Kramskaya Picture Cadet. Kram Ivan.

Self-portrait. 1867.

Ivan Nikolaevich Kramskaya(1837-1887) - An outstanding artist of the second half of the XIX century, occupies one of the leading places in the history of Russian artistic kulara. Early matured, thinking and read, he quickly acquired authority among his comrades and, naturally, became one of the leaders of the "Bunt Fourteen" in 1863, when a group of graduates refused to write the graduation paintings on a given mythological plot. After the care of the rinsing from the Academy of Arts, Kramskaya was headed by the artel artists created on his initiative. Kramskaya is one of the main creators of the unification of the Mobile, a subtle artistic critic, passionately interested in the fate of Russian art, he was an ideologue of a whole generation of realist artists. He took part in the development of the charter of the partnership and immediately became not only one of the most active and authoritative members of the Board, but also the ideologue of the partnership, defended and justified the main positions. From other leaders of the partnership, its independence of the worldview, a rare latitude of views, sensitivity to everything new in the artistic process and intolerance to any dogmatism was also difficult.

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

Girl with a loose oblique. 1873.

Kramskaya was born in the city of Ostrogogsk Voronezh GU-Bernie. The early interest of the future artist to the IS-piece over time turned into an insistent attitude towards creativity. The young Kramskaya is some time working on the retoucher at the Danilevsky photographer and as a trap endlessly in the provincial minority of Russia. Finally, hitting Petersburg, he carries his dream - enters the Academy of Arts. However, the rapid hopes of admission to the secrets of great art were not destined to be implemented, because at this time the main principles of academic teaching remained-lot those who have experienced the ideas of classicism, absolutely not answering the new time. Advanced public circles of Sta-Vili in front of artists The task of a wide and true fenalty of reality. The appearance at this time of the dissertation N. G. Chernyshevsky "The aesthetic attitude of art to reality" was given a special weight liability issues of art.

In the fall of 1863, fourteen academists were pre-lying "Program" on the topic of the Scandinavian Saga "Pier in Valhalle". Young artists refused to write on this the-mu and came out of the Academy. The gap with the Academy headed Kramskaya. This decisive step threatened former students to political distrust by the state and the mother needs and therefore demanded great courage. Wosing this movement, Kramskaya accepted responsibility for the further fate of Russian art. For the purpose of mutual impact and material support, artel artists was created, in the future, which became the base of the partnership of the Pea-Righted Art Exhibitions. The public figure for calling, Kramskaya becomes one of the most active members of this organization. One of the main objectives of the parties was the development of the art of democratic not only in the form of an organization, but also in the ideological direction. In Rus-Squeeverance, democratic realism as a phenomenon of world art has reached high peaks. The first mobile exhibition was opened on November 21, 1871 in the building of Aka-Demiya art. In the spring of 1872, it was transported to Mo-SC, and then to Kiev. Unlike academic, mobile exhibitions "moved" from the city to the city, everywhere, wagoning a living interest in himself. So the activities of this public organization began, which during a number of ten years united all the advanced artists of Russia.

Mermaids. 1871.

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

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

Christ in the desert. 1972.

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

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

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

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

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

Ivan Kramskaya wrote many portraits; Of these, the portraits of S. P. Botkin, I. I. Shishkin, Grigorovich, Mrs. Voguah, family (women's portraits) of Ginzburg, Boy Jew, A. S. Suvorin, Unknown, Graph L. N. Tolstoy, Grave Litch , D. A. Tolstoy, Goncharov and ... They are distinguished by the complete similarity and the talented characteristic of the person from which the portrait was written.

Kramskaya also engaged in engraving on copper with a firm vodka; Among the etchings performed by them, the best are portraits of Emperor Alexander III, by being his heir to Zesarevich, Peter the Great and Taras Shevchenko.

Kramskaya did not have much education, always regretted and replenished this lack of constant serious reading and community of intelligent people, as a result of which he himself was useful for artists in the interlocutor (Kramskaya known for his pedagogical activities, as a teacher since 1862 in the drawing school of the Society for the promotion of artists since 1862) .
Without Ivan Nikolayevich Kramsky is impossible to present a democratic artistic culture of the second half of the nineteenth century. He was rightfully ideological leader, conscience and brain of movement. It is difficult to overestimate the importance of the artistic and climbing heritage of Kramsky for Russian culture. The main focus of his artistic activity is a deep interest in the knowledge of the man of his era, whether his artist brought his artist in the appearance of the evangelical legend or in the appearance of his contemporary. Social activity of Kramsky, his work has become a school for a whole generation of Russian artists.

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Self-portrait. 1874.

Contemporance, 1876.

Nekrasov during the last songs. 1877-1878.

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

Herodian. 1884-1886.

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

Female portrait. 1884.

Female portrait. 1867.

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

Head of the peasant. 1874.

Recovering. 1885.

Bouquet of flowers. Flox. 1884.

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

Portrait of the faith of Nikolaevna Tretyakova. 1879.

Portrait of the faith of Nikolaevna Tretyakova. 1876.

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

Portrait of the artist Viktor Mikhailovich Vasnetsov. 1874.

Portrait of the artist Mikhail Klodt. 1872.

Portrait of the artist K.A. Savitsky.

Portrait of the artist I.K. Aivazovsky

Portrait of the artist I. E. Repin

Portrait of the artist Grigory Myasedov

Portrait of an artist Alexei Bogolyubova. 1869.

Portrait of a philosopher Vladimir Sergeevich Solovyov. 1885.

Portrait of Sophia Ivanovna Kramskaya, artist daughter. 1882.

Portrait of a sculptor Marka Matveyevich Antocolsky. 1876.

Portrait of the poet Jacob Petrovich Polonsky. 1875.

Portrait of the poet Nikolai Alekseevich Nekrasov. 1877.

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

Portrait of a writer Sergey Timofeevich Aksakov. 1878.

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

Portrait of a lion writer Nikolayevich Tolstoy. 1873.

Portrait of a writer Ivan Alexandrovich Goncharov. 1874.

Portrait of a writer Dmitry Vasilyevich Grigorovich. 1876.

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

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

Portrait of Empress Mary Fedorovna

Portrait of Publisher and Publicist Alexey Sergeevich Suvorin. 1881.

Portrait of I.I. Chishkin. 1880.

Portrait of an artist Ivan Shishkin. 1873.

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

Poet Apollo Nikolaevich Maikov. 1883.

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

The famous mobile phone, one of the main reformers in the art of the XIX century, the painter and portraitist Ivan Nikolayevich Kramskaya could remain in the history of Russian art, writing only the portrait of the "unknown". The picture is one of the diamonds of the Moscow Tretyakov Gallery - is known to everyone and everyone in the territory of the post-Soviet space. "Unknown" is called Russian Joconda.

However, the artist presented the world for hundreds of cloths, which admire, amaze and mounted. Among them, the "Moonlight", "Mina Moiseev", "Mermaids", "Christ in the Desert". He headed in the early youth of the "Bunth of Fourteen", who created the union of the Movements, a subtle art critic - Kramskaya became an ideologue of a whole generation of realist artists.

Childhood and youth

The artist was born in the summer of 1837 in the suburban Sloboda new hundred under the buttergent, which in the Voronezh province. Brought up in the family of an official-clerk, tradesman.

The estimation of the dreams of parents was that Vanya grew up and became a writer, but plans unwittingly broke the neighbor self-taught artist Mikhail Tulinov. He opened the small Kram world of art and taught to draw watercolor paints. Since then, the boy has enough for each opportunity for a pencil and sketched the surrounding world.

At the age of 12, Ivan Kramskaya graduated from the course of the Ostrogog's School, receiving diplomas in all subjects. In the same year, the teenager lost his father and went to work. It settled in the city Duma, where she previously worked in the post of writer Father. Kramskaya practiced in calligraphy and was attracted as an intermediary with a fishing survey. The desire to draw did not disappear, and the guy got a retoucher at the photographer, with which he traveled all of Russia.

The event that happened in 1853 has changed the biography of Ivan Kramsky. When he was 16, a regiment of Dragun arrived in Ostrogozhsk, and with him Yakov Danilevsky, a photographer. The young artist entered the service to Danilevsky. The work of the retoucher brought Kramsky 2 rubles. 50 kopecks per month, but the main thing, a talented photographer for 3 years, which Ivan worked for him, taught the young man a lot. With him, the artist moved from the provincial provincial town to St. Petersburg.

