Pictures of Polenov with titles and descriptions. "The death of a person who managed to fulfill something from his ideas is the event natural and not only not sad, but rather a joyful, natural, it is a welcome vacation, peace, and the rest of nonsense,

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.

Pearl pond

"This outstanding Russian man,
somehow managed to distribute yourself between Russian
Lake with Lilia and the harsh hills of Jerusalem,
Hot sands of the Asian desert.
His biblical scenes, his high priests,
His Christ - how could he combine in his soul
This is sharp and colorful greatness with a silence of simple
Russian lake with crucibles? Not because, however, and
Above his quiet lakes do the spirit of the Divine? "
Fedor Shalyapin

Polenov, Vasily Dmitrievich.Treet of work I.Repina

One of the most significant phenomena in Russian painting the second half of the XIX century is the work of Vasily Dmitrievich Polenov.
Vasily Dmitrievich Polenov is a Russian artist, master of historical, landscape and genre painting, teacher. Popular artist RSFSR (1926).
Creativity Vasily Dmitrievich Polyenova is one of the most significant phenomena in Russian painting of the second half of the XIX century.
A wonderful landscape officer, he developed in the Russian art of the plenary painting system, created works, full of poetry and lyrism, beauty and truthfulness, freshness of a picturesque solution. His paintings "Moscow courtyard" "Babushkin Garden"; "Christ and the sinner" brought recognition to the artist. They are not just widely known and popular, but they became a kind of "signs" of domestic fine art.

The multi-faceted creativity of the artist was not exhausted by the achievements in the field of the landscape genre. The painter and theater artist, the architect and the musician, he revealed his talent in each of the genres and types of art, in many respects he made an innovator.

In 1888 the artist wrote in one of the letters:

"It seems to me that art should give happiness and joy, otherwise it should not be anything."
We can assume that in these words the creative principle of the master, which he carried through the whole life.

The multi-faceted creativity of the artist, where he sought, to apply all his dives did not know the borders. He is a painter and a theater artist, an architect and musician, in many respects he acted as an innovator.

Film 1. Painting, landscapes.

Film 2. Historical and genre painting

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.

The bright child's impression of Polenov was trips to the north, in the Olonetsky region with his virgin nature, and in the Olshanka of the Tambov province, in the estate of Grandma V.N. Warmer. Vera Nikolaevna, daughter of famous architect N.A. Lviv, brought up after the early death of parents in the house of G. Derzhavin, well-focused in Russian history, knew the folk poetry, loved to tell the grandchildren of Russian folk tales, epics, legends. In this atmosphere, the artistic taste of Polenov was formed. Waikova in every way developed the passion for the grandchildren of painting, encouraged creative ambition, arranged contests among children, awarding, as in the academies, for the best work "Medal".

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 oscillation in 1863, he, having graduated from the gymnasium, comes together
With her brother Alexei on the Physics and Mathematics
(Natural discharge) of the St. Petersburg University.
At the same time in the evenings, he visits the volunteer student
Academy of Arts, and not only in drawing classes,
But the lectures of the anatomy, the construction
Art, descriptive geometry, history of graceful arts.
Does not stop moles and music.
He was not only a regular visitor of the Opera Theater and Concerts, but also
He sang in the student choir of the Academy.
Going to the basic class of the Academy of Arts already as a permanent
Pupil, Polenov for a while leaves the university, fully immersed
in painting. By making the right choice, because already in
1867 he finishes the student at the Academy of Arts and gets
Silver medals for drawings and etude. Following this participates in two contests
on gold medals in favorite class of historical painting and from January
1868 again becomes a university student, but now the legal
Faculty.

In 1871, he receives a lawyer's diploma and, at the same time with Ilya Efimovich
Repin, a big gold medal for a competitive picture
"Resurrection of the IAIR daughter."
Polenov seeks to create a high-style work, give an elevated
character depicted, workshop layout and color solution, she wore
Features of the genre, but was not a refinement in the plan of this picture.
Many have noted a greater warmth of feelings expressed by the full-fashioned girl,
pulling a slight hand to Christ.
In 1869, for the painting "Job and his friends", the Polenov received a small gold medal,
and in 1871 (at the same time with Ilya Repin) for competitive work
"Christ is resurrecting the daughter of Jair" - a big gold medal.

Resurrection of daughter IAIRA

After graduating at the same time a university course on the Law Faculty in 1872,
Polenov went abroad as a pensioner of the Academy.
Visited Vienna, Munich, Venice, Florence and Naples, lived for a long time in
Paris and wrote there among other things "Arrest Countess d'Tremon"
In 1876, the title of academician in 1876.

Arrest Huggeneta, Countess D "Etrem. 1875

The realistic aspirations of the artist, strengthened under the influence of I. Rupin and
A. Bogolyubova, fully manifested itself in his subtle plenuine landscapes and etudes.
After returning to the Motherland, the Polenov becomes a convinced commitment of national democratic art.
He writes true, imbued with love for people from the people Portraits of the Saucer
epic N. Bogdanova (1876), Valah Boy Vakhramey (1878),
Picture of the peasant life "Family Mountain" (1876).

The teacher of the epics of Nikita Bogdanov. 1876.
Returning in 1876 to Russia, soon went to the theater of the Russian-Turkish war,
in the continuation of which consisted of an official artist at the main apartment
Heir-Cesarevich (subsequently Emperor Alexander 3).
At the end of the war settled in Moscow.

After traveling a lot.
In 1881-1882, goes to his first trip to the Middle East and
Bible places: in Constantinople, Palestine, Syria and Egypt,
Where does the sketches and sketches from the large-scale canvase "Christ and the sinner",
as well as other paintings written in the found full-time trip
For yourself, the manner of the letter.

Christ and sinner

The strongest impression was made on it "Vesezia La La" (beauty Venice), which is (according to him), "a passing traveler something fantastic,
Somehow magic sleep. "Admire of Polenov Venice intensified because
that she was the birthplace of his beloved artist Paolo Veronese who conquered him
Back in the period of study at the Academy of Arts.
Since then, Veronese's passion has not passed, becoming more than a year of the year
meaningful and targeted. Polenov with his deposits of Colorist hit
The huge colorful gift of the Venetian artist, the strength of his painting.

Venice

Venice. Channels and pipes

"What a subtle feeling of paints," the polenov admired,
- What extraordinary one
the ability of the combination and selection of the tones, what power in them, what free and wide
Expanded composition, with all this lightness of the brush and work, as I have no one
I do not know! ". Looking in front of the beauty of the colors of cloths Veronese.

The period of the pensioner business trip helped Polenov to understand that not
Historical painting is his real element.
Polenov's eyes fell so fearfully to the landscape.
This was the result of his quest abroad.

Since the 1870s, a lot has worked a lot in the field of theatrical decorative painting.
In 1882-1895, the artist taught in the Moscow School of Painting,
Vajania and architecture, where, among his students were I. I. Levitan, K. A. Korovin,
I. S. Ostrukhov, A. E. Arkhipov, A. Ya. Golovin and E. M. Tatevosyan.

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.

Babushkin Sad.

She really, first of all, conquers exactly his painting.
Its ash-gray with a lilac and bluish tump, pale pink,
sand, silver-green all sorts of shades of tone, harmony
Combining, each other, form a single color gamut.
The image created in the painting by the artist, deprived of one-planningness; in him
Naturalness and harmoniously combine different aspects of the perception of life,
Her understanding. Portraying the old Barsky mansion and his dery owner,
Polenov, unlike Maximov with his picture "Everything in the past", nothing
tells the viewer about the style of this life. Merge man with nature, which
shows here Polenov, relatives depicted with the inhabitants of Moscow
courtyard. And those and others live quietly and naturally, one life with nature,
What makes their existence meaning and poetry.
This feeling of harmony and beauty of life awakens in the auditor then bright
The peaceful and joyful mood, which is allowed by his Elegy
Meditation over the scene, captured by the artist.

In 1877, the poles settled in Moscow. A year later on the VI mobile exhibition
Polenov shows a picture of his business card subsequently
"Moskovsky Dvorik", written from nature in the Arbat Lane.
But the picture "Moskovsky Dvorik" - the first painting of Polenov exposed
At the heads, the cause of which he has long sympathized.

