Russian sculpture 2 halves of the 19th century. Sculpture of the second half of the XIX century

M. Kozlovsky. Monument to A. Suvorov at the Marsfield. 1801
Suvorov appeared in the guise of Mars, dressed in the lats, helmet and cloak.
At the pedestal of the monument - the allegorical figures of the geniuses of glory and the world. On the shield inscription: "Prince ITALY, Count Suvorov
Ramnica "

Russian architecture of the first half of the XIX century

The first quarter of the XIX century. In Russia - the time of the midst of urban planning. The architecture mainly becomes the construction of civil and administrative buildings. Architecture is inextricably linked with sculpture. The synthesis of arts is one of the manifestations of a single style beginning, which for Russian art was high classicism, otherwise referred to as Russian ampir, the masters of which were A.N. Voronikhin, A.D. Zakharov, K.I. Rossi, V.P. Stasov.
Andrei Nikiforovich Voronikhin (1759-1814), the son of serf, studied painting in Moscow. After his owner A.S. Stroganov gave him free, Voronichin independently examines the architecture.

The main creation of Voronikhina is the Kazan Cathedral in St. Petersburg. The task that stood before the architect was complex. Cathedral St. Petersburg was supposed to have a colonnade, as before the Cathedral of St. Peter in Rome. Voronikhin placed a colonnade from the side of the side facade facing the Nevsky Prospectus, it was assumed that on the other hand there would be the same colonnade, but this idea was not implemented.
The cathedral was decorated with a variety of sculptural compositions, over which the largest Russian sculptors of that pore worked - Prokofiev, Martos, Shchedrin. After the war with Napoleon, the temple became a monument of military valve: Kutuzov was buried here, in the 30s. Monuments of Kutuzov and Barclay de Tolly are installed in front of the cathedral.

Andreyan Dmitrievich Zakharov (1761-1811) After graduating from the Academy of Arts and the Guest House, France taught at the Academy. In 1805, Zakharov was appointed by the "Main Admiralty Architect". In 1806, he begins the reconstruction of the Admiralty, which combined administrative buildings, Docks and production buildings. The main facade of 406 m long is divided into five main parts: the central tower, two wings and two housings between them. Zakharov retained a gilded tower spire, enriching her decorative framing. Sculpture decoration in allegorical form reflects the idea of \u200b\u200bRussia as a sea power. Thus, the embossed Fries Attica is dedicated to the "fleet institution in Russia," shapes, crossed banners - allegory of victories of the Russian fleet, are placed above the architecture arch. In high pedestals, pair groups of nymph, holding spheres, - Allegoria around the world marine hikes. Dorician, and in the tower, an ionic order is applied in the building composition.

At the beginning of the century, a number of buildings defined architectural look Petersburg, created Swiss Tom de
Tomon (1760-1813). One of them was an exchange on the arrow Vasilyevsky Islands. The building of the building is raised to a high base.
After a victorious war with Napoleon in the burned occupants of Moscow, active construction launched, large construction works Made at this time and in St. Petersburg. Under the leadership of O.I. Beauvais (1784-1834) In the Kremlin, towers and parts of the wall blown off by the French during the retreat were restored. In the architecture, solemnity and triumphalness increased. Ensemble Building, Application monumental sculpture.

The largest representative of Ampire was Karl Ivanovich Rossi (1775-1849), who built the building of the General Staff, the center of which became triumphal Arch. At the same time, the architect began to create an ensemble of the Mikhailovsky Palace. Rossi proceeded from the traditional planning scheme for Russian architecture: main building And the utility flaggels form a single whole with a front courtyard. Behind the extensive park was located. The palace closed the perspective of the street going to Nevsky Prospect. In the second half of the 20s. Rossi created an ensemble Alexandrinsky Theater, Finding the successful location of the theater in relation to Nevsky Prospect. The last large ensemble of Russia was the united arch, shifted above the gallery street, the casing of the Synod and the Senate corresponding to the composition of the Admiralty, located on the other side of the square.

