Kram painting. The famous works of Kramsky

09.07.2019

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Ivan Kramskaya (May 27, 1837, Ostrogozhsk - March 24, 1887, St. Petersburg) - Russian painter and draftsman, master of genre, historical and portrait painting; Artistic critic.

Biography Ivan Kramsky

Kramskaya was born on May 27 (June 8 for a new style) of 1837 in the city of Ostrogogsk Voronezh province, in the family of the writer.

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 photograph of Alexandrovsky's photograph known at the time.

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

Creativity Kramsky

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 disease, the entire 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.

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 a view of the high public role of the artist, the principles of realism, the moral nature and nationality of art.

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.

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 1863, the Academy of Arts awarded him a small gold medal for the picture "Moses exudes water from the cliff."

Until graduation in the Academy, it remained to write a program to a large medal and get overseas retired. The Council of the Academy proposed the disciples for the competition the topic from 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, at wish.

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. V. Petrov.

Kramskaya Ivan Nikolaevich (1837-1887)

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

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

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

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

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

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

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

However, over time, "Artel" began to move little in their activities from the high moral principles declared in its emergence, and Kramskaya left it, leaning on a new idea - creating a partnership of mobile art exhibitions. He took part in the development of the Charter of the "partnership" and immediately became not only one of the most active and authoritative members of the Board, but also the ideologue of the partnership, defended and justified the main positions. From other leaders of the partnership, its independence of the worldview, a rare latitude of views, sensitivity to everything new in the artistic process and intolerance to any dogmatism was also difficult.

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

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

The legacy of Kramsky is very unequal. The intentions of his paintings were significant and original, but their implementation was based on the limitations of its possibilities as an artist, whom he himself was well aware and tried to overcome persistent work, but not always successfully.

In general, Kramskaya was very demanding to artists than they had had a lot of ill-wishers, but at the same time strictly referred to himself and sought to self-improvement. His comments and opinions on art were not subjective, were, as a rule, proof of how much it is possible in matters of aesthetics. Its main requirement is the meaningality and nationality of artistic works, their poeticity; But he also assigned not the last place. This can be verified by reading his correspondence, published by A. Suvorin edited by V. V. Stasov "Ivan Nikolaevich Kramskaya, his life, correspondence and artistic and critical articles" (SPB., 1888). Sometimes his opinions remained fluctuating until he found a compromise. Kramskaya was not well educated, but he always regretted it and constantly tried to fill this disadvantage.

In a small composition "Inspection of the Old Barsky House" (1873 - 1880), Kramskaya found an unusual solution to LAKONIS, successfully overcome stereotypes common in genre painting of that time. An extraordinary work turned out to be His "Unknown" (1883), still having the audience with its incompatibility (and the historians of art - the mysteriousness of the circumstances of work on her). But it did not become a serious phenomenon of the "Rezazy Mountain" (1884), which he carried out in several versions, seeking to convey a strong sense with the help of the maximum restrained funds. An attempt to embody the fantastic world in the film "Mermaids" (1871) ended in failure.

Kramsky managed to achieve the greatest success in portrait work. He captured many figures of Russian culture: L. N. Tolstoy (1873), I. I. Shishkin (1873), I. A. Goncharov (1874), Ya. P. Polonsky (1875), P. P. Tretyakov, D . V. Grigorovich, M. M. Antocolsky (all 1876), N. A. Nekrasova (1877 -1878), M. E. Saltykov-Shchedrin (1879) and others; Some of these portraits was written specifically on request P. P. Tretyakov for his picture gallery.