Moskovsky Dvorik.GT G.

To his debut at the mobile, the artist treated with a feeling of big
responsibility and therefore terribly tormented that due to lack of time gives
At the exhibition such a "insignificant" thing, like the "Moscow courtyard",
Written as if joking, in inspiration, without serious and long labor.
"Unfortunately, I did not have time to make a more significant thing, but me
I wanted to make a mobile exhibition with something decent,
I hope to earn a lost time in the future ", - complained
Polenov.
However, the polenov was mistaken in the assessment of their painting, not suspecting what
The future is waiting for this work that it is she who will be among the pearls
Russian school of painting, will become a plot product in the history of Russian
Landscape. In this picture, the author reproduced the typical corner of the old Moscow -
with her mansions, churches, overgrown with green grass courtyards, with her almost
Provincial style of life.
Morning a clear sunny day at the beginning of summer (according to the memories of the artist himself).
Easily slide clouds over the sky, the sun is climbing above, heating his
The heat of the earth, burning in the unbearable brilliance of churches, shortening thick shadows ...
The courtyard comes to life: a woman with a bucket, delusito, hurried to the well
Ricked in the ground in the shed chicken, they started in a thick green grass kids,
This is about to touch the horse harnessed in the cart ...
This everyday vanity does not disturb serene clarity and silence.

After her deafening success, the artist becomes a new prisoner
Genre - "Intimate Landscape".

Since 1879, he consisted of a member of the partnership of mobile art exhibitions.
Acquires the fame of the wizard of the epic landscape, which will then be deliberate,
Settling on the Oce and having travelers in places associated with the cradle
Christianity.

Being from the birth of a city inhabitant, the poles loved very much of the vigorous fields, wide-minded dense forests, descending to the powerful rivers.
Dreamed to settle on the lap of nature. In 1890 acquired a small estate of Boehovo in
Alexinsky county, Tula province, on a high shore over the eye.

In a quiet place, in Pine Bor, a little apart from the village built a house on his own
Original project, and at home art workshops.
The manor was named beams.
There are a lot of poles and worked productively, I willingly invited rural children to him,
Conducted cognitive classes and submission for them, developed artistic
taste. According to Polenov, the manor should have become the "nest of artists",
And over time, turn into the first provincial publicly available museum.
Polenov built a folk theater for peasants and the church in Boehov.
In 1899, the second time went to the Middle East to collect material for
The Grand Gospel Series "From the Life of Christ", which was completed in 1909.
The exhibition of these paintings was of great success and at the time of exposure was
Central event in the world of painting.

For whom they honor me

Among teachers

Led children.1890-1900
In 1910-1918, lorudov in Moscow, educational activities, participated in the organization of the People's Theater.

In 1906 - in the Greater Hall of the Moscow Conservatory, the opera Polenov "Ghosts Eldlas" was performed.

In 1914, an exhibition of paintings of the cycle "From the life of Christ" is arranged for collecting funds in favor of the wounded in the First World War.

In 1915 - on the project Polenov in Moscow, a house is built on a section for the promotion of factory and village theaters; Since 1921, this is the House of Theater Enlightenment named after Academician V. D. Polenov.

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.
In 1924, the first personal exhibition was held in the State Tretyakov Gallery dedicated to the 80th anniversary of the artist.

In 1926, Polenov was awarded the title of People's Artist of the RSFSR.

The artist died on July 18, 1927 in his estate and was buried on a rural cemetery in the village of Boehovo on the steep coast of Oka, where he so often loved to draw etudes. Over his grave, according to the testament, the Olonetsky Cross is installed.
"I remember Polenov - another wonderful poet in painting. I would say, breathe and do not run on some his yellow Lilia in the lake.
This outstanding Russian person somehow managed to distribute himself between the Russian lake with Lilia and the harsh hills of Jerusalem, the hot sands of the Asian desert.
His biblical scenes, his high priests, his Christ - as he could combine in his soul it is colorful and acute greatness with the silence of a simple Russian lake with a crucian!
Is it because, however, and above his quiet lakes do the spirit of the Divine? ... "
F.I.Shaliapin "Literary Assay"

Creativity Vasily Dmitrievich Polyenova is one of the most significant phenomena in Russian painting of the second half of the XIX century.

A wonderful landscape officer, he developed in the Russian art of the plenary painting system, created works, full of poetry and lyrism, beauty and truthfulness, freshness of a picturesque solution. His paintings "Moscow courtyard" "Babushkin Garden"; "Christ and the sinner" brought recognition to the artist. They are not just widely known and popular, but they became a kind of "signs" of domestic fine art.

The multi-faceted creativity of the artist was not exhausted by the achievements in the field of the landscape genre. The painter and theater artist, the architect and the musician, he revealed his talent in each of the genres and types of art, in many respects he made an innovator.

In 1888, the artist wrote in one of the letters: "It seems to me that art should give happiness and joy, otherwise it is worthless." We can assume that in these words the creative principle of the master, which he carried through the whole life.

Polenov was born in St. Petersburg on June 1 (May 20) 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 artist, Maria Alekseevna, nee Waikova, wrote a book for children, engaged in painting.

One of the most powerful children's impressions of Polenov was trips to Olshanka Tambov province to the estate of Grandma V.N. Warmer. Vera Nikolaevna, daughter of famous architect N.A. Lviv, brought up after the death of parents in the house of G. Derzhavina, knew Russian well, folk poetry, loved to tell the grandchildren of Russian folk tales, epics. Vera Nikolaevna encouraged the painting of his grandchildren, usually arranged contests among the children like academic, awarding the best work "Medal".

The abilities for drawing were characteristic of most children are full. Two were the most gifted: the eldest son of Vasily and the youngest daughter Elena, who later became the 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. Chistyakov taught the drawing and basics of painting Polenov and his sister in 1856-1861, being still a student of the Academy of Arts. Already 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 started, not to hurry," Polenov's teacher advised. Obviously, cleaners managed to convey to his student the main thing - a professional approach to painting, an understanding that real art can occur only as a result of hard work.

But from studying at Chistyakov before the choice of the artist's profession, the path was still very far. This choice and forced Polenov to move away from the "normal" preceded preceding generations of his family road associated with the public service, which, in the end, could lead to the emergence of another Polenov Senator (the Senator was an uncle of the artist - M.V. Polenov) . In any case, without university education, the Polenov family did not think of his future life. And, after a long fluctuations in 1863, he graduated from the gymnasium, he comes along with his brother Alexei to the Physics and Mathematics (Natural Compact) 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 the drawing classes, but with interest he is listens to lectures on subjects that are not in the university course - anatomy, construction arts, descriptive geometry, history of elegant arts. Does not stop moles and music. He was not only a regular visitor of the Opera House and Concerts (by this time the first acquaintance of Polenov with Wagner's music - fascination with the art of the Great Composer-Romance, speaking in 1863 in Russia with concerts, was preserved for life), but also sang himself in 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. 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 the summer of 1867, Polenov goes to France, visits the World Exhibition there, where there was a large section with works of folk artistic fields of various countries. The impressions of this exhibition will subsequently be based on the dissertation that he will protect at the university. In 1869, Polenov receives a small gold medal for the painting "Jobs and his friends" and the right to compete on a large gold medal defined for the competition "Resurrection of the daughter of Jaeira" he prepares along with Repin.

Both artists sought to create a high-style work, give an elevated character of the depicted. They are with glitter, almost equal, coped with a given program. Although Pinenov's picture was not inferior to the Repin canvas in colorful advantages and the skill of the organization of the composition, she wore the traits of the genre and somewhat lost in the depth and significance of the plan. However, many have noted a greater warmth of feelings, expressed by the full-fashioned girl pulling a thin hand to Christ.