V.P. Stasov (1769-1848) rebuilt the stable courtyard on the waterfront of the washing in St. Petersburg, created the barracks of the Pavlovsky regiment on the Mars. The center of the new facade facing a Marsh field was decorated with a solemn colonnade of the Doric Order. In the 30s. Stasov participated in recovery after the fire of the interiors of the Winter Palace.
Auguste Ricar de Monferran (1786-1858). The most important event It was the construction St. Isaac's Cathedral According to O. Monferran, which lasted from 1818 to 1842. The height of the building - 101.5 m, length with portica - 111 m, the diameter of the dome - 21.8 m. Outside the building surrounds 112 granite columns with a height of 17 m. The cathedral is built in The style of classicism with elements of Baroque and Renaissance, which manifested in the sculptural decoration. The frontones of the temple are decorated with burners, on the corners of the roof of the building are the figures of the knee-free angels, on the frontions - evangelicals. In total, the cathedral decorates 350 statues and reliefs, cast from bronze. A mighty bell, weighing 29.8 tons, made a sound, audible on the outskirts of the city. The inner decoration of the cathedral was amazed by magnificence. The walls are lined with white Italian marble, panel are filled with green, red marble, multicolor jasper, red porphyra. The interior is placed mosaic and
Picturesque paintings by K.P. Bryullov, F.A. Bruni, V.K. Shebuyev and other Russian and foreign artists. The Cathedral of the Cathedral was the icon of the Savior of the Savior, belonging to Peter I.

Sculpture of classicism

The bloody sculpture was associated with the socio-political rise in Russia. The largest master, representative of classicism, whose works were in Arkhangelsk, Odessa, Taganrog, was Ivan Petrovich Martos (1754-1835). Outstanding work Martos was a monument to Minin and Pozharsky, over which the sculptor began work in 1804. The monument established on Red Square represents Kuzma minina, pointing to Moscow, and rising from his Lodged Prince Pozharsky. For the Kazan Cathedral in St. Petersburg, Martos created a monumental burner "Source of Moses in the Desert" on the Attics of the Colonnade of the Cathedral, as well as the figure of the Archangel and the statue of John the Baptist. IN late period Martos's creativity performed a monument to Richelieu in Odessa and M.V. Lomonosov in Arkhangelsk.

Among the sculptors who communicated with the architecture - V.I. Demoust-Malinovsky (1779- 1846) and S.S. Pimenov (1784-1833) who worked on sculptures for the Kazan Cathedral with Valonichin. Pimenov performed the sculpture of Alexander Nevsky, and Demouth-Malinovsky is the statue of Andrey the First-Called. For admiralty sculptors created three colossal figures, personified the countries of the world. Since 1817, sculptors begin to cooperate with K.I. Rossi, creating the sculpture of the arch of the General Staff. The arch was crowned made of a sheet copper "Victory" composition, the central figure of which was the winged glory, standing in the chariot with a raised state emblem. I.I. Terebenev (1780-1815) performed sculptures for admiralty, including a 22-meter burner "Fleet Installation in Russia", placed on the Attica of the Lower Cuba of the Admiralty Tower.

B.I. Orlovsky (1796-1837) created monuments of Field Marshal Kutuzov and Barclay de Tolly before the Kazan Cathedral.
In small forms of sculpture worked by F.P. Tolstoy (1783-1873), which created a series of plaster made of plaster, porcelain, bronze, cast iron medallions dedicated to the events of the Patriotic War of 1812 and military actions of 1813-1814. Most of the medallions are allegorical compositions. In 1814-1816. Tolstoy performed four bas-reliefs with scenes from Homer's Odyssey.

F.P. Tolstoy. Popular, militia 1812 medallion. 1816
Depicts a woman sitting on the throne, personifying Russia. She hands the nobleman, merchant and peasant swords

The first half of the XIX century. It was marked by the flourishing of Russian sculpture and especially its monumental forms. It was during this period that monuments were created by outstanding Russian people, tombstones, original works of machine and decorative plastics. Characteristic feature The Russian sculpture of the same period is huge achievements in the field of synthesis of sculpture and architecture. The first half of the XIX century. It was marked by the flourishing of Russian sculpture and especially its monumental forms. It was during this period that monuments were created by outstanding Russian people, tombstones, original works of machine and decorative plastics. A characteristic feature of the Russian sculpture of the same period is huge achievements in the field of synthesis of sculpture and architecture.

In the monumental decorative sculpture of the beginning of the first quarter XIX. in. F.F. Shadrin () worked with great success. TO best works Shchedrine belongs to its statues and sculptural groups for admiralty. In the allegories created by the master, the greatness of Russia as a maritime power, a person's triumph was transmitted over the forces of nature. In the monumental decorative sculpture of the beginning of the first quarter of the XIX century. F.F. Shadrin () worked with great success. The best works of Shchedrin include its statues and sculptural groups for admiralty. In the allegories created by the master, the greatness of Russia as a maritime power, a person's triumph was transmitted over the forces of nature.