An image of the Russian peasants became a large phenomena of art: "Half-blower" (1874), "Contemporance" (1876), "Mina Moiseev" (1882), "Peasant with a bridle" (1883). Over time, the cram-portraitist was very popular, he had many customers, right up to members of the imperial family. This allowed him to exist without him in recent years. Not all of these good-quality portraits were equally interesting. Still in the 1880s. He climbed to a new step - he achieved a deeper psychologist, which sometimes allowed to expose the hidden essence of man. So he showed himself in portraits I. I. Shishkin (1880), V. G. Pereova (1881), A. S. Suvorin (1881), S. S. Botkin (1882), S. I. Kramskaya, artist's daughter (1882), V. S. Solovyova (1885). Stressful life undermined the health of the artist who did not live up to fifty years.

Kramskaya is an outstanding figure in the cultural life of Russia of 1860 - 1880s. The organizer of the St. Petersburg arteel, one of the creators of the unification of the Movements, a subtle art critic, passionately interested in the fate of Russian art, he was an ideologue of a whole generation of realist artists.

He possessed with a dozen organizational abilities. Thanks to Kramsky, all art education was created in the second half of the XIX century. Kramskaya was the main mobile phone and a great theorist in art.

The parents of the artist were brass. Kramsky's father was represented by the writer of the City Duma, died when the boy was 12 years old. At the age of 12, Ivan Kramskaya graduated from the Ostrogog's School with commendable sheets in all subjects. Then under 16 years old in the Duma, where his father worked, engaged in calligraphy. At the age of 15, he began learning from the Ostrogog's icon painter, he studied for about a year. At 16, Ivan leaves Ostrogogsk with Kharkov photographer, performing the work of the retoucher and watercolor. So he traveled in Russia for three years.

Since 1857, I.N. Kramskaya in St. Petersburg. Without artistic education, comes to the Academy of Arts, successfully passing the exams! For six years, the young man spends on the walls of the Academy, facing the difficulties of earning for food. To make money on life I.N. Kramskaya comes to the renewer who discovered his own "Daggerotype", where artists were engaged in photography. Kramskaya walked down the "Retaushi God."

In 1863, a young painter leaves the Academy with a loud scandal that made him famous. His nature was formed on the Scriptures of Criticism and Nomanist Chernyshevsky. I.N. Kramskoy headed the famous "Bounce 14". Fourteen graduates refused to write a competitive work on mythological history, wanting to choose a free topic. So refusing to fight for a big gold medal, slammed the door. Organized the "artist of artists", the old-age and inspirer, whom Kramskaya became. The artists of artists declared deductions in the amount of 10% of private cash receipts and 25% of the earnings for the "artist" work, but some artists hid their income. With the growth of popularity "appeared," according to Kramsky, "some thirst for the Spirit, and others have complete contention and obesity." Because of what in 1870, the artist leaves the Artel, who after his departure soon broke up.

Married I.N. Kramskaya in Sophier Nikolaevna Prokhorova, who lived in a civil marriage with another artist - some Popov. Popov was official marriage with another woman. He soon leaves abroad, and the young woman remains alone. Saving her reputation, Kramskaya handed her hand to her, taking all the negative assessments of his chosen names. The marriage was happy, the family had six children (two younger sons died in childhood). Sophia Nikolaevna has always been an angel-keeper of the artist.

After Kramskaya left the Artel, he inspired a new idea of \u200b\u200bMyasoyedov about the organization of the new "Moscow-Petersburg" artistic association. This union is known to us from Russia's history called "Association of Mobile Art Exhibitions". The objectives of the partnership in accordance with the Charter says: "The device in all cities of the empire of mobile art exhibitions, in the types of: 1) deliveries of provincial residents to get acquainted with Russian art and follow his success; 2) the development of love for art in society; 3) relief for artists sales of their works. "

I.N. Kramskaya became tightly made friends with the p.m. patron Tretyakov, becoming his adviser and performer of a number of his orders. However, the execution of orders often resembled Kabalu. In the early 1870s, Kramskaya met with a talented artist with a landscape officer Fedor Vasilyev, friendship had a tragic end. A young painter burned down from the char.

