Kramskaya Ivan Nikolaevich (1837-1887)

Ivan Nikolaevich Kramskaya (1837 - 1887), Russian artist, critic and theorist of art. Born in Ostrogogsk (Voronezh province) on May 27, 1837 in the poor Meshchansky family.

Since childhood, he was fond of art and literature. Drawing was engaged in self-tape from childhood, then on the advice of one lover of drawing began to work as watercolor. At the end of the county school (1850) he served as a scribe, then the retoucher at the photographer, with whom he was nomaded in Russia.

In 1857, it turned out to be in St. Petersburg, he worked in the photographer A. I. Emerner. In the autumn of the same year, I entered the Academy of Arts, was a student A. T. Markov. For the picture "Moses exudes water from the cliff" (1863) received a small gold medal.

In the years of teaching, the advanced academic youth is rallied around him. He headed the protest of graduates of the Academy ("Bunt Fourteen"), refused to write paintings ("Programs") to the mythological plot specified by the Council. Young artists filed a petition to the Council of the Academy that it was allowed to choose each topic for a picture for a large gold medal. The Academy reacted inaccurately to the proposed innovation. One of the professors of the Academy, the architect tone, even as described the attempt of young artists: "In the old time, you would be given to the soldiers," as a result of which 14 young artists, with Kramsky, led, refused to write in 1863 to write the topic for a given Academy - " Feast in Valhaller "and left the Academy.

The artists came out from the Academy united in St. Petersburg Artel. The atmosphere of mutual assistance, cooperation and deep spiritual interests, they are largely obliged to Kramsky. In their articles and an extensive correspondence (with I. E. Repin, V. V. Stasov, A. S. Suvorin et al.) Defended the idea of \u200b\u200b"tendentious" art, not only reflecting, but also morally transforming oblique, fake world.

At this time, the calling of the Kramsky portraitist was completely determined. Then he most often resorted to his favorite graphic technique with the use of Belil, the Italian pencil, also worked using the method of the so-called "wet sauce", allowed to imitate a photo. Kramsky's painting technique has been a subtle finish that some sometimes considered excessive or excessive. Nevertheless, Kramskaya wrote quickly and confidently: in a few hours, the portrait got similarity: in this regard, the portrait of Dr. Rahafus, the last death fellow work of Kramsky. This portrait was written in one morning, but remained unfinished, as Kramskaya during work on this picture died.

"Portrait of Princess Catherine Alekseevna Vasilchikova"

Portraits created at this time were mostly custom, were performed for the sake of earnings. Portraits of artists A. I. Morozova (1868), I. I. Shishkin (1869), G. G. Myasedov (1861), P. P. Chistyakova (1861), N. A. Kosheleva (1866). The character of the picturesque portrait of Kramsky is thoroughly in a drawing and black and white modeling, but restrained in color scheme. The art language corresponded to the image of a democrat varnish, which was a frequent hero of the portraits of the Master. These are the "self-portrait" of the artist (1867) and the "Portrait of the Agronoma Vyunnikova" (1868). In 1863 - 1868, Kramskaya taught in the drawing school of society for the promotion of artists.

"Portrait of an old peasant"

However, over time, "Artel" began to move little in their activities from the high moral principles declared in its emergence, and Kramskaya left it, leaning on a new idea - creating a partnership of mobile 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 ideologue of the partnership, defended and justified the main positions. From other leaders of the partnership, its independence of the worldview, a rare latitude of views, sensitivity to everything new in the artistic process and intolerance to any dogmatism was also difficult.

"Portrait of Sophia Ivanovna Kramskaya"

"Portrait of F. A. Vasilyeva" and "Portrait of M. M. Antocolsky" were exhibited at the first exhibition of the partnership. A year later, the painting "Christ in the desert" was shown, the plan of which was launched for several years. According to Kramsky, "and the previous artists, the Bible, the Gospel and mythology served only the pretext for the expression of completely modern passions and thoughts." He himself, like Ge and Polenov, in the image of Christ, expressed the ideal of man performed by high spiritual thoughts preparing himself to self-sacrifice. The artist managed to convincingly speak about a very important problem of a moral choice for Russian intelligentsia, which arises before each, who understands its responsibility for the fate of the world, and this rather modest painting picture entered the history of domestic art.

"Portrait of Empress Mary Fedorovna"

The artist repeatedly returned to the theme of Christ. The defeat ended the work on the originally conceived big picture "Hochot (" Rejoice, Tsar Jewish ")" (1877 - 1882), depicting the mockery of the crowd over Jesus Christ. The artist was selflessly worked over her ten or twelve hours a day, but did not finish it, he himself soberly assessing his powerlessness. Collecting material for her, Kramskaya visited Italy (1876). He traveled to Europe and in subsequent years.

"Bouquet of flowers. Flox "

"Portrait of Sony Kramskaya, artist's daughter"

"Forest path"

Poet Apollo Nikolaevich Maikov. 1883.

"Portrait of the singer Elizabeth Andreevna Lavrovskaya, on the stage in the noble assembly"

"Portrait of the artist N.A. Kosheleva"

"Portrait of the artist Fyodor Aleksandrovich Vasiliev"

"Family of the artist"

"Russian monk in contemplation"

"Laughter. "Rejoice, Tsar Judean" "

"Contemporance"

Christ in the desert.1872.

"Somnammbul"

Mermaids. (May night) 1871

"For reading. Portrait of Sophia Nikolaevna Kramskaya "

"Peasant with a bridle. Mina Moiseev "

"Empress Maria Fedorovna, the spouse of Emperor Alexander III"

"Miller"

"Moonlight night"

"Girl with a loose oblique"

"Female portrait"

"Female portrait"

"Female portrait"

"Female portrait"

"Girl in the deep shawl"

"Moses prayer after the transition of Israelis through the Black Sea"

"Portrait of the Nikolai Kramsky, the Son of the Artist"

"Portrait of Alexander III"

Portrait of Sergey Kramsky, Son of the artist. 1883.

Portrait of Olga Afanasyevna Raftopulo. 1884.

Constive grief. 1884.

Offended Jewish boy. 1874.

Unknown. 1883.

Portrait of Barbara Kirillovna Lemoch in childhood. 1882.

"Portrait of the artist Ilya Efimovich Repin"

"Portrait of a Ukrainian writer and artist Taras Grigorievich Shevchenko"

"Portrait of actor Vasily Vasilyevich Samoilova"

"Portrait of P.A.Valulueva"

"Female portrait"

"Self-portrait"

"Portrait of the artist Shishkin"

"Portrait of the Lady"

"Portrait of Astronoma O.V.STRVA, director of Pulkovo Observatory"

"Portrait of P.I. Melnikova"

"Beekeeper"

"N.A. Koshelev. Music lesson"

Kramskaya, writing portrait of his daughter, Sophia Ivanovna Kramskaya, in the marriage of Junker. 1884.

Female portrait. 1884.

Actor Alexander Pavlovich Lensky in the role of Petruccio in the comedy Shakespeare Taming of the Shrew. 1883.

Original entries and comments on

Kramskaya was born on May 27, 1837 in the city of Ostrogozhsk Voronezh province in a poor bubbling family. Investing His art did not meet the support of relatives, and he was forced to independently engage in painting. By enrolling the retoucher to the traveling photographer Danilevsky, he traveled with him many provincial cities and finally got to St. Petersburg. There he met young artists who advised him to seriously engage in painting, and at their insistence in 1857 he entered the St. Petersburg Academy of Arts.

Having reigned there, the sideways caused a protest of advanced democratic youth. Kramskaya led young artistic forces in the struggle for realism in art against distracted classicism. Several people in protest came out of the Academy. The performance of artists marked a new era in the development of Russian art. "It's time to think about creating the Russian school of national art," said Kramskaya.

In the early 70s there was a partnership of mobile art exhibitions. It united advanced Russian artists - V. G. Perova, V. E. Makovsky, A. K. Savrasova, I. I. Shishkin. A. I. Kindji and others. Later, I. E. Repin and V. I. Surikov were included in it. The soul and leader of this organization was Kramskaya.

Picture "Mermaids". Ivan Kramskaya

To the first mobile exhibition of 1871, Kramskaya presented the painting "Mermaid" to the story of N. V. Gogol "May night". In this picture, the artist wanted to convey the magical charm of the lunar light. Mermaids move smoothly at the overgrown pond. Blue-green moonlight makes everything around mysterious and mysterious ...

Picture "Moonlight". Ivan Kramskaya

To the image of the lunar light, Kramskaya is returned in 1880. They writes a romantic, deep poetic picture "Moonlight".

Mighty poplars lined up along the alley. Lush bushes shied with white flowers. The pond was caught white pita. Everything is illuminated by fabulous lunar light. A woman sits on a bench in a white robe, full of charm, quiet lyrical sadness and mystery.

The painting "Christ in the desert". Artist: Kramskaya

The next exhibition appeared picture "Christ in the desert" (1872). Kramskaya depicts him an ordinary person. For a long time he was in silence. Restrained, tired, sat down to relax on the stone in the Palestinian desert. Hands convulsively compressed, head down. Traces of deep experiences are visible on his face. Christ for Kramsky is the embodiment of the conscience and debt of a person. The artist was characteristic of the unusually acute consciousness of his civil debt, the consciousness of the need for self-sacrifice in the name of a common cause.

Ivan Kramskaya: Painting "Rezaznaya Mountain"

Among the works of Kramsky there are a number of magnificent female portraits. They showed the ability of the artist to the expression of human emotional states. The painting "Rezazynaya Mountain" (1884) was written after the death of the small son of the artist. Kramskaya handed over an immeasurable Mother's Mountain - her personal grief, which no one can share with it.

A woman in a deaf black dress, leaning his hand about the chair, looks missing. She is shocked. Packed eyes, wrinkle cut the forehead, Dressed a strand of hair. The handkerchief brought to the mouth, as if holding back sobs ... From life, the most expensive being went out of life, and everything remains around: and this carpet, and curtains, and paintings, and albums on the table ... The coffin is not visible. Only in the chair lie boxes with wreaths and white light matter, and on the floor there are pots with blooming tulips. The room fills the gray winter light ... In the pose of a woman, the deep mental drama of the mother is embodied the expression of the face.

Ivan Kramskaya. Description of the painting "Unknown"

The crew sits, leaning back on the back of a dark yellow skin, an elegant young woman. She slightly turned towards the sidewalk, feeling admiring eyes. In her glance, the arrogance and pride of a woman who is conscious of their charm. Big brilliant eyes are cold and fearless. Her figure fell against the background of light hassle frosty winter air and pinkish Anichkova Palace. Strict architecture seems to complement the image of this beautiful, majestic woman. Velvet fur coat, fur, purple satin ribbons, white ostrich feather, thin leather gloves, tightly tight hands, emphasize the grace of the shape.

This is a portrait of the "unknown" Ivan Nikolayevich Kramsky. Although this picture is not typical of the artist's creativity, but with one mention of his name in mind the image of this captivating woman arises.

Kramskaya: Portrait of Tolstoy

Kramskaya created a number of portraits of Russian writers - Saltykov-Shchedrin, Nekrasov, L. Tolstoy, Grigorovich. The artist depicts people immersed in deep meditation.

Simply and natural pose thick. Writer's eyes are attracted, demanding, attentive. A man of will, clear and energetic mind appears Tolstoy in the portrait of Kramsky.

Portraits of peasants

The democratic views of the artist were reflected in the series of peasant images - "Peasant" (1871), "Book" (1872), "Half-owner" (1874), "Mina Moiseev" (1883) and others. These are bright types, each in its own characteristic and expressive.

Kramskaya died on March 25, 1887 while working on the next portrait. Pictures and portraits created by the artist are in short with the best creations of his contemporaries.

T. Shahov, Magazine "Family and School", 1962, Facts of the biography of the artist Ivan Nikolayevich Kramsky, paintings, description of paintings, material for writing.

Self-portrait

Kramskaya Ivan Nikolaevich (1837-1887), Russian artist of genre, historical and portrait painting. Born in Ostrogozhsk, in a poor mesh and family, initial training received in the county school. The painting of Kramskaya was engaged in self-taught, and then, with the help of the councils of one lover of drawing, Watercolor began to work. At the age of sixteen, he entered the retouches to one Kharkov photographer.

Maria Fedorovna, nee princess Dagmara Denmark, the wife of the Russian king Alexander III. 1880.

After moving in 1856 to St. Petersburg, Kramskaya continued to do the same for the best metropolitan photographers. The following year decided to enroll in the Academy of Arts, where rapid successful successes in drawing and painting. Being a student of Professor A. T. Markov, Kramskaya received a small silver for the painting "Dying Lensky" (1860),

The painting of the main dome of the christ of Christ the Savior in Moscow. 1863.

Moses prayer after the transition of the Israelis through the Cherry Sea 1861

a large silver medal for the studio from nature (1861) and a small gold medal written in the program picture: "Moses exudes water from stone." Kramsky should compete to receive a large gold medal, but at that time between young artists academicians originated and ripe doubts about the correctness of academic teaching, and they filed the Council of the Academy to allow them to be allowed to choose their own theme for a picture for a big golden story. Medals. The Academy of Arts reacted negatively to the proposed innovation.

Christ in the desert, 1872 Tretyakovskaya Gallery, Moscow

Unknown, 1883 Tretyakovskaya Gallery, Moscow

Girl with a loose scythe, 1873 Tretyakovskaya Gallery, Moscow

Alexander III, 1886 Russian Museum, St. Petersburg

Maria Fedorovna 1880.

One of the professors of the Academy, the architect tone, even so characterized the attempt of young artists: "In the old time, you would be given to the soldiers." As a result, 14 young artists, with Kramsky, led, refused to write paintings on a given academy theme - "Pier in Valhale" and left the Academy. At first, to find funds to life, they formed an artistic artel, and in 1870 some of them, joining young Moscow artists, with meatovyov, headed by the partnership of mobile exhibitions. Kramskaya became the portraitist. In the future of its artistic activities, Kramskoy constantly discovered the desire for the pictures - the works of imagination and willingly surrendered to him when everyday circumstances were allowed. Even if his academicist, Kramskaya, brought great benefit to his Professor Markov, consumed the year of time for drawing cardboard for a ceiling in the Savior Temple (in Moscow), according to Markov's sketches.

Grand Duke Mikhail Pavlovich

The best works of non-portrait painting Kramsky include paintings: "May night" (according to Gogol), "Lady in the Lunar Night", "Rezazynaya Mountain", "Half-owner", "Contemporance", "Christ in the desert" and some others. A lot of work put Kramskaya for the written picture "Jesus Christ, ridiculed as the king of the Jewish" - the paintings he called "laughter", and hoped a lot on her.

But Kramsky failed to secure himself so that it was completely surrendered to this work, which remained far away.

Sculpture Christ 1883.

Hollowman 1874.

Contemporator 1876.

Mermaids (May night) 1871

Moonful night 1880.

Kramskaya, writing portrait of his daughter, Sofia 1884

Family artist

Children in the forest 1887

Portrait of Kramskaya wrote many; Of these, the portraits of S. P. Botkin, I. I. Shishkin, Grigorovich, Mrs. Voguah, family (women's portraits) of Ginzburg, Boy Jew, A. S. Suvorin, Unknown, Graph L. N. Tolstoy, Grave Litch , D. A. Tolstoy, Goncharov and many others. They are distinguished by the complete similarity and the talented characteristic of the person from which the portrait was written; Mentioned above the picture "Rezazynaya Mountain" is actually a portrait having all the qualities and dignity of the picture.

Portrait of Sophia Kramskaya, 1869

Portrait of a landscapeist Fyodor Vasilyeva (1850-1873), burnt from CHAGS - friend of the artist

Portrait of a lion thick 1873

Portrait of the artist Shishkin, 1873

Portrait of an artist Ivan Shishkin, 1880

Portrait of the philosopher Solovyov, 1885

Female portrait 1881.

Disadvantaged Mount 1884.

But not all the works of Kramsky equal force that the artist himself recognized without hesitation; Sometimes he was not interested in the face from which he had to write, and then he only became a conscientious protocolist. Kramskaya understood the landscape and although not a single picture of this genre, but in the "May night", as well as in another "night", excellently handed over lunar lighting not only human figures, but also a landscape setting.

Forest path, 1870

Village-Yard-in-France, 1876

The technique of painting in Kramsky was - a subtle completeness, which was sometimes considered some unnecessary or excessive. Nevertheless, Kramskaya wrote quickly and confidently: in a few hours, the portrait got similarity: in this regard, the portrait of Dr. Rahafus, the last death term of Kramsky (the portrait was written in one morning, but remained unfinished, since Kramskaya died for this work.)

Many works of Kramsky is located in the famous Tretyakov Gallery in Moscow (paintings "Rezazynaya Mountain", "Christ in the Desert" and "May Night"; portraits P. M. Tretyakova, gr. L. N. Tolstoy, D. V. Grigorovich, N . A. Nekrasova, P. I. Melnikova, V. V. Samoilova, M. E. Saltykov et al.; Pictures: "At Lukomorye Oak Green", Portrait V. Vasistov, N. Yaroshenko and other works).

Portrait of the artist Nikolai Dmitrievich Dmitrieva-Orenburg, 1866

Portrait of an academician Ruprecht Franz Ivanovich. (Etching)

Kramskaya also engaged in engraving on copper with a firm vodka; Among the etchings performed by them, the best are portraits of Emperor Alexander III, by being his heir to Zesarevich, Peter the Great and Taras Shevchenko. Whatever the Kramskaya historic painter would be made - it's hard to say. The ousheliness of the artist prevailed over the imagination, as he himself recognized both in an intimate conversation, and in the correspondence, I. E. Repin above himself essentially talent. In general, Kramskaya was very demanding to artists than they had had a lot of reliests, but at the same time strictly referred to himself and sought self-improvement. The remarks of Kramsky and his opinions about art did not have the nature of only personal conviction, but they were usually evidence, as much as possible in the questions of aesthetics.

Ivan Kramskaya, Portrait of Empress Mary Alexandrovna. 1877

Its main requirement is the meaningality and nationality of artistic works, their poeticity; But no less than Kramskaya demanded a good painting actually. In this regard, Kramskaya should be marked, and this can be seen, reading the correspondence of the artist, published by A. Suvorin on thought and edited by V. V. Stasov (Ivan Nikolaevich Kramskaya, his life, correspondence and artistic and critical articles. "( SPb., 1888). It is impossible to say that Kramskoy judged correctly according to the first impressions, but always more or less motivated the change of opinion. Sometimes his opinions remained fluctuating until the painter found a compromise.

Ivan Goncharov

Kramskaya did not have much education, always regretted and replenished this lack of constant serious reading and community of intelligent people, as a result of which he himself was useful for artists in the interlocutor (Kramskaya is also known for its pedagogical activities, as a teacher since 1862 in the drawing school of the Society for the promotion of artists ).

Portrait of the artist I. E. Repin - the student of Kramsky

Portrait of an artist Ivan Nikolayevich Kramsky work Repin. 1882 year

Kramskaya Ivan Nikolayevich went out of life at work, at Molbert. On the last day, March 24 (April 5, in a new style) of 1887, Kramskaya wrote a portrait of Dr. K. Ruhfus for several hours in a row. Suddenly pale and, lifeless, collapsed to the easel. Rowfus tried to help him, but it was too late.

The grave of Ivan Nikolayevich Kramsky. St. Petersburg, Tikhvin Cemetery, Alexander Nevskaya Lavra

Bouquet of flowers, 1884

Without Ivan Nikolayevich Kramsky is impossible to present a democratic artistic culture of the second half of the nineteenth century. Kramskaya played a decisive role at all stages of development of advanced Russian painting of the 1860-1870s. He was rightfully ideological leader, conscience and brain of movement.

Portrait of Sophia Nikolaevna Kramskoy, artist's wife 1879

Portrait of Anatoly Kramsky, Son, 1882

Portrait of Sophia Ivanovna Kramskaya, artist's daughter, 1882

Portrait of Sergey Kramsky, Son of the artist, 1883

Offended Jewish boy 1874

Portrait of Writer Ivan Alexandrovich Goncharov 1874

Portrait of Sophia Nikolaevna and Sophia Ivanovna Kramsky, wife and daughter of the artist 1875

Portrait of Dmitry Vasilyevich Grigorovich, 1876

Portrait of Pavel Mikhailovich Tretyakova, 1876

Portrait of Vera Nikolaevna Tretjakowa, Born Mamontowa, 1876

Portrait of sculptor Marka Matveevich Antocolsky, 1876

Portrait of the poet Nikolai Nekrasova, 1877

ON THE. Nekrasov in the period "Recent Songs" 1877-1878

Portrait of the Writer Sergey Timofeevich Aksakova 1878

Adriana Viktorovich Prahova Portrait, art historian historian and art historian, 1879

Portrait of the singer Elizabeth Andreevna Lavrovsky on the scene of the noble assembly, 1879

Portrait of a writer Mikhail Evgrafovich Saltykov (N. Shchedrin), 1879

women's portrait of 1880.

Portrait of Dr. Sergey Petrovich Botkin, 1880

Portrait of S. I. Kramskaya. 1880.

Portrait of Anna Background of Derviz, 1881

Girl with a cat, 1882

Portrait of Barbara Kirillovna Lemoch in childhood, 1882

Woman with umbrella (in the grass, Moscow region), 1883

Portrait of Olga Afanasyevna Raftopulo 1884

Part 45 -
Part 46 -

Pictures of Kramsky and the biography of the artist

Self-portrait. 1867.

Ivan Nikolaevich Kramskaya(1837-1887) - An outstanding artist of the second half of the XIX century, occupies one of the leading places in the history of Russian artistic kulara. Early matured, thinking and read, he quickly acquired authority among his comrades and, naturally, became one of the leaders of the "Bunt Fourteen" in 1863, when a group of graduates refused to write the graduation paintings on a given mythological plot. After the care of the rinsing from the Academy of Arts, Kramskaya was headed by the artel artists created on his initiative. Kramskaya is one of the main creators of the unification of the Mobile, a subtle artistic critic, passionately interested in the fate of Russian art, he was an ideologue of a whole generation of realist artists. 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 ideologue of the partnership, defended and justified the main positions. From other leaders of the partnership, its independence of the worldview, a rare latitude of views, sensitivity to everything new in the artistic process and intolerance to any dogmatism was also difficult.

Kramsky's biography

Creativity Ivan Nikolayevich Kramsky coincided with the most striking period in the history of Russian realistic arts, when critical realism in painting, literature is drawn by his highest lifting and acquires great importance in the world culture of the XIX century. However, the role of artist in the history of Russian art is not limited to his personal creativity: with his gift of the teacher, the ideologue of the new right, with all its social activities of the Kram Occassion, a huge impact on the minds of his contemporaries.

Kramskaya was born in the city of Ostrogogsk Voronezh GU-Bernie. The early interest of the future artist to the IS-piece over time turned into an insistent attitude towards creativity. The young Kramskaya is some time working on the retoucher at the Danilevsky photographer and as a trap endlessly in the provincial minority of Russia. Finally, hitting Petersburg, he carries his dream - enters the Academy of Arts. However, the rapid hopes of admission to the secrets of great art were not destined to be implemented, because at this time the main principles of academic teaching remained-lot those who have experienced the ideas of classicism, absolutely not answering the new time. Advanced public circles of Sta-Vili in front of artists The task of a wide and true fenalty of reality. The appearance at this time of the dissertation N. G. Chernyshevsky "The aesthetic attitude of art to reality" was given a special weight liability issues of art. In the fall of 1863, fourteen academists were pre-lying "Program" on the topic of the Scandinavian Saga "Pier in Valhalle". Young artists refused to write on this the-mu and came out of the Academy. The gap with the Academy headed Kramskaya. This decisive step threatened former students to political distrust by the state and the mother needs and therefore demanded great courage. Wosing this movement, Kramskaya accepted responsibility for the further fate of Russian art. For the purpose of mutual impact and material support, artel artists was created, in the future, which became the base of the partnership of the Pea-Righted Art Exhibitions. The public figure for calling, Kramskaya becomes one of the most active members of this organization. One of the main objectives of the parties was the development of the art of democratic not only in the form of an organization, but also in the ideological direction. In Rus-Squeeverance, democratic realism as a phenomenon of world art has reached high peaks. The first mobile exhibition was opened on November 21, 1871 in the building of Aka-Demiya art. In the spring of 1872, it was transported to Mo-SC, and then to Kiev. Unlike academic, mobile exhibitions "moved" from the city to the city, everywhere, wagoning a living interest in himself. So the activities of this public organization began, which during a number of ten years united all the advanced artists of Russia.

At the first mobile exhibition, Kramskaya participated in the big picture of the "Mermaid" on the story of the story of N. V. Gogol "May night". Here the artist attracted the opportunity to transfer the lunar light to the language of painting, so poetically changing everything around. Kramskaya wrote: "I am glad that with such Syuzhe, I finally not broke my neck, and if I did not catch Lu-us, still something fantastic happened."

The next exhibition of Kramskaya, Kramskaya writes the picture "Christ in the desert" (1872), which was conceived first in the series (so and unfulfilled) paintings for gospel plots. The artist wrote that his task was to show the internal struggle of a man immersed in deep meditation about choosing a life path. The painting "Christ in Pu-Styne" was perceived by contemporaries as a symbol of a man's high civil debt.

In the summer of 1873, Kramskaya, together with his family settled in Tul-Schoy province, not far from the estate of L. N. Tolstoy. Expressing this neighborhood, Kramskaya writes a portrait of a thick-go. The power and monolith of personality, clear and energetic mind - such a writer appears on this portrait. From the whole gallery of portraits L. N. Tolstoy, written by N. N. Ge, I. E. Repi-nym, L. O. Pasternak, portrait of Kramsky - one of the ray. In turn, the artist himself served as a prototype of Mikhail's Hu-devil in the novel "Anna Karenina". Almost at the same time, portraits I. I. Shishkin and N. A. Ne-Krasova were created. The portrait of "Nekrasov of the" Recent Songs "(1877) was written at the time when Nekrasov was already hard boiled, so the sessions lasted for 10-15 minutes. The strongest impression of the portrait is the contrast between the clarity of the mind, creative inspiration and physical weakness of the umury poet.

Among the works of Kramsky there are a number of poetic wives, such as the "girl with a loose oblique" or the famous "stranger", which she said that she was a pro-image of Anna Karenina. Back in 1874, the artist created a cable series of peasant types, the strongest among them among them is the "Hollowman" (1874).

In the 80s, Kramskaya writes the picture "Rezazynaya Mountain", which is largely autobiographical: the artist survived the death of two children. Kaya and in the "Widrock" Fedotov, here the theme of human grief mournfully sounds. A striking Li-Tso and the very image of a mother who lost the child.

This woman killed by irreparable misfortunes, there is no time outside the time, it seems stopped. Since 1883, the health of the Hu-devil has worsened, and the last years of Kramsky were extremely difficult. Permanent household worries and work over orders do not allow him to complete work on Kar-Tina "Hochot" ("Christ in front of the people"), whose intention assumed the development of the topic "Christ in the Desert", the topic of the fourth fate of man.

On March 25, 1887, during the work on a portrait of Dr. Ruhfus, Kramskaya unexpectedly dies.

It is difficult to overestimate the importance of the artistic and climbing heritage of Kramsky for Russian culture. The main ideological focus of his artistic activity is a deep interest in the knowledge of the person of his era, whether his artist brought his artist in the appearance of the evangelical legend or in the appearance of his contemporary. Social activity of Kramsky, his work has become a school for a whole generation of Russian artists.

Self-portrait. 1874.

Christ in the desert.180 x 210 cm. 1872

Mermaids. 1871.

ON THE. Nekrasov during the last songs. 1877-1878.

Moses prayer after the transition of Israelis through the Black Sea. 1861.

Herodian. 1884-1886.

For reading. Portrait of sofya Nikolaevna Kramskaya, artist's wife. 1866-1869

Female portrait. 1884.

Female portrait. 1867.

Girl with a loose oblique. 1873.

Girl with linen on the rocker among the grass. 1874.

Head of the peasant. 1874.

Recovering. 1885.

Bouquet of flowers. Flox. 1884.

Actor Alexander Pavlovich Lensky in the role of Petruccio in the comedy Shakespeare Taming of the Shrew. 1883.

Portrait of the faith of Nikolaevna Tretyakova. 1879.

Portrait of the faith of Nikolaevna Tretyakova. 1876.

Portrait of Anatoly Ivanovich Kramsky, Son of the artist. 1882.

Portrait of Adriana Viktorovich Prahova, historian of arts and art critic. 1879.

Portrait of the artist Mikhail Klodt. 1872.

Portrait of the artist K.A. Savitsky.

Portrait of the artist I.K. Aivazovsky

Portrait of the artist I. E. Repin

Portrait of the artist Grigory Myasedov

Portrait of an artist Alexei Bogolyubova. 1869.

Portrait of a philosopher Vladimir Sergeevich Solovyov. 1885.

Portrait of Sophia Ivanovna Kramskaya, artist daughter. 1882.

Portrait of a sculptor Marka Matveyevich Antocolsky. 1876.

Portrait of the poet Jacob Petrovich Polonsky. 1875.

Portrait of the poet Nikolai Alekseevich Nekrasov. 1877.

Portrait of the poet and artist Taras Grigorievich Shevchenko. 1871.

Portrait of a writer Sergey Timofeevich Aksakov. 1878.

Portrait of the writer Mikhail Evgrafovich Saltykov (N. Shchedrin). 1879.

Portrait of a lion writer Nikolayevich Tolstoy. 1873.

Portrait of a writer Ivan Alexandrovich Goncharov. 1874.

Portrait of a writer Dmitry Vasilyevich Grigorovich. 1876.

Portrait of the singer Elizabeth Andreevna Lavrovskaya, on the stage in the noble assembly. 1879.

Portrait of Nikolai Ivanovich Kramsky, Son of the artist. 1882.

Portrait of Empress Mary Fedorovna

Portrait of Publisher and Publicist Alexey Sergeevich Suvorin. 1881.

Portrait of I.I. Chishkin. 1880.

Portrait of an artist Ivan Shishkin. 1873.

Hochot (Rejoice, Tsar Jews). The end of the 1870s - 1880s

Poet Apollo Nikolaevich Maikov. 1883.

Portrait of the artist F.A.vasiliev. 1871.

And Van Kramskaya participated in the famous Student Bunte of the Academy of Arts: refused to write a competitive work on a given topic. Experiencing from the Academy, he first founded the artel of free artists, and later became one of the founders of the comarage of the Movies. In the 1870s, Ivan Kramskaya became the famous artistic critic. His canvas bought many collectors, including Pavel Tretyakov.

Participant "Bunt Fourteen"

Ivan Kramskaya was born in Ostrogozhsk in the family of the recorder. Parents hoped that the Son would become a writer, like his father, however, a boy from early childhood loved to draw. Neighbor, self-taught artist Mikhail Tulinov taught young Kramsky to draw watercolor. Later, the future artist worked as a retoucher - first at the local photographer, and then in St. Petersburg.

In the metropolitan Academy of Arts, Ivan Kramskaya did not decrease: there was no initial art education. But Mikhail Tulinov, who by this time he also moved to St. Petersburg, invited him to study one of the academic disciplines - drawing from the gypsum. The sketch of the head of Laocoon became its opening work. The Council of the Academy of Arts identified Ivan Kramsky in the disciples to Professor Alexei Markov. A novice artist studied not only to write, but also prepared cardons to the painting of the Cathedral of Christ the Savior in Moscow.

In 1863, Ivan Kramsky had two medals - a small silver and small golden. There was a creative competition ahead - those who passed him successfully received a large gold medal and an overseas retirement trip for six years.

For competitive work, the Council suggested to students the plot from the Scandinavian mythology - "Pier in Valchalle". However, at this time in society, interest in genre works were grew: the pictures depicting everyday life became popular.

Students of the Academy were divided into innovators-genress and historians, faithful to the old traditions. 14 out of 15 applicants for a large gold medal refused to write competitive cloths on mythological plot. At first, they filed a few of the past to the council: they wanted to choose the topics on their own, demanded that the examination work would be considered publicly and gave argued estimates. Ivan Kramskaya was a "deputy" from the group of fourteen. He read about the Council and Rector of the Academy of the Academy and, having received a refusal, left the exam. Comrades followed his example.

"... In the end, just in case the petitions stuck that" at home or there for various reasons I, such something, can not continue the course at the Academy and I ask the Council to give me a diploma, corresponding to the medals I am awarded " .
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One one of the conference rooms of the Academy went out of students, and each took the four-fold request from the lateral pocket of his surpass, and put in front of the workman, sitting at a special table.
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When all the petitions were already filed, we left the board, then from the walls of the Academy, and I finally felt at this terrible freedom, to which we all so greedy sought. "

Ivan Kramskaya

Artel free artists

Ivan Kramskaya. Self-portrait. 1867. State Tretyakov Gallery

Ivan Kramskaya. Girl with a cat. Portrait of a daughter. 1882. State Tretyakov Gallery

Ivan Kramskaya. For reading. Portrait of sofya Nikolaevna Kramskaya, artist's wife. 1869. State Tretyakov Gallery

After the release, young artists had to leave the workshops of the Academy, where they not only worked, but also lived - often together with relatives or friends. Shoot new apartments and workshops were not for what. To save comrades from poverty, Kramskaya proposed to create a joint venture - Artel free artists.

Together they rented a small building, where everyone had their own workshop and a common spacious premises for meetings. The farm behaved the wife of the painter - Sophia Kramskaya. Soon artists have orders: they painted illustrations for books, writing portraits, made copies of paintings. Later, the artel appeared a photographer.

The union of free artists flourished. Ivan Kramskaya engaged in affairs Artel: I was looking for customers, distributed money. In parallel, he wrote portraits, gave drawing lessons in the society of the promotion of artists. One of his student was Ilya Repin. He wrote about Kramsky: "That's how the teacher! His sentences and praise were very westerns and produced irresistible effect on students. ".

In 1865, the painter began to paint the dome of the Cathedral of Christ the Savior in Moscow on the cardboard, which he created during the years of study at the Academy.

At the end of 1869, Ivan Kramskoy first left Russia to get acquainted with Western art. He visited several European capitals, visited museums and art galleries there. The impressions of the Western painters in Kramsky remained contradictory.

"Today I looked at the Museum of the Royal ... Everything I saw, Impressed the overwhelming."

Ivan Kramskaya, from writing wife

When Ivan Kramskaya returned to Russia, he had a conflict with one of his comrades: he accepted a retired ride from the Academy, which was against the "Fourteen" rules. Kramskaya came out of the artel, and soon the union of free artists broke up.

Founder of the partnership of the mobile phone

Ivan Kramskaya. Portrait of Ilya Repin. 1876. State Tretyakov Gallery

Ivan Kramskaya. Portrait of Ivan Shishkin. 1880. State Tretyakov Gallery

Ivan Kramskaya. Portrait of Pavel Tretyakov. 1876. State Tretyakov Gallery

Soon Ivan Kramskaya became one of the founders of the new creative association - the partnership of mobile art exhibitions. Among his founders were Gregory Myasoedov, Vasily Persu, Alexey Savrasov and other artists.

"The partnership is aimed at: a device ... in all cities of the empire of mobile art exhibitions in the kinds of: a) deliverance to residents of the provinces to get acquainted with Russian art ... b) the development of love for art in society; c) relief for artists sales of their works. "

From the charter of the partnership of mobile art exhibitions

Ivan Kramskaya. May night. 1871. State Tretyakov Gallery

Ivan Kramskaya. Christ in the desert. 1872. State Tretyakov Gallery

At the very first exhibition of Mobile in 1871, Ivan Kramskaya presented his new job - "May night". A picture with mermaids, poured moonlight, painter wrote in Malorus based on the story of Gogol. The canvas with a mystical plot did not match the program of the Movies, but the works had a success and artists, and critics, and immediately after the exhibition he bought Pavel Tretyakov.

"I am glad that with such a plot finally not broke my neck and if I did not catch the moon, then still something fantastic happened ..."

Ivan Kramskaya

In 1872, Kramskoy finished the "Christ in the Desert" canvas. "For five years now, he stood in front of me; I had to write it to get off ", he wrote to his friend, artist Fyodor Vasilyev. For this canvas, the Academy of Arts wanted to award the Kramsky title of professor, but he refused. The picture bought Pavel Tretyakov for big money - 6000 rubles.

In the 1870s, Kramskaya created many portraits - artist Ivan Shishkin, Pavel Tretyakov and his wife, writers of Lion Tolstoy, Taras Shevchenko and Mikhail Saltykov-Shchedrin, Dr. Sergey Botkin.

Ivan Kramskaya not only wrote the canvas, but also published critical articles. He urged to get rid of the influence of the Academy of Arts on Art, advocated the creation of schools of drawing and workshops, where young artists could learn from experienced painters and at the same time maintain their own style. Kramskaya insisted that artists get good education: "To criticize the mass, you need to stand above the mass and know and understand society in all its interests and manifestations".

Ivan Kramskaya. Unknown. 1883. State Tretyakov Gallery

Ivan Kramskaya. Constive grief. 1884. State Tretyakov Gallery

In the 1880s, one of the sensational works of the artist became the "unknown". The heroine of the canvas is a beautiful lady, dressed in the last fashion, - discussed critics, and the audience. Intrigious viewers of her personality, a little arrogant look and impeccable in the fashion of those years outfit. In the press about the picture, they wrote like a "Russian Joconde", the critic Vladimir Stasov called the cloth "Cockclotka in a wheelchair". However, art connoisseurs were given due to the skill of Kramsky, who subtly prescribed the face of an unknown lady, and her exquisite clothes. After 11 the exhibition of the Movies, where the picture was put up, she bought a large industrialist Pavel Kharitonenko.
Association of mobile art exhibitions