And the Polenov and Repin received large gold medals and the right to overseas retirees. In the same 1871, Polenov ends the university - the final exams and presents the thesis "On the importance of art in its application to the craft and measures taken by individual states to raise the craft, introducing an art element in it." This topic is definitely not random. It is connected both with a personal acquaintance of the author with folk art crafts, and with ideological movement of the era - a wide wave of national in art. "Society," writes the Polenov - the Multilateral Development, the more conscious it is the need for aesthetic, the greatest is the need of art (...) The story shows what a strong effect is art on a person, on its morals, on their mitigation, on Moral and mental development. Usually where freedom penetrated, there was an art, or the art penetrated, the spirit of liberty was developing there, I was developing the spirit of submission. With regard to the effect on the mass it acts more strongly than science. "

The pensioner period (1872-1876) played in the creative development of Polenov a very important role - greater than for the Repin who was with him with him, which by this time had already found his line in art. Despite the age (abroad he left twenty-seven years old), he still did not work out as an artist. This has already made it more "open" overseas influences. He continued to study intensively, visits numerous galleries, museums, private collections.

Polyenov's path is Germany, Italy (then temporary return to Russia), France. What is the greatest impact on the artist? Of course, it is impossible to list all European impacts. For example, the impressions received from visiting the old German knightly castles, from which the Polenov makes a lot of sketches, will form the basis of his design "Law of Mr." (1874), and visit the Russian Church in Paris, in the design of the interior of which landscapes of Bogolyubova were used in the design of the interior Find a later response in the artist's work on the cycle of paintings "From the life" "Christ" (1899-1909). Feeling and exposure to the artistic atmosphere of those cities through which the route of his trip is running.

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 from the year more and more 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 colors of the cloth of Veronese, the polenov especially appreciated his objectivity, which perpetuated for the descendants of paint beauty of Venice.

With this reserve of artistic impressions of the polenov arrived in Rome. A lot of plans and designs were sworn in his head, in the soul there lived a hot desire to work selflessly. But Rome very soon disappointed him, and the surrounding art life was little contributing to inspired creativity. "Rome himself... Some dead, backward, who has learned, was shared by his observations of Polenov with Repin." There is ... how many centuries, and even there are no typical, as in German medieval cities... Not in him life peculiar, own, and all it seems to exist for foreigners... There are no many artists in a modern sense and remember, the artists are not enough; everyone is closed, each nationality is separate from another, their studio although they are detached, but the main thing The way again for rich overseas buyers, so that the arts are customized to their taste... The Roman artist is already a routine imitator. Old Italians also do not fond of me. ".".

In Rome Polenov met with the family of Mamontov, where artistic youth was going, and began to be often from them. Talented, constantly fondant owner of the house - S.I. Mammoths - I knew how to fill the life forever with new inventions, funny fun and entertainment, knew how to excite their artistic deposits in people, no matter how modest. Homemade performances, concerts, carnavals followed continuously for each other, and in all of this Polenov took the most active part. In-depth classes that the artist dreamed of, retreated by themselves to the background, the ideas of the day remained unfulfilled ... "I got into such a circulation jet, - I complained about the polenov Repin, - which was completely spinning in the world, and about his own Ascetic feat and forgot ... ".

In Rome, they did not have a single picture.

Other impressions were waiting for him in Paris. Here it admires the diversity of style directions, in the direction of which artists work - "what to do with the soul", their ability to "carry out their strength and abilities." Polyenov's pensioners in Paris coincided with the time of the first speech of impressionists, whose works caused the living disputes in artistic circles. The art of a new direction was deeply touched by Polenov, but was an additional impulse to the development of pleasing painting them. Mastering the secrets of painting in the open air has become an important task for many artists who studied at the same time abroad. According to the advice of Bogolyubov, around which a group of Russian artists who worked at the Plenuelire, Repin, and then went to the north of France - to Normandy, to the sea, in a small town of Vel. For a month and a half the polenov wrote a lot of excellent etudes. Among them - "White Horse, Normandy", "Old Gate", "Vel", a few "sings", "fishing boat. Etretat. Normandy" Especially attractive for Polenov in France was the work of the Spanish Master M. Fortuni, admired all virtuoso equipment artistic performance. In one of the letters Kramsky, he says: "But I personally covered me and absorbed one artist, the works of which make up, in my understanding, the highest point of development of our art: he seems to me, there is the last word of artistic in painting at present. To say the techniques - but this word is too narrow for his works, it is in such wealth in them, in such a luxurious beauty that it ceases to be a manner, but it is done by creativity ... After his paintings you don't see anything, that is, nothing in memory It does not remain, - they obscure everything else. "

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. "Benefit... She (pensioner travel. - T. Yu.) I brought me in many ways, the main thing is that everything that still has done, not that, all this must be thrown and start again and great. Here I tried and tried all the birth of painting: historic, genre, landscape, marina, portrait of the head, animal image, Nature Morte [Still Life], etc., and came to the conclusion that my talent is only closer to the landscape, domestic genre, which I will do. "

Together with the definition of his place in art, the conviction came in the fact that creativity can be fruitful only in his homeland, the urgent need came to return to Russia as soon as possible, no matter what. "The next day, the salon was opened, - reported Polenov Mother on April 30 (May 12), 1876, - and finally convinced me in absurdity to stick out here and learn.."

But it was not possible to settle in Moscow at once on returning from abroad. The wave of enthusiasm engulfed the Russian society in connection with the beginning of the struggle of Serbs for the liberation from the Turkish oppression, carried away and Polenov and prompted him to go volunteer in September 1876 to the Serbian-Turkish Front. For participation in the battles and the manifested courage, the Chernogorsk medal "For courage" and the Serbian Golden Order of the Takovsky Cross "was awarded. The artist handed over his military impressions in the drawings performed for the magazine "Bee". Among them are almost no sketching of hostilities. For the most part, this is either species drawings ("Parachina", "Belgrade from the East side", "Moravian Valley before Digord", etc.), or ethnographic (types of Serbia), or domestic ("Serbian Confines at the aqua", "On Bivuaki for the Danube", "rear of the Serbian army", etc.). An explanation should be seen not only in Polenov's addictions to the landscape, domestic genre. Sympathetic to the goals of the Liberation War, he at the same time could not look at those sacrifices, which she carried the war with him in front of Polenovoy, first of all, not paintings by heroic battles and victories, and thousands of deaths, the meaninglessness of the destruction of human lives. As an artist, he did not feel the strength to convey this cruel truth in art. Yes, and it was inappropriate in the official reports of war, what should draw pictures in the "Pchele", which performed for earnings. "You ask whether I found plots for pictures - I wrote Polenov M.N. Clima. - And yes and no. Plots peaceful, i.e. Bivuaki, parking, movement, although interesting, sometimes very picturesque, but do little. war, the plots of human dish and death are too strong in nature, to be transmitted on the canvas, at least, I still feel some kind of defects in myself, I don't go to me that there is in reality, it is so terrible and so simply..."

At the end of 1876, Polenov returned to Petersburg, and already in March 1877, exercising his long-standing intention, moved to Moscow. There he is together with his friend R.S. Levitsky removed the apartment in the Trubnikovsky Lane (on Arbat) and began to create paintings of the "landscape, domestic genre", inspired by the end of the old Moscow. By this time, it belongs to the Etude with the Savior-sands (as Polenov himself called him, imprinted the view from the windows of his workshop). Subsequently, on the basis of this Etude, his most famous picture "Moskovsky Dvorik" was written. In parallel with this, the Polenov began working on the etudes to the picture "Taking a disastrous princess", the plan of which originated in St. Petersburg (in early 1877). This idea was not carried out, but in connection with him, several wonderful etudes of the Kremlin Cathedrals and Terems, belonging to the number of the best creations of the artist of the first year of his life in Russia on returning from abroad ("Golden Tsaritsyn Chamber. Window", "The upper golden porch", "Assumption Cathedral. Southern Gate", "The Terman Palace" ", exit from the chambers of the golden porch" and a number of others .. everyone belongs to the Tretyakov Gallery).

The most successfully managed interior images. Polenov well felt intimate comfort of terry ancient Russian architecture, her elegant decorative festivity. Never in his work did not have such carpets, flowery-joyful paints, as in these etudes, such inherence with the decorative wealth of Russian architecture. Friendship with Mammoth and artists, grouped around him and trying to revive the traditions of the Old Russian and above all applied art, helped Polenov so live, with such penetration to perceive the originality of architectural solutions and especially the decoration of the palace premises of ancient Russia.

The skill of plenary painting, manifested in the Kremlin Etudes, this landscape perception of architecture allowed the artist a few months later to create a wonderful landscape image of the old Moscow - "Moscow Dvorik".