Mikhail Kozlovsky was the most significant figure in the field of classic plastics end of XVIII century. It was best for him, works performed by a large civil sound, saturated with ideals of patriotism ("Hercules on horseback", "Yakov Dolgoruky", "Vigode Alexander Macedonsky"), which became an example of the content of Russian plastics. It is especially significant last works Fountain "Samson" and a monument to Suvorov in St. Petersburg, in which Russian classicism XIX. century found the most perfect expression. Mikhail Kozlovsky was the most significant figure in the field of classic plastics of the end of the XVIII century. It was best for him, works performed by a large civil sound, saturated with ideals of patriotism ("Hercules on horseback", "Yakov Dolgoruky", "Vigode Alexander Macedonsky"), which became an example of the content of Russian plastics. His latest works of Samson Fountain and a monument to Suvorov in St. Petersburg, in which Russian classicism of the XIX century found the most perfect expression. M. Kozlovsky. "Yakov Dolgoruky, Blowing Tsarsky Decree", M. Kozlovsky. "Yakov Dolgoruky, Blowing Tsarsky Decree", 1797.

At the beginning of the XIX century, the leading position in the Russian sculpture was held by Ivan Martos, who worked very fruitful and in various genres portraits, decorative statues and reliefs, tombstones. I.P. Martos. "Minin and Pozharsky" Red Square At the beginning of the XIX century, the leading position in the Russian sculpture was held by Ivan Martos, who worked very fruitfully and in various genres portraits, decorative statues and reliefs, tombstones. I.P. Martos. "Minin and Pozharsky" Red Square

The continuation of this patriotic subject, but the monuments of Boris Orlovsky in honor of Kutuzov and Barclay de Tolly became the continuation of this patriotic subject. The continuation of this patriotic subject, but the monuments of Boris Orlovsky in honor of Kutuzov and Barclay de Tolly became the continuation of this patriotic subject. B.I. Orlovsky. "Monument to Barclay de Tolly" B.I. Orlovsky. "Monument to Barclay de Tolly." 1836.

In the first half of the XIX century, a portrait sculpture genre also reaches great success. Especially indicative of the work of Ivan Vitaly and Samuel Galberg. In the first half of the XIX century, a portrait sculpture genre also reaches great success. Especially indicative of the work of Ivan Vitaly and Samuel Galberg. I.P. Vitaly. "Portrait of A.S. Pushkin "MRM I.P. Vitaly. "Portrait of A.S. Pushkin "timing

Mikhail Osipovich Mikeshin (February 9, 1835, Village Maksimkovo Roslavl district of Smolensk province January 19, 1896, St. Petersburg) Russian artist and sculptor, author of a number outstanding monuments in major cities Russian Empire. Millennium Monument to Russia in Veliky Novgorod Mikhail Osipovich Mikishin (February 9, 1835, Village Maksimkovo Roslavl County of Smolensk province on January 19, 1896, St. Petersburg) Russian artist and sculptor, author of a number of outstanding monuments in large cities of the Russian Empire. Monument to the Millennium of Russia in Veliky Novgorod 1862.

In the second half of the XIX century, the Russian sculpture did not receive such widespread development as painting. Like the architecture, it thus depended on public or private-capitalist orders and from official tastes. On the other hand, leading in Russian art critical direction was alien to the very specific sculpture artwho is closer positive ideals. It is not by chance that in the sculpture of the second half of the XIX century were the traditions of the traditions of late classicism.

The monumental sculpture was particularly difficult, presented in this period only by single works. The art of M. O. Mikeshin is the greatest fame - the sculptor of the academic direction. He belongs to the three largest monument of the time - the Millennium Monuments "Millennium of Russia" in Novgorod (1862), Bogdan Khmelnitsky in Kiev (1870) and Catherine II in St. Petersburg (1873). A monument of A. S. Pushkin in Moscow of the sculptor A. M. Pokpecin acquired great popularity. True, it is characterized by some petty detail, but in the sculptor created the poet, the vitality, heat, hill and nobility are combined.