In the northern capital, Ivan Kramskaya moved to another photographer, Alexandrovsky. At that time, the skill of the young retoucher had reached such heights that he was called the "Retural God." Already then in Kramsky, a talented portraitist awoke. Thanks to the Aleksandrovsky assistant, he became a photographer of the imperial family and received an "eagle", and Ivana was invited to the famous photo student Andrei Emeter. In line, the Petersburg Elite became a queue for the referential Kramsky photo.

In St. Petersburg, Ivan Kramskaya carried the dream, which cherished from childhood: he entered the Academy of Arts. The young man was determined in the group of Professor Alexei Markov. The future painter in the first years has become the leader of academic youth.

In 1863, a small silver and small gold medal was found in the piggy bank of a talented artist. From the main award - a large gold medal and a paid 6-year-old trip abroad - Kramsky gave a little: on the creative contest should have drawn a picture on the proposed topic.

However, to depict the plot from Scandinavian mythology 14 out of 15 candidates for the medal refused - in society grew an interest in the realistic genre, to the pictures in which everyday life was displayed. He headed the Buncti Ivan Kramskaya. Students refused to draw another, not a mythical plot, and they left the final exam.

Painting

After graduating from the Academy, Kramskaya organized and led the artel of free artists, which entered graduates and like-minded people. The masters took orders for portraits and copies of famous canvases, illustrated books.

Ivan Kramskaya hit hardworking: painted portraits, looking for customers, distributed money, took students. One of them became. In the middle of the 1860s, the artist took over the painted of the domes of the Moscow temple of Christ the Savior: sketches on Crarian cardboard made in student years.

In 1869, the painter first went to Europe to get acquainted with the art of the West. The impressions received by the Russian master after acquaintance with the exhibits of the art galleries of European capitals turned out to be contradictory. In contrast to many compatriots, Western art did not cause him delight.

After returning home, the artist had a conflict with a colleague according to Arteel: violating the rules of Fourteen, he accepted by the Academy of Arts a paid foreign trip. Kramskaya left the artel. Without it, the community quickly broke up.

The painter founded a new creative association, calling him a companion of mobile art exhibitions. Together with the Kram co-founders of the partnership were Grigory Myasoedov, Vasily Perov. Mobile artists opposed themselves to the adherents of Academicism, drove mobile exhibitions in all cities of the empire, popularizing art and approaching him to the people.

At the exhibitions of the heads, those who wanted to have liked the canvas. One of them is the "May night" of Kramsky's brush - bought a patron and a gallery player. The mystical plot, inspired by the audience, the artist painted in Malorus.

In 1872, Ivan Kramskaya made the last strokes on the "Christ in the desert" canvas, which became his most famous work. The picture immediately acquired for 6 thousand rubles of the Tretyakov. The work was produced by Furior, and the Alma Mater of the painter almost ate the Kramsky title of professor, but he refused.

But the greatest glory among the contemporaries Ivan Kramskaya acquired as a portraitist. His images, Sergey Botkin, according to the information of contemporaries of the painter, have complete resemblance to heroes and transmit characters, inner light of nature.

The canvas "Mina Moiseev" The artist presented the world in 1882. Fans of Kramsky and art connoisseurs call the portrait of a peasant with the best product of Russian painter. In fact, Mina Moiseev - sketch, etude to the canvas "Peasant with a bridle", drawn later. This work is a vivid example of the Kramsky-Humanist, who loved and understood the Russian people.

In the 1880s, Ivan Kramskaya struck and split the society of the band "Unknown". The woman shown does not belong to the Higher Society. She is dressed in the last word of the fashion of those years, which was considered indecent at noble ladies.

The critic Vladimir Stasov delivered the verdict of the canvas, calling him "Cockclotka in a wheelchair." Many contemporaries agreed that the portrait is a rich content. Tretyakov refused to buy a picture - the industrialist Pavel Kharitonenko acquired it.

Kramsky painting technique - subtle finishes, careful and detailed image of people. Landscapes The artist did not draw, but in the canvases "May night" and "Moonlight" brilliantly depicted the lunar light.

Ivan Kramsky is rightly called ideological leader of movement, the brightest representative of the democratic art of the XIH century. Portraits of the artist amazingly humane and spiritualized.

Personal life

With the future wife, Sofia, a prohhora young artist met, being a student of the Academy. He loved the girl so hard that she neglected the rumors stretching behind her. Sony's reputation was flawless not: before the acquaintance with Kramsky Prokhorov lived in a civil marriage with a married artist, learning about his "non-free" status too late.

However, for Ivan Kram Sophia became a sample of purity and loyalty. The spouse divided the years with him and lack of money, the artist consulted with her during the work, asked to pray when he segged to a new canvase.

Sophia Kramskaya gave birth to her husband of six children. Two of them - sons - died with a difference of 3 years. On the famous painting "Rezazynaya Mount" depicted a painter's spouse. The canvas Ivan Kramskaya created 4 years.

The favorite of the artist is the daughter of Sophia Kramskaya - went in the footsteps of the Father. In the 1930s fell under the rink of repression.

Death

In the past 5-6 years of life, the presence of the artist was recognized by a strong dry cough: Kramsky had a breasting toad (aneurysm of the heart). Hug pain helped morphine injections. He treated the artist Sergey Botkin, who was hiding from the patient the name of the deadly ailment. Ivan Kramskaya learned about him by chance, after reading the symptoms in the medical encyclopedia, carelessly left by Botkin on the table.

Heart disease (aortic aneurysm) and caused the death of a painter. He died at work - drawing a portrait of Dr. Karl Rauthus. Kramskaya did not survive 2 months to the 50th anniversary.

He was buried at the Tikhvin Cemetery of Alexander Nevsky Lavra.

Work

• 1880 - "Moonlight"
• 1882 - "Mina Moiseev"
• 1871 - "Mermaids"
• 1872 - "Christ in the desert"
• 1873 - "Portrait of the artist I. I. Shishkin"
• 1873 - "Portrait of Lion Nikolayevich Tolstoy"
• 1877 - "Portrait of Empress Mary Alexandrovna"
• 1878 - "D. I. Mendeleev "
• 1881 - "Portrait of Lady"
• 1883 - "Unknown"
• 1884 - "Rezazy Mountain"
• 1886 - "Alexander III"
• 1883 - "Portrait of Sergey's Son"
• 1878 - "N. A. Nekrasov during the "Last Songs"

Throughout his life, Ivan Nikolayevich Kramskaya tried to draw the art of his face to life so that it was an effective tool for its active knowledge. An outstanding artist of art, who played a huge role in the formation of the Patriotic School of Painting, headed the famous "Bunth of Fourteen", stood at the head of artists and mobile partnerships, was one of those whose life and creativity was invariably served as a statement of the most revolutionary, the most advanced ideas of their time.

Pictures of Ivan Kramsky

Agested sense of life

Ivan Nikolayevich wrote in his biography: "I was born in 1837, on May 27 (under Art. St. meshism. 12 years old I lost my father, a very severe person, how much I remember. My father served in the city Duma, if I'm not mistaken, a journalist (i.e., writer - V. R.); My grandfather, in stories ... was also some kind of writer in Ukraine. Further, my genealogy is not risen. "

On the slope of years, the artist ironically noted that something "Opening" came out of it. In his autobiography, some bitterness is felt, but at the same time the legal pride of a person who escaped from the "Bowls" and in a row with the most outstanding figures of his time. The painter wrote about how he sought her education all his life, but he managed to finish only the Ostrogogian county school, although he became there "the first student." "... Never and I did not envy anyone ... as a person really educated," said Kramskaya, mentioning that after training he became the same writer in the city Duma, which his father was.

The young man became interested in the art, but the first person who had noticed and supported it was the local amateur artist and photographer Mikhail Borisovich Tulinov, who Kramskaya was grateful all his life. For some time he studied the icon-painted craft, then, at sixteen, he "had a case from a county city with one Kharkov photographer." The future artist drove with him "Greater Half of Russia for three years, as a retoucher and watercolor. It was a harsh school ... ". But this "harsh school" brought Kramsky considerable benefit, he ordered his will and formed a persistent character, only strengthening his desire to become an artist.

Judging by his diary records, the young Ivan Kramskaya was an enthusiastic young man, but the person arrived in St. Petersburg in 1857, he firmly knowing what he wants and how to achieve it. The beginning of the independent path of the future painter had to be difficult for all Russia. The Crimean War has just ended, denoting the crushing military and political defeat of the autocracy, awakening at the same time public consciousness as advanced people and the wide masses.

Monolith of the Imperial Academy

Already not far from the mountain was the abolition of hated serfdom, and progressive Russia did not just live in the expectation of future changes, but also in every possible way they contributed. Powerfully sounded Nabat Herzensky "Bell", young revolutionaries, the differences, headed by N. G. Chernyshevsky, prepared themselves to the struggle for the liberation of the people. And even so far from the practical life, the sphere of "high" art succumbed to the charm of wind of change.