Despite the fact that Kramskaya was abroad, to the quest for new painting, he remained indifferent, considering them "mimoletny". Kramskaya felt like a prophet driving in a nat. Starting from the first movement exhibition (1871) and to the 16th - Kramskaya one of its main exhibitors. Not only success was accompanied by Kramsky, in recent years, the partnership exposes Kramsky rigid criticism. "Almost everyone turned away from me ... I feel offended," Kramskaya crushed at the end of life.

In 1884, living in a small French town, he treated the heart under the supervision of Russian doctors, and in his free time, he gave lessons to draw his daughter Sona in the future, at the turn of centuries, a fairly popular artist. His life ended at work, he then wrote a portrait of Dr. K. Ruhfus.

Famous works of Kramsky Ivan Nikolayevich

The painting "Mermaids" was written by the artist in 1871, located in the State Tretyakov Gallery, in Moscow. Kramskaya showed this picture at the first movement exhibition, which he himself organized. The picture is written on the plot of the story of V. Gogol "May Night". Kramskaya said that he wanted to portray "not fantastic", "catch the moon." The plot in comparison with the literary source of inspiration is freely executed. The picture shows all the grace, the immensity, the silver light of the Ukrainian night.

Picture "N.A. Nekrasov during the "last songs" "(1877-78), the State Tretyakov Gallery, Moscow. The portrait of Nekrasov, heavily ill in 1877, was ordered P. Tretyakov, who wanted to remain a trace of the poet and writer in the history of Russia. P. Tretyakov placed a portrait in his gallery. At the initial plan of Nekrasov should be shown in the pillows. However, contemporaries argued that the "great fighter" is even impossible in the coat. Thus, Kramskaya wrote a cherry portrait of Nekrasov with crossed hands. The portrait was completed in March 1877, but in a few days the artist began a new portrait, in accordance with the initial intent and finished it after the death of the poet in 1878. In the process of work, Kramskaya increased the size of the canvas, tumping it from all sides. He created the image of the "hero", from which they were removed from the field of view the favorite dog of Nekrasov and his weapon cabinet, reminding about the hunting passion of the poet. Picture "N.A. Nekrasov during the "recent songs" "combines the camera's camera and the monumentality of the image of a person with an extraordinary spiritual force.

In the depths of the room, a bust of the great critic of Belinsky, who played a major role in the life of the poet, giving him the worldview. On the wall, the portraits of Dobrolyubov and Mitskevich reveal the beliefs of Nekrasov. On the shelf at the mortal bed of the hero of the canvas - the magazine "Contemporary", the editor of which was N.A. Nekrasov. The author put false dating painting - March 3, 1877. On this day, Nekrasov read the artist's poem "Bayushkha-Bai", about which the artist spoke like the "greatest work."

"Tsight, patient sufferer!
Free, proud and happy
You will see his homeland,
Bai-Bai-Bayu-Bay! "

The painting "Unknown" Kramskaya wrote in 1883, is a canvas in the State Tretyakov Gallery, in Moscow. Kramskaya in his works gives him a heroine manifestation. This picture received a wide publication at the 11th exhibition, was accompanied by almost scandal. The contemporary did not like the name of the picture, we know it as a "stranger." With an extraordinary passion, the audience solved the mystery of the artist! Ultimately, it was called the "Lady of Sevupus" (rich in the content). V. Stasov wrote: "Cockclotka in a wheelchair." Confirmation of the opinion of Stasov served as a famous, etude to the picture with a characteristic vulgarity. Russian commitment to literary illusions made an "unknown" first Natalia Filippovna from the "Idiot" of Dostoevsky, then - Anna Karenina - then a Blokovskaya stranger, and then at all - the embodiment of femininity. This work did not buy P. Tretyakov. And appeared in the gallery picture during the nationalization of private collections in 1925.

Kramskaya perfectly wrote light and air and in this picture, he brilliantly portrayed a frosty pink haze, bringing the feeling of the cold. Women's clothing corresponds to fashion 1883, on the heroine of the Francis hat with an ostrich feather, a coat of "Skobelev", Swedish gloves. Picture background is Nevsky Prospect in St. Petersburg. Despite its sketch, the buildings depicted by Kramsky are quite recognizable. Gypsy facial type heroine, a somewhat contemptuous expression, sensual look. What is the mystery of beauty?

Picture "Rezazynaya Mountain" (1884), State Tretyakov Gallery, Moscow. The heroine of the canvas is endowed with the artist's wife, Sofia Nikolaevna. In the picture, the Russian artist reflected the personal tragedy - the loss of the youngest son. Kramskaya long could not build a composition of the painting by writing three canvas. At the same time, the heroine heroine itself and as it were, "rose" to his feet: at first she was sitting at a catatal; Then - on a chair; And finally, it stood up near the coffin. The work of the artist was long and painful. This only work of the 1880s, purchased by P. Tretyakov. However, P. Tretyakov was not very interested in acquiring a picture as it was confident that she would not find the buyer.

In this work "worth" the dead silence. The entire inner movement focuses in the eyes of the heroine, complete ineverance, and hands pressed to the lips of the handkerchief, are the only light spots in the composition, the rest goes to the shadow. On the wall picture of the Aivazovsky "Black Sea". It brings the life of a person with the life of a marine element in which the storms are replaced by a calm. Red flower symbolizes fragile human life. Bright contrasts the wreath, laid on the coffin, with a mourning dress of a loover mother.

Masterpiece Kramsky I.N. - Painting "Christ in the desert"

The artist was fulfilled in 1872, it can be seen in the State Tretyakov Gallery, in Moscow. The first hobbies of the Kramsky theme of the temptation of Christ refer to the period of the artist's life when he studied at the Academy, in the 1860s. Then the first sketch of the composition was made. This canvas was created within ten years. 1867 - the first unsuccessful version of the picture. The final result was distinguished by his stone volatile desert behind Christ's back. In order to find the right composition Russian artist in 1869 he traveled abroad, watch the web of other artists, discontinued the same topic. For this picture, the Academy wanted to assign a professor to the Kramsky title, from which he refused. This picture was one of the favorite paintings by P. Tretyakov, who bought it without bargaining for 6,000 rubles. Not many of the artists could risk writing the theme of the temptation of Christ. Among them can be called Dutcho, Botticelli, Rubens, Blake. Realism allowed the artist to move away from academic construction inherent in secular painting until the middle of the XIX century. So Christ was allegedly, and the picture handed him the soul in unison modernity. Kramskaya re-opened the topic of Christ, V. Polenov, V. Vasnetsov, I. Repin, V. Vereshchagin, went to his trails.

Pink dawn is a symbol of a new life, the appearance of Christianity. The plot of the paintings is the life of the Spirit displayed in the face of Christ. In portrait painting, Kramsky emphasis is placed on the face of the hero, the soul mirror, which the artist reached the admission of clothing, not detailing it and hiding. The intensity of the internal Bourge of Christ is handed over to his arms. The landscape written by Kramsky, so deserted and dick, which seems as if there was never a leg of a person here. He, immersed in heavy Duma, does not notice this hostility. The legs of Christ are allocated by stones and will be combined with blood. In the imagination of the viewer, the long road precedes the morning thinking the hero of the picture.

Rustic House in France

Forest trap

In the park. Portrait of his wife and daughter

Malki

ON THE. Nekrasov during the "last songs"

Unknown

Artist Ivan Nikolayevich Kramskaya - an outstanding Russian master of painting, who lived and worked in the second half of the nineteenth century. He is not just a painter - this is one of the founders of the movement of realist artists in Russian and world art.

Since Ivan Nikolayevich stood at the origins of critical realism, there was a very seductive idea to submit an artist as a painter-revolutionary, who headed the riot at the Academy of Arts, spoke against biblical painting and, accordingly, the reactionary royal system. All this politicism. And no more. Truth, as always, is somewhere in the middle.