Several in the best position in the second half of the XIX century were a glass sculpture. The rise of democratic art affected the work of a number of masters - F. F. Kamensky, M. A. Chizhova, I. Ya. Ginzburg. The household genre affected their development - leading in painting that era, he contributed to the penetration of life plots into their art: "Widow with a child" (1868) F. F. Kamensky, "First Step" (1870) and "Peasant in trouble" ( 1872) M. A. Chizhova, "Boy going to swim" (1886) I. Ya. Ginzburg - and led to a greater naturalness of the plastic form. Noticeable development received a little widespread animal genre. E. A. Lancere (Il. 172) and A. L. Owber played a particularly significant role in his successes. The latter devoted his creativity to the image of animals. These sculptors constantly worked from nature and perfectly studied the world of their four-legged models.

M. M. Antocolsky (1843-1902). The most consistently and bright realistic direction in the Russian sculpture of the second half of the XIX century was expressed in creativity and the views of Matveyevich Antocolsky.

Anticolish was born in a wine, his children's children took place in the poor Jewish family youth years. Working as a sharp and jeweler, he acquired the first skills future profession. Apprenticeship at the Academy of Arts Antelkolsky completes its professional education. In the turbulent life of St. Petersburg of the 1860s, his democratic beliefs finally develop.

On the formation of the creativity of the Anticoline also significantly affected the household genre. This was reflected in the plots of his early workstaken from everyday life ("Jew-tailor", 1864, "Jewish-storm", 1865), and in their detailed narration characteristic of genre paintings of the 1860s. The statue of "Ivan Grozny" (1871, Il. 171) glorified him. Like the picture V. G. Schwartz "Ivan Grozny at the body of his son killed by him," she striking the depth of comprehension historical image, his psychological disclosure. Antelian showed Grozny - the king. It felt in its authority, inner power, emphasized by elements of the genre, such as in detail the throne, staff and royal fur coat. But, like Schwartz, this does not exhaust the image, the sculptor enriches him, showing the flour of suffering and remorse.

It is equally deep, but at the same time more plasticly resolved by the sculptor image of Peter I (1872). Unlike the decision of N. N. Ge in the picture "Peter I and Tsarevich Alexey", the heroed image of the king is given by the Anticoline. Mighty Figure of Peter I, as if buried by the winds, as if personifies the stormy life of Russia early XVIII century.

In 1872, the Anticoline leaves abroad. He lives in Rome, then in Paris, just coming to his homeland. It is still attracting strong personalities. In the psychology of Socrates ("Death of Socrates", 1882), in the struggle of reason with human osnosis, stupidity and limited ("spinosa", 1882) are found to be typical traits Movementary art, but these sculptures are missing for effective strength and optimism. It is not by chance that Socrates is depicted at his mortal hour, and the spinosa is seriously ill.

Being abroad, the Anticoline constantly thinks of his homeland. His letters are full of thoughts about her, about the fate of her art. Sculptor and the themes of domestic history were repeatedly returned. For several years, he with love worked on the manner of Nestor-Chronicler. His "Ermak" (1891) with the face of the Russian peasant is imbued with courage, in combat purpose; He is a relatives of Surikovsky in the painting "Conquest Siberia Ermacom", although inferior to the latter in generalness and historical significance.

Mobile - whether it is painters or sculptors, working on modern and historical topics, introduced in domestic realistic art a lot of new and original, which comes from their diversity creative Individuals. This also applies to the contents and forms of their art. The deepening of art content occurs in close connection with enrichment expressive means Plastics and painting. A varied and vital truthful compositions of works of mobile phone. IN critical realism Along with the social chief of the dominant classes of an obvious dream of the best future of the people. The largest masters of mobile partnership art exhibitions Created noble bright images of advanced people of their era, confirming the right to be considered direct predecessors of the art of our time.

In sculpture mid XIX. century basic - two directions: one coming from the classics, but who came to dry academism; Another detects the desire for a more direct and multilateral display of reality, it gets spread in the second half of the century, but undoubtedly also the fact that both directions of monumental style are gradually lost.

The sculptor, who in the years of decline of monumental forms managed to achieve significant success and in this area, as well as in the "small forms", was Peter Karlovich Klodt, the author of the horses for the Narva triumphant gates in St. Petersburg (Arch. V. Stasov), " Sheets of horses "For Anichkova Bridge, monument to Nicholas I in Isaac Square, I.A. Kryona in the summer garden as well large number Animal sculpture.