"Moskovsky Dvorik" is the first picture of Polenov, exposed to the heads, the cause of 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 the assessment of their painting, not suspecting that it would be among the pearls of the Russian school of painting, will become a plot product in the history of the Russian landscape.

A typical corner of the old Moscow is reproduced in the picture - with its mansions, churches, overgrown with green grass, with her almost provincial style of life. Morning a clear sunny day at the beginning of summer (according to the memories of the artist himself). Easily slide on the sky cloud, the sun is rising above, heating the ground with its warmth, lighting on the unbearable glitter of the churches, shortening the thick shadows. . . The courtyard comes to life: a woman with a bucket is hurried to the well with a bucket, delusito grow in the ground from the shed chicken, they started it in the thick green grass of the guys, is about to go on the path hardened in the cart. . . This everyday vanity does not disturb serene clarity and silence, spilled in the landscape.

Humanistic talent of Polenov is finally revealed to his full force and is revealed in Russian soil, while finding out its Russian warehouse. From the "Frenchman" who returned from the pensioner's business trip to Polenov, who thus scared from him, there is no trace. Repin is right. In Russia, the Polenov becomes truly Russian artist, and his "Moscow courtyard" is a favorite product of all Russian man.

In the future, Polenov was to have mastered the premiere painting, to achieve the solven wages and wealth of paints, their emotional saturation, which was achieved in the "Moscow courtyard" of works written with all the glitter of picturesque skill - the paintings "Babushkin Garden" and "Ingrown pond ".

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.

The picture, indeed, primarily conquering by his painting. Its ash-gray with a lilated and bluish tump, pale pink, sand, silver-green all sorts of shades of tone, harmonically combined with each other, form a single coloring gamut. This gamma, noble and exquisite, immediately adjusts the viewer for poetic way. The image created in the painting by the artist, deprived of one-planningness; It is natural and harmoniously combined by different aspects of the perception of life, its understanding.

Depicting the old Barsky mansion and his drain owner, the polenov, unlike Maksimov, with his picture "Everything in the past," says nothing about the viewer about the style of this life, does not emphasize the social affiliation of people to a certain class. According to the garden's footpath, accompanied by a charming young girl in pink, hidden hungry, all in black, old woman. This is the person's personification itself, as its companion - youth and beauty.

As if the second change of generations, the nature depicted by the artist blooms again and again. This constant updating of nature is finely transmitted. The magnificently bored greenery of the garden takes most of the space of the picture, because it shows the indestructible creative power of life. It is characteristic that the polenov mainly shows in the picture it is young piglets, fresh and juicy, leaving outside the image of old, mutilated trees. From this nature seems eternally young, never aging and the same beautiful in his blossom, like a charming young girl in a pink, walking along the garden path.

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 tells 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.

Two years later, the painting "Old Mill" (1880, Serpukhov Historical and Art Museum) is solved by the same topic.

Old destroyed mill. Abandoned corner of nature. Buyly abandoned greens. The picture is such an abundance of vegetation, which seems to have no land block, which would be fruitless. The silence is spilled around. The film-headed fisher's boy traveled from the Creek waiting for Claw, does not make anything in the life of the depicted corner; It only emphasizes his silence and silence in him and is almost lost in the lush, sun-filled greens. Nature, very human in the image of the artist, bright and joyful, is always more significant for him than the person himself.

The high mastery of Polenov-Colorist discovers the picture "overgrown pond", which is almost entirely built on gradations of one green color. The green gamma-designed green gamma is distinguished by the exceptional beauty and richness of the nuanxion. It seems that there are no two absolutely identical tones in the landscape, as not in it and the somewhat neutral paint, which completely covered individual slices of canvas in the "Moscow courtyard".

The picture "In the overgrown pond" completed a certain stage of Polenov's creativity, marked the offensive of creative maturity. In the circle of Russian landscape owners, another very talented master entered a great influence on the further development of landscape painting. In his paintings, and above all, the pictures of the end of the 70s - the beginning of the 80s, the junior generation of mobile artists was entrusted. Polenova, they studied the truthful transmission of light and air, a subtle vision of the color and beauty of painting, poetic perception of life. "From the young age, I was a delighted admirer" Babushkin Garden "," Moscow courtyard "," swamps with frogs ", - confessed by Polenov Nesterov. - You are with such a young, direct feeling, with such a colorful fullness showed me the poetry of the old native life. , inexhaustible secrets of our nature. You, as it were, revealed the magic charm of the paints. "

Finally, determined in art, the polenov led its long-standing intention - to associate his life path with mobile phone and in 1878 together with I.E. Repin joined the partnership of mobile exhibitions. "For six years now, as I wish to do, yes, different external circumstances interfered, - wrote cleaners. - Now, as far as I understand, these circumstances are no more, and I am free, and all my sympathies were on the side of this society. occurrence... ". He kept these sympathies for many years, becoming one of the prominent workers of the partnership.

In 1880, Repein with Tolstoy was acquainted; The moral preaching of the thick and his destroying criticism of the existing forms of life literally shocked Repin. Polenov met fat much later, in 1887, but it is difficult to imagine that Repin, friend Polenov, did not retell his conversations and meetings with the writer in all the details, who at that time were quite frequent. Therefore, it will noticeably suggest that it is the influence on the Polenov of the views of Tolstoy and aroused in the artist interest in the old topic, the topic of Christ. In addition, in March 1881, Polenova comprehended deep mountain - his favorite sister of Vera Dmitrievna Khrushchova died, who before his death took the floor from his brother, that he will start to work "seriously", that is, writing a big picture on a long-conceived topic "Christ and sinner" . In the family of Polenova, only historical painting was recognized as a large art, and therefore the artist's work in the landscape was not given serious importance.

Soon after the death of the sister of the Polenov, learning that Prince S.S. Abamelak-Lazarev and A.V. Prakhov are going to take a trip to Egypt, Syria and Palestine, asked permission from Prahov to join them and received consent. The journey began in November 1881 and ended in the spring of 1882. The summer of 1882 was already held in Abramtsev. During the journey, Polenov visited Constantinople, Alexandria, Cairo, from Cairo rose on a steamer up the Nile to Assuan, the unrelaxed from which the sacred island of fillets with the temple of Isis, and, returning to Cairo, was serving on the train to Port Said; From there, the sea got to Beirut - the port in Syria - and headed for Jerusalem; On the way back the artist visited Greece. A peculiar report of the artist on the journey, about all seen and struck his sights was the etudes performed during the trip. They were shown at the mobile exhibition in 1885 and right from the exhibition were acquired by Tretyakov. Artistic Public Resources Eastern Etudes Polenov 1881-1882 were perceived as a new word in painting. "The result of the journey," wrote acrochov, "was primarily a collection of etudes, put on a mobile exhibition, and the impression she produced was very large. Etudes did not have a direct relationship to the picture. These were bright records of the struck paint paints of the East , pieces of the Azure Sea, falling in the colors of the sunset of the Southern Mountains, the stains of dark cypresses on a blue deep sky, etc. It was something full of sincere hobbies by colorful beauty, and at the same time resolving the colorful tasks completely new for the Russian artist and unusual For him, by the way. Polenov in these etudes opened the secret of the new colorful power to the Russian artist and awakened in him the courage of such an appeal with the paint, which he had never thought before. " Indeed, bright, clean paints of the East produced a real coup in Polyenov's painting, turning the artist to an open intense color. True, in the future, this gamma turned out to be little suitable for the transfer of modest paints of the Midth Russian summer and winter landscape, which prevailed in the work of Polyenov-landscape in the era of the 80s. But the experience of writing with bright and at the same time gentle, contrasting and at the same time did not disappear with the paints. He was very useful when creating the painting "Christ and the sinner", the cycle "from the life of Christ" and helped a few years later to master the ringing, open paints of the Golden Russian Autumn, which, since the 90s, becomes the favorite time of the year Polenov.

The greatest interest among the landscapes brought from the country around the countries of the East represent the types of Egypt and among them "Neil at the Fan-Russian Range" (1881), "First Nile threshold" (undated), "Nile, away Pyramids" (1881) and others ( Tretyakov Gallery). First of all, they conquered convincingly transmitted Dali - the passion for Polenov's spatial decisions, found in his work in the era of the 80s.