If the serfdom was the main brake of the development of all parties to the life of society, the Citadel of Conservatism in the field of art was created in the middle of the XVIII century the Imperial Academy of Arts. Being a guide of official doctrines and already out of the aesthetic principles, she did not allow the area of \u200b\u200b"beautiful" something in common with real reality. But her students in the second half of the 50s - early 60s, more and more definitely felt that life makes completely different demand for art. N. G. Chernyshevsky's significant words "Beautiful is life" have become a software installation for all the progressive Russian intelligentsia and young figures of the emerging Russian democratic art. They brought new public sentiments to the Academy of Arts, established close ties with university students, the Medical and Surgical Academy, in which the heroes of Roman Chernyshevsky "What to do?" Dmitry Lopukhov and Alexander Kirsanov, both typical differences, peers, I. Kramsky.

Ivan Nikolaevich arrived in St. Petersburg has already enjoyed the glory of an excellent retoucher, which opened the doors to him in the atelier of the best metropolitan photographers I. F. Aleksandrovsky and A. I. Emera. But the career of a succeeding artisan could not satisfy it. Kramskaya was increasingly thinking about admission to the Academy of Arts.

Kramsky's drawings immediately received the approval of the Council of the Academy, and in the fall of 1857, he already became a student of Professor A .. T. Markov. So his cherished dream came true, and I must say that I studied Kramskaya very diligently, worked hard on the drawing, the culture of which was very high at the Academy, successfully worked on sketches on historical and mythological plots, receiving all the rewards.

But the young painter did not feel genuine satisfaction. Thoughtful man, well-read, he more definitely felt the principal breakdown between old artistic doctrines and real life. After just a few months after the arrival of Kramsky to the Academy, A. A. Ivanov "The Phenomenon of Christ People" was brought to St. Petersburg from Italy. The return of the artist to Russia after almost the thirty years of absence, which followed by his sudden death, the impression that made the picture of the contemporaries, which became the main thing about the life of the Great Master, played a huge role in the formation of the consciousness of the emerging advanced part of the Russian intelligentsia.

"Bounce of Fourteen"

Best of the Bunte 14 told Ivan Nikolayevich Kramskaya in his letter to the old friend M. B. Tulinov: "My dear Mikhail Borisovich! Attention! On November 9, that is, last Saturday, the following circumstance happened to the Academy: 14 people from students filed a request for the issuance of diplomas to the title of class artists. At first glance, there is nothing surprising.

People are free, volunteering students, maybe when they want to leave classes. But the fact of the matter is that these 14 are not ordinary students, but people who have to write to the first gold medal. It was something like that: a month until now, we have submitted a request for our free choice of plots, but in the request of our us ... and we decided to give one plot of historians and the plot of the genreters who invoke their plots. On the day of the competition, on November 9th, we are in the office and decided to climb everything together into the council and find out what the Council decided. And therefore, to the question of the inspector: Which of us historians and who genre? We, to all together enter the conference room, answered that we are all historians. Finally, calling the council face to listen to the task. We are entering. F. F. Lvov read us the plot: "Pier in Valhalle" - from the Scandinavian mythology, where the heroes of the knights are always fighting, where God alone, two crow sit on his shoulders, and at the foot two wolves, and finally, there, Somewhere in heaven, between columns a month, persecuted by a monster in the form of a wolf, and a lot of other harmonies. After that, Bruni got up, suits us to explain the plot, as always. But one of us, it is Kramskaya, separated and pronounces the following: "We ask for permission to say a few words in the person of the Council" (silence, and the eyes of everyone dug in the speaker). "We have applied for two times, but the Council did not find possible to fulfill our request; We, not counting ourselves in the right to insist and not dare to think about changing academic regulations, we ask you more to free us from participating in the competition and give us diplomas for the title of artists. "

A few moments - silence. Finally, Gagarin and the tone make sounds: "All?". We answer: "All", and go out, and in the next room we give petitions to the manufacturer of cases ... And on the same day, Gagarin asked for a letter to Dolgorukova, so that nothing appeared in the literature without previewing it (Gagarin). In short, we put in a predicament. So, we cut off our own retreat and do not want to progress, and let it be a healthy academy for its century. Everywhere we meet sympathy for our act, so one sent from the writers asked me to tell him the words that I said in the Council for printing. But we are still silent. And since they were tightly kept behind the arms so far, that we do not disappear, we decided to keep on and on to form an artistic association, that is, to work together and live together. I ask you to inform me of your advice and considerations regarding the practical device and the general rules suitable for our society, and it seems to us now it is possible. Our actions have to hugging: portraits, iconostasis, copies, original paintings, drawings for publications and lithographs, drawings on a tree, in one word, all related to the specialty of our ... Here is a program, not yet clear, as you can see ... "

In this letter, the artist not only reveals the confusion of the confrontation of young artists and the Academy, but also sees prospects for the future, until it is clear, but very bold and not limited to the egoistic goals of their own survival. After that, the incident, the unlawful surveillance of the police, launched over the years, was established over the Kramsky and his comrades. Here are the names of the fourteen participants "Bunt": painters I. Kramskaya, A. Morozov, F. Zhuravlev, M. Peskov, B. Venig, P. Zabolotsky, N. Shustov, A. Litovchenko, N. Dmitriev, A. Korzukhin, and . Grigoriev, N. Petrov, K. Lemoch and sculptor V. Kreitan.

All of them were ordered to urgently free the workshops, but the youth, the remaining livelihood, still won a major victory, whose importance at that time could hardly understand. It was the first conquest of Russian democratic realistic art. Soon Kramskaya, together with like-minded people, began the practical implementation of the idea that appeared from him - the creation of the first independent "Art Association" - artists of artists.

Kram's eye repinne

After expulsion from the Academy, Kramskaya is arranged to teach the Society for the Society of Artists, among the students, "the talented young man was the talented young man, who had just arrived in St. Petersburg," just like the Kramskaya himself, who dreamed of admission to the Academy of Arts - Ilya Repin.

Ilya Efimovich himself describes his first meeting with Kramsky: "That's Sunday, twelve o'clock in the afternoon. In the classroom, lively excitement, Kramsky is not yet. We draw from the head of Milon Krotonsky ... in the class noisy ... Suddenly there was a complete silence ... And I saw a thin man in a black surpetuka, which was a solid gait in the class. I thought it was someone else: I imagined the Kramsky disagree. Instead of a wonderful pale profile, it had a thin scooped face and black smooth hair instead of chestnut Kudrey to shoulders, and such a treasured liquid beard only happens to students and teachers. - Who is this? - I whisper I will comrade. - Kramskaya! Do not you know? - he is surprised. So what is he! .. Now looked at me; It seems noticed. What eyes! Do not hide, the gift is that small and sit deep in the shoulder orbits; Gray, glow ... What a serious face! But the voice is pleasant, sincere, speaks with excitement ... But listening to him! Even the work was dispersed, cost about, revealing mouths; It can be seen that they try to remember every word. "

Repin, like many Russian artists (Kramsky himself perfectly wrote, as well as Perov), Repin turned out to be a talented writer. In his essay, "Ivan Nikolayevich Kramskaya (memorial memory)", he with a very alive, expressive literary portrait. "Kramskaya in the Repin pages is all in motion, in the struggle, this is not a frozen wax figure of the Panofitikum, it is the hero of a fascinating story, rich in the episodes of the story," wrote later K. Chukovsky.

Repin created an image, almost to the smallest detail with a "self-portrait" written by Kramsky in 1867 and distinguished by an unusually objective characteristic. In the picture, nothing distracts us from the main thing - the face of the hero, with a strict, insightful look of gray eyes. Mind, Will, restraint - these are the main features of the personality of the artist who are well visible in the canvas. Proud self-esteem is manifested without rice or posing. Everything is simple and natural in the appearance of the painter and in its own way harmoniously in the inner. The portrait flavor is almost monochromeen, the smear is dynamic, in front of us - a recognized chapter of the first Petersburg artel artist.

Creating Artel

On the facade of the house number 2/10, standing at the corner of Majorov Avenue and Admiralty Avenue in St. Petersburg, a memorial plaque was installed with the inscription: "A large Russian artist Ivan Nikolaevich Kramskaya lived in this house from 1866 to 1870. Here the Artel organized by him, which united advanced realist artists of the 60s "was placed here. But in reality, the artel artists did not immediately acquire the placement in the center of the capital, near the Palace Square.

It all started much more modest. Remembering the organization of Arteel, Kramskaya wrote Stasov before death: "... then it was necessary first of all to eat, eat, because all 14 people had two chairs and one three-legged table. Those who had anything had something left. " "After a long thought," wrote Repin, "they came to the conclusion that it is necessary to arrange with the permission of the government Artel artists - something like an art firm, workshop and offices, receiving orders from the street, with a sign and approved by the Charter. They removed a large apartment in the seventeenth line of Vasilyevsky Island and moved (most) to live together. And then they immediately came to life, cheerful. Common big bright room, comfortable cabinets to everyone, its farm, who led the wife of Kramsky, - all this encouraged them. It became more fun to live, some orders appeared. Society is power. " Thus, the first union of artists organized by Kramsky appeared. It allowed many talented masters of painting not just to survive, but to succeed, recognition and financial independence, which, as a result, caused a full disintegration of the organization.

Personal life and interest in psychology

Ivan Nikolaevich was always sure that his chosen would be to him the faithful girlfriend, divide the artist's life with him. Sophia Nikolaevna, who became his wife completely embodied his dreams of personal happiness. In one of the letters of the artist to the spouse, we read: "... You not only do not bother me to be an artist and a comrade of my comrades, but even as if it became a true arteel ...". Kramskaya repeatedly wrote portraits of Sofia Nikolaevna. And although it would be too bold to call her "Muse" of the artist, the ideal of a woman, she was undoubtedly. The best confirmation is its images created in portraits of the 60s. Generality, the independence and pride of their heroine, allowing to see the "new woman" in it, which did not lose true femininity, poetry and softness in it.

These qualities are especially noticeable in its graphic portrait belonging to the Tretyakov Gallery (1860s). Young, charming and tender woman who has a strong volitional character, what the vigorous turn of the head and strict, but open look.

Picture "For reading. Portrait of S. N. Kramskaya, "written in 1863, reminds us of lyrical women's portraits of the beginning of the XIX century. Coloring paintings is built on a combination of shades of light green, lilac and other gentle flowers. A landscape and a few, carefully selected accessories, helping to convey the apparent attractiveness of the portrait heroine, playing a major role in the canvas. The young Chet of Kramsky captured in 1865 their common friend "Artelechshchik" N. A. Koshelev. In the picture "Kramskaya with his wife" we see a lyrical scene: Sophia Nikolaevna plays the piano, while Ivan Nikolayevich plunged into reflection under the accompaniment of her music.

In the 60s, Kramskaya created a lot of graphic portraits of his friends: N. A. Koshelev, spouses of Dmitry-Orenburg, M. B. Tulanova, I. I. Shishkin, more and more enhancing their psychologism. True, the photographically developed then photography, it would seem that artistic graphic and expensive picturesque portraits would seem to be outstretched. It was created that there was absolutely everything that he could not only fix the appearance of the positive, but also winning the necessary details of the costume, rich in the situation, jewelry, etc. But, as the time showed, he was unable to be Ploy inside a person, give him a certain social and psychological assessment. It remained achievable only in the portrait created by the artist.

It is these - the improvement of the psychological portrait - many masters were occupied, including N.N. GE, V.G. Perov and I.N. Kramskaya. The powerful takeoff of a Russian realistic portrait coincided with the beginning of the era of the movement and the end of the era of Arteel, confused its initial meaning in time.

Movement Association

The wonderful idea of \u200b\u200bcreating TPHV, who played a large role in the life of Russian art, belonged to a group of prominent Moscow and St. Petersburg artists, and the direct initiator of the undertaking was the famous genrist G. G. Myasoyedov. He appealed to the artel writing, having met the support there only from individual members, first of all - I.N. Kramsky.

In Tog, in 1870, an organization was created capable of freeing Russian democratic art from state custody, ralling advanced artists around the association based on the principle of personal material interest of all its members. The main purpose of the partnership was the development of art. The practice of mobile exhibitions opened the opportunity to directly communicate artists with a wide audience, raising the most pressing issues of modernity.

For several decades, many best work of the heads acquired P.M. Tretyakov. November 28 (December 12 for a new style) of 1871 held in St. Petersburg the first exhibition of the partnership. It should be noted that it is Kramsky, a person who has been extremely solid principles and beliefs, the created partnership of mobile art exhibitions, it is obliged to the fact that the task of the exhibition organization very soon turned around and became a genuine school of advanced Russian art.

Ivan Nikolaevich himself, organizing a partnership and leading his creative life, gained the "nutrient medium" in it, which allowed him to achieve his own artistic heights. The flourishing of the activities of the mobile partnership coincided with the flourishing of creativity of Kramsky, and as a painter, and as a criticism-publicist, the author of a number of very serious articles in which he expressed his reflections on the fate of art and its high public destination.

In numerous letters to a variety of persons, you can read a lot of interesting remarks of Kramsky about the great masters of the past and modern Russian and European artists. The most remarkable moment in the critical arguments of the artist was that he wrote them not so much to educate others, how much to express the huge and continuous inner work, which was carried out in him.

Kramskaya, in his aesthetic views, was a consistent supporter of the teachings of the Great Democrats V.G. Belinsky and N.G. Chernyshevsky. He wrote, believing that only life itself could be the basis of artistic creativity: "There is a bad thing when art becomes a legislator! .. The serious interests of the people you should always go ahead less significant."

Kramskaya argued that "art and can not be any other as national. There was no other art anywhere, and if there is so-called universal art, it is only due to the fact that it was expressed by a nation standing in front of universal development. And if someday in the distant future of Russia destined to take such a situation between nations, then both Russian art, being deeply national, will become universal. "

The image of Christ

During the flourishing of the art of impressionists in France, Repin, who was in Paris and admired by their work wrote that "We", i.e. Russian, "A completely different people, in addition, in the development (artistic. - V. R.) We are in the earlier Phase." In response to Kramsky's remark about the fact that Russian artists should finally move to the light, to the colors, "Repin says:" ... our task is the content. Face, man's soul, drama of life, the impressions of nature, her life and meaning, the spirit of history - these are our topics ... We have paints - a tool, they should express our thoughts, our flavor - not graceful spots, he must express us the mood of the painting , her soul, he must arrange and capture the entire viewer as a chord in music. "

It should be noted that similar ideas at the time expressed many figures of Russian culture from F.M. Dostoevsky to M.P. Mussorgsky. Direct incarnation they received in the works of I.N. Kramsky.

The artist's most important work in the work of the artist was shown in the second exhibition of the partnership of Movie the picture "Christ in the Desert" (1872 year), the idea of \u200b\u200bwhich arose for him for a long time. The fact that she became the extensive ideas for him, the artist said: "Influenced by a number of impressions, I have a very difficult feeling from life. I see it clear that there is one moment in the life of every person, a little-old created in the image and likeness of God, when a meditation finds him - to go right or left? .. We all know how such a oscillation is erected. Expanding the idea, covering humanity in general, I, on my own experience, in my small original, and only one by him, I can guess about that terrible drama, which was played during historical crises. And here I have a terrible need to tell others what I think. But how to tell? What, what way can I be understood? By the nature of the nature, the language of the hieroglyph is more accessible to me. And now I once ... I saw a figure sitting in a deep meditation ... His Duma was so serious and deep that I found it constantly in the same position ... it became clear to me that he was engaged in an important question for him, so important that he is insensitive to terrible physical fatigue ... who was it? I dont know. In all likelihood, it was hallucination; I really need to think, did not see him. It seemed to me that it was only a better approaching what I wanted to tell. There I didn't even need to invent anything, I just tried to copy. And when cumshot, he gave him a bold name. But if I could at the time when I was watching, write it, is Christ, Christ? I do not know...".

We can judge how long the artist worked for the creation of the very "right" image on the huge number of drawings and sketches made in preparation for the main work. On the meaning of this picture for Kramsky, it can be judged by the fact that he continued to add his work even after it was posted in the Tretyakov Gallery.

The artist depicted Christ sitting on gray cold stones, the deserted soil is dead, it seems that Jesus wandered there, where the human leg did not go. The slim balance of the level of the horizon that divides the work space in half, the figure at the same time dominates in the canvas space, drawing on the background of the sky with a clear silhouette, and is in harmony with the earthly world depicted on the canvas. It only helps the artist to deepen the inner drama of his hero. There is no action in the picture, but the spectator seems to feel the life of the Spirit, the work of the thoughts of the Son of God, decisive for himself some important question.

The legs are wound about sharp stones, the figure of Bibenna, the hands are painfully grit. Meanwhile, the emaciated face of Jesus does not simply transmit His suffering, and in spite of everything expresses the vast power of the will, the infinite loyalty to the idea of \u200b\u200bwhich he subjugated his whole life.