The monumental crisis in the art of the second half of the century seemed to the development of monumental sculpture. Sculpture, of course, does not disappear at all, but monuments are becoming or unnecessary pathetic, fractional according to the silhouette, detailed, which did not escape and M.O. Mikeshin at his Millennium of Russia in Novgorod (1862) and at the monument to Catherine II in St. Petersburg (1873), or chamber in spirit, as a monument to Pushkin A.M. Punching in Moscow (1880).

In the second half of the XIX century. A glass sculpture is developing, mainly genre. But it becomes more narrative and looks like translated into sculpture conversation piece (M. Chizhov "Peasant in trouble", 1872, Bronze, Timing; Marble, GTG; V.A. Beklemishev "Rustic Love", 1896; F. F. Kamensky "First Step", 1872, MRM). At this time, thanks to the work of such masters like E.A. Lancer and A.L. Ober, it receives the development of an animal genre that played a large role in the development of Russian realistic sculpture of small forms (Lancer) and decorative sculpture (Ober).

Mark Matveyevich Antocolsky (1843-1902) was the most famous of the masters of this time (1843-1902), which, as the researchers, replaced, replaces the lack of monumental means of expressiveness by the image of "monumental personalities" - evidence of this "Ivan Grozny" (1872), "Peter I" (1872 ), "Dying Socrates" (1875), "Spinosa" (1882), "Mephistofel" (1883), "Ermak" (1888). Executed according to the specified program, they are only a character of a particular person.

For the art of the sculpture of this period, the mixture of styles is characterized; Modern, determined by the achievements of scientific and technological progress, and stylization under the old days. The development of the Russian sculpture of the second half of the XIX century is closely related to the process of becoming realism in Russian art.

In 1851, the positions of the rector of sculpture and professors of the second degree "in terms of sculptures of figures and ornaments" were abolished. There is a loss of monumentality, communication with architecture is lost, the predominant development of the machine sculpture is predominantly. It should be noted that the monumental sculpture of the State Translation is loss of progressive importance. During this period, sculptural monuments of personalities are established, which has great social importance: cultural, science, commander, scientists, writers. IN meal sculpture The underlined everyday of plots and images is cultivated, the ordination of the interpretation, which indicates the intensive birth of the sculpture of the realistic plan.

Many domestic sculptors have gained great fame.

Kamensky Fedor Fedorovich (1838-1913) -russian sculptor F.F. Kamensky was born in the family of Major General, the administrator of the St. Petersburg Forest Intituet. In 1852-1860 he studied at the Imperial Academy of Arts by Nikolai Pimenova, Peter Klodt and Fidelio Bruni. At the Academy received a gold medal for work "Senate asks Cincinnatus to stay in Rome" and "Regulus returns to Carthage." The sculptor during this period creates the busts of Taras Shevchenko and Fidelio (Fedor) Bruni. In 1863, the Academy sent Kamensky to study in Italy, where he stayed until 1869. In Italy Kamensky F.F. It continues to create in the genre of a portrait bust and creates sculptural work on household plots: "Young sculptor", "Widow and Son" (1867), "First Steps", (1872), Monument M.I. Gling. For the sculpture of the "Widow and Son", the "first steps", the sculptor becomes academician of the Imperial Academy of Arts and returned to St. Petersburg. In 1870, F. F. Kamensky again left for Florence, and in 1873 immigrated to America, where he began to live in the state of Florida and continued to engage in art, making decorations for the federal building in Kansas, Roman Fountains project in New York, sculpture Cupid for the city of Tampa in Florida. In 1893, during the preparations for the World Exhibition in Chicago Kamensky F.F. Creates "huge sculptures from concrete for the pavilion", and also personally chose 130 paintings and statues from Russia, which were shown during the exhibition. Last years He worked on a complex sculpture "Peace" - it is not over.

Ivanov Sergey Ivanovich (1828 -1903) -russian sculptor. Got an art education in the Moscow School of Painting, Sculpture and Architecture under the main leadership of N. A. Ramazanov. In 1854, for the statue of the "Boy in Ban" (Marble copy - in Tretyakov GalleryIn Moscow) erected academician. After the death of N.A. Ramazanova (1863) took his place of the sculpture teacher in the same Moscow School. His works S.I. Ivanov at the exhibitions showed only occasionally.