Biography of the artist Ivan Kramsky

Self-portrait

The artist Ivan Kramskaya was born on May 27, 1837 in the Voronezh province, near the city of Ostrogozhsk, in the family of Meshanin. He graduated with honors from the real school, but he could not enter the gymnasium - in 1849 the father of the boy died and the family lived very modestly. After the end of the real school, Ivan worked for some time in the city Duma. It was in the city duma that he was carried away at first calligraphy, and then painting.

The desire to draw was as great that Ivan was constantly asked from the older brother of assistance - the brother could arrange him with a student to some local painter. With these requests, he crossed the eldest brother for two years and, as a result, was defined for studying to one of the Voronezh painters. In the icon-painted workshop, Ivan Nikolaevich worked not long - fled. Subsequently, he recalled that in the icon-painted workshop to painting it was not allowed, but used as an amateur assistant - to bring, attributed, wash.

Malki

After the shoot of the young Kramskaya met with M.B. Tulanov, who was a passionate lover of painting and the emerging photo. For some time, Ivan Nikolayevich lived in Tulanova, and then moved to Kharkov and settled the retoucher in the photomaster, Ya.P. Danilevsky. During this period, the future artist became interested in reading, began to study the theory of painting and the theory of art.

Christ in the desert

Kramskaya worked in Kharkov for three years and decided to enroll in the Academy of Painting.

Life in St. Petersburg turned out to be at all cheap and earned in Kharkov money quickly ended. Kramskoy decided to combine study at the Academy and the work of the retoucher in the photographer. Combination turned out to be successful - the young artist was able to remove a small (by the standards of the nineteenth century) an apartment of three rooms on Vasilyevsky Island. It was this apartment that became the place of almost daily collection of classmates, the place of hot discussions and ambitious dreams of the future.

Moonlight night

Kramsky's training at the Academy was successful enough. For the work "Deadly wounded Lensky" in 1860, Kramskaya student received the second silver medal, in 1861-1862 for the painting "Moses prayer for the transition of the Israelis through the Black Sea", seven portraits, a picture of Oleg's campaign on Tsargrad and two big copies with Pictures Ya. Kapkova and P. Petrov (paintings on religious topics) was presented to the second gold medal.

Hollowman

In 1862, Kramskaya was adopted as a teacher at the school of the Imperial Society for the promotion of art.

To complete training at the Academy, it was necessary to fulfill the program to receive the first gold medal. The first gold medal allowed the artist to get a cool rank and a public retirement for a trip abroad for the development and study of painting.

Beekeeper

However, in 1863, the Council of the Academy developed new rules for students who wish to receive the first gold medal. The conditions were so heavy (simply imparted) that 14 people from among graduates under the leadership of Ivan Kramsky appealed to the Council with a request to release them from participation in the competition. It is with a request. Not demanding or revolutionary appeal.

Offended Jewish boy

So there was a legend of "Bunte Fourteen". However, the reluctance to participate in the competition became a challenge and outraged the leadership of the Academy. But was it a riot?

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

Students were issued from the Academy without the title of a class artist, which significantly complicated the future life of young painters. And Kramskaya offered to create a "Petersburg Artist Artists" - such a community of young painters with a cash register and compulsory deductions on the cashier on each sold job of the percentage established by comrades.

Peasant with a bridle Mina Moiseev

Ivan Nikolayevich with a great desire dealt with artel affairs, but the community very soon broke up - one of the comrades began to bother before the Academy about allocating pensions to him for a trip abroad. Kramskaya was indignant, but the main mass of the participants was supported by the apostate. Ugly, the story turned out. It must be said that Kramskaya was not only an ideological inspirer Artel, but also its main patrons - it is known that only in 1869 he made on the box office more than 3,000 rubles. It turned out that he contained artists who considered like-minded people, and the comrades were in the artel solely because of the material benefit and, when obtaining greater benefits, it was easily from the artel.

For reading. Portrait of sofya Nikolaevna Kramskoy, artist's wife

Kramskaya himself came out of the artel and soon this community of artists broke up.

Female portrait

In 1870, the "Partnership of Mobile Art Exhibitions" was formed. And one of the organizers of this society, as you already guessed, Ivan Nikolayevich Kramskaya became Ivan, who was not only the creator - he just put the soul in the partnership.

Girl with loose oblique

Portrait of Sophia Ivanovna Kramskaya, artist's daughter

The artist died on March 25, 1887. He wrote the portrait of Dr. Ruhfus, suddenly stopped, and fell. The arrival doctor stated the death of a great artist.

I will not tell about the works of the artist, some of them will show you.

Ivan Nikolaevich Kramskaya (May 27, 1837, Ostrogozhsk - March 24, 1887, St. Petersburg) - Russian painter and draftsman, master of genre, historical and portrait painting; Artistic critic.

Self-portrait. 1874.

Kramskaya was born on May 27 (June 8 for a new style) of 1837 in the city of Ostrogogsk Voronezh province, in the family of the writer.

After the end of the Ostrogogian county school, Kramskaya was a writer in the Ostrogogian Duma. Since 1853 there was a retouche of photographs; First, the future artist in several techniques taught "bringing watercolor and retouche photographic portraits" his countryman M. B. Tulinov, then worked at the Kharkov photographer Ya. P. Danilevsky. In 1856, he came to St. Petersburg, where he was engaged in the photograph of Alexandrovsky's photograph known.

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

In 1863, the Academy of Arts awarded him a gold medal for the picture "Moses exudes water from the cliff." Until graduation in the Academy, it remained to write a program to a large medal and get overseas retired. The Council of the Academy proposed the disciples for the competition the topic from 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, at wish. 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. V. Petrov. The artists who gone from the Academy formed the "Petersburg Artists", which existed until 1871.

In 1863-1868, he taught at school drawing a society support for applied art. In 1869, Kramskoy received the rank of academician.

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 Botkin [clarify] (1880) - Private collection, Moscow).

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

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

Reading portrait of sofya Nikolaevna Kramskoy, artist's wife. 1866-1869

Female portrait. 1867.

Portrait of the artist K. A. Savitsky. 1871.

Mermaids. 1871.

Portrait of the artist M. K. Klodt. 1872.

Christ in the desert. 180 x 210 cm. 1872

Portrait of a and kindji. 1872.

Beekeeper. 1872.

Girl with a loose oblique. 1873.

Portrait I. I. Shishkin. 1873.

Portrait of a lion writer Nikolayevich Tolstoy. 1873.

Offended Jewish boy. 1874.

Nameman. 1874.

Portrait of Writer Ivan Alexandrovich Goncharov 1874

Head of the peasant 1874.

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

Portrait of Writer Dmitry Vasilyevich Grigorovich 1876

Portrait of Pavel Mikhailovich Tretyakov. 1876.

Portrait of a sculptor Marka Matveyevich Antocolsky. 1876.

N. A. Nekrasov in the period. Recent songs. 1877-1878.

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

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

Moonful night 1880.

Portrait of Dr. Sergey Petrovich Botkin 1880

Portrait of actor Vasily Vasilyevich Samoilova. 1881.

Portrait of Publisher and Publicist Alexey Sergeevich Suvorin. 1881.

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

Portrait of Sophia Ivanovna Kramskaya, artist daughter. 1882.

Girl with a cat. 1882.

Unknown. 1883.

Peasant with a bridle of Mina Moses. 1883.

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

Bouquet of flowers phlox. 1884.

Constive grief. 1884.

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

Portrait of a philosopher Vladimir Sergeevich Solovyov. 1885.

Portrait of Alexander III. 1886.

Children in the forest. 1887.

Fully