"He sat down when the sun was still in front of him, got tired, exhausted, at first he spent the sun with his eyes, then did not notice the night, and at the dawn, when the sun should rise from behind him, he continued to sit still. And it is impossible to say that he is inevitable to feel: no, he, under the influence of the coming morning cold, instinctively pressed the elbows closer to the body, and only, however, his lips as it were as if dried away, merged from a long silence, and only their eyes gave out the inner Work, although nothing seen ... ".

The author appeals to his contemporaries, raising large and eternal universal problems in this work, putting a difficult question to choose a life path. In Russia, there was a lot of people who are ready to bring themselves sacrificing for the sake of truth, good and justice. The young revolutionaries were preparing for "walking in the people", which will soon become the heroes of many works of democratic literature and painting. A close connection between the paintings of Kramsky and life was obvious, but the artist wanted to create a work program: "And so, this is not Christ, that is, I do not know who it is. This is the expression of my personal thoughts. Which moment? Transition. What follows? Continuation in the next book. " The most "next book" should have become a cloth "Hochot" ("Rejoice, Tsar Jews!", 1877-1882).

In 1872, Kramskaya was written by F. A. Vasilyev: "We must write more" Christ ", you must certainly, that is, it is not actually His, but the crowd that laughs in all the throat, with all the forces of his huge animals of the lungs ... This laughter For many years now I have been pursued. It's not hard that hard, and it is hard that you laugh. " Christ in front of the crowd, ridicked, getting glad, but "he is calm, like a statue, pale, like a canvas." "While we are not seriously talking about the good, about honesty, we are with everyone in Lada, try to seriously carry out Christian ideas into life, see what the laughter of the laughter around. This laughter is haunting me everywhere, where I will go, I'll hear it everywhere. "

"Seriously conduct Christian ideas" for the artist did not mean to approve the dogmas of official Orthodoxy, it was the desire to ratify for genuine morality, humanity. The main character of "Hohhot" was the personification of not only the ideas of Kramsky himself, in it generally reflected the thoughts of many honestly thinking representatives of the time, which, direct clashes with rudeness, universitable cynicism, clearly proved that the abstract good is simply not able to defeat the present real evil .

Lyrics

In the life of Kramsky, in the middle of his life, a certain drama took place, the believer of what was worried at the end of his way of Ivanov. The artist began to seem that he had no completed creative failure (the work of "laughter" was not completed) is a consequence of the fallacy of the ideological position in general chosen. These doubts are generated by many of the best representatives of the Russian intelligentsia utopian maximalism. The difficult task that he tried in vain to realize in the form of a cycle of works about Christ, the artist managed to decide in his magnificent portraits of the 70s and 1980s, embodying the images of advanced Russian writers, scientists, artists and figures of the scene of their ideas about the personalities of high moral appearance.

In the same 70s, Kramskaya writes a number of previously characteristic of the lyrical works, which is a bright example of which the picture "Inspection of the Old House" (1873), telling about the abandoned and destroying "noble nest", in which his owner returned, after many years of absence. "The old purebred Barin, Bachelor" finally "comes to his generic estate after a long, very long time and finds the estate in ruins: the ceiling hit in one place, everywhere a web and mold, a number of portraits of ancestors. They lead him under the hands of the two personals of the female ... Behind them - the buyer is a fat merchant ... ".

We see an elderly person, slowly moving around the Avtilade rooms of an abandoned generic estate. So he entered the living room, having lost his ancestors to the darkened from time to time, saw antique furniture in the surcedenses of canvas covers, it seems that even the air in this old house is painted in the smoky dusty tone, the time has stopped here, and timid light from the windows is not able to dispel this mole of last.

As mentioned in his letters N.A. Widerger - one of the oldest employees of the Tretyakov Gallery, most likely "in the painting" Inspection of the Old House "Kramskaya depicted himself." The testimony of the contemporary is of undoubted interest, although, even if it really is, the artist did not just try on this sad-lyrical situation. Kramskaya put into the image created by the image wide poetic and deep social importance.

As you know, the picture remained unfinished. Perhaps Kramskaya, as a person's active, active, purely "public", simply did not allow himself to relax, switch to the lyrical channel, overcoming this weakness in order to work on works of completely different social importance, more important, in his opinion, in his opinion Conditions of a difficult social and artistic situation in Russia of the 1870s. "I am portraits, in essence, never loved and if it was done to be worn, then only because I loved and love human physiognomy ... I became a portrait of the need," Ivan Nikolaevich wrote. Obviously, however, that one of the "necessity" could not be able to make it an outstanding portrait master.

Portrait of Tolstoy

The need to prove that according to the ideas of Chernyshevsky, "the human person is the highest beauty in the world available to our feelings," awakened in Kramsky a living interest in "human physiognomy". Thanks to this interest of the artist to the reflection of the human soul, the portraits created by the Master in this era were an invaluable contribution to the Russian visual art of the 1860-80s.

"Portraits you have now," wrote him in 1881 by I. E. Repin, - represent persons of the expensive nation, its best sons who brought positive benefit to their disinterested activities, benefit and prosperity of their native land who believed in its best future and Known for this idea ... "Ivan Nikolaevich Kramskaya became one of the prosecutors of the gallery of portraits, thanks to which we can now see the faces of people who played a huge role in the history and art of Russia. Among them was Lion Nikolayevich Tolstoy, the first portraits of which painted exactly Kramskaya.

To get into the collection, the portrait of the Great Russian writer was the cherished dream of Tretyakov, but to persuade Lev Nikolayevich to pose so far that no one succeeded. On the other hand, it was Kramskaya, who worried to persuade collectors to help the young talented artist F.A. Vasilyev, in the Crimea from Chathek. As a result, in 1873 Kramskaya, to pay for Vasilyeva, the Tretyakov duty, persuaded to pose to him for two portraits: one was intended for a collector, the second - for the Writer's home in a clear glade.

Ivan Nikolaevich worked on both canvases in parallel, while trying to avoid absolute identity. As a result, the writer's family chose a portrait with a more intimate interpretation of Leo Nikolayevich, on which he is immersed in himself. Tretyakov got a portrait on which the writer, as if refers to the viewer. So the artist managed to simultaneously create two fundamentally different artistic images.

Both portraits have a number of common features. First, neutral background, thanks to which the location of the figure in space ceases to play any role. Secondly, the hands of the model are written only in general terms. Thirdly, the artist intentionally avoided expressive painting in the flavor. Such restraint of the plastic solution made it possible to transfer all attention to the face of a forty-fivety thick - open, simple, framed by the volatile beard and trimmed with trimmed hair.

The main thing in the portraits created - the eyes of the writer, expressing the intense work of the thought of a smart and educated person. From the painting of Kramsky Tolstoy looks at us "adamantly and strictly, even cold ... Without allowing himself at least for a moment to forget about their task of observation and analysis. He becomes a scientist, and his subject is a human soul, "the prominent Soviet art historian D. V. Sarakanov described his impression. It was the comprehension of the mighty intelligence of Tolstoy became the main goal and, of course, represented the basic difficulty with which the artist encountered in this work.

Portraits of the Great

Kramskaya wrote many portraits on the order of Tretyakov, giving tribute to this outstanding person. So in 1871 the artist writes by photography Portrait of the Great Ukrainian Poet Taras Grigorievich Shevchenko. And in the winter of 1876, Ivan Nikolayevich is especially close with the family of a collector, working on the portraits of the wife of Tretyakov, faith of Nikolaevna, and Pavel Mikhailovich himself, in which he always saw a merchant, but an intellectual and a true patriot of the Russian national culture, who firmly believed that "Russian School of Painting Not the last will be. " In a small portrait of 1876, distinguished by a "chamber" of a deciduous solution, Kramskaya tried to express the social importance of the personally portrayed personality.

By order, the Tretyakov artist created two images of the Great Russian Poet-Democrat N.A. Nekrasova (1877-1878), the first of them - the portrait of Nikolai Alekseevich, the second - the picture "Nekrasov during the" last songs ". Work on these works was complicated by severe poet's disease. The artist managed to write it sometimes only ten - fifteen minutes a day, but by March 30, 1877, the portrait of N. A. Nekrasov was completed.

But he is not the greatest value, but the picture "Nekrasov during the" last songs ", on which the selection of household details helped create an accurate image of the poet. A pale, dressed in all white, seriously sick Nekrasov sits on bed, immersed in his thoughts. And the photos of N. A. Dobrolyubova and I. S. Turgenev, woven on the walls of his office, as well as Bust V. G. Belinsky, ideological mentor and the great friend of Nekrasov, transmit the atmosphere of rich, intense creative life, giving feel that the great poet Immortense.

Interestingly, if you look into the surface of the canvas of the picture, it is not difficult to note that several seams are crossed. The image of the poet's head is performed on a separate fragment, the initial position of which is easy to install. Apparently, at first the master portrayed a deadly patient to the poet lying, rebuilding the composition, for greater expressiveness. Nekrasov appreciated the talent of Kramsky, giving him an instance of his book "The latest songs", on the title page of which he wrote: "Kramsky for memory. N. Nekrasov 3 Apr..

The work of Kramsky above the images of the outstanding writer-Satirik M. E. Saltykov-Shchedrin was even more difficult, stretched for several years. One of the two, created by the artist of portraits, was also intended for the Tretyakov collection and was created from 1877 to 1879, exposed to endless alterations. Having completed the picture, Kramskaya writes the Tretyakov that this portrait "came out really very similar," saying his artistic features, the master emphasizes: "Painting ... Murugaya came out, and imagine - with the intent."

As in the portrait of Tolstoy, the flavor of the work is very deaf, the gloomy. Thus, the artist puts the focus of the face of Shchedrin, his high forehead, mournfully lowered corners of the lips, and, the main thing inherent in the demanding opinion only him. A large role in creating an image of the Satirik writer is played by hands - closed, with thin intertwined fingers, they are emphasized aristocratic, but not completely barbed.

Unifying idea for portraits L.N. Tolstoy, N.A.Nekrasova, M.E. Saltykov-Shchedrin, P.M.Trevyakova, became the idea of \u200b\u200bhigh citizenship. In them, Kramskoy saw the spiritual leaders of the nation, advanced people of my time. This imparted an imprint on the image manner portrayed. The artist deliberately "narrowed" the boundaries of their personality, to underline their public significance. Nothing, according to Kramsky, should not be distracted by the viewer from the main one - the spiritual component of the heroes of his portraits, therefore the flavor of the canvas so deaf.

When the artist wrote portraits of writers, artists, in his opinion, not so powerfully accumulated in themselves the "spiritual charge" of the era, he did a picturesque-plastic solution to work more free, digested, which made images of people depicted by him alive and immediate. For works of this kind, a portrait of Ivan Ivanovich Shishkin can be attributed to works in 1873. This work, like the canvas "Nekrasov during the" last songs ", refers to the category of portrait-paintings, as it was connected to a harmonious whole, two starts at once - portrait and landscape.

Created in this work image of nature is not just a natural background for the image of the landscape master, but the elements in which he lived and worked. Lyrical and at the same time a majestic landscape (a clear blue sky with light clouds floating on it, the mysterious silhouette of the forest and high herbs at the shishkina feet), not so much recreates the type of concrete area, as represents the generalized expression of Russian nature, as it was depicted in the 70s years, including I. I. Shishkin himself.

The artist sought to emphasize his indiscriminate unity with the outside world. Slender, but the powerful figure of a landscape player, his volitional open face, an external simplicity and at the same time the indisputable greatness of his appearance, the way he is calm and the market is peering into the endless given, all this definites the view of Kramsky about Shishkin as a "School" "," The vest pillar in the development of the Russian landscape. "

Later, in 1880, Kramskaya will write another portrait of the Great Singer of Russian Nature. In it, the artist will again be amazed by his physical power, noting that with age, the personality of Shishkin became becoming richer and more difficult.

The extraordinary gift of Portretist

Among the sets written in the 70s of portraits of Russian writers and artists, most of whom Kramskaya wrote on request P. M. Tretyakov, were images I.A. Goncharova, I.E. Repina, Ya.P. Polonsky, P.I. Melnikova-Pechersk, M.M. Antickolsky, S.T. Aksakova, F.A. Vasilyeva, M.K. Klodt and many others.

You can especially allocate two portrait of the writer Dmitry Vasilyevich Grigorovich (1876) and the painter of Alexander Dmitrievich Litovchenko (1878).

Creating a portrait of the author popular then the story of the Anton-Gorryka, Master Zorko noticed, the usual barnitude of the posture of Grigorovich and some kind of condescension and grateful in the view, peculiar to a person who are not accustomed to delve into the complexity of the surrounding life. Theatrical hand gesture with squeezed between thin fingers pensne in a gold frame. "This is not a portrait, but just a scene, drama! .. So, in front of you and sits Grigorovich with all his lies, Fakenishness of French, boasting and ridiculousness," enthusiastically wrote Kramsky V. V. Stasov. Although the artist himself, after a few years, writing a letter to the well-known publisher A. S. Suvorin, tried to take off the accusation of explicit tendentiousness, assuring that he did not want to "do something ridiculous, except for completely natural hobbies of the visible characteristic form, without underscore." As far as this is true, we, perhaps, never know, but it is completely clear one thing - today we are attracted in the portrait of D. V. Grigorovich, it is the passion for the artist "visible characteristic form", the birth of an amazingly bright and living human image.

This is even more expressed in the larger portrait of A. D. Litovchenko. Dressed in a dense dark brown coat, the artist is depicted on a light gray-greenish background. A little "blurring" outlining the shape of the mobile outline, Kramskaya stressed the natural ease of his model. The pose of Lithuanko is unusually expressive, whose right hand is the free movement behind the back, and the left hand is elegantly held by the usual gesture of the cigar. Fingers are not drawn, only outlined by several accurate, dynamic strokes. Kramskaya does not accidentally "smeared" the edge of the sleeve framing this hand, made it obviously fuzzy. So he convincingly handed over the natural moment of gesture, exactly the corresponding living, changeable expression of the face of the hero portrait framed by a lush beard. On the drawing of the lips, you can only guess, but black, like coals, the eyes portrayed are so piercingly sharply, in the best way to express all his nature, that the entire image of Lithuanko is perceived "like a living". Surround, but extremely expressive details, the artist uses with astounding accuracy: a cap of a conical shape, its outlines perfectly completes the silhouette of the artist's figure as a whole, as well as light yellow gloves, carelessly penetrating from the pocket of the Litovchenko coat, the image is completed.

Portrait of A. D. Litovchenko, no doubt, one of the biggest creative success of Kramsky. Its image turned out to be so alive and brightly individual due to the high picturesque advantages of this picture, "on fire, passion and the vitality of the quick execution, similar to the expression" (V. Stasov).

Ivan Nikolayevich no longer "draws" a brush, as it was in many of his paintings, how much it is written, wide, temperamentally, building plastic shape, anticipating the best portrait canvas I.E. Repin. His powerful expression of M.P. Mussorgsky will respond so about his work: "Going to the portrait of Lithuanko, I bounced ... - he wrote V. V. Stasov. - What a miraculous Kramskaya! This is not a canvas - this is life, art, power, is the desired in creativity! ".

We can see how the artist himself became by this time, thanks to his "self-portrait" of 1874. A small picture in the format, clearly wrote "for myself." The rich dark red background contributes to the creation in the portrait of the atmosphere of underlined concentration. Kramskaya, peering into his own face, shows how over the years its college and perseverance developed by a difficult life and constant labor have increased. His glance became much deeper and sadger than in a self-portrait of 1867, in which the Master publicly declared about the position of the artist-fighter chosen. Now, without retreating either a step from the selected path, he recognizes himself, how many soulful forces require this resistance and courage.

"So far, the city of Kramsky managed exclusively only men's portraits," he wrote one of the browsers of the seventh mobile, - but the current exhibition showed that he was equally accessible and representing the incomparably difficulty female portrait. "

The right remark, especially considering that the conviction of such a democratic variety of female portrait, the merit of the development of which fully belongs to him, did not exist in Russian painting.

The image of the Russian nation

Kramskaya often wrote that, living in St. Petersburg, feels the whole pain of the oppressive public atmosphere, he even said that the Petersburg climate, which he was trying to confront all the time, "kills Russian art and artists." In this feeling, he had many like-minded people. Recall A. S. Pushkin, who said that he was "harmful north", K. P. Bryullova, who, returned from Italy, was bought in the rays of glory, but wrote that "Handrith" because "climate and captivity".

"I pull me out of St. Petersburg," wrote Kramskaya, "I feel sick! Where does it pull, why is nothing? .. Where is the rest? And that would still be anything, if it were not yet lying rich and unimaginably huge material outside the cities, there, in the depths of swamps, forests and impassable roads. What kind of faces, what kind of figures! Yes, in a different Water Baden-Baden, another Paris and France, and the third ... Sum, yes freedom! ". Vividly responding to the originating "walking in the people", the artist wrote that "sitting in the center ... you begin to lose the nerve of wide free livelihood; Too far outskirts, and people, what can give! My God, what a huge spring! Have only ears to hear, and eyes to see ... pulls me out, that's how it pulls! ". It was in the people of Kramskaya that saw the main strength of life, discovering for himself a new source of creative inspiration.

The images of the peasants in the works of I. N. Kramsky are very diverse. This is the "contemplator" (1876, the Kiev Museum of Russian Art), the person is a philosophical, seeker of eternal truth, and a beekeeper living with nature with nature ("Book", 1872), and "peasant with a key" (1872, Tallinn The art museum) - who lived a long charter, scored an old peasant. There are other images, such as the full internal dignity of the hero of the painting "Rustic Street" ("Melnik", 1873), or a mighty severe man on the 1874 shelter "Head of the Peasantine" (Penza Art Gallery K.A. Savitsky).

But the most significant work on the folk theme was the picture of 1874 "Half-owner". Regarding her, Kramskaya writes P. M. Tretyakov: "... my etude in a sacheled cap, according to the plan, should depict one of those types (they are in the Russian people), which much from the social and political system of people's life understands by their mind , and in which the displeasure is deeply found, bordering hate. From such people in difficult moments, you are picking up your piles of rainfall, Pugachev, and in ordinary time they act alone, where and how you have to do, but never put together. The type of uncompatient, I know, but I also know that there are many such, I saw them. "

In the late period of creativity, the artist also appealed to the peasant theme. In 1882, the "Etude of the Russian Muddy" was created - a portrait of Mina Moiseeva. In 1883 - the canvas "Peasant with a bridle" (Kiev Museum of Russian Art). On these two works, the master created two diametrically opposite images written, nevertheless, from one model.

Late period of creativity

Contrary to the political defeat of the democratic thought in Russia, the 70s and 1980s of the 19th century, which was literally crushed by the regime, Russian democratic art was experiencing an unparalleled high rise. In the life of the partnership of mobile art exhibitions, significant changes took place, the creativity of such titans of Russian visual arts, like I. E. Repin and V. I. Surikov, went to the fore. Ivan Nikolaevich Kramskaya continued to work much and stubbornly. Despite the high authority, which was an artist among contemporaries, it was becoming more difficult to work. Evidence of this can serve as an unfinished "Hochot" painting, the idea of \u200b\u200bwhich no longer complied with the needs of the public. As a result, Kramsky had only portraits.

During this period, the artist, with his inherent skill and psychologism, writes portraits I. I. Shishkin, an outstanding figure of domestic medicine S. P. Botkin and Artist V. V. Samoilova. Moreover, Kramskaya did not just just look like more with younger portraits, such as I. E. Repin and N. A. Yaroshenko, but continued to play the role of "teacher." And their canvas, in turn, carried the calculation of art of Kramsky.

Nevertheless, the artist understood that he needed to grow somewhere, to look for new ways for his work. He tries his hand in the parade portrait, looking for new light and color solutions, choking, at the same time, under the cargo of permanent orders. Hurry to ensure families as much as possible and realizing that his forces on the outcome, Kramskaya rushed between the time-requested creative searches and the rapid performance of work, which sometimes led to the best results. The artist who enjoyed great respect and even honorably worried these failures.

The requirements have changed that life itself presented to art, therefore, and the artistic system should have changed. In 1883, the young artist K. A. Korovin, a student of A. K. Savrasova, and V. D. Polenov, wrote an etude "Chorist", taking an unusual motive for him and very bold picturesque techniques. Even the polenov, familiar with the works of French impressionists, was amazed by this bold experiment of the artist, deciding that he is strongly ahead of his time. However, a close friend of Korovin, V. A. Serov, will write its "girl with peaches" (1887), turning the portrait of the twelve-year-old faith - the daughter of the famous Moscow industrialist S. I. Mamontov, to radiant image.

In an effort to grab the essence of new trends, Kramskaya writes its "unknown" (1883) - one of the most mysterious of his paintings. This is how the painting art historian N. G. Mashkovtsev describes: "A young woman is depicted in a stroller against an anichkova palace painted in red rusty color. This color is softened with winter fog, as well as the contours of the architecture. With the greatest discrimination, the female figure appears in the foreground. She is dressed with all the luxury of fashion. She leaned back to the back of the crew, a darkening dark yellow skin. In her face there is a pride of a woman who is conscious of their charm. In no portion, Kramskaya did not pay so much attention to accessories - velvet, silk, fur. Dark glove, tightly embracing hand, like the second leather, thin and translucent, through which a living body is felt, is written with some kind of special heat. Who she is, this captivating woman, and remains unknown. "

Many believe that Kramskaya depicted Anna Karenin as a symbol of a new position of a woman in society, such as it should be. This version has both supporters and opponents, but it would be more correct to assume that the artist I.N. Kramskaya, and writer L.G. Tolstoy, creating his female images, invested in them more than the portrait of a concrete woman, namely, their idea about the ideal of a modern woman. Like Tolstoy, Kramskaya, protecting the human dignity of a woman, set itself the task of trying to embody through the visible, "subject", the attractiveness of the model of its idea of \u200b\u200bthe moral and aesthetic category of beauty.

In 1884, the artist completed his picture "Rezazynaya Mountain", conceived in the late 70s. The plot of the canvas is inspired by the personal grief of the master - death at the early age of two of his younger sons. Through this work, having an extraordinary for the artist, the number of sketches and sketches (showing how important it was for Kramsky), he handed over his own grief and his wife's grief - Sofia Nikolaevna. Investing a lot of personal, deeply intimate, painter at the same time, sought to expand and deepen its content as much as possible. Exactly, the selected elements are introduced into the atmosphere of the house, which came great grief, transmitted, however, very restrained, without melodramatic excesses, only a reddish defill of the funeral candles, flickering for the core, suggest his cause.

Composite and semantic center of the canvas is a complete drama image of a woman. Its tense straight figure, a sorrowful look of non-eye-seeing eyes, brought to the lips of the handkerchief, indicating the barely restrained sobs, reveal the whole depth of her suffering. Such psychological expressiveness of the image is not easy to get an artist. "I sincerely sympathized with the maternal grief," wrote Kramskaya P. M. Tretyakov. "I was looking for a long clean form and stopped, finally, in this form ...". It is the strict form achieved without unnecessary theatricality that allowed him to create an image of a strong man spirit, and the monumental structure of the canvas helped convey feelings and experiences as the Drama of the personality, which the master is trying to raise the level of a large social phenomenon.

It should be noted that, unlike portraits of the 70s, in which the feelings of Kramsky's heroes were marked rather than the seal of high citizenship, the characters of late works live in a much more closed world of personal experiences.

Letters of Kramsky their friends tell us about how hard the last period of life was for him. In 1883 he writes P.M. Tretyakov: "... I confess that the circumstances are above my character and will. I broke my life and did not make anything that I wanted and what was ... ". At the same time, the letter is written and the letter by the artist P. O. Kovalevsky: "I have long been working in the pit. There is no one near me, who would like the voice of the conscience or the pipe of the Archangel to the man: "Where is he going? Is it a real road, or got lost? ". There is nothing to wait for me more, I myself stopped waiting for myself. "

Nevertheless, the master worked until the last day. At five o'clock a day, he spent portrait sessions, constantly crying from pain, but almost without noticing it, so fascinated his process of creativity. So it was on the last day of the painter. Feeling in the morning a tide of cheerfulness, he wrote a portrait of Dr. Rahafus. Suddenly, his gaze stopped and he fell straight on his palette. It was March 24, 1887.

"I don't remember heartily and touching the funeral! .. The world of dust is yours, a mighty Russian man who came out of the insignificance and dirt of the outback," wrote later I. E. Repin on the wires on the last path of his old friend.

In the same 1887, a large posthumous exhibition of works by the Great Russian Master was organized, accompanied by a detailed illustrated catalog. A year later, a book dedicated to the life and work of Ivan Nikolayevich Kramsky was published.

On the most famous paintings by Kramsky Ivan Nikolayevich.

Kramskoy is one of the founders and the main ideologist of the unification of the Movements.

The main event of the first exhibition of the Movie and was the picture of the Kramsky "Christ in the Desert". But the most famous and popular picture was the further picture "Unknown".

Kramskaya as no one else left us a lot of portraits of great figures of their time.

Self portrait Kramsky.

Unknown. Kramskaya.

The most mysterious and intriguing picture of Kramsky. And the most famous.

But absolutely unknown prototype, the woman with which the artist wrote. The face immediately strides. The view of a woman is cold and supermarked, dressed in the very last fashion. Sits in a stroller against the background of the Winter Petersburg with his Alexandrin theater.

In the photo Painting "Bouquet of flowers. Floxes. Kramskaya. Rare for Kramsky Still Life.

Pictures of Kramsky almost always depict people.

Girl with a loose oblique. Kramskaya.

What a gestrome face of a girl, what a dreary look!

Surely Kramskoy himself felt frustration in life, emptiness and flour. It is no coincidence that the picture was without the audience, being in the artist's workshop.

The girl sits and her glance is turned to nowhere, in the void.

Portrait of sofya Nikolaevna Kramskaya, artist's wife. She is passionate about she reads a book.

Herodian. Kramskaya.

Here is a religious plot. The Iodiad is guilty of the death of John the Baptist, who frankly condemned her marriage with Uncle.

And after the murder of John, he wanted to look at his chopped head and enjoy the long-awaited victory over the enemy. In the picture around the poisonous red color, blood color and death! And this is not so much religious plot as moral or or rather the plot of immorality.

Peasant with a bridle. Kramskaya. The epic peasant!

Pictures of Kramsky very often depict ordinary people, people from the people! And this picture of a kind of result of numerous portraits of peasants. The model was the real peasant Mina Moiseyev. Wise calm and kind humor on his face!

Forest path. Kramskaya.

Rare for Kramsky landscape without people. Pictures of Kramsky almost always with people!

Moonlight night. Kramskaya.

The initial title of the painting "Magic Night".

And really the night is magic, but just a magic moon and does it! Many details in the night of the moon illuminated with their bright light. In the center a beautiful and thoughtful girl in a chic white dress on a shop sits.

In front of her pond with water lily. Behind her park with mighty trees! The picture is filled with lyrics and mystery!

Moses prayer after the transition of Israelis through the Red Sea.

Nekrasov during the last songs.

In the headboard, the portrait of Dobrolyubova and Bustik Belinsky placed in the head of the dying Nekrasov Kramskoy. So he depicted in the name of what the poet lived and worked!

Offended Jewish boy

In the photo "Butcher". Kramskaya.

Kramsky's paintings are often depicting a simple Russian man.

Nameman. Kramskaya.

The hollow is the old word, meaning the forester.

Other names of the painting "Man with a club" and "man in a shotgun cap".

This is such a formidable and strong forester wrote Kramskaya.

Kramskaya also commented on this portrait with words about what exactly these men and population raisins and Pugacheva folded.

Portrait of Alexander III

This is no longer a hero of the people, but the hero above the people. However, the best king was, just drank a lot.

Portrait of Anatoly Ivanovich Kramsky, Son of the artist.

Portrait of faith Nikolaevna Tretyakova

Wonderful portraits from Kramsky!

Portrait of Great Dr. Botkin

Portrait I. I. Shishkin. Kramskaya.

The most famous portrait of Shishkin!

And this is already Shishkin on the background of nature. Surely the trees admires Shishkin.

Kramskoy himself almost did not separate portraits from paintings. And on this canvas, the mighty and discovered Shishkin is depicted against the background of the solar forest glade. Portraits and pictures of Kramsky are great!

Portrait of the Great Tretyakov

Portrait of pots. Kramskaya.

russian painter and draftsman, master of genre, historical and portrait painting; Art critic

Ivan Kramskaya

short biography

Ivan Nikolaevich Kramskaya (June 8, 1837, Ostrogozhsk - April 5, 1887, St. Petersburg) - Russian painter and draftsman, master of genre, historical and portrait painting; Artistic critic.

After the end of the Ostrogogian county school, Kramskaya was a writer in the Ostrogogian Duma. Since 1853, it began to retouch photos. Countryman of the Kramsky M. B. Tulinov in several techniques teach him "bringing watercolor and retouche photographic portraits", then the future artist worked at the Kharkov photographer Yakova Petrovich Danilevsky. In 1856, I. N. Kramskaya came to St. Petersburg, where he was retouching in the photographic studio of Aleksandrovsky known at the time.

In 1857, Kramskaya entered the St. Petersburg Academy of Arts by the student of Professor Markov.

Bunth fourteen. Artel artists

Portrait of an artist Shishkin. (1880, Russian Museum)

In 1863, the Academy of Arts awarded him a small gold medal for the picture "Moses exudes water from the cliff." Until the end of study at the Academy, it remained to write a program to a large medal and get overseas pensioners. The Council of the Academy proposed students a competition on the theme of the Scandinavian Saga "Pier in Valhalle". All fourteen graduates refused to develop this topic and filed a petition that it allowed everyone to choose a topic for their desire. Subsequent events entered the history of Russian art as a "Bunth of Fourteen". The Council of the Academy refused them, and Professor told noted: "If this happened before, all of you would be in the soldiers!" On November 9, 1863, Kramskaya on behalf of the comrades declared the Council that they, "without daring to think about changing academic decrees, the fourth will ask the Council to free them from participating in the competition." Among these fourteen artists were: I. N. Kramskaya, B. B. Venig, N. D. Dmitriev-Orenburg, A. D. Litovchenko, A. I. Korzukhin, N. S. Shustov, A. I. Morozov , K. E. Makovsky, F. S. Zhuravleov, K. V. Lemok, A. K. Grigoriev, M. I. Peskov, V. P. Kreitan and N. P. Petrov. The artists who gone from the Academy formed the "Petersburg Artists", which existed until 1871.

In 1865, Markov invited him to the assistants to paint the dome of the Cathedral of Christ the Savior in Moscow. Due to Markov's illness, the whole main painting of the dome made Kramskaya along with artists in Venig and Koshelev.

In 1863-1868, he taught in the drawing school of the Society for the promotion of artists. In 1869, Kramskoy received the rank of academician.

Mobile

Mogila I. N. Kramsky at the Tikhvinsky cemetery in the Alexander Nevsky Laurel (St. Petersburg)

In 1870, the "partnership of mobile art exhibitions" was formed, one of the main organizers and ideologues of which was Kramskaya. Under the influence of the ideas of Russian democrats-revolutionaries, Kramskaya defended his opinion consonant with him about the high public role of the artist, the fundamental principles of the realism, the moral essence of the art and its national affiliation.

Ivan Nikolaevich Kramskaya created a number of portraits of prominent Russian writers, artists and public figures (such as: Lev Nikolayevich Tolstoy, 1873; I. I. Shishkin, 1873; Pavel Mikhailovich Tretyakov, 1876; M. E. Saltykov-Shchedrin, 1879 - All are all In the Tretyakov Gallery; Portrait of S. P. Botkin (1880) - State Russian Museum, St. Petersburg).

One of the most famous works of Kramsky - "Christ in the desert" (1872, Tretyakov Gallery).

The successor of the humanistic traditions of Alexander Ivanov, Kramskaya created a religious fracture in moral philosophical thinking. He gave the dramatic experiences of Jesus Christ deeply psychological life interpretation (the idea of \u200b\u200bheroic self-sacrifice). The influence of ideology is noticeable in portraits and thematic paintings - "N. A. Nekrasov in the period "Recent Songs", 1877-1878; "Unknown", 1883; "Rezazynaya Mountain", 1884 - all in the Tretyakov Gallery.

Postal envelope USSR, 1987:
150 years since the birth of Kramsky

Democratic orientation of the works of Kramsky, its critical insightful judgments about art, and persistent studies of objective criterion for estimates of the features of art and their influence on it, developed democratic art and worldview on art in Russia in the last third of the XIX century.

In recent years, Kramskaya has been sick of the aneurysm of the heart. The artist died from the aortic aneurysm on March 24 (April 5) of 1887 while working on the portrait of Dr. Ruhfus, when he suddenly leaned and fell. Rowfus tried to help him, but it was too late. I. N. Kramskaya was buried at the Smolensk Orthodox Cemetery. In 1939, the dust was postponed to the Tikhvin cemetery of Alexander Nevsky Lavra with the installation of a new monument.

In the royal village there is a sculptural composition of the Kramskaya and an unknown sculptor Alexander Taratynova.

A family

• Sophia Nikolaevna Kramskaya (1840-1919, Urban. Prokhorov) - Wife
  • Nikolai (1863-1938) - Architect
  • Sophia - daughter, artist, repressed
  • Anatoly (02/01/1865-1941) - Officer of the Department of Railway Affairs of the Ministry of Finance
  • Mark (? -1876) - Son

Addresses in St. Petersburg

• 1863 - Apartment house A. I. Likhacheva - Middle Avenue, 28;
• 1863-1866 - 17 Line V. O., House 4, Apartment 4;
• 1866-1869 - Admiralty Avenue, House 10;
• 1869 - 24.03.1887 - House Eliseeva - stock line, 18, square meters. five.

Gallery

Kramsky's work

Mermaids, 1871.

Christ in the desert, 1872