Sculptor creates a statue "Neapolitan fisherman with a sink" and "Apostle Andrey" (executed for the Moscow Historical Museum), sculptural groups " Mother's love"," Boy on a horse "," Kiss Judah "," Tiger, drove in the neck of a deer "and" Lioness with a young ", sketch of the statue of" Moses, exacerbating water from stone ", Project of the monument A. S. Pushkin, Busts of the Aktorerov , Lyublakini, Sadovsky and Basinist Krylov. Much fame S.I. Ivanovo brought the sculpture "Boy in Ban" (marble, gtg). Sergey Ivanovich Ivanov entered the history of the art of scary mainly as the author of the statue of the Boy in Ban (1854). Without any idealization, an outstanding sculptor depicted a watering boys dilapidated water.

Antokolsky Mark Matveyevich (1842-1902) -historic theme permeates the creativity of M.M. Anctic tag, which created a series of sculptural portraits: "Ivan Grozny", "Petri", "Ermak", "Nestor-Chronicler". Some work of the sculptor contains contemplative, philosophical orientation; "Christ in front of the people", "Mephistofel", "dying Socrates", "Spinosa". MM Antelian Creating Busts Stasov, Turgenev, Botkin. Sculptor performs orders of gravestones. The largest sculptor of Russia for the second half of the XIX century Mark Matveyevich Antokolsky was born in 1843 in a poor large-willed Jewish family. At night, instead of rest after the exhaust job in the restaurant, where he helped his father, secretly from the surrounding, who was alien to his attraction, the boy was given to his beloved occupation - Lepil or cut out small figures. Subsequently, he was still determined by the student in the carcass workshop on a tree. Since 1862, M.M. Antelian becomes equipped with the St. Petersburg Academy of Arts. In St. Petersburg, the artist is closer to I. I. Shishkin, V. M. Vasnetsov, I. N. Kramsky, V. V. Stasov, A. N. Serovov, M. P. Mussorgsky, becomes another I. E. Repin. He studied M.M. Anctician in the class of N. S. Pimenova, and after his death, the engraver and sculptor I. I. Reimimers. Already the first burners "Jew - Tailor" (1864) and the "Jewish - Supreme" (1865), noted by the second and first silver medals, showed the vitality and realism of the artist's works.

Mark Matveyevich Antocolsky died in June 1902. Death found an outstanding sculptor in Germany, a sculptor was buried in St. Petersburg at the Preobrazhensky cemetery.

Mikishin Mikhail Osipovich (1835-1896) -the Russian artist and sculptor, author of a number of outstanding monuments in large cities of the Russian Empire, was born on February 9, 1835 in the village of Maksimkovo Smolensk province near Roslavl. He studied in Smolensk at the local icon painter. In 1852 he entered the Academy of Arts, where he studied in the class of battle painting under the leadership of B. P. Villevalde. In 1858, he graduated with honors from the Academy of Arts, having received a great gold medal for the picture "Entry Tilly in Magdeburg". Manifested during the studies of the romantic interpretation patriotic theme I brought the artist the attention of the royal family, and M.O. Mikeshin was invited to train the drawing of the Grand Duzhon. Despite the fact that M.O.Mikshin was primarily the artist-battalist presented by him the project of the Millennium Millennium of Russia in Novgorod won the competition (1859) and was accepted for execution. In order to manage the execution of the project, M.O.Mikshin studied sculptural technique in I. N. Schröder. As a result of such success, M.O. Mikeshin received many similar orders. According to his projects, "Kuzma Minin" monuments were created in Nizhny Novgorod, Admiral Greig in Nikolaev and "Alexander II" in Rostov-on-Don, who became an illustration of the official formula "self-adjusting-orthodoxy-nation". Few monuments M.O. Mikeshin survived the years Soviet power. Among them, a monument "Ekaterina II" in St. Petersburg (1873), monuments "M.Yu. Lermontov, "Bogdan Khmelnitsky" in Kiev (1888), "Ermak" in Novocherkassk (1904), as well as a monument "Millennium of Russia" in Novgorod. Projects M.O. Mikeshin won and in international competitions (for example, a monument to Pedro IV in Lisbon). In 1876-1878, M.O.Mikashin edited the satirical magazine "Bee". He printed his caricatures there and published illustrations for works by N. V. Gogol, and T. G. Shevchenko.

Shredder Ivan Nikolaevich (1835-1908.) -russian sculptor, author of a number of monuments in major cities of the Russian Empire. Born in 1835 and was brought up in the Page His Majesty Corps, from where he was burned in the Life Guard Ulansky regiment. Upon completion of the Crimean campaign, he retired and dedicated himself to sculptural creativity, which was engaged earlier amateur. According to the advice of Professor Baron P. K. Klodt Schroeder I.N. Entered students of the Imperial Academy of Arts, where his head became N.S. Pimenov. Another visiting classes of the Academy of Arts, Schroeder I.N. Cured in one winter ten statues for the composed M.O. Mikishin Novgorod monument "Millennia of Russia". Having traveled abroad in 1864 for inspecting Museums I.N. Schroeder, unexpectedly went to America. There for four years worked in South America And then returned to St. Petersburg. Soon after these events, in 1869, the Academy of Arts for the Sculptor Bust "A. I. Kireevskaya, "awarded him the title of academician. Most further works of I.N. Shredder belongs to monumental sculpture. The sculptor was made by the monuments: "Ekaterina II" - (Tsarskoye Selo), "Admiral Kruzenshtern", "Prince P. G. Oldenburg" - (St. Petersburg), "Admiral BellenShausen" - (Kronstadt), "Peter Great" - (Petrozavodsk), "Emperor Alexander II", "Count A. A. Bobrinsky" - (Kiev), "N.M. Przhevalsky "and" I.F. Kruzenshtern "- (St. Petersburg)," L.G. Cornilov "," E.I. Totleben "," P.S. Nakhimov "- (Sevastopol). Schroeder I.N. Creates a large number of portrait busts. The creativity of the sculptor belongs to the Bust "General Adjutant Kaufman" for the Tashkent Military Assembly and twelve busts of Sevastopol heroes - for the Moscow Historical Museum.

During this period, an outstanding Russian sculptor A.M. Pokeshin worked in the style of realism in the genre of monumental sculpture.

Opecin Alexander Mikhailovich (1841-1923)- Russian sculptor was born on November 16, 1838 in the village of Svetchkin, Yaroslavl province. A.M. Uppeskin Art Education received in the drawing school of the Society for the promotion of artists and in the sculptural workshop in St. Petersburg under the leadership of Professor D. Jensen, after which she was engaged in the Imperial Academy of Arts, which in 1864, awarded him the title not classroom artist For sculptural sketches "Veliari" and "Amur and Psyche". After this title A.M. Opecin was raised in 1869 into class artists of the second degree, in 1870 - in class artists of the first degree for Bust "Graph Shuvov" and for seven colossal figures swung for the St. Petersburg monument "Empress Ekaterina II". In 1874 - in academicians for Bust Zesarevich "Nikolay Aleksandrovich" and the statue of Peter Great. At the beginning of its activities, A.M. The guardian produced a lot of ornamental stucco works for St. Petersburg buildings and was one of the main employees of M.O. Mikeshin in his works on the implementation of the "Empress Ekaterina II" the above-mentioned monument by this artist. For the All-Russian industrial exhibition in Moscow (1882) together with M. O. Mikeshin and architect D. N. Chichagov A.M. Pokeshin created two pair sculptural compositions "Volga" and "oil". The sculptor performed a monument "Alexander II" at the South Wall of the Kremlin (Bronze, was opened in 1898, not preserved) and the monument "Alexander III" near the Chistrist of Christ the Savior (Bronze, 1912, was not preserved). From A.M. Punching is most famous: Monuments Admiral Gragu in Nikolaev, simulated by the project M. O. Mikeshin, a monument "A.S. Pushkin "in Moscow (1880), combining the elevation of the image with its historical concreteness and reliability. A.M. Pokeshin also created monuments "A.S. Pushkin "in St. Petersburg (1884)," A.S. Pushkin "in Chisinau (1885), monuments:" Karl von Bare "in Tartu (1886)," M.Yu. Lermontov "in Pyatigorsk (1889), monument" N.N. Amur Muravyov "in Khabarovsk. Sculptor in his work used bronze and granite. A. M. Podquishin was orthodox Christian and a convinced monarchist. It was very popular in the monarchical circles of that time, his work was highly appreciated in the royal house, he was patronized Alexander III and Grand Duke Sergey Aleksandrovich Romanov, Moscow Governor General, who was killed on February 4, 1905.

Chizhov Matvey Afanasyevich (1838-1916) -russian sculptor who worked in a domestic genre. M. A. Chizhov was the son of the peasant Kamenotes and since childhood he helped his father in his craft. Artistic education MA Chizhov received first in the Moscow School of Painting and Sculnament (1857-1860), then in the St. Petersburg Academy of Arts, where he entered in 1861 and he studied in the sculptural class N. S. Pimenova and A. R. Boc. During the years of apprenticeship M.A. Chizhov actively worked and together with other sculptors participated in the creation of models and the implementation of colossal corps for the monument of the Millennium of Russia, built in Novgorod on the project M.O. Mikeshin. Later together with A.M. Guardian worked over the monument to Catherine II in St. Petersburg, also on the project M.O. Mikeshina. In 1867, for the relief "Resurrection of the Son of the Nain Widow" M.A. Chizhov received a great gold medal, the title of class artist and the right to a pensioner trip to Italy (1868-1873). Already in Rome, where M.A. Schizhov spent most His pensioner trip is determined by the genre orientation of his work, a special interest in the image of the life of the people, the peasant life, to the characteristic types. Sculptor works with the most different materials. From the excellent Italian marble, the lyrical genre groups "at the well (first love)" (1870) and "Game in Zhmurki" (1872), from the gypsum - "fortune telling on the cards" (1871) and "Mother-peasant, training His daughter is a diploma "(1873)," Rollushka "(1873). For works performed by M.A. Chizhov in Italy, the Academy of Arts honored his rank of academician. Special fame acquired the sculptural group "The peasant in trouble (on ash)" (1872), shown at exhibitions in Vienna, St. Petersburg, Paris, where gold medals received. Heavily lowering his head on leftAnd the right hugging his young son, sits on the burnt backside depressed by grief peasant. His huge, strong figure drooped, the expression of hopeless sorrow is read. In its social orientation, the work is close to many pictures of V. G. Perov and Movie Artists. Returning from Italy, the sculptor takes an active participation in exhibitions of mobile art exhibitions, teaches in the Central School technical drawing Barona A.L. Stiglitz (1879-1910), in 1893 it becomes a valid member of the Academy of Arts and becomes a member of her advice. Works a lot in the genre of a portrait bust: "IK Aivazovsky "(1873)," Prince P.G.OLendenburg "(1876)," Alexander II "(1881). MA Chizhov performs bust "N.A. Nekrasov "(1881), which was subsequently installed on the tombstone monument of the poet on Novodevichy Cemetery In Petersburg. The works of M.A. Chizhov in the field of monumental sculpture, although he actively worked on the sculptural decoration of the buildings of St. Petersburg, as well as the projects of monuments for various cities of Russia: "Nikolai I" (1896) - in Kiev, "Pushkin- Lyceist "for the Tsarsky village (1890)," Admiral P.S. Nakhimov "(1900) - Sevastopol.

Matvey Afanasyevich Chizhov died in 1916 in Petrograd.

The creator of genre groups was sculptor N.A. Laversky.

Laversky Nikolai Akimovich (1837-1907)- Russian sculptor, participated in the creation of the Millennium Russia monument. Laverstsky N.A. Born in Moscow, the son of the sculptor A. P. Laversky. Initial art education received in St. Petersburg Rshopch (Drawing School of Society for the Promotion of Arts) for the volunteering. He studied in the aah (1851-1866) at Professor N. S. Pimenova. For the portrait bust "V. V. Yuzfovich "(1853) was awarded a silver medal of the 2nd degree, and for the winged software bas-relief" Achilles pursuer the body of the hector "(1857) received a silver medal of the 1st degree. Laverstsky N.A. For the academic program "Cincinat accepts ambassadors from Rome" (1859) received the gold medal of the 2nd degree, and for the software bas-relief "Return of Regula from Rome to Carthage" (1860) awarded a large gold medal and received the title of class artist 1st degree. Laverskiy N.A., being a pensioner Eah (1863), visited Berlin, Dresden, Munich, Milan, Genoa, Pisa, Rome. For the sculptural group "Children, nursing birds" receives the title of academician (1868). After creating marble sculpture "Neapolitan boy with a monkey" (1870) Laversky N.A. Returned to St. Petersburg, where he began to fulfill the responsibilities of the professor of sculptural classes of the iah (1871-1894). The sculptor during this period creates genre groups: "The first rose" and "batcher", the groups "Little coquettes" