13.12.2014

Description of the painting of Alexey Venetsianova "On the harvest"

Alexey Gavrilovich Venetsianov - a master of the incarnation of peasant life on the canvas. His paintings are realistic, plausible, penetrated. Venetcianov approved a household genre in art on par with others. The painting "on the harvest" is one of the meaningful works of the artist and refers to the best world masterpieces. The picture shows the field during the rian harvest. In the foreground, on a wooden platform, a woman sat down to feed her child. He is always with her and at home and in the field, he is not left with anyone, the harvest is the hottest time in the village. Then the field itself is depicted, where there are rye. The work of the peasants is very heavy from dawn to dawn, under the scorching rays of the sun. The picture seems to breathe hot, sultry day, midday fatigue, and a lot of work ahead. Next to the woman lies the sickle, which she postponed for a while, engaged in his son. The time allotted for the harvest is small, and you have to have time to do everything.

Woman enjoying peace and recreation. She looks forward to the perfect rye, on the clouds floating past, and gets pleasure from communication with the child. The picture is written in warm colors and is so attractive that I want to immerse yourself in this earthly beauty, and enjoy the smell of freshly accelerated rye. The artist skillfully uses the flower palette. Against the background of golden rye, heavenly stroit, breathable by heat, faded green grass, distinctly distinguished red bright sundress jiches, as the statement of the grandeur of a person over nature. Hardworking hands will collect harvest, the harvest will end and the time for rest will come. The painting is clearly indicated by the line of the horizon - the boundary of the earth and the sky. The pure sky is promoting paradise and pacification, and earthly life requires effort and labor.
This picture is a brilliant creation capable of changing views on life. It is impossible to stay indifferent, looking at the work of the Great Master.

Venetsianov Alexey Gavrilovich (Realism)

Born in the family of a poor merchant. Initial education received in an art board, and then moved to Petersburg, where Borovikovsky took lessons. In 1811, he received the title of academician, and in 1819 settled in the native village of Safonkovo \u200b\u200bTver province.

The theme of the peasantry becomes the main in his work. The artist chants the diligence of peasants, poetry and beauty of their life, this is noticeable about the influence of romanticism on the work of the artist, but it is very peculiar. At the heart of Classicism lay a sober mind, and romanticism is more likely to feel. Venetsianov successfully connected the sobriety of thought and sincere excitedness of feelings in the best works. It should be said that under the influence of romanticism, the artist in his canvases often ideally idealized peasant labor. An important part of his paintings becomes a landscape with its gentle, soft paints. In his idyllic images of Venetcianov, looking for peacekeeping, mental wholeness and purity.

Around 1824, Venetsian founded Safonkovo \u200b\u200bat his own expense of drawing school for talented children of peasants, from which many beautiful artists came out. In total, over 70 young painters were held over 70 young painters, of which N.S. Krylov, A.V.Tyranov, A.A. Alexseev, E.F. Paldoovsky, A.G. Denisov, L.K. Plakhov turned out to be so many , S.K. Zaryanko, G.V.Soroka.

Morning landowners. (1823)

The picture at first glance conquers rare harmony. A small room of a poor landowner is filled with warm sunlight, which fully fills the figure of the hostess. She is busy household: distributes Flask Len, pointing to what to do. One woman holds a heartless (scales) to weigh how much flax was issued. In the other in the hand, a knitted handkerchie with flax, it carefully, calmly listen to the indication of the landowners. It is felt that the peasant people do not rob in their mistress, their relationship is warm, friendly. From the scene, the peaceful rest of the summer day, the comfort, simplicity and humanity of relationships, is possible only in a small one, like Venetsian, IMENIE, where the owners know their few peasants on their names, are in their concerns. The artist seems to recreate that unassuming world, which Pushkin found in the Larina family:

Simple Russian family,
To guests zeal great,
Jam, eternal conversation
About rain, about flax, pro groove

Girl with a borack

Venetcianov managed to show here the inner world of the peasant girl. Before us is a temporary character, moreover, personality. It bribes not only charm and beauty, moral purity, it feels spiritual readiness for self-sacrifice. It is from such characters to the serious for the Fatherland, a courageous female warriors grew. In the test, intense look, it is read by an outstanding mind, rich intelligence. Who is this girl, did not know where she saw her artist and did it know her? But this image is one of the most beautiful Venetian images.

Khumno (1821)

The picture reigns peace and peace. There are no stormy movements. Here is all the main thing - people, horses, bread, sickle, rakes, clamps. This is a poetic image of the everyday scene. The generous sun is poured into the cut of the gum. Tired woman rewinds onuchi. Men in the depths are with horses. Standing with a bunch of standing women. The center of the picture is especially well discharged - here, in a wide strip of flowing through the side gate of the world, so gently warm, so sweet smells of heated rye grain, which he does not want to leave.

On Pashne Spring (1820)

Before us is a field and a young peasant, leading a couple of horses harvested in the harrow. Venetsiano wanted to tell about the beginning of the field work, as a joyful, long-awaited event in peasant life. Having achieved a festive mood, the artist dressed up the heroine in Pink Sarafan and Kokoshnik. Such clothes enhances the poetting of the image of the peasant. Sarafan reminds an antique dress with a high waist, and Kokoshnik - to the diadem. This impression is strengthened and a light "dancing" step of a woman. The heroine of the painting looks like the statue of the Goddess Flora, which makes its triumphal march along the spring earth. Of course, the image of an elegant peasant is idealized, the influence of romanticism is noticeable.

On the harvest summer (1820)

In this picture, as in the "sleeping shepherd", everything is subordinate to the minute of the Great Peace, Spilled in Nature. Here, even the clouds seem to be floating, but as if frozen and remittance frozen over the ground. And the earth plunged into the extreme last hot day of early autumn. Mustably thick, dense, heat and thinner of bread dust. In the power of peace and the main character of the painting - the peasant, resting, feeds the baby. She turns against us in the crowd, back, we do not see her face, but but what hides the face, we see in the figure. Slightly baked back, in peasant, straight, slightly angular shoulders; touching, thin, open-defenseless neck, carefully embracing the child's hands ... In harmony with nature, next to a nursing woman froze in immobility another woman with a child, and the third straightened on the field. And then the field has not yet been cleaned bread, sheafs, and even further, to the horizon - the golden bands of the unlucky rye alternate with the strips of the Stern, where the bread has already clenched. The artist used in his picture a natural color gamut - golden yellow, warm red and warm olive-gold tones, but, of course, the golden yellow-brown tones and shades prevail here.

Sleeping Channel (1824)

High gray sky over endless plain, stiff bushes in water, green Christmas trees against the background of yellowed grass. Silence, peace, the infertility charm of the Russian landscape handed the artist in this touching picture. Time here seems to be stopped. Together with the asleeping shepherd quietly, the nature was frozen, the water was frozen, the wind does not cross herbs. The picture used is an amazing gentle gamut of pink-blue, green, golden tones. A hot shadow from the head of the boy falls on the birch trunk, his dark hair acquire a golden copper color. Pink Dal, gently pink swirl transparency, pink glare on the boy Armenia. High Blue Sky, Soft, Gentle Greens Grass, Foliage ...

Batters (1829)

Swimmer is the very first test of Venetsianov in a new painting area for him - an image of a naked body. The plot itself is quite traditional - how many swimsters for the mid-19th century already knew world painting! But such swimsters in Russia have not yet known: the transparent stream in the shady depth of the ravine shows two peasants, two simple, Russian rustic women! On a hot day, they came to the stream, which flows in the ravine on the outskirts of the native village to wash off the sweat, dust and fatigue of suffrating work. How many mighty, greatest statics in them! The artist is not trying to embellish them anyhow, but there is no need for this. They are not less beautiful than the heroine of the Great Masters of the past, although their hands hardened from severe daily work - next to the delicate skin of the bodied bodice of the body. This is especially noticeable. They are beautiful, despite the too broad, developed by the continuous work of the shoulders, despite the major feet of strong legs, distant from the academic ideal. The artist is extremely frank and truthfully with the audience. An embarrassed smile of one of the women illuminates her pure chastity light. A cute face with shamefully assigned to the eyes of a full charm of mature femininity. The second batcher sits back to us. A thin combination of peppers of veneticians transfers the warmth of the skin, cold air ravine, the greens of foliage.

Zakhar (1825)

Zakharka is the son of the fasteners of Fedul and Anna Stepanov. The artist wrote a boy with his mother when they admired the summer butterfly. Now Zakhar is already a teenager. He has dormant, smart eyes, a short nose, low, okay-tightened figure. Here it has shifted with a businesslike thoroughness for a serious case - firewood cuts in the forest. Zakharka, in a warm hat, large mittens, painted hull, with an ax on shoulder, is concentrated, internally selected, concerned. The touching contrast to this "adulthood" children's chubby lips are perceived, the tenderness of the face, fragile sublict of neck. Will the Venetsian not remembered, looking at this boy? After all, he himself fell into a share of labor childhood, which was mainly related to the works on Earth. Maybe therefore, the artist somehow in a special warmness treated this not yet to the end of a teenager?

Znights (1825)

The peasant woman with his son, for a moment I forgot about Zhnivier, admits to be admired by the gentle butterflies in the hand, were surprised by the perfect beauty of this small creature. This picture once watched in his estate himself of Venetsian and she so sealed in the artist's heart, that he immediately got up for the easel. Venetsian was struck by the spiritual beauty, the immediacy of a living sense that suddenly opened in these ordinary people from a meeting with the wonderful creation of nature. The boy is distinguished by an inquisitive mind, comprehensiveness, the artist showed this interest. But the mother, even at the time of admiring the butterflies, cannot hide its fatigue from everyday, exhausting work.

Girl in a scarf.

Here are those and Batkin dinner!

Reaper.

Portrait of M. Venetsianova - artist's wife.

A. G. Venetsian on the harvest. Summer 1830s. Canvas, oil

A. G. Venetsian on the harvest. Summer 1830s.

The creativity of the wonderful Russian artist Alexei Gavrilovich Venetsianova (1780-1847) is one of the most brightest, sincere pages of the history of Russian art.

Without receiving systematic art education, only 39 years old leaving the state service in the rank of the titular adviser, Venetsians managed to say the word in satirical graphics, portrait and, which is especially important, was the "father" of the Russian domestic peasant genre. For the first time, Russian artist devoted his life, his art is the discovery of beautiful, eternal in the ordinary, everyday. Not the "elegant" nature of Italy and not the classical architecture of large cities appeared to the environment in which the heroes of the paintings of Venetsianov live. Lovely and undressfully depicts the artist modest, but the nature of his native land is infinitely cute, on which ordinary Russian peasants work.
"On the harvest. Summer "is one of the best paintings of Venetsian. Hot summer day. In the rays of the scorching sun, the blue sky with running rare clouds became whiten. In the heated air, the outlines of objects are slightly blurred, bright paints of the clothes of the peasants, gold ripe Niva, stretching to the horizon, are softened. There is suffer. Having postponing the sickle, one of the stins sat on a wooden landing to feed the child. Glible, smooth lines outlines the artist silhouette of the peasant. Venetsiana created a bright, simple and poetic image of a young mother, considering it as a symbol of the eternal update of the world.

Venetsianov, Alexey Gavrilovich. "On the harvest. Summer"

Biography

Aleksemi Gavrimlovich Venetsiamov (1780--1847) - Russian painter, master of genre scenes from peasant life, teacher, member of the St. Petersburg Academy of Arts, the founder of the so-called Venetian school.

The genus Venetsian originated from Greece, where they called Mikhapulo-Prokom or Pharmac-Prokom. Praded artist Fyodor Proso and his wife Angela and son George came to Russia in 1730--1740. There and received the nickname Venetsiano, later converted into the surname of Venetsian.

Alexey Venetsianov was born 7 (18) February 1780 in Moscow. Father Gavril Yuryevich, Mother Anna Lukichna (in the Maiden Kalashnikov, daughter of the Moscow merchant). Family A. G. Venetsianova engaged in trade, sold currant bushes, tulip bulbs, as well as paintings. A. G. Venetsianov served by Amermer at the Forest Department.

Alexey studied painting first independently, then at V. L. Borovikovsky. In his youth, I wrote lyrical portraits - Mother (1802), A. I. Bibikov (1805), M. A. Fonvizin (1812).

Since 1807 served in St. Petersburg an official.

In 1811, it was recognized as "appointed", that is, a candidate for academicians. In the same year, Venetsianov received the title of academician.

Definition of the Council of the Academy of Arts

february 25 days 1811

Clause II: Under the Forest Department of the Davlecener Alexey Gavrilov Veletsianov, according to the picturesque his own portrait presented by him, is defined in the appointed; The programming of the Academician is given to him to write a portrait with the city of Kirillia Ivanovich Golovachevsky.

Protocolist: Skvortsov. On the back: elected to academician 1811 of September 1 day.

During the Patriotic War, 1812, together with I. SEREBENEV, created caricatures on the French and noble gallians. Also engaged in genre scenes from noble and blessing life. There was a member of the Society for the promotion of artists.

A. G. Venetsian. Portrait of the wife of the artist Martha Afanasyevna Venetsian

In 1819, he left the service and settled with his family: his wife Marfa Afanasyevna and two daughters, Alexandra and Felitsata, - in the village of Safonkovo \u200b\u200bTver province, devoting his efforts to develop the "peasant" genre. There, organized his own art school, in which more than 70 people were trained. In their fate, V. A. Zhukovsky accepted active participation. The works of his disciples of Venetcianov put together with their at academic exhibitions.

Among the students A. Venetsianov was also a talented painter of Grigory Soroka, the serf landlord N. P. Milyukov, whoe preparing the forty fate of the gardener. Forty committed suicide.

In 1829 he received the title of court painter.

Venetsianov died as a result of an accident on the road to Tver 4 (16) December 1847 in the village of Poddubye Tver province. Venetsianov did not have time to drink a cup of tea, when Kukher Grigory Lavrentyev and Peasant Agap Bogdanov entered the door. "Horses are ready, Alexey Gavrilych. What do you need to ship? " "Take the suitcase with samples, and I do not have more things." He turned to his daughter, blessed; Kissing, said: "Do not accompany me, Sashurushka!". Grigory jumped on the irrad, near him Agap sat down. Veneticians waved her daughter, and the bell rang ... Kucher let go to the entrance, and he threw him into a snowdrift. The distraught horses flew faster. The kibitka poured the side and mercilessly voted in all directions. Venetsians from the last strength managed to grab the entrance, but it only worsened the case - his walked on the ground, hitting the trees. After a particularly strong blow, the glove jumped off his arms, and the body was thrown away ... Venetsian was dead.

Venetsianov is buried at the village cemetery of the village of Dubrovskoye (now Venetsianovo) in the Udomelsky district of the Tver region.

Creation

Venetsian's brushes belong to the portrait gallery of his contemporaries: the artist wrote N. V. Gogol (1834), V. P. Kochubey (1830s), N. M. Karamzin (1828). The title of Academician Venetsian was proposed to write a portrait of an inspector of the educational school of the Academy K. I. Golovachevsky. A. G. Venetsianov portrayed him surrounded by three boys, symbolizing the Union of "Three Calcificent Arts": painting, sculptures and architecture. The portrait also personified the unity of the Old Academy (K. Golovachevsky, being a feasy A. I. Losenko, was considered the Patriarch of the Academy) with a new one. However, A. G. Venetcianov's greatest fame brought the images of peasants written by him. "Clamps", "Sleeping Channel", Zakharka for almost two centuries with their freshness and sincerity attract the attention of the viewer.

In 1808, A. Venetsianov publishes the "caricature magazine", which was shortly banned. The magazine was engraved sheets: "Allegorical image of twelve months", "Sanya Sanya", "Welcome". A satirical image of an influential dignitary, as believed, and caused anger Alexander I.

Venetsian's brushes also belonged to the image for the cathedral of all educational institutions (Smolny Cathedral), for the Church of the Obukhov Hospital. In the last year of life, the artist worked on images for the Church of the Pension of the Noble Youth in Tver.

Worked also in pastel techniques on paper and parchment.

In 1955, the postage stamp of the USSR, dedicated to Venetsianov, was issued.

Currently, Venetsianova A.G. Presented in the State Tretyakov Gallery. In Lavrushinsky Lane Zamoskvorechye, in the house that the Tretyakov family bought in 1851, there is the main building of the Tretyakov Gallery. Pavel Tretyakov began collecting his painting collection in the middle of the 1850s. This later led to the fact that in 1867, the Moscow City Gallery of Paul and Sergey Tretyakov was opened to the general public in Zamoskvorechye. Its collection numbered 1276 paintings, 471 drawing and 10 sculptures of Russian artists, as well as 84 paintings of foreign masters.

In August 1892, Pavel Mikhailovich handed his art gallery to the city of Moscow. In the meeting, by this time there were 1287 picturesque and 518 graphic works of Russian school, 75 paintings and 8 drawings of European school, 15 sculptures and icons collection. On August 15, 1893, the official opening of the museum called "Moscow City Gallery Paul and Sergey Mikhailovich Tretyakov" Since the growth of the meeting was constantly superior to the exposure features of the gallery, new premises necessary for storing and demonstrating works of art were gradually attached to the residential part of the mansion. Such an extensions were made in 1873, 1882, 1885, 1892 and 1902-1904, when the famous Vetniecovsky facade appeared, which became the emblem of the Tretyakov Gallery.

On April 2, 1913, the Moscow City Duma elected the Trustee of the Tretyakov Gallery of Igor Emmanuilovich Grabar, a prominent artist, architect and historian of art. The main thing that was marked by the activity of the Grabar, reforms, which turned the Tretyakov Gallery in the European Type Museum with an exposition constructed by the chronological principle. In early December 1913, to the fifteenth anniversary of the death of the founder of the gallery, the reformed museum was opened to the public. On June 3, 1918, Sovnarkom published a decree, which was announced by the Tretyakov Gallery of the State Property of the Russian Federation of the Soviet Republic. From that moment on, the museum became known as the State Tretyakov Gallery. After nationalization, I.E. Grabar was appointed director of the gallery. Returning to the work of Venetsianov, I would like to pay special attention to the collection of his works in the State Tretyakov Gallery. The collection includes:

Self-portrait

Canvas, oil

Peasant woman with cornflowers

Canvas, oil

"Those and Batkin Lunch!"

Canvas, oil

Cardboard, Oil

Portrait of Princess V.S.Putyatina

The second half of the 1810s

Tree, butter

Peasant girl with calf

End of the 1820s

Canvas, oil

On arable land. Spring

The first half of the 1820s

Canvas, oil

Mid 1820

Canvas, oil

On the harvest. Summer

Mid 1820

Canvas, oil

On the last of these works I would like to focus on attention.

On the harvest. Summer

The plot of the paintings "on the harvest" will be drawn from everyday folk life. However, A.G. Venetsian women asked the goal of portraying this life in her household aspect, and confirms this conclusion the complete absence on the canvas of household accessories. The picture has a subtitle "Summer", which perfectly expresses the overall mood of the entire work.

Hot july noon. Nature, as it were, froze in his solemn rest: Realities hot air, a thick dark gold rye will be laughing. The viewer seems to hear this linking silence, reigning over the fields. The sky was high above the rolled ground, and there is a "some silent clouds game" on it.

At first glance, we see only the figure of the peasant and only, then we notice on the distant plan of the figurines of other jets. Hyded hot air, they seem to dissolve in the endless space. The impression of airlessness, from the length of the fields is created due to the alternation of plans, which rise to the hilly horizon lines, climbing one by one. No wonder, many art criticism noted that the paintings of A.G. Venetsianov is permeated with a single rhythm like musical works. In the canvas "on the harvest. Summer" (as in the painting "on arable land. Spring") the main motive is deployed in the foreground, and then rhythmically repeats several times, like refrain in the song.

Quietly and at risk, straightening a naked back, a woman sits, putting a sickle near himself. Its statutory, the magnifies the figure shrouded with dense sultry air, illuminated by the hot rays of the midday sun.

The peasant woman, nursing the child's attached to her, sits in the profile to the viewer, on the elevation, from where it overlooks the boundless fields - then generously filled with the sun, then slightly bleached silver-white clouds at high sky. Despite the fact that the peasant sits on a high support, as if primarylying over all others, however, it is organically connected with the landscape and the evidence of non-disseminated unity.

But nature in the paintings of A. G. Venetsianova is not just the Arena of human labor, he does not act as violence against nature, distorting her natural appearance. From the point of view of the artist, the work of a person is to continue the vital activity of nature, with the only difference that it turns out of the spatial. And the person, therefore, appears as a kind of nature, it is in this sense that he is the "crown of creation."

The back plan is excellent - the field with snaps and figures of the reapers, and above them - a high sky with melting clouds. The sun is behind the back of the peasant, and thanks to this face of her and most of the figure shaded, and this makes it possible to summarize the shapes and reveal clean and smooth lines in her silhouette.

A.G. Venetsian possessed a rare poetic gift, he could find poetry in everyday worries and hassles of a person - in his work and life. The words spoken by Gogol about A.S. Pushkin. Like the writings of Pushkin, "where his Russian nature breathes," and the paintings of A.G. Venetsianova "can completely understand only the one whose soul carries a purely Russian elements to whom Russia is homeland, whose soul ... gently organized and developed in feelings."

Venetsian and Venetiananov. Sentimentalism

venetsian Arts Picture

Venetianov's work had its special concept. Some art historians include him to Sentimentalism, and not a flourishing in Russian visual art, while the literature in the face of Nikolai Karamzin gave distinct outlines of this artistic direction. You can agree with this, if you do not make the differences between sentimentalism and idyll. Peasant images are not only sentimental, permeated with attention to the lower class; The artist tries to equalize them in human qualities with representatives of higher estates. All the spirit of the arts of Venetsianova is the poetry of peasant life without flaws and dark spots. From this concept of creativity, there is a similar interpretation of landscapes from Venetsianovens, primarily Grigory, Soroki and Nikifora Krylov. The landscape of Venetsian himself is prosecated. But in the holistic picture of the world, he, playing a suitable role, as if poeticizing the prose, telling her the shade of idealization, which moved to his disciples.

Sentimentalism in the social aspect is not deprived of contradictions: sentimentalists does not suit the existing order of things, but they do not think about the rebellion, looking for the overcoming of public angry in self-improvement, enlightenment, in caring from the bustle of great light to the life of a simple, merged with nature, to the life of rural. And it was also the soul of Venetsian.

It was Sentimentalism for the first time introduced into the art of commoner with his inner world. Moreover, classicism usually showed people, so to speak, without light, knowing two paints in the outfit character - "black" and "white". "White" - for heroes, "black" - for such as Slutty Sylvia in Cantemir in one of his satir or the Venetian "Wiel". Sentimentalism and romanticism are introduced into the art of lightness, so to speak, in two hypostasses: like plastic pictorial reception and as a multifaceted volume of characters, also built on the transitions of halftone. And this remedy takes Venetsian to weapons.

The replacement of the objectivity of hot authorstees has breeding humanity: sentimentalism (from the French Sentimentale, which means "sensitive") appealed to compassion, sympathize with "all of the incessant, all depressed, all the tearful."

What came to writing

One of the most revered by me by artists is A. G. Venetsian. His picture "On the harvest. Summer". It is, in my opinion, one of the most memorable. Venetsians masterfully, using the color palette, creates a picture of a hot summer day. In the frozen golden rye, breathing in the heat of heavenly surface, the inappropriate greenery of the grass. Painter as if it fats the raspberry sundress. Static horizontal lines: the platform, on which the peasant is sits, the surface of the rye and the alternating color bands flowing to the horizon enhance the impression of the immersed in the summer history.

The picture "On the harvest. Summer" belongs to those masterpieces that have incredit value and to this day deliver the audience a genuine aesthetic pleasure. This is a truly Russian landscape, it is in this picture that nature is represented by the artist, according to the poet, as "shelter calm, works and inspiration."

Difficulties arising from copying

When copying this picture, I have some difficulties. In order to create a copy, it is necessary not only to explore the letter to the letter, but also try to put the most accurate mood and flavor work. Peel into the idea that the author of the author to create work.

The words "who can copy, he knows how and create" - attributed to Mike Landgelo. The success of the acute copy is associated with talent. Copy requires exposure, discipline, increased interest, love for the original. "Copy and enjoy," said Chennino Chennini, in other words, copying, it is necessary to feel the beauty of the original, to worry delight.

1. The main difficulty lies in the fact that I have no opportunity to use the original. For this you have to resort to the help of reproduction. Selection of the necessary reproduction also caused some difficulties. On some print copies, colors and forms were not accurately transmitted, therefore it was necessary to compare and select the closest, in my opinion, to the original.

2. The following complexity was that even on the most accurate reproduction it is not possible to determine the particular style of the author, the Maneru of his letter, the imposition of smears. Due to the image plane, it is impossible to understand the individual technique of the author.

3. Further difficulties caused directly the copying process itself. The "Grid" method is suitable for copying. The essence of drawing is that we smash the image into small cells, each of which will be easily copied to the same cell on the sheet. The grid allows you to make scaling, that is, change the size.

4. The following item that gave me the troubles was the selection of color spots. Since I used the reproduction, it was difficult for me to determine this or that color. It was also difficult to reproduce certain paints in Guashi, because the master used the oil.

Despite all these difficulties, I tried to most accurately copy the work of A. G. Venetsianova "On the harvest. Summer".

Bibliography

1. Alekseeva T. V., Venetsian and the development of a household genre, in the book: The history of Russian art, t. 8, KN. 1, M., 1963

2. Alexey Gavrilovich Venetsian. Articles. Letters. Contemporaries about the artist. - L.: Art, 1980

3. Venetianova A. A. Notes of the daughter of Venetsian. 1862.

4. Savinov A. N., A. G. Venetsian. Life and creativity, M., 1955

5. "One hundred great paintings" N. A. Ioin, publishing house "Veche", 2002

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Alexey Gavrilovich Venetsianov - Academician, who formed himself outside the Academy and almost self-taped who developed his wonderful abilities. About the same in 1839, Alexander Ivanov wrote from Italy in 1839: "The Talent of Venetsianova deserves that he was noticed ... But Venetsians did not have happiness to develop in his youth, to go through school, to have the concepts of noble and elevated, and therefore he Could not cause an important scene from past centuries to your canvas. "

Know those words of A. Venetsianov, they would not be a surprise for him, he himself so determined his attitude towards the only attempt to create a large historical composition: they say, "it took no one." Indeed, the paintings of this artist were not shocked by, for example, Karl Bryullov's canvas "Last Day Pompeii." But A. G. Venetsianov became the first to depict the scenes from the people's life, and in this respect he deserves universal thanks. The generation of the generation is experiencing a unique sense of joy and delight from the first meeting with his "Zakhar", "in the morning of the landowner", "on arable land. Spring and other paintings. Yes, and the identity of Venetsianova was deeply nice.

He came to the art of his dear on the inner call, from the first steps began to do what he knew how and wanted to do. He did not have to decide subjectively, for himself, the problem of "art and people". He himself was a nation, his part, which the N.V. Gogol determined as a "miracle". A. G. Venetsianov left the people and always remained inside it. And when received academic titles; And when I got sick in my satirical sheets; And when, until the last day of his life, the life of the peasants arranged, he treated and taught them in his Safonkov; When weeding and fed in his school a poor fortress guys who are able to artist ... And when, unlike the "divine" Karl Bryullov, a stunning landowner Engelhardt with high phrases, quickly and simply agreed, how much will give T. Shevchenko!

Picture "On the harvest. Summer "belongs to those masterpieces that have impassable value to this day deliver the audience a genuine aesthetic pleasure. This is a true Russian landscape, it is in this picture that nature is represented by the artist, according to the poet, as "shelter calm, works and inspiration." The plot of the paintings "on the harvest" learned from the everyday folk life. However, A. G. Venetsian was less assessed by the goal of portraying this life in her domestic aspect, and confirms this conclusion the complete absence on the canvas of household accessories. The picture has a subtitle "Summer", which perfectly expresses the overall mood of the entire work.

Hot july noon. Nature, as it were, froze in his solemn rest: Realities hot air, a thick dark gold rye will be laughing. The viewer seems to hear this linking silence, reigning over the fields. The sky highly rose above the rolled ground, and there is a "some silent game of clouds" on it. At first glance, we see only the figure of the peasant and only then we notice on the distant plan of the figurines of other jets. Hyded hot air, they seem to dissolve in the endless space. The impression of airlessness, from the length of the fields is created due to the alternation of plans, which rise to the hilly horizon lines, climbing one by one. No wonder, many art critics noted that the paintings by A. G. Venetsianov are permeated with a single rhythm like musical works.

In the canvas "on the harvest. Summer "(as in the picture" On the Paren. Spring ") the main motive is deployed in the foreground, and then rhythmically repeats several times, like refrain in the song. Quietly and at risk, straightening a naked back, a woman sits, putting a sickle near himself. Its statutory, the magnifies the figure shrouded with dense sultry air, illuminated by the hot rays of the midday sun.

The peasant woman, nursing the child's attached to her, sits in the profile to the viewer, on the elevation, from where it overlooks the boundless fields - then generously filled with the sun, then slightly bleached silver-white clouds at high sky. Despite the fact that the peasant sits on a high support, as if primarylying over all others, however, it is organically connected with the landscape and the evidence of non-disseminated unity.

But nature in the paintings of A. G. Venetsianova is not just the Arena of human labor, he does not act as violence against nature, distorting her natural appearance. From the point of view of the artist, the work of a person is to continue the vital activity of nature, with the only difference that it turns out of the spatial. And the person, therefore, appears as a kind of nature, it is in this sense that he is the "crown of creation".

The back plan is excellent - the field with snaps and figures of the reapers, and above them - a high sky with melting clouds. The sun is behind the back of the peasant, and thanks to this face of her and most of the figure shaded, and this makes it possible to summarize the shapes and reveal clean and smooth lines in her silhouette.

A.G. Venetsian possessed a rare poetic gift, he could find poetry in everyday worries and hassles of a person - in his work and life. The words said to Gogol about A. S. Pushkin are fully applicable. Like the writings of Pushkin, "where his Russian nature breathes," and the paintings of A.G. Venetsianova "can only understand the one whose soul carries a purely Russian elements to whom Russia is homeland, whose soul ... gently organized and developed in feelings."