Artist Vasily Polenov Pictures. From European romanticism - to Russian lyrics
From the late 1870s. The art and personality itself, V. D. Polenov, were surrounded by not just glory, but continuously enthusiastic worship of artistic youth. The paints of his paintings seemed to contemporaries with sparkling and charming, were perceived as a picturesque revelation. Now these delight is difficult to divide completely, but it was ...
Polenov was born in an intelligent and informant noble family. Father is a major official and at the same time the historian archeologist. Mother amateur engaged in painting. The son inherited both talent - scientific and artistic. In the parental estate, the intelligence on the bank of the river River at Olonets Gubernia met young lunals with beautiful Russian nature. And in 1858, he first saw the "phenomenon of Christ to the people" A. A. Ivanova. As it turns out later, these two meetings will be the most important in the fate of Polenov-artist.
Polenov was a versatile gifted and widely educated person. He studied in parallel at the University of St. Petersburg and Ah. In 1871, he receives a lawyer's diploma and, at the same time as I. E. Repin, a large gold medal for the competitive picture of the "Resurrection of the daughter of Iair".
"Resurrection of the daughter of Jair"
1871
Canvas, oil. 173 x 280 cm
Research Museum of the Russian Academy of Arts
However, a few more years have passed before the polenov really gained itself as an artist.
He rides in Germany, Italy, France (as a pensioner ah), writes historical and genre paintings, portraits. But all the more entails the landscape, painting outdoors - Plenuer, clean paints. He studies the work of wonderful French landscape players, primarily barbizons. Learn directly, and not through academic schemes to see and understand nature, comprehend its great harmony.
In 1876, Polenov returns to Russia. In 1878, at the XII exhibition, TPHV, the famous "Moscow courtyard" appears. In this filled with the sun, the artist managed to connect the immediacy and freshness of the plenary perception with so characteristic of the Russian landscape tradition with a holistic and at the same time intimate-warm sensation of the world. "Moscow courtyard" is a truly world in which every detail looks infinitely meaningful and native; in which "converge" the Barskoye Manor and the Housing of the poor; Which begins the figure of the child in the foreground and as if he grows into the bottomless sky with a sparkling church in the sun rays. The human world here is part of the vigorous harmonious world of nature.
"Moscow courtyard"
1877
Canvas, oil on cardboard 48.8 x 38.5
Moscow
"Moscow courtyard"
1878
Canvas, oil. 64.5 x 80.1 cm
State Tretyakov Gallery
Subsequent works of Polenov - "Babushkin Garden" (1878), "overgrown pond" (1879), Etudes 1881-82, made during a trip to Greece and the Middle East, were strengthened by the glory of one of the best Russian landscape players. He, in the consciousness of contemporaries, first in such a volume introduced into Russian painting "European influence" (A. M. Vasnetsov), that is, the principles of plenary painting: clean and more open paints, colored shadows, free smear.
"Babushkin Garden"
1878
Canvas, oil 54.7 x 65
State Tretyakov Gallery
Moscow
"In the overgrown pond"
1879
Canvas, oil 77 x 121.8
State Tretyakov Gallery
Moscow
In 1882-94. Polenov leads a landscape class of men. His students were I. I. Levitan, to A. Korovin, A. E. Arkhipov, A. Ya. Golovin and others known to the master. In many later landscapes of the artist, the motive of the river is persistently repeated, leisurely current away among the endless space of the Russian Plain ("Early Snow", 1891; "Golden Autumn", 1893, etc.). This is homeland. Such Polenov remembered it from childhood. Landscapes - the best in his heritage.
"Early Snow"
1891
Canvas, oil. 48 x 85 cm
State Tretyakov Gallery
"Golden autumn"
1893
Canvas, oil 77 x 124
State Historical and Art and Natural Museum-Reserve V.D. Polenov
Tarusa
"Pond in the park. Olshanka »
1877
Wood, oil 24 x 33.6
State Tretyakov Gallery
Moscow
"Old Mill"
1880
Canvas, oil 88 x 135
Serpukhov Historical and Art Museum
Serpukhov
"On the boat. Abramtsevo "
1880
Canvas, oil. 58 x 106.5 cm
Kiev State Museum of Russian Art 
"Klyazma River. Zhukovka "
1888
Canvas, oil 38 x 46.7
Nizhny Novgorod State Art Museum
Nizhny Novgorod
"Russian village (northern village)"
1889
Canvas, oil 89 x 142
Saratov
"Chapel on the shore of Oka"
1893
Canvas, oil. 24 x 43 cm
State Museum-Reserve "Rostov Kremlin"
"Volga settlement"
1897
Canvas, oil. 32 x 54 cm
Penza Regional Art Gallery. K.A. Savitsky
But the artist himself dreams of going further. He cherishes a grand intention - "... Create Christ is not only the coming, but who has already come to the world and makes his way among the people." Polenov visited Palestine twice. He studies landscape, architecture, human types.
Sitting Christ. 1880-E.
Palestinian monk. 1886.
Head of Christ. About 1887.
In 1888, the artist ends the largest picture of his picture - "Christ and the sinner." Following it appear "on the genisret (tivsel) lake" (1888), "Dreams (on Mount)" (1890-1900) and still dozens of works of the series "From the life of Christ" (1899-1909). 
"Christ and sinner (who without sin?)"
1888
Canvas, oil 325 x 611
State Russian Museum
St. Petersburg
Polenov sought to show Christ as a Humanist, opposing the raw dogmate of fanatics (according to the law, shown in the treason wondered by stones). He inspired him and the noble idea of \u200b\u200bthe protection of the dignity and equality of women. The image of Christ in historical real clothes and an atmosphere was innovative. Surprised contemporaries and brightness of paints. But Polenov used new picturesque principles in general academic in the nature of the composition and therefore failed to achieve the necessary persuasiveness.
The background of the picture resembles theatrical scenery. And it is not by chance. Polenov worked a lot in the theater and was one of the reform of the reform of theatrical and scenery art, which gave such brilliant results at the beginning of the XX century.
In Moscow, the House of Theater Enlightenment was built on his funds (1915).
"On the Tiberiatic (Genisaret) Lake"
1888
"Tiberiating (Genisaret) Lake"
1881
Canvas, oil 31 x 63
State Museum of Fine Arts of the Republic of Tatarstan
Kazan
"Tiberiating (Genisaret) Lake. Palestine"
1880-E.
Canvas, oil 72 x 127.9
Yaroslavl Art Museum
Yaroslavl
"Dreams"
Picture from the series "From the life of Christ."
1894
Canvas, oil 180 x 165
State Art Museum named after A. N. Radishchev
Saratov
In his interest in the personality of Christ of the Polenov, not alone among Russian artists of the end of the XIX century, but, perhaps, the most consistent. He seeks to portray Jesus morally perfect and in this sense perfect, but simultaneously and just a person in a particular historical setting among the real landscape. In addition to the gospel, the artist inspired the famous book E. Renan "Life of Jesus". Polenov tried to free the image of the evangelical legend from the developing centuries of stamps and imagine: But how was it really? Here, the polenov scholar said in it.
Vasily Dmitrievich Polenov was born in St. Petersburg on May 20 (June 1) of 1844 in the cultural nobility family. His father - Dmitry Vasilyevich Polenov, the son of academician at the Russian language and literature, was a famous archaeologist and bibliographer. The mother of the future artist, Maria Alekseevna, nee Waikova, wrote a book for children and engaged in painting. The ability to draw painting was characterized by most of the children are full, but the most gifted were two: the eldest son of Vasily and the youngest daughter Elena, who later became real artists. Children had teachers on painting from the Academy of Arts. Meeting with one of the teachers - p.p. Cleaner - it became defining for the life path of Polenov. Cleaning taught the drawing and basics of Polyenov's painting and his sister in 1856-1861. At that time, he demanded a close study of nature from his disciples. "Nature," recalled afterwards, it was installed for a long time, and the drawing was implemented systematically, not a conditional reception, but a thorough study and, if possible, accurately transmitting nature. " "Without thinking, nothing to start, but, starting, not to hurry," Polenov's teacher advised. Obviously, cleaning managed to convey to his student the main thing - a professional approach to painting, an understanding that real art can only arise as a result of hard work and that it was not very important to master it.
After a long fluctuations in 1863, he, having graduated from the gymnasium, comes along with his brother Alexei to the Physics and Mathematics Faculty (natural discharge) of St. Petersburg University. At the same time, in the evenings, he visits the Academy of Arts as a volunteer student, and it is engaged not only in drawing classes, but he also listens to the lecture on the subjects of anatomy, construction art, descriptive geometry, history of elegant arts with interest. Does not stop moles and music. He was not only a regular visitor of the Opera House and concerts, but also sang himself in the student choir of the Academy. Going to the basic class of the Academy of Arts is already as a permanent student, the university leaves the university for a while, fully immersed in painting. By making the right choice, because already in 1867, he finishes the student at the Academy of Arts and receives silver medals for drawings and etude. Following this, participates in two competitions for gold medals on the elected class of historical painting and from January 1868 again becomes a student of the university, but now the Faculty of Law.
In 1871, he receives a lawyer's diploma and, at the same time with Ilya Efimovich Repin, a large gold medal for the competitive picture of the "Resurrection of the IAIR daughter". Polenov seeks to create a product of high-style, give a sublime character of the depicted, the workshop of the layout and the solution of the color, she wore the traits of the genreness, but was not a refinement in the plan of this picture. Many marked the greater warmth of the feeling expressed by the full-fashioned girl in the image of a girl pulling a slight hand to Christ.
However, a few more years passed before the polenov really gained himself as an artist. Vasily is sent for a long time to be in Paris, and wrote there, among other things, the "Arrest of Countess d'Tremon", who provided him in 1876 by the title of academician. The realistic aspirations of the artist, strengthened under the influence of I. Pepina and A. Bogolyubov, were fully manifested in his subtle captivity landscapes and etudes. After returning to the Motherland, the Polenov becomes a convinced commitment of national democratic art. He writes truthful, imbued with love for people from the people Portraits of the N. Bogdanov Supernik (1876), the village of Vakhramey (1878), a picture of the peasant life "Family Mount" (1876).
Returning in 1876 to Russia, soon went to the theater of the Russian-Turkish war, in the continuation of which was the official artist at the main apartment of Heir-Cesarevich (afterwards the emperor Alexander 3). At the end of the war settled in Moscow. After traveling a lot.
The strongest impression was made at him "Vesezi La La" (beauty Venice), which is presented (according to him) "by a passing traveler with something fantastic, some kind of magical sleep." The admiration of Polenov Venice intensified because she was the birthplace of his beloved artist Paolo Veronese who conquered him back during the study at the Academy of Arts. Since then, Veronese's passion has not passed, becoming, the year is increasingly meaningful and targeted. Polenov with his deposits of Colorist hit the huge colorful gift of the Venetian artist, the strength of his painting. "What a delicate feeling of paints," Polenov admired, - which is the extraordinary ability to combine and select the tones, what power in them, what a free and widely unfolded composition, with all this, the lightness of the brush and work, as I do not know anyone! ". Looking in front of the beauty of the flavor of cloths Veronese. After proceeded to Rome, but he disappointed him. "Rome Himself ... Some dead, backward, who has learned, - shared his observations of Polenov with Repin. - There is ... how many centuries, and even there are still no typical, as in German medieval cities ... no in him life peculiar, own, and all it seems to exist for foreigners ... about artistic life in a modern sense and there is no madness, there are many artists, but it's not enough of the art; everyone is closed, each nationality separately from another, the studio is although they are detached, but the main thing Again, again for rich overtakers, so that the arts are customized to their taste ... The Roman artist is already in the first picture of his routine imitator. Old Italians also do not fond of me ... ". Therefore, in Rome, not a single picture was created.
The period of the pensioner business trip helped Polenov to understand that not historical painting was his real element. Polenov's eyes fell so fearfully to the landscape. This was the result of his quest abroad.
Humanistic talent of Polenov is finally revealed to his full force and is revealed in Russian soil, while finding out its Russian warehouse. He was commemorated by a plenary painting, to achieve the solven wages and wealth of paints, their emotional saturation, which was achieved in the works of the works written with all the brilliance of picturesque skill - the paintings of Babushkin Garden and the "overgrown pond."
For example, the painting "Babushkin Garden" was exhibited at the VII mobile exhibition in 1879. In the reviews, the exhibition of Stasov called "Babushkin Garden" among the best things, noting his distinguished "freshness of the tones" painting. She really, first of all, conquers exactly his painting. Its ash-gray with a lilated and bluish tump, pale pink, sandy, silver-green all sorts of shades, harmonically combined, with each other, form a single color gamut. The image created in the painting by the artist, deprived of one-planningness; It naturally and harmoniously combines different aspects of the perception of life, its understanding. Depicting the old Barsky mansion and his drains owner, the Polenov, unlike Maksimov with his picture "Everything in the past," says nothing about the audience about the style of this life. The merger of a person with nature, which shows here the polenov, relatives depicted with the inhabitants of the Moscow courtyard. And those and others live quietly and naturally, one life with nature, which informs their existence meaning and poetry. This feeling of the harmony and beauty of life awakens in the auditor, then the bright peaceful and joyful mood, which is allowed by his elegic meditation over the scene, captured by the artist.
But the picture "Moskovsky Dvorik" is the first painting of Polenov, exposed to the heads, which he has long sympathized. To his debut at the mobileians, the artist treated with a sense of great responsibility and therefore terribly tormented that due to lack of time, it gives the exhibition such a "insignificant" thing, like the "Moscow courtyard", written as it should be joking, on inspiration, without serious and long labor . "Unfortunately, I did not have time to make a more significant thing, but I wanted to make a mobile exhibition with something decent, I hope in the future to earn a lost time for art," the polenov complained. However, the polenov was mistaken in assessing his painting, not knowing what the future is, it is waiting for this work that it is she who will be among the pearls of the Russian school of painting, will become a plot product in the history of the Russian landscape. In this picture, the author reproduced the typical corner of the old Moscow - with its mansions , churches, overgrown with green grass courtyards, with her almost provincial lifestyle. Morning a clear sunny day at the beginning of summer (according to the memories of the artist himself). The clouds are easily sliding, the sun is closer above, heating the ground with its warmth, lighting the churches, shortening the thick shadows ... The courtyard comes to life: a woman is hurried to the well with a bucket, delusito grow in the ground from a barn chicken, started The thick greenery of the grass is the guys, it is about to touch the horse harnessed in the cart ... This everyday vanity does not disturb serene clarity and silence.
In the future, the development of Polenov-landscape in the era of the 1990s is inextricably linked with his life on the bank of the Oka, which has become an inexhaustible source of his creative inspiration in these years. Dreaming to settle "in nature", Polenov acquired in 1890 a small estate "Behovo" in the former. Aleksinsky county, Tula province. There they were built on his own project a house with workshops for friend-artists. The manor was named "Bores". The choice of a new place to stay happily coincided with the direction of creative search of the Polenov of the 90s and can be said, in many respects contributed to the success of these searches. The nature of the area favored the development of the Polenov attraction to the epic landscape. The artist very quickly found his topic in the landscape and from now on became the real poet of Oka.
The last years of the lifestyles spent in the boards. He continued to continue to work, inspiring the landscapes of Oka, where many landscapes of the master were written, he collected an artistic collection to open a publicly accessible museum. Now there is a Museum-Usadba V. D. Polenova.
On the eighteenth of July 1927, the artist died in his estate and was buried in the cemetery in Behov.
The artist who worked in different genres was remembered by the public, first of all, as the creator of wonderful samples of the Russian landscape. I remember the solar, joyful simplicity of my paintings. Near the works of Polenov in the Tretyakov Gallery is always a cluster of the people. The sky is bright, high, washing the domes of churches and wooden roofs of yard buildings, glare on the tracks, bush lilacs and the riveted thickets of herbs - all this is a unknown, familiar, and in all this she, Russia-Mother. To see usual things and hand it up so that the heart touched, only a great talent. July 18 - the day of memory of this wonderful artist. God forbid that the work of Vasily Dmitrievich is not left of the memory, as it is often with the classics. The habit in this case is the genus of oblivion. Let some of our young readers open for themselves "his" Polenov for themselves in one way or another genre.
In the cheerful spirit
Cold and gloomy issued autumn in the 1920s. The merciless of the last summer in many areas destroyed crops. For props, mass hunger began. The 76-year-old artist lived in the former borz estate. For weeks did not crawl out of a thick jacket, did not shoot the caps and mittens. To somehow reinforce yourself, the pitch apples and from morning to evening worked.
What to support people when so hard, longing will approach? And then the idea was born - to show the beauty of God's world, give a little joy. This time, the poles thought something fabulous: to arrange a light with highlighted paintings, on which the journey would be depicted at different parts of the Earth. "You think only how the peasants live", - said Vasily Dmitrievich, - "Half a year of cold, darkness, nothing but a restaurant ... You can die with longing ... and suddenly around the world!" .
To create paintings, the artist used his early etudes brought from trips. He himself constructed and made a portable folding box for the diorama. Hunger and work gradually undermined his health - he wrote standing. When the diorama was finally ready, he was going to go to the insurance, to personally participate in the show, and then the legs of the treacherously refused to serve - swollen so that the felt boots were impossible to wear. But not so, it was easy to keep Vasily Dmitrievich on the spot - he ordered to cut the boots on top and yet drove. Diorama was opened at the local museum, and its creator was modestly sat on the porch at the entrance and admired smiling faces of the emerging spectators.
The desire to bring people joy he retained until the end of his life, and at 80 years old - received news about the assignment of the title national artist. He was a folk artist, in fact - together with his people experienced what was the common lotion.
Many people celebrated the inherent aristocracy. Pasternak wrote about him: "It was the only one, in full and best sense of the word, a gentleman - European and aristocrat."
Polenova such definitions were confused. Somehow he noticed his relatives: "For some reason, everyone consider me an aristocrat. This is some kind of misunderstanding. I do not feel any noble qualities in myself. I constantly work, and above all I love work ... People close to me all workers " . Polenov, indeed, worked all his life, but still, the connection with the noble culture allocated him from the environment of artists and largely determined the originality of his work.
Talent sources
Vasily Dmitrievich Polenov in St. Petersburg was born, in 1844 in the informant family. His father was a major official and a diplomat, and at the same time - a famous historian and an archaeologist. Artists, professors, musicians, scientists, and Vasily, and Vasily became intelligent to the intellectual and artistic atmosphere. Difficulties in choosing a life path were connected with this. From his youth, he managed a lot, and he could not choose between science and art. Finally, it was decided in the family that the university education would not hurt him, and Vasily Dmitrievich entered the Physics and Mathematical Faculty of the University, not leaving and leaking on the student's course at the Academy of Arts. True, painting already fascinated him more than him, and he even left the university for a while.
The interest of Polenov to the art was largely obliged to be that his teacher turned out to be one of the best teachers of that time, which raised the whole Pleiad of the Great Artists - P.P. Cleaners. A few years later, at the insistence of Polenov's parents returned to a university bench (this time as a student of the Law Faculty), but the inner choice apparently has already taken place. However, the artist never regretted on obtaining higher education - it expanded the range of his ideas, which was important for creativity. During the years of study, he gladly visited a variety of courses: right, anatomy, on construction art and descriptive geometry and, finally, on the history of elegant arts.
Two medals
1871 in the life of a novice artist was special. Ahead was graduation tests at the university and at the Academy of Arts, practically, at the same time. Examination was not for Vasily Dmitrievich empty formality. He kept exams with honor. Most of the items at the University of Polenov passed on "excellent", and meanwhile, in the Academy it was expected no less serious test.
As a topic of work for a graduation competition, they are with I.E. Repin - his classmate - got. A well-known story about how Christ raised the suddenly deceased 12-year-old daughter of the chief of the synagogue. At the end of work, two wonderful, but completely different in style and the mood of the painting were presented to the Academy. Repin managed to convey the greatness and mystery of the miracle of the resurrection. In the repincial image of the Savior there was a divine force, and power, and kindness, and its immense loneliness among the world. When looking at this image, I remembered the words of prophecy about Christ: "He took over our genthes and suffered a disease" (Is. 54: 3; Matt. 8: 17) . "Her husband's sorrow" was Christ in the film of Repin.
I.E. Repin "Resurrection of the IAIR daughter" (1871)
Other artistic decision suggested Polenov. His work looked more simple, almost genre, the miracle was, as it were, dissolved in everyday life, and when looking at his image of the Savior, another prophecy was remembered - "There is no species or greatness." (IS.53: 2) . The artist presented a tired traveler, a selfless physician. The picture served as a reminder that, having come to the world, the Son of God for humility "Accept Zrak (that is, the image) of the slave", Passed the poor earth. And how much warmth and hope was in the look of the girl, which he kept for a thin, transparent from the illness of Christ's hand! Both graduates of the Academy received large gold medals for their paintings and the right to foreign trips to improve their talent.
V.D. Polenov "Resurrection of the daughter of Jair" (1871)
From European romanticism - to Russian lyrics
Traveling in Europe, the polenov was looking for her "style", his own way in art. He brought two significant historical paintings from abroad - "Arrest Guggeotka" and "right by Mr.". Both were highly appreciated by the signs of painting, but they were still very reminded of the works of European masters, and the polenov did not want to go through a simple imitation.
"Arrest Huggeot Jacobin de Montebel, Countess D'Tremon" (1875.G.)
Several years have passed, and Vasily Dmitrievich finally found his "niche". In those years, he gets closer to the Movie - artists of a new generation, opposing dry academism with its strict canons - a more lively, realistic image of reality.
Polenov with his desire for simplicity embedded in this direction. And then one "Turgenevsky" landscapes appeared one after another. First, Russian artists often imitated Italian masters, looking for special types of unusual lighting. It seemed that nothing special could not be extracting from the "poor Russian nature". Polenov also overturned stereotypes, was able to convey the beauty of the usual. His works were even joyful as the "Moscow courtyard", the penetrated by the Sun, then a little sad, transmitting the careless charm, the shyness of the grass and shrub of the ancient estates.
"Moskovsky Dvorik" (1878)
"Babushkin Garden" (1878)
Looking at his "grandmother's garden" or "overgrown pond", I wanted to plunge into a leisurely, measured life, where everything is a cozy house with a history, a walkway and a boat, the inxious corners of the garden and lilies on the water - pleased the heart, it was close and commensurate to a person. The success of Polynov's paintings was complete, and if there were first friends, hiding over his passion to Europe, called him "Don Basilio", now he was assigned the honorable "title" - "Knight of Magnitude".
"Ingrown pond" (1879)
Roads of Christ
Artistic Heritage Polenova is not only a landscape, historical and genre painting. Still in his youth under the impression of Ivanov's work "The Phenomenon of Christ People", the artist conceived to create a cycle of paintings about the life of the Savior. For this purpose, Vasily Dmitrievich traveled a lot, studied nature, life, ethnographic details, until finally, did not bring his idea. At the same time, he managed to preserve the same simplicity as in the Russian landscape.
One of the famous works of the Polenovsky cycle is "on the mountain". We know the Lord - the creator of the world, but how it simply transmits it with the poles! - Christ here is a traveler who is in full harmony with nature. He is the source of her beauty and perfection.
"On the mountain"
The same everydayness, the same lack of external effects - and in the work of VD, Polenov "Christ and sinner", where the main thing is the topic of mercy and justice. A fierce crowd with a feeling of imaginary tricks under shouts and the ululyukani wore to Jesus the young woman frown in sin, and he keeps amazing calm. Another minute, and after a few of his words, no one will remain from this set of people, and above the head of this unfortunate, has time to survive and the horror of the shame, and the threat of massacre, - acknowledged, desequeous, - the word for forgiveness and warning will sound.
"Christ and sinner" (1887)
In whatever genre, Vasily Dmitrievich Polenov, whether he wrote the interiors or antique ruins, genre portraits or landscapes, didn't tell the life of Christ, - all his work radiated the world, harmony and good. So he understood his calling, his appointment of the artist.
"Terem Palace" (1877)
1 quote. By: Paston E.V. Vasily Dmitrievich Polenov. - L. Artist RSFSR, 1991. P. 105
2 Pasternak L.O. V.D. Polenov. From my memories. Mr. O R. F. 54, units. xp 3415 (Cyt. By: Paston E.V. Vasily Dmitrievich Polenov. P. 106)
3 cyt. by: Sakharov E.V. People's Theater and Family V.D. Polenova. Memories of the daughter of the artist. // Tarusk pages. - Kaluga, 1961. P. 149
4 The name of his own direction received, thanks to mobile art exhibitions that artists were organized in different cities of Russia.
When working on the material, the following sources were used:
- Paston E.V. Vasily Dmitrievich Polenov. - L. Artist RSFSR, 1991.
- Sakharov E.V. People's Theater and Family V.D. Polenova. Memories of the daughter of the artist. // Tarusk pages. - Kaluga, 1961.
- Sakharov E.V. V.D. Polenov, E.D. Polenova. Chronicle of the family of the artist. - M., 1964.
- Favorite Russian artists. Vasily Dmitrievich Polenov. (http://www.bibliotekar.ru/kpolenov)
- State Museum Usadba V. D. Polenova (http://polenovo.tula-oblast.ru)
- Polenov, Vasily Dmitrievich. Wikipedia material - free encyclopedia. // Wikipedia.
An outstanding Russian artist Vasily Polenov left the life of Rivne 89 years ago - July 18, 1927.
"Babushkin Garden" (1879)
Another famous painting of the artist, also stored in the Tretyakov Gallery, was represented by the public only a year after the completion of the Moscow Court. At the same time both work echoes each other. In the "Grandma Garden" a manor house, surrounded by a garden, the same as in the Moscow courtyard.
The Moscow mansion and the garden around him play an important role in the picture, giving the viewer a visual idea of \u200b\u200bthe city center of that time. After the devastating fire of 1812, Moscow was built on the noble mansions in the style of classicism. If in the "Moscow courtyard" open space, filled with sunlight, creates a joyful mood, then in the "Grandma Garden" a closure inside the shaded garden causes other associations from the audience.
"Babushkin Garden" echoes another picture of the wizard. Photo: Commons.Wikimedia.org.
"Ingrown pond" (1879)
The cloth "overgrown pond" of Polenov began writing before his departure to the Russian-Turkish war. In the summer of 1977, the painter spent in the village of Petushki near Kiev, where he created an etude, which served as the main for the painting. After some time in Moscow, the polenov was inspired by the charm of the old garden on the outskirts of the city. This mood he moved to the old etude.
The picture shows part of the pond and bridge that comes to it. In the foreground - the shore with green grass and daisies, in the background - the dark forest, at the edge of which there is a bench on which a woman sits in the shade.
The work was put up at the same exhibition of the mobileians as "Babushkin Garden". Later, his "overgrown pond" wrote a student of Polenova Levitan.
The overgrown pond later wrote several artists. Photo: Commons.Wikimedia.org.
"Christ and sinning" (1887)
Polenov still in the youthful years was impressed with the picture of Alexander Ivanov "The phenomenon of Christ to the people." Then he originated with the idea of \u200b\u200bcreating a canvas capable of acting on the viewer by the power of drama. Polenov believed that such work would answer the spiritual needs of people.
The painting "Christ and the sinner" was shown at the exhibition of Mobile in February 1887. At the same time, it was condemned initially for censorship, but Alexander III was entered for the work of Polenov. He was delighted with the canvas and even acquired it for his museum.
Polenov himself wrote in one of the letters in one of the letters: "This picture was called me" Which of you without sin. " This was its meaning. But censorship did not allow these words in the catalog, they were allowed "Christ and sinner." And in the Museum of Alexander III, it was called "a prodigal wife", which is completely contrary to the evangelical story, where it is clearly said that it was sinned, and not a prodigal woman. So the name and remained. It is not mine, and does not correspond to the evangelical story. "
Polenov before writing the painting attended Egypt, Palestine and Syria. There he studied the local life, morals. It helped him to create a historically reliable situation on the canvas.
The famous evangelical episode about Christ and the Gospel (Gospel from John, chapter VIII) served as a plot of this cloth.
Initially, this work of the master was not by moral censorship. Photo: Commons.Wikimedia.org.
"Golden Autumn" (1893)
By the beginning of the 1890s, Vasily Polenov settled in the estate "Bores" at the village of Behovo. There he wrote the famous painting "Golden Autumn". On her, the master depicted a view of OKU in September.
The landscape of Polenov with his calm and wide spread of space, abundance of light and air produces a peaceful impression. "Golden Autumn" rightfully became a symbol of Russian nature, which the artist loved truly.
The picture, which became a symbol of Russian nature. Photo: Commons.Wikimedia.org.
In work, as in many other creatures, he managed to give the viewer something truly important. "It seems to me that art should give happiness and joy, otherwise it should not be anything," Polenov said. This rule he adhered to his work all his life.
Vasily Dmitrievich Polenov was born on May 20 / June 1/1844 in St. Petersburg in a highly educated noble family. Father - Dmitry Vasilyevich Polenov / 1806-1878 /, diplomat, passionately fond of archeology and bibliography. Mother - Maria Alekseevna Polynova / 1816-1895 /, nee Waikova, the granddaughter of the architect N. A. Lvov, was a pediatric writer and a talented artist.
Parents sought hard work in their children, in every way encouraging the passion for science and art. Two of five children became artists. The first lessons of drawing and painting children gave Maria Alekseevna to children, then invited the students of the Academy of Arts P. P. Chistyakov, subsequently an outstanding pandeller and teacher. In 1860, Vasily Dmitrievich was engaged in two educational institutions of St. Petersburg - the University and the Academy of Arts. In the spring of 1871, he graduated from the university with the title of candidate of rights.
In the autumn of 1871, V. D. Polenov received a large gold medal at the Academy of Arts for the painting of the "Resurrection of the daughter of Iair" and the right of traveling in Europe for 6 years at the Academy.
Over the years of the journey, the polenov tried all the painting genres, worked a lot on the pleaire, testimony of which are numerous etudes, which are distinguished by the novelty the selected motives, solving the most complex captivity tasks.
« One of the unexpectedly large holidays was the appearance at the exhibitions of the first intimate landscapes of Polenov in the mid-70s "Moscow courtyard", "Babushkin Garden", "gray day" and a number of other Turgenev motives were unexpectedly new, freshly imbued with truth, subtle musical lyrism and elegant technique", I wrote at that time of the sharphuhov. Polenov appeared by the sonlock of the new Russian painting, giving life to lyrical landscape.
For a long time, the artist worked on a large cycle of paintings from Christ's life, seeking to "create Christ not only the coming, but who has already come to the world and makes his way among the people." It was written more than fifty paintings for gospel plots. In an effort to achieve historical accuracy in writing works, Vasily Dmitrievich Makes a journey through the countries of the East. From Syria, Egypt and Palestine, a huge amount of natural material was brought, travel notes, costumes.
The 1980s became the years of the heyday of artistic and pedagogical activities V. D. Polenov. Twelve years he taught in the Moscow School of Painting, Sculpture and Architecture, where he brought up a whole generation of first-class Russian painters, incl. I. Levitan, K. Korovina, I. Ostrukhova, A. Arkhipova, S. Ivanova.
A noticeable place in the life of the artist was occupied by music. Without a special education, he composed operas and romances, arranged homemade musical evenings.
The construction of the estate on the picturesque bank of the Oki River allowed the artist to reveal another side of a multifaceted talent. I worked a lot on the Oka Polenov: I wrote pictures, composed music, sled trees in the park, built a dam, helped build boats.
With his characteristic energy engaged in the problems of popular education. Vasily Dmitrievich built two schools in the surrounding villages. The last of his work was also devoted to children: in the 20s, he created Diorama - around the world in pictures. Magic light paintings have become a holiday for peasant children.
Vasily Dmitrievich Polenov died on July 18, 1927 at the age of 83. In 1926, one of the first in Russia was awarded the honorary title of the People's Artist of Russia. Vasily Dmitrievich was buried on the high bank of Oka in the village of Behovo, on a simple village cemetery. On the grave, as follows in the will, a wooden cross was put on the sketch of the artist himself. Back in 1906, in his artistic testation, Polenov wrote: " The death of a person who managed to fulfill something from his ideas is the event natural and not only not sad, but rather joyful, natural, it is a welcome vacation, peace, and the rest of non-existence, and being remains and goes into what he has created».
Chronicle of Life
1855
Building a house in the estate of the Master of Olonets Gubernia.
1858
Acquaintance with the picture A. A. Ivanova "The phenomenon of Christ to the people" exhibited at the Academy of Arts in St. Petersburg.
1859
The beginning of the lessons of drawing and painting at P. P. Chistyakova. Visiting the class F. I. Jordan at the Academy of Arts.
1861–1863
Moving to Petrozavodsk. The end of the gymnasium, the external received certificate for admission to the university.
1863
Simultaneous admission to the physico-mathematical (legal) Faculty of St. Petersburg University and to the Academy of Arts as a volunteer student. Acquaintance with I. E. Repin.
1864
Transfer to the basic class of the Academy of Arts.
1865–1871
Study at the Academy of Arts, A. T. Markova, P. V. Vasina, P. M. Shamshina, A. E. Beiderman, K. V. Veniga.
1868
Resumption of classes at the university at the Law Faculty.
1869
Small gold medal for the program "Job and his friends" at the Academy of Arts.
1871
The end of the St. Petersburg University is the title of the candidate. The end of the Academy of Arts with the title of "Painter of Portrait and Historical Genres". A large gold medal for the painting "Resurrection of the daughter of Jair" and the right from the Academy to a retired ride abroad for six years.
1872–1876
Pensioner travel.
1872–1873
Traveling in Germany and Switzerland, Italy. Rome: The first picturesque sketch for the painting "Christ and the sinner". Acquaintance with S. I. and E. Mammoth.
1873–1876
Paris. Work in the repin workshop on Montmartre, then in his workshop.
1873
The first visit to the estate of Mammoth Abramtsevo near Moscow. Trip to Paris.
1874
The painting "Law of Mr." is exhibited at the Spring Salon in Paris. Visiting the evenings in the house of A. P. Bogolyubova. Acquaintance with A. K. Tolstoy, V. A. Serovy, I. S. Turgenev; Salon Polina Viardo, meetings with Emil Zol, Ernest Renan.
july August
Viel in Normandy: Etude "White Horse".
1875
Creating a picture "Arrest Huggeot Jacobin de Montebel, Countess d'Tremon." Trip to London. Work on the paintings "Conspiracy of Gözov", "The Blind Son" (not finished), "Family Mountain".
1876–1877
Participation as a volunteer in the Chernogor-Turkish war, where it is located until the end of November. For participation in the battles was awarded a medal "For courage" and the Order of the Takovsky Cross. During his stay on the front, performs etudes with oil and numerous drawings.
Work on the picture "Lassalle reads a lecture in the working club."
The exhibition at the Academy of Arts Pictures and Etudides, performed in the pensioner period. The rank of academician.
1877–1878
Moving to Moscow. Creating paintings "Moskovsky Dvorik" and "Babushkin Garden". Participation in the activities of the Abramtsevsky artistic circle (artist decorator and actor).
1879
Creating a painting "In the overgrown pond". Life in summer in Abramtsev.
1880–1881
Work on the painting "Patient". Life in summer in Abramtsev. Creating an architectural project and sketches of the internal decoration of the church in Abramtsev.
1881–1882
The first trip to the East in connection with the work on the picture "Christ and sinning": Konstantinople, Alexandria, Cairo, Palestine and Syria, Greece.
1882
Participation in the creation of the interior of the church in Abramtsev. Marriage on Natalia Vasilyevna Yakunchikova (1858-1931). The beginning of teaching activities in the Moscow School of Painting, Sculpture and Architecture (Music). Pupils: A. I Golovin, K. A Korovin, I. I. Levitan, L. O. Pasternak, E. M. Tatevosyan, and others. Creating sketches of scenery to the spectral mammoth mug "Alay Rosa" on the play S. I. Mamontov .
1883–1884
Trip to Italy. Work on sketches and etudes for the painting "Christ and sinner" in the workshop in Rome. In the autumn of 1884 in the creation of the Russian private opera S. I. Mamontov. Drawing evenings in the house are full.
1885
Exhibition of Etudes from Travel to East 1881-1882 (TPHI). Creating a graphic option (coal) of the picture "Christ and sinner" in the size of the cloth.
1886
Ends the picture "Patient". Work on the picture "Christ and sinner" in the Moscow House S. I. Mamontov.
1887
The picture "Christ and the sinner" - at the exhibition TPHV.
Traveling with K. A. Korovin across the OK.
1888
Summer - at the cottage in Zhukovka on Klyazma. Joint work with K. A. Korovin, I. S. Ostrukhov, V. A. Serovym, I. I. Levitan, M. V. Nesterov. Completion of work on the picture "On the Tivsel (Genisretsk) Lake."
1889
Summer - at the cottage in Zhukovka on Klyazma.
1890
Paris. Picture "On the Genisaret Lake" ("Dreams") - at the exhibition in the salon Mason.
Buying Boehovo's estates on the OK; Exchange with local farmers of Boehov's land on land on the shore of the Oka.
1890–1910
It works on the pictures of the cycle "From the life of Christ" and at the same time above the manuscript "Jesus from Galilea."
1891
Work on the reorganization of the Academy of Arts.
Start of construction according to his own project of a manor house in a boards. Creating a picture of "Early Snow".
1892–1893
Arrangement of the house in the estate of Borok as a museum.
Creating paintings "Fun. Autumn on the mouth near Taruza "," Golden Autumn ". Work on the project of the Church of Technical School in the city of Coloring Kostroma province.
1894
End of work on the picture "Dreams".
november
Rome trip.
1895
Rome: Work on the picture "among teachers." Construction of Admiralty and the Facrow in the estate of Borok.
may
Travel to Paris.
1896
The end of the work on the painting "among teachers".
1897–1898
Sketches of scenery to the "Orpheus" glitch in the Russian private opera S. I. Mamontov. The beginning of work in the Committee on the creation of the Museum of Fine Arts named after Emperor Alexander III in Moscow.
1899
Second trip to the East. Continuing work on the cycle of paintings "From the life of Christ".
1902
Work on the project of wall paintings for the Museum of Fine Arts in Moscow.
1903
Creating a church project for the village of Boehovo.
1904
Construction in his project workshop - Abbey - in the borz estate. Continuing work on the evangelical cycle.
1906
Completion of the construction of the church in the village of Boehov.
"My Art Testament". The operating of the opera Polenov "Ghosts Eldlas" in the Great Hall of the Moscow Conservatory.
1907
Consecration of the Church of the Holy Trinity in Behov.
Traveling through the cities of Germany and Italy.
1909–1910
Exhibitions of paintings Cycla "From the life of Christ" (Petersburg, Moscow, Prague).
1910
Traveling through the cities of Germany.
1911
Traveling around the cities of France, Spain, Greece. The school of Polenov is based on a school in the village of Starahovo, located next to Behov.
1914
Exhibition of paintings of the cycle "From the life of Christ" in Moscow in favor of the wounded soldiers of the First World War.
1915
Construction of a house for the promotion section by factory and village theaters (from the 1921th - the house of theatrical education named after Academician V. D. Polenov) on the project of Polenov in Moscow at the land plot purchased for its funds.
1918–1919
Life in the borz estate. The work of the Polenovsky Peasant Theater.
1920–1921
Work on the light theater diorama "around the world journey": 65 paintings have been created.
1924
The first personal exhibition in the State Tretyakov Gallery to the eightieth anniversary of the artist's birth.
1926
Assignment of the title of the People's Artist of the Republic.
1927
july
July 18 - the end of the artist in the Borka: buried in the cemetery in Boehov.
1939
Gift to the state from the family of the museum's full collections. The estate of Borok is renamed to the Museum V. D. Polenov.