The trip to the east gave Polenov a rich margin of observations, introduced it to the nature and architecture of Palestine, with the life of eastern cities, with customs, appearance and clothing of their inhabitants. All this, undoubtedly, helped in the future Polenov to submit to the Gospel legend of Christ and the Greater, as a real scene, flewing on the square in front of the Jerusalem Temple. And in this sense, the Eastern journey played a role in creating a picture. But the direct preparatory material for the picture was assembled in insufficient quantities - apparently, the bright impressions of the architectural monuments and nature of the East distracted the artist from his plan, so the relatives of Polenov were inclined to consider the journey not too successful. The szvuk of these sentiments is felt in the letter of his wife Polenov written by a little later, in March 1884, in which she expresses the concern, as if with the Polenovoy in Rome, did not happen as in Palestine - "... it would not come out of this The same troubles, like with the Eastern Travel, "she writes E.D. Polenova.

This "troubleshoot" with a journey in the east forced Polenov to take a secondary trip, this time in Italy, where he hoped to find a suitable nature and write the necessary etudes for the painting. The artist settled in Rome and spent the winter of 1883/84 and spring of 1884. In 1882, the artist married N.V. Yakunchikova - cousin E.G. Mammoth. Friendly journey 1883/84 and was committed with her. Polenov's wife with great sympathy treated the plan of the painting "Christ and the sinner" and as his strength tried to help the artist in his work. She not only sewed costumes for the painting, but that most importantly, constantly supported the inspirational attitude towards the topic taken in Polenov, tried to send it to the path of in-depth its development. It was all the more necessary that the polenov himself was often overly fond of external credibility of the depicted. This passion arose from the artist, as a result of the desire inspired by Renan, to present Christ the person who really existed, historical, and all the acts and events of his life attributed to him - really originated in the distant times of early Christianity. The search for the external truthfulness was distracted by Polenov from those high ideas, for which he conceived writing his picture. "It works a lot, but it is successful, it's hard to say again; it seems to me that too much is looking for a little in work, - wrote N.V. Polenova sister artist E.D. Polenova. - I would be calmer in my soul, If the etudes were half smaller, but more content. "

In the early 80s, the artist for the first time presented his topic in its full coverage. Pencil sketch of 1883 (Tretyakov Gallery) and appeared to her detailed development. It already contains all those characters, which will then enter the picture: Farisia and Sadduki, furious, milder over the sinner of a crowd, a sinner, traveling on the Donkey Simon Kirinyanin, Christ, his disciples, merchant, yawaks, etc. Their location is close to the picture. The emergence of a crowded crowd of the people is the most fundamental innovation of the sketch. It is here that the artist begins to fasten his topic: the teaching of Christ and the people - which will form the basis of the picture. An episode with a sinner is now treated much wider than before - as a vivid lesson of a new morality, taught by Christ to the people. A significant in the sketch of 1883 was the fact that the scene was put on the square in front of the temple. Here is a random, noisy life of the big eastern city. The area is literally damaged by the people - the merchant, the conversion-boys, dried under their feet, cripples, praying, labor. But the artist is too generously included in the sketch of his traffic impressions of the street life of the eastern cities and thereby turned the image into the usual way sketch. Christ, his disciples and his opponents are lost among the surrounding of their idle sewage, expressively the gesticulating crowd sinks in a random successor reigning on the square. Smooth lighting and detailed drawing of all the figures make them equally noticeable, much more different from each other, especially since the images themselves are still not differentiated in their internal significance.

Further crystallization of the plan is clearly visible in the oil sketch of 1885 (Tretyakov Gallery). It changed above all the scales of all shapes - they became larger, most precisely with architecture. The point of view has changed on the depicted: before it was a point of view somewhat from above, why all the figures were pressed against the Earth; Now - the artist looks at what is happening a little bit from below, and the figures look more representative. The division into the crowd and the group of students of Christ was finally revealed. The image of Christ became collected, more considerable, its movements - softer, smooth and magnificent. Displaced closer to the center and this is almost in the middle of the stone ledge, against the background of it (in the sketch of 1883, Christ was accidentally joying near him), the figure of Christ was more clearly separated from the general student environments. A common color of the range of images was found - all it was filled with golden-pinkish rays of the setting sun. But the colorastic solution of the crowd, the contrast in the flower sound of the group of Christ and the crowd has not yet decided. In a composite respect, the sketch was close to the final design of the plan. This gave the opportunity to go to the creation of cardboard.

In 1885, Polenov performed a coal figure on the canvas in the size of the picture (Museum. V.D. Polenova), "which he left in such a form and did not write to the paints, because he considered the finished thing." Picture itself, according to E.V. Sugar, wrote during 1886-1887 in Moscow, in the office S.I. Mamontov (in his house on Garden-Spasskaya). The picture was exhibited at the XV mobile exhibition of 1887. Alexander III, who examined the exhibition before her discovery, acquired Polenov's cloth for his collection, ahead of Tretyakov, who led to the artist negotiations on buying a picture.

The acquisition of the painting "Christ and the sinner" by Alexander III resolved all doubts of Nikitina censorship regarding the possibility of leaving the picture at the exhibition, initiated in the last "low" real interpretation of the evangelical plot and not the canonical image of Christ.

The same features of the picture caused an attack on her reaction press. M. Solovyov in the article printed in the "Moscow Vedomosti", was hit by Polenov for the fact that the "pseudo-historical element" prevails in his picture over the "idealistic-religious". Another correspondent of the "Moscow Vedomosti" has advanced the artist to portray the "earthly image of Christ is not real, on assumptions, but in the highest idealization of the human image, which only available to the means of art." "So, what, according to G. Polenov, the Savior of the world, the Messiah, God! Why is he so simple and ordinary? Where is the seal of that divine calling, to which he serves, what does he differ from the rest of the crowd of slurry overs surrounding it?" - The author of the article "Biblical motives in the Russian school" was drawn. Passion for the transfer of the authenticity of the depicted, his life reliability had its meaning. It was due to the fact that the artist persistently sought to approve the reality of the personality of Christ and all the events, with him connected, in order to prove the vitality of his teachings and its importance for the development of human society.

Christ Polenova is primarily a teacher, a sage, a humanist who carries the words of love, who teaches their humanity. "Your Christ," P. Spiro wrote Polenov, - he gives me not only a strong mind, kindness gives me, and even accessibility, simplicity, my God! Walked in a smart, energetic person, and even accessible - Yes, and gives people the greatest reflection! And the whole picture is the malice of human (narrow, nasty, inhuman passion) sinking in kindness, spilled throughout the picture, even in the air it, and it turned out from you because Christ is so simple so commonly good. And so I am interpreted the plot that be a crowd, threw on a woman, even more furious, even more terrible, I would not be scared for a woman and for people at all; I am excitedly launched, I'm even glad that it is here it happened - here the case will be finished the most humanely simple way, comforting: there is a person, Christ, - I see a pose, to face him, throughout the warehouse of everything around him, who thinks about the fact before himself, and man with Golden Heart; You will not add it because it is not for that, - he has no hooked, he is simple! "

The tragic-sad note, sounding in the picture, in spite of its content, is, as it were, the amendment made by life, the real ideas of the artist about it, in the dream of the dissemination of the religion of love and all-believe, which cherished in the soul of the Polenov.

The bright and joyful acceptance of life, peculiar to the young Polenov, who has just graduated from the Academy of Arts, in the era of the 80s - the era of rampant reactions - gradually tucking. Art became more and more for him not only the area in which he claims his ideals, reveals his understanding of the beautiful, captures what is close and expensive in life, but also a sphere of activity that feeds his need for joy and beauty that is not satisfied by the surrounding reality. "It seems to me," Polenov wrote in early 1888, - that art should give happiness and joy, otherwise it is nothing worthwhile. In life, so many grief, so much vulgarity and mud that if the art of you will be completely coming by the horrors and the villains, then it will be too hard to live. "

The appeal of Polenov to the religion of Christ did not cause a radical fracture in the views of the artist. It was a continuation of the search for ways to achieve those humanistic ideals, which were always determining in the worldview of Polenov and which he did not change. In Christianity, he first saw the humanistic preaching of mercy and love for a person, protest against violence over the human person, calling for good, to high spiritual perfection, that is, all that he appreciated earlier and that it became especially expensive in Russia in Russia 80s years, - in the era of the utter arbitrariness, gross abrasion of human rights, rampant reactions and despotism.

The landscape painting in the era of the 80s, Polenov managed to engage only by urabs - the "Christ and a sinner" canopy for many years, was absorbed by the artist's attention, so most of the landscapes of the 80s were created either at the beginning of this period, to passion work on the picture Or at the end of it, upon completion.

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 have a happily coincided with the direction of creative search of the Polenov of the 90s and one can say largely contributed to the success of these searches. The nature of the Prioksky district 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.

Among the Landscapes of the Polenov of this period, the images of the Russian village ("Winter Museum", 1880, Kiev Museum of Russian Art were noticeable; "Rustic landscape with a bridge", 1880s, Private Assembly, Moscow; "North Village" - first appeared At the mobile exhibition in Moscow in 1889, Saratov Art Museum. A.N. Radishcheva). Together with the appeal of Polenov to the rural landscape, the theme of the Russian village naturally entered his work, but she did not acquire for the artist of that principle, was not saturated with the sharply critical social content, which he had in Perov, Vasilyeva and his other predecessors, which means of their art , with their own images, lost in the wilderness of the forests and endless plains of Russian villages, motifs concerned, dried in the impassive dirt of country roads were included in the struggle of the democratic layers of society with the darkness and backwardness of the village, with the remnants of serfdom in the era, when the peasant question was one of the most painful . The Russian village in the image of Polenov appears in an opoethized form. It is explained by this not so much insufficient maturity of the democratism of the artist, not only the peculiarities of his light, sensitive to the beauty of the talent, but - most importantly - common to the literature and art of the 80-90s, trends in the poetication of the village with its simple and natural, close to nature Life.

The first paintings of Polenov with the image of the Russian village are executed in the same landscape household genre as the paintings "Moscow courtyard", "Babushkin Garden." Gradually, as it approaches the 90s, people begin to disappear from the Landscapes of Polenov, but the last for some time still worn on their traces of their daily life and activity, and only in the era of the 90s "net", untouched nature is finalized In landscape painting Polenov. Together with this, naturally, the theme of the Russian village is broken.

The "Rustic Landscapes" series Polenova opens a large picture of "Winter. IMECHES" (62.5x107.5).

The picture depicts a small village at the edge of a black boron. Her huts, typically northern sample, large, cut from thick logs, with high roofs, with windows, almost to the height of human growth, decorated with elegant, carved platbands, not drown in snowdrifts, are not lost in the surrounding snow plain, as It was usually in the landscapes of the 60s - early 70s ("Thaw" Vasilyeva, for example). Closely harbing, they produce an impressive impression, seem to be a thick, solid wall of a standing coniferous forest. Everything in this village breathes homemake, satisfaction, strong weight lifestyle. The haze pipes are crushed, leisurely talking on a woman's street with buckets, returns home in a sleigh woman with a swing, stepwise sit on the snow two dogs. All these genre details, as well as in the Moscow courtyard painting, not only help reveal the life of people, but also identify the content of the image of the northern village created by the artist, in many respects preserved the feature of patriarchalness and antiquity.

For many years of life on the banks of Oki, the artist was disappointed in her beauties. Polenov continued to gently love this nature and first of all the harmony in it. He captures Oka at different times of the year, in its various states, giving a real chronicle of her life, complete poetry and deep truth. These are the works: "Early Snow" (1891, Private Assembly), "Summer on the Oka" (1893, Private Assembly, Moscow), "Golden Autumn" (1893, Museum. V.D. Polenova), "Autumn on the Oka near Taruza "(1893, Kiev Museum of Russian Art) and others" How I would like to show you our OKU, "Korovinn Korovlin in 1914 wrote." After all, we first discovered her beauty and chose a place to live. But then you are then. For some reason it seemed that there was no harmonic in this beauty and harmony, and the harmonic slip. Here I live here now twenty-two years, and never heard it, but the beauty and harmony are all the same. "

The picture "Early Snow" is one of the first luck of the artist on the way of creating a wide lyrical epic landscape of Oka. The first cover of fluffy snow lay down on the ground, smoothing, mitigating her outlines, making an even more tangible vigorous shirk of expanses. Due to the high point of view, with which the landscape is written, the viewer's view easily slides on the surface of the snow-covered hills and freely leaves in the distance, to the horizon, where the snowpad fields merges with the tight gray clouds. Clearly shattered on this gray-white background. Silhouette of a bare tree with fallen leaves is still stronger than the viewer's view to Dalam, as well as a turn of the leaving distance in the river, leaving among the snowy expanses. Wide, smooth, rhythmically repeated lines on which the landscape is built, they inform him of great clarity and harmony, calm and epic scope.

At the same time, the nature depicted by the artist has not yet plunged into the winter stupor, has not fried in winter sleep. The river is far from all with ice - there remained broad divorces on it; Snow lies only on Earth: the bushes have not yet disappeared under the snowdrifts, and their heightened foliage trembles in the wind; Only from individual trees, the leaves completely flew off, and therefore the forest did not lose his fluffy, standing out in the dark, rich in his shades of the spot against the background of snow cover. This is a transitional state of nature, this mixture of summer and winter forms and paints makes the landscape very picturesque, allows you to sharper the beauty of the late bloom of nature, the last manifestations of her life before the upcoming winter bed.

But the most favorite time of the year Polenova at this time is still the Golden Autumn. Her beauty he managed to convey, like no other in Russian art.

Following the painting "Autumn in Abramtsev", Polenov creates a large cloth, which calls "Golden Autumn" (1893, Museum. V.D. Polenova). A wide painting of nature opens with the eyes of the viewer. Quietly rolls his transparent blue water of the Major River. Her high shore goes into a slightly hilly plain that stretches to the horizon itself. The hills drawn by smooth, flowing lines, gradually go to no and drown in blue dala. Only a small part of this plain falls into the field of view of the artist - hills, trees and rivers turn out to be a randomly cut frame frames of the picture. It makes the viewer mentally continue to continue the image, imagine the whole form as a whole, which is why the feeling of the endlessness captured by the artist of the Prioksky Lugov.

Polenov's landscape with its calm and wide spread of space, abundance of light, air, smooth, flowing rhythms of terrain lines, the centric balanced composition produces an amazingly pacifying impression. It is harmoniously combined with the condition of the depicted nature. It is worth a transparent and clear autumn, slightly greeted the shores of the Oka and humbly gliding with his "Krasoy quiet" (Pushkin). The rain flowering of Abrahamsevsky autumn ceased, its burning was faded. People reigned, focus, silence. Faced paints. Little, gentle, harmonious and bright, they best express this mood. The air playing in the picture the primary role contributing to the transmission of wide expanses, even more extinguishes them. But this is no longer bothered by Polenov. Double, bright, saturated paints "Autumn in Abramtsev" here would be inappropriate. A quiet, contemplative mood determines the entire system of the landscape, imposes its mark on the interpretation of the image of nature.

From the second half of the 90s, landscape painting is increasingly beginning to go to the second plan, displaced by the new serious intent of Polenov - his cycle of paintings from Christ's life.

The idea of \u200b\u200bcreating this cycle, apparently, originated by Polenov even during his work on the picture "Christ and the sinner".

A new work dedicated to Christ appeared shortly after the creation of the "Christ and sinner" canvas. It was a picture "On the Genisaret Lake," or, as Polenov called her, "Christ is walking along the lake" (Tretyakov Gallery).

Desert, greatest nature. In the distance - a widely spread mountain country; Chains of low mountains go to the horizon itself, drawing against the background of the sky with their smooth softened outlines. The smooth of a calm blue lake with almost real water and distant shores. The sun has already ceased to fool the earth mercilessly, and the long-range plans of the landscape are already starting to dive into the foremost blue MGLU.

The type of Christ in the picture is the same as in the canvas "Christ and the sinner." This is a strong physique person, with pronounced oriental features of the face, meek and wise. But here it is not in the process of communicating with people, but alone with himself, his own, in communicating with nature. Immersed in yourself, as a blind, without seeing the surrounding, measured, a quiet step goes along the path along the lake and, it seems there is no end of his way. His whole figure is almost not involved in the movement, almost still - Christ as if he does not notice that he was going, so strongly embraced his state of self-education. And at the same time, nature with her silence and absence from all the terrestrial storms will be so surprisingly corresponding to the inner line of the image of Christ, which involuntarily feel how she conquers a man to himself, as before it, the consciousness of beauty and harmony of Being is retreating purely human doubts and Duma and remains One prompt feeling of confluence with nature, dissolving in it.

Continuing to work on the cycle of paintings "From the life of Christ", the polenov "to replenish the material" (according to E. V. Sakharov) goes in the fall of 1894 in Rome. There he spends the winter of 1894/95 and writes a picture "among teachers" (Tretyakovskaya Gallery), conceived back in 1884.

The second trip to the East was undertaken in 1899. The path was lying through Constantinople, Athens, Smyrna, Cairo, Port Said, Jerusalem. In Jerusalem, a caravan on Tiberiad, Tir, Sidon, Beirut was equipped. Beirut was a finite travel destination.

On the way back, Polenov from Constantinople drove to Vienna and from there to Moscow. All the journey took about three months.

By visiting the place that the gospel legend connects with the name of Christ, the Polenov gathered a large etude material for his gospel cycle.

Writing pictures went successfully. In 1909, a huge work on creating a cycle "From the life of Christ" was completed. The works were shown to the public at first in St. Petersburg (February - March 1909, 58 paintings), then in Moscow and in Tver (in May 1909, 64 pictures). The series "From the life of Christ" consisted of small sketches, broken in accordance with the evangelical legend for cycles: 1. Childhood and youth. 2. At Jordan. 3. In Galilee. 4. Outside Galilee. 5. In Jerusalem. 6. Recent days. The pictures are dedicated to Christ, who were written before the Polenov began working on a cycle as a whole ("Christ and the sinner", "on the Genisaret Lake" and "among teachers"), entered it with reduced repetitions.

As in the previous pictures of the Gospel themes, the Polenov considers Christ as a really existing historical personality and therefore does not depict in its cycle "from the life of Christ" the miracles attributed to him. At the same time, the polenov seeks to capture not so much dramatic episodes and events of his life, how much to show Christ, the nature that surrounded him, the people who stood on his way. "My paintings are mainly by the image of nature and the situation in which gospel events were performed," he wrote Polenov about his cycle L. Tolstoy.

Stripping from your real impressions from traveling in the East, the Polenov draws pictures of a peaceful and perfectly beautiful nature, where the sun shines gentlely, they shine not knowing the heavens of the skies, the magnificent, softened in their outlines, sparkles the mirror smooth of transparent blue lakes. In accordance with the character of the landscape, the artist's favorite tones are: turquoise-blue, pinkish-lilac, golden-white, emerald green. In contemplation of this beautiful nature, it seems, the whole life of Christ and people close to him, such a significant place in the cycle of Polenova takes the image of Christ and his students on the lap of nature, in a state of internal immersion in her life, dissolving and merging with it.

This condition turns out to be the most characteristic of the heroes of Polenov and even often, regardless of the moments of life experienced by them. It so lives in nature and exclusively by nature Christ not only in the pictures "on the Genisaret Lake", "Dreams", "went to the deserted place," "in the morning, insertion", etc., where this state is due to the story itself, but also in the paintings "Was in the desert with beasts," "returned to Galilean in the power of Spirit," etc., the plot of which concludes more general issues of the world of Christ, associated with his search for ways to serve truth, good, people.

Nature in many pictures of the cycle "from the life of Christ" even begins and to bother at all over people, acquiring in the eyes of the artist the only vital value and significance. Little bugs on the Londa of the Grand Land seem in such paintings, people ("baptized from him", "he taught," "in the snowy fields", "went from the country of Genisaret", etc.).

It is characteristic that Christ the Polenov remains much less likely with people than alone with himself, alone with nature. His communication with people is limited to the sphere of elected, close to him who divorce his views of people and is the character of the ideal communication of the souls (such as the paintings "Simon and Andrei", "Levi - Matthew", "Mary Magdalen", "Samaryanka", "instruction students", "They led children", "from Mary and Martha" et al.; These pictures are absolutely devoid of genre start; images of people in them are inactive, contemplatively passive). Polenov almost does not face Christ with dissent, with hostility towards him, creating an atmosphere of ideal human relations around it.

Therefore, such unexpected is in the image of Polenova, the end of Christ, the least possible artist. Pictures of the cycle "Recent Days" - the latest in time of creation - suffer from external pathetics, beautiful and not free from the serious influence of modernity, which has significantly less affected the remaining sketches. And they did not succeed in the artist not just because he did not cope with the dramatic scenes, but because he was alien to him, did not meet the search for inner harmony, the desire to create a idyllic picture of the world, which were characteristic of the series "from the life of Christ." Therefore, in the pictures of the cycle "Recent Days", first of all, it was not the tragedy of an ideal person, a dedicated, not understood by the crowd, but "the peaceful beginning of nature."

"The common mood is very high," the attitude of the audience to the exhibition of their paintings noted. The success of the exhibition was confirmed by the artist's congratulations on the occasion of its opening and completing it to the matter of his life. "Dear and deeplywater Vasily Dmitrievich! Thank you for your attention and memory and for the delivered minutes of unusual, especially aesthetic pleasure, which was the result, besides directly artistic advantages with which I congratulate you, but also deeply touching and important, A serious relationship of your to your huge, all your life given to Oeuvre "Y [work]. . . I wish you and your expensive family. . . Enjoying the success, the cat [Ohury] is undoubted and we have witnessed and we are, for the public (and huge) greedily looked and experienced high minutes: I have not seen such serious attention and interest, "Pasternak P. P. P. Pasternak. P. P. Chistyakov, Teacher Polenova, who came to the artist to celebrate him for the exhibition of paintings "From the life of Christ", told him: "And many artists went with me, and everyone is silent ... Makovsky Vladimir for what is wise, and he recalled, says : "Here the purity of Christ is connected with the beauty of nature." That's right! "On a high impression of the exhibition made on him, I spoke Polenov and Serov." I really liked the feeling, I even seemed to be seized, "he confessed.

Lion Tolstoy could not visit the exhibition. Polenov, interested in the opinion of his cycle of the great teacher of life, sent him an album with the reproductions of paintings "from the life of Christ." "You are very grateful, Vasily Dmitrievich, for the sending of your album," Polenov Tolstoy wrote. "According to the stories, I had a very uncertain concept about your exhibition, but your album made a strong impression on me. I imagine how the exhibition itself would have worked on me. Very, very sorry that it could not see her. Not to mention the beauty of paintings and that is quite a sympathetic fee of your respect to the image, this most enormous work put on this business is of deep respect for the artist. "

Polenov could be satisfied. His work, to whom he gave on the slope of the days of his all the strength of the soul, received recognition of contemporaries.

Work on the landscape and paintings "from the life of Christ" is not exhausted by the classes of Polenov these years. Unless devoted art, he tried to serve him in all his kinds and manifestations.

The special section of the artist's creativity is its activities in the theater. Polenov's passion for theater and work on the design of performances began literally from the first steps of his independent creativity. The friendship of Polenova with S.I. played a big role in this passion. Mammoth, a passionate amateur of the theater, but not be Mamontov, the artist should inevitably have to come to work in the field of theatrical and ornamental art. The theater for Polenov-enlightement was another (and very serious) the possibility of serving the case of educating a person in the spirit of good, truth, beauty. "We agreed with him (Mamontov. - T. Yu.)," Polenov wrote, "in the desire of stories and the situation, taken from the world of history and fairy tales, raise children from everyday life to the area of \u200b\u200bheroism and beauty...".

Polenovov was fraught with a rather significant part of the productions of the Mamont Mug and the Mamont Private Opera. Among them: scenery to the tragedy of A. Maikov "Two Worlds" (1879, Mamontov Circle), to the play S. Mamontov "Camorra" (1881, Mamontovsky Circle), to the dramatic poem V. Zhukovsky "Kamaens" (1882, Mammont Circle) , to opera Guno "Faust" (1882, Mammoth circle), to the play-fairy tale S.Mamontov "Alay Rosa" (1883, Mammoth circle), to Mystery of S. Mamontov "Joseph" (production 1880, 1881, 1889, 1889 ., Mammoth circle), to Opere Nikolai "Windsor Razoznitsa" (1885, Mamontovskaya Opera), to Comedy S. Mamontov "In the Caucasus" (1891, Mammont Circle), to Opera Gluca "Orpheus and Euridica" (1897, Mamontovskaya Opera) , to opera P. Tchaikovsky "Orleans" (1899, Mamontovskaya opera) and a number of others.

In 1915, according to the project V.D. Polenova for the section of folk theaters was built a house with decoration and costume workshops and theater hall. According to a unanimous decision of the members of the section, he was named "House named after V.D. Polenov".

The activities of Polenov in the section wore the most diverse character. He was not limited to the creation of sketches of decorations for amateur performances (typical scenery for Turgenev's plays, Ostrovsky, etc., differing in high simplicity of high artistic), the development of methods of simplified performances, serious attention was paid to the compilation of the repertoire for people's amateurs teams, often spoke As the author of the plays and the composer (on stage of the Polenovsky house, his play "Anna Bretonskaya" was followed by a great success), took a living participation in the director performances. In all this activity of the polenov, as before, came from the need of a person (as he understood it) to see in art "something raising over severe reality, good, beautiful, perfect,", in his opinion, and was called upon to satisfy theatre.

Above the implementation of these ideas of Polenov worked in the section until the October Revolution. After the revolution, he continued his business in a boards, organizing a number of theatrical circles among the peasants there. The selection and after the revolution for a long time continued to wear the name "House of theatrical Enlightenment named after Academician V.D. Polenov".

There is another area of \u200b\u200bsocial activity in which the Polenova was made a large and significant contribution. This is his teaching job or, rather, the upbringing of the young generation of artists, for the teaching of the foundations of professional skills is not exhausted by the role of the Polenov-teacher. Polenov-tutor in the very full and high sense of the word as we have seen it and in art, and in theatrical decoration case, showed themselves to them in their communication with young people. On this property, Polenova said well one of his favorite students E. Tatevosyan in his appeal to the artist on the day of his eighty-year-old anniversary: \u200b\u200b"I, one of the younger students of your, feelings of love and adolescence to you are filled, because you do not only be the instructions of yours According to the art, but also, moreover, it is obliged to with moral education, your personal example. How many happy years I spent with you, under your leadership. For all I heartily thank you forever ... "

Judging by the reviews of students, the polenov had a careful way explained to each of his missions and shortcomings, immediately showed himself, as needed to write, called upon everyone to observe and learn from nature. The special importance of the polenov attached to the mastery of painting technique, the ability to achieve the beauty of colorful solutions, purity and soundness of paints, increase their title based on the use of the law of the tone ratio. "Vasily Dmitrievich introduced students in detail from the very beginning with the paints and their changes: from compounds, soil and air", "demanded the purity of the palette and brushes, neat, stingy lad out of the paint on the palette, mixing on it of individual clean tones, not bringing them to it Mud, good, weathered canvas, dry, old board, etc. ". The effectiveness of the teaching system of Polenov The foundations of the picturesque skill is proved by the fact that such wonderful colorists came out of his workshop as K. Korovin, Levitan. Arkhipov, Golovin and a number of others. Polenov helped them polling their natural gift and at the same time preserve all the originality of their picturesque vision of the world.

Outdoor new ideas in painting, the polenov himself studied from his students, supported the beginnings of the young, defended their interests before the older generation of the Mobile.

The last years of the lifestyles spent in the boards. He continued to continue to work, inspiring the landscapes of Oka.

On the eighteenth of July 1927, the artist died in his estate and was buried in the cemetery in Behov.

The famous painter-landscape artist, Vasily Dmitrievich Polenov in his works reflects its inner world. He is an unsurpassed landscape player. In his canvases, the nature of our amazing edge is the middle strip of Russia, is shown so that it seems that it continues to live and delight his admirers. All fans of the talent of Polenov knows the love of his dear heart to the genital village house-based manor founded by him in the middle lane in Russia in the Tula region. There, around the house, laid and founded Vasily Polenov, a stunning park, located on the picturesque shores of the Oki River, which came to us completely unchanged.

Friends and comrades nicknamed his great beauty knight or painting by the poet - for his unsurpassed understanding and transmission of the natural beauty of the Central Russian strip. Of all four times the life of the year V. D. Polenov loved the autumn very much. Only in the fall in the middle lane of Russia play paint.

He said that the rustling of flowers and shades in nature asks on canvas. In winter, white predominates, and spring and summer are all imaginable and inconceivable shades of green. And only every fall is the rebirth of the artist. Every year, during his life, Polenov V. D. With his children or one from the first to the tenth of October, threw all his affairs and went to hiking on the shore of the beloved River Oka writing their amazing imagination of the landscapes, watch and admire the golden autumn when Beauty and inspiration are reigning. After all, it was for this period of the year of the year the most peak of autumn harmony in multicolor. Here he found a holistic summary of the image of Russian nature. Here he wrote the most famous his works-landscapes.

The canvas that glorified him on the whole world is "Early Snow", written in 1891, and written in 1893. The "Summer on the Oka" canvas, "Autumn on the Oka near Taruza", "Golden Autumn". The famous paintings "Fun" in 1892 and "spill on the Oka" of 1918. It is in these works that can be seen and felt as infinitely loved by V. D. Polenov his small homeland. In these works, the soul of the master, which he so diligently, sensitively and happily squandered on his landscapes, in which, as a state and the greatness of nature are transmitted.

Works of Vasily Polenov, with all its simplicity of perception of multifaceted, complex, and sometimes even quite contradictory. Like the artist himself, with his talent multifaceted, complex, and sometimes, as well as his works-paintings by contradictory.

In addition to his permanent painting, the Polenov did, and it should be noted quite successfully, architecture, music, theater and applied art, where he also achieved large heights. He is one of those rare people who are gifted by rare quality - versatile talents.

Polynova had a talent conveyed to him from his parents at birth, this is an outstanding gift, both architect and a musician: artist and composer. He played the keyboard tools, on the violin and the accordion. He tried himself on stage as an artist and director. He was famous for his time talented theatrical teacher and teacher of painting. He had a holistic civil position, which he promoted everywhere and defended. He was a fairly famous and active fighter for a fair attitude towards the lower layers of society at one time. It was he - the first of the Russian painters became interested in such areas in art who had not previously attracted the attention of famous painters' masters. This is a book illustration, and scenic design, and applied art. He believed, art is the happiness and joy of being, otherwise it can not cost anything in life. He was convinced that the manifestation of art in all his kinds can transform the world according to the law of beauty.

Polenov himself believed that he could not live without practicing art. He loved all kinds of art. Architecture classes brought earnings and pleasure. And classes of poetry and sculpture enjoyment and joy. And without painting and music, it would simply be in life. And this is understandable, because in Polenov, in his desire to cover different areas of art, a new type of artist was born, which is subject to any of the directions of art. This phenomenon - Polenov V.D. - The first in Russia, the artist-universal.

- Great Russian artist. Born in St. Petersburg on May 20, 1844. She graduated from the St. Petersburg Academy of Arts, and also took private lessons in such famous artists, like P.P. Pistyakov and. Traveled a lot, and was also a member of the mobile partnership. His creativity is unique in that it is one of the very first, he connected the features of realism, symbolism and modern.

Earlier, Polenov's creativity is romanticism, even somewhere cabin romanticism. But even then, the newest flows of painting began to influence his art. So, in his early works, you can find the details of impressionism: Moscow courtyard, overgrown with pond, grandmother's garden, etc. Over the years, his paintings are becoming more dramatic and deep. Special place here you can give it engravings and etchings.

The features of Modern steel began to appear in the work of Vasily Polenov at a time when he created theatrical work. The design of performances, requiring a special approach to painting, strongly influenced the further art of the Russian artist. Vasily Dmitrievich Polenov made a huge contribution to both Russian and world art painting. His paintings are in the most expensive meetings and the largest museums of the world.

A great artist died in the village of Borok (now named after the artist - Polenovo), which is in the Tula region, July 18, 1927.

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Christ and sinner

Moskovsky Dvorik

On the Tiberiatic Lake

Early snow