photographer, with whom he roamed across Russia.
In 1857 he found himself in St. Petersburg, worked in the photographic studio of A. I. Denier. In the autumn of the same year he entered the Academy of Arts, was a student of A. T. Markov. For the painting "Moses oozes water from a rock" (1863) received the Small Gold Medal.
During the years of study, he rallied the advanced academic youth around himself. He led the protest of the graduates of the Academy (“riot of the fourteen”), who refused to paint pictures (“programs”) on the mythological subject set by the Council. The young artists submitted a petition to the academy council asking them to be allowed to choose a theme for each painting in order to compete for a large gold medal. The Academy reacted unfavorably to the proposed innovation. One of the academy professors, the architect Ton, even described the attempt of young artists in such a way: “in the old days you would have been sent to the army for this”, as a result of which 14 young artists, headed by Kramskoy, refused in 1863 to write on the theme set by the academy - “ Feast in Valhalla ”and left the academy.
The artists who graduated from the Academy united in the Petersburg Artel. They owe much to Kramskoy for the atmosphere of mutual assistance, cooperation and deep spiritual interests that reigned here. In his articles and extensive correspondence (with, V.V. Stasov, A.S. Suvorin and others) he defended the idea of "tendentious" art, not only reflecting, but also morally transforming an inert, false world.
At this time, the vocation of Kramskoy as a portrait painter was fully determined. Then he most often resorted to his favorite graphic technique with the use of white, an Italian pencil, he also worked using the method of the so-called "wet sauce", which allowed him to imitate photography. Kramskoy had a painting technique - a subtle completeness, which some sometimes considered excessive or excessive. Nevertheless, Kramskoy wrote quickly and confidently: in a few hours the portrait acquired a resemblance: in this respect, the portrait of Dr. Rauchfus, the last work of Kramskoy, is remarkable. This portrait was painted in one morning, but remained unfinished, since Kramskoy died while working on this picture.
The portraits created at this time were mostly commissioned, made for the sake of earning money. Well-known are the portraits of artists (1868), (1869), (1861), (1861), N.A. Koshelev (1866). The nature of Kramskoy's pictorial portrait is thorough in drawing and light and shade modeling, but restrained in color. The artistic language corresponded to the image of a common democrat, who was a frequent hero of the master's portraits. Such are the "Self-portrait" of the artist (1867) and "Portrait of the agronomist Vyunnikov" (1868). In 1863 - 1868, Kramskoy taught at the Drawing School of the Society for the Encouragement of Artists.
However, over time, "Artel" began to gradually deviate in its activities from the high moral principles declared at its inception, and Kramskoy left it, carried away by a new idea - the creation of a partnership of Traveling Art Exhibitions. He took part in the development of the charter of the "Partnership" and immediately became not only one of the most active and authoritative members of the board, but also the ideologist of the Partnership, who defended and substantiated the main positions. He was favorably distinguished from other leaders of the Partnership by his independence of worldview, rare openness of views, sensitivity to everything new in the artistic process and intolerance of any dogmatism.
The first exhibition of the Partnership exhibited "Portrait of F. A. Vasiliev" and "Portrait of M. M. Antokolsky". A year later, the painting "Christ in the Desert" was shown, the idea of which had been hatched for several years. According to Kramskoy, “and for former artists, the Bible, the Gospel and mythology served only as a pretext for expressing passions and thoughts that were completely contemporary to them”. He himself, like and in the image of Christ, expressed the ideal of a man full of high spiritual thoughts, preparing himself for self-sacrifice. The artist managed here to convincingly speak out about the problem of moral choice, which is very important for the Russian intelligentsia, which confronts everyone who understands their responsibility for the fate of the world, and this painting, rather modest in terms of painting, went down in the history of Russian art.
The artist repeatedly returned to the theme of Christ. The work on the originally conceived large painting “Laughter (“ Hail, King of the Jews ”)” (1877 - 1882), depicting the mockery of the crowd at Jesus Christ, ended in defeat. The artist selflessly worked on it for ten to twelve hours a day, but never finished, he himself soberly appraised his impotence. Collecting material for her, Kramskoy visited Italy (1876). He also traveled to Europe in subsequent years.
Kramskoy's legacy is very unequal. The intentions of his paintings were significant and original, but their implementation ran into the limitations of his capabilities as an artist, which he himself was well aware of and tried to overcome with persistent work, but not always successfully.
In general, Kramskoy was very demanding of artists, which made him a lot of ill-wishers, but at the same time he was strict with himself and strove for self-improvement. His remarks and opinions about art were not subjective, they were, as a rule, evidence-based, as far as possible in matters of aesthetics. Its main requirement is the content and nationality of works of art, their poetry; but he did not give the last place to painting itself. This can be seen by reading his correspondence, published by A. Suvorin under the editorship of V. V. Stasov "Ivan Nikolaevich Kramskoy, his life, correspondence and art-critical articles" (St. Petersburg, 1888). Sometimes his opinions remained vacillating for a long time until he found a compromise. Kramskoy was not well educated, but he always regretted this and constantly tried to make up for this deficiency.
In the small composition "Inspection of the old manor house" (1873 - 1880) Kramskoy found an unusual laconic solution, successfully overcoming the stereotypes prevalent in genre painting of that time. His "Unknown" (1883) turned out to be an extraordinary work, which still beckons the audience with its unsolvedness (and art historians - with the mysterious circumstances of working on it). But the painting "Inconsolable Grief" (1884), which he carried out in several versions, did not become a serious phenomenon, trying to convey a strong feeling using the most restrained means. An attempt to embody the fantasy world in the painting "Mermaids" (1871) ended in failure.
Kramskoy managed to achieve the greatest success in portraiture. He captured many figures of Russian culture: L. N. Tolstoy (1873), I. I. Shishkin (1873), I. A. Goncharov (1874), J. P. Polonsky (1875), P. P. Tretyakov, D. V. Grigorovich, M. M. Antokolsky (all 1876), N. A. Nekrasov (1877 - 1878), M. E. Saltykov-Shchedrin (1879) and others; some of these portraits were specially painted by order of P.P. Tretyakov for his picture gallery.
The images of Russian peasants became a major art phenomenon: "Woodsman" (1874), "Contemplator" (1876), "Mina Moiseev" (1882), "Peasant with a bridle" (1883). Over time, Kramskoy as a portrait painter became very popular, he had many customers, including members of the imperial family. This allowed him to exist comfortably in the last years of his life. Not all of these solid portraits were equally interesting. Yet it was in the 1880s. he ascended to a new level - he achieved a deeper psychologism, which at times made it possible to reveal the innermost essence of a person. So he showed himself in the portraits of I.I.Shishkin (1880), V.G. Perov (1881), A.S.Suvorin (1881), S.S.Botkin (1882), S.I. Kramskoy, the artist's daughter (1882), V.S. Solovyova (1885). The stressful life undermined the health of the artist, who did not live to be fifty.
Kramskoy is an outstanding figure in the cultural life of Russia in the 1860s - 1880s. The organizer of the St. Petersburg art artel, one of the founders of the association of the Itinerants, a subtle art critic, passionately interested in the fate of Russian art, he was the ideologist of a whole generation of realist artists.
On the page are the most famous paintings by Ivan Nikolaevich Kramskoy.
Kramskoy is one of the founders and the main ideologist of the Itinerant Association.
The main event of the first exhibition of the Itinerants was the painting by Kramskoy "Christ in the Desert". But the most famous and popular painting later became the painting "Unknown".
Kramskoy, like no one else, left us a lot of portraits of the great figures of his time.
Self-portrait of Kramskoy.
Unknown. Kramskoy.
The most mysterious and intriguing painting by Kramskoy. And the most famous one.
But the prototype is completely unknown, the woman with whom the artist painted. The face immediately catches the eye. The woman's eyes are cold and haughty, dressed in the latest fashion. Sits in a carriage against the backdrop of winter St. Petersburg with its Alexandrinsky Theater.
On the photo is the painting “Bouquet of flowers. Phlox ". Kramskoy. A rare still life for Kramskoy.
Kramskoy's paintings almost always depict people.
A girl with a loose braid. Kramskoy.
What a sad face the girl has, what a melancholy look!
Surely Kramskoy himself experienced disappointments in life, emptiness and torment. It is no coincidence that the painting was without spectators for many years, being in the artist's studio.
A girl sits and her gaze is turned into nowhere, into emptiness.
Portrait of Sofia Nikolaevna Kramskoy, the artist's wife. She reads the book with enthusiasm.
Herodias. Kramskoy.
Here is a religious plot. Herodias is guilty of the death of John the Baptist, who openly condemned her marriage to her uncle.
And after the murder of John, Herodias wished to look at his severed head and enjoy the long-awaited victory over the enemy. There is a poisonous red color all around in the picture, the color of blood and murder! And this is not so much a religious plot as a moral or, more precisely, a plot of immorality.
A peasant with a bridle. Kramskoy. An epic peasant!
Kramskoy's paintings very often depict ordinary people, people from the people! And this picture is a kind of result of numerous portraits of peasants. The real peasant Mina Moiseev became the model. Wise calmness and good humor on his face!
Forest path. Kramskoy.
A rare landscape for Kramskoy without people. Kramskoy's paintings are almost always with people!
Moonlight night. Kramskoy.
The original title of the painting is "Magic Night".
And indeed the night is magical, but it’s the magic moon that makes it so! The moon lit up many details in the night with its bright light. In the center, a beautiful and pensive girl in a chic white dress sits on a bench.
In front of her is a pond with water lilies. Behind her is a park with mighty trees! The picture is filled with lyrics and mystery!
Prayer of Moses after the Israelites crossed the Red Sea.
Nekrasov in the period of the Last Songs.
At the head of the dying Nekrasov, Kramskoy placed a portrait of Dobrolyubov and a bust of Belinsky. So he portrayed in the name of what the poet lived and worked!
Insulted Jewish Boy
In the photo "Beekeeper". Kramskoy.
Kramskoy's paintings often depict a simple Russian peasant.
Woodsman. Kramskoy.
Woodsman is an old word for forester.
Other names for the painting are "A Man with a Cudgel" and "A Man in a Hat Shot Through".
Such a formidable and strong forester was written by Kramskoy.
Kramskoy also commented on this portrait with the words that it is from such men that the popular uprisings of Razin and Pugachev are formed.
Portrait of Alexander III
This is no longer a hero of the people, but a hero over the people. However, the king was the best, only he drank a lot.
Portrait of Anatoly Ivanovich Kramskoy, the artist's son.
Portrait of Vera Nikolaevna Tretyakova
Kramskoy has wonderful portraits!
Portrait of the great doctor Botkin
Portrait of I.I.Shishkin. Kramskoy.
The most famous portrait of Shishkin!
And this is Shishkin against the background of nature. Surely Shishkin admires the trees.
Kramskoy himself almost did not separate portraits from paintings. And on this canvas, the mighty and uninhibited Shishkin is depicted against the background of a sunny forest glade. Kramskoy's portraits and paintings are magnificent!
Portrait of the great Tretyakov
Portrait of Goncharov. Kramskoy.
