Picture Quinji Birch Grove 1901 Creating history. In order of general turn

Author - ela2012. This is a quote of this message.

Russian artists Kindji Arkhip Ivanovich (1842-1910)

"For Russian painting, it was necessary to have the appearance of his Monet - such an artist who would understand the relations of the paints so clearly, so I would definitely wish them to convey them so hotly and passionately that other Russian artists would believe him would cease to relate To the palette, how to some hardly the desired appenderance ... "
Alexander Benoit - an article about Archup Ivanovich Quinji, 1903

Profit work V. M. Vasnetsova, 1869

Arkhip Ivanovich Kindji was born in 1842 on the outskirts of Mariupol in the family of Grek shoemaker. The surname Queenji occurred from the Nickname of the grandfather, that in the Tatar will mean "gold business master." In 1845, Father, Ivan Khristorovich, unexpectedly dying, soon, mother. The three-year archup is brought up alternately at the brother and sisters of the deceased Ivan Khristophore. Arkhip Ivanovich began learning a diploma from the Greek teacher, then in the city school. At ten, Quinji stops learning: it is determined by the construction contractor. From the construction contractor, Queenji moves to a blessing trap amorretti room boy.

Passion for drawing led him to Feodosia to I. K. Aivazovsky. Apparently, the initial lessons of the pictorial diploma of Quinji did not receive Aivazovsky, and Fesssler has a young painter who worked and at the same time studied from Aivazovsky. But soon the Arkhip of Ivanovich returns to Mariupol, where the retoucher comes to work in the photographic studio of his older brother.

In 1866, Queenji goes to Petersburg to enter the Academy of Arts. He twice kept exams in the Academy of Arts and both times to no avail: artistic preparation was weak. In 1868, Kuyunchi's academic exhibition introduced the painting "Tatar Sakla", for which a title of a non-class artist was received. In the same year, he was accepted by the Volo pilot to the Academy. At the Academy, Queenji became friends with I. E. Repin and V. M. Vasnetsov, met with I. N. Kramsky, M. M. Antokolsky, V. E. Makovsky. Future mobileians largely identified his artistic interests.

"Autumn Rasputle"
1872
Canvas oil 110 x 70
St. Petersburg

Queenji did not just hand over the autumn cold day, blurred the road with dull with glittering puddles - he introduced a lonely figure of a woman with a child, who barely goes on the mud. In the 1890s, the artist repeated in the mirror reflection "Autumn Rasolitical". Picture, called "Autumn. Fog, "remained unfinished.

"Fall. Fog"
1899
Paper on canvas 54,9 x 36.5
State Russian Museum
St. Petersburg

In 1870 - 1873, Queenji often visits Valaam Island. As a result, paintings "Ladoga Lake" (1870) and "on the island of Valaam" (1873) appeared. In Ladoga Lake, Quyungzhi overcame overstrain in the transfer of the state of the weather inherent in the works of late romantics. The landscape is executed gracefully: thin light shades, the picturesque integrity of the tone letter remove the light contrasts, reporting, as a rule, a dramatic feeling.

"After a thunderstorm"
1879
Canvas, oil
Sumy Art Museum

But the greatest success in the exhibition had a picture of "Birch Grove". Working on this picture, Queenji was looking for, above all, the most expressive composition. The foreground is immersed in the shadow - so emphasizes the saturation of the sun green glade. The sunny day is captured in the picture with clean, sonorous paints, the glitter of which is reached by a contrast, comparing colors cleaned to white. An extraordinary harmony of color gives green, penetrating into the blue sky, in the whiteness of birch trunks, in the blue of the stream on a flat glade. The effect of a light flower contrast, in which the color is not deleted, but forced, creates the impression of the clarity of the world. Nature seems immovable, it seems to be enchanted by an unknown force. The landscape was eliminated from Mostovizm, which informs him some purity.

"Birch grove 2"

In the "birch grove" the artist contemplates beauty. Therefore, the real wealth of nature, its many-sided charms are given a common plan. The image is summarized by color: Polyana is represented by smooth, like a table, plane, sky - an equilibrium back, grove - almost silhouette, birch trunks in the foreground seem flat scenery. In the absence of distracting parts, the petty impression of the face of nature, perfect beauty is born. Nature in the "birch grove" Queenji is real and conditional. The "birch grove" did not fit completely into the plastic of developed realism: elements of decorativeness prevented. At the same time, the picture weakly foreshadowed and romantic transformations. The optimism of the picture as if expressed that thirst for "Otradnaya", which after a while was clearly formulated by V. A. Serov and other artists of the Mammoth Mug.

In the work of the artist, the color is exempt from a dark tonality. In nature, Queenji catches the finest gradations of color. In painting, the artist freely varies with illumination, halftons, brightness. It deliberately activates, the additional colors oppubates. Queenji is perfected by a subtle knowledge of the harmony of colors, color, tone. This ability to fully manifested itself in the paintings of 1879 and the works that followed them.

"After the rain"
1879
Canvas, oil 102 x 159
State Tretyakov Gallery
Moscow

At the end of the 1870s, the Kindji relationship with the headings sharply deteriorated. In March 1880, he comes out of the partnership of mobile art exhibitions.

In 1880, Quinji arranges in the society to promote arts an exhibition of one of his paintings: "Moonlit night on the Dnieper", this exhibition had a huge success.

Original entries and comments on

Birch Roesch - Archka Ivanovich Kindji. 1879. Canvas, oil. 97x181 cm

The picture was created specifically for the 7th exhibition of an artistic mobile society, and immediately caused the surprise of the public and the audience - so unusual for all the color solutions of the canvas.

Although the joyful, the bright mood of the work was liked by many, it was this picture that I was the impulse that the artist dismissed. Soon after the exhibition, an anonymous article appeared in the newspaper "Molva" an anonymous article under the pseudonym "Amateur", which accused Queenji in a mantle - the author-de-delete "plays" his paintings. Also in the article sounded doubts in the talent of Queenji in principle, and it was also said that the light effects are not the result of filigious ownership of technique, but the use of lighting devices that are hiding behind the canvas of paintings. The name of the mysterious "amateur" was very soon revealed, they turned out to be a colleague "on the workshop" Queenji, a member of the M. Klodt M. Klodt.

Quinji demanded the exception of the offender from the composition of the mobileians, however, no one responded to this request, and Ivanovich's archup went. However, biographers converge that the conflict between Queenji and Klodtoma was just a reason - the painter has long stepped over the socio-accusatory framework of art, promoted by society, and the "birch grove" is a bright confirmation of this.

The idea of \u200b\u200bthe plot that was used in his work a great many Russian artists (), the master was looking for the perfect composition - this is evidenced by the preserved sketches and sketches. In these artifacts, you can trace how the author chose the height of the trees, the Polyana Square, thought how much place to give under the forest. That is, there is nothing spontaneous in this picture, it is the fruit of an derived artistic thought and not a clear-air job.

What is the decorative picture? If you pay attention to the Birosis groups, which, with the verified accuracy, are placed on the canvas, and rather on the base of the trunks, then it can be seen as they are intentionally flattened, which creates some conventional. Decorativeness is also manifested in staticness - foliage on the trees as if it was frozen, and the air is so transparent, which is obvious: there is neither a single blow of the breeze. The piece in the depth of the picture is deprived of detail - this is a dark green wall, designed to draw color contrasts.

But all beauty lies in piercing greenery and sunlight. The artist is on purpose "lowered" the shadow on the fore, even more emphasizing the contrast in relation to the heated glade.

Do not immediately notice the stream with greenish water, although it proceeds in the very center - it seems that the sun breaking through the crown of the trees, thus transformed the path. However, the gleaming mirror state confirms that it is the stream that concludes the cloth into two halves.

The author used pure bright colors, and if you look fragmentary, then it seems that they are just once again simply unrealistic, but only it is worthwhile to the canvas with a wide view, you feel this sunny bright day almost physically.

Quinji with their decorativeness, simplification, the innovative use of the strength of the color in many ways avened its time, and therefore not everyone immediately took the job, although it was the "birch grove" it was destined to become a "business card" of the artist.

And this is true - "birch" the topic did not let the painter all his life. In addition to the most famous work, there are five more with the same name, of which only two are considered completed. The third picture caused the greatest disputes - in addition to the vertical format there is a search in the field of symbolism ... But this is a completely different story.

(1841/1842-1910) - Great Russian artist of Greek origin. Began known thanks to his unique manner of landscape painting. One of the most remarkable works of Queenji is the picture "Birch Grove".

Picture " Birch Grove"Was written in 1879, canvas, oil. 97 × 181 cm. Currently is located in the State Tretyakov Gallery in Moscow. After the work was completed, the landscape was presented at the 7th exhibition of Movie or the partnership of mobile art exhibitions. The picture shows the birch grove in a bright sunny day. Already then, at the first exhibition, where the picture was presented, many viewers immediately paid attention to the unusualness of writing a landscape. Kindji not only created a very sharp contrast between light and shadow, thereby emphasizing the dazzling of sunshine, but also portrayed unusual colors and shades that made a picture at the same time very realistic and fabulous.

The picture is visually divided into two parts flowing in the center of the stream. The stream not only divides the picture into two parts, making it more harmonious, but also fascinates the viewer's view of the spectator, almost to the horizon itself. Another qualification that the stream has freshness and coolness. He is, a kind of shadowing a general view of a hot day with a scorching sun.

Trees in the background play the role of the background. The archite Quinji consciously does not give them drawing and detailing, as if showing this viewer, most importantly is in the foreground. Arkhip Ivanovich Kindji was always in admiration from the Russian nature and Russian landscapes, and this picture, in particular, shows a great way all the love of man to nature and the insane inspiration, which he scream in the forests, meadows and fields of the Russian depth.

Picture "Birch Grove". Quinji

Would you like a ruling trip always comfortable and safe? Pay your attention to the Pirelli tires, the large range of which is waiting for you at http://tyre-service.kz/almaty/shiny/catalogue/pirelli. High quality tires, democratic rates, promotions and discounts.

Memories of Queenji:

The mighty, distinctive character of the Archka Ivanovich, illuminated by the halo of artistic genius, left indelible traces in the memory of everyone, with whom he met in a vitality. Among the many curious manifestations of its multifaceted life in my memory, two characteristic cases that Kindji, as a teacher's artist, and Queenji, as the keeper of their artistic treasures, are especially deeply cut. In January 1898, we prepared our paintings to the "Spring Exhibition" with the Academy of Arts. Having met with Archka Ivanovich in the Academy, I asked him to go to our apartment to see our works. The next day, about noon, in the corridor, leading to our room, familiar measuring steps were heard. I rushed to the door. Archka Ivanovich stood in front of us in his black sinel with a beaver collar and in the fur hat ...

"Moonlight Night on the Dnieper":

In the summer and in the fall of 1880, during a gap with the headings, A.I.Kyujji worked on a new picture. On the Russian capital, rumors about the enchanting beauty of the "Lunar Night on the Dnieper" were separated. For two hours on Sundays, the artist opened the wishing door to his workshop, and the Petersburg audience began to deposit her long before the completion of the work. This picture gained truly legendary glory. In the workshop of A.I.Kuinji, I.S.Turgenov and Ya. Polonsky, I. Kramskaya and P. Chistykov, D.I. Madevelev, accounted for the famous publisher and collector K.T.Soldatenkov. Straight from the workshop, even before the exhibition, the "Moonlight Night on the Dnieper" for a huge money was bought by the Grand Prince Konstantin Konstantinovich ...

Queenji Mission in Russian Art:

For Russian painting, it was necessary to have the appearance of his Monet - such an artist who would understand the relations of the paints so clearly, as definitely in the shades of them, so hotly and passionately wish them to convey them that other Russian artists would believe him, would cease to relate to Paletra How to some hardly the desired appendage. Paints in Russian painting, since the time of the Cyproshensky and Venetianov, ceased to play an independent, significant role. The artists themselves treated them as a kind of official costume, without which, only from the prejudice, indecent to appear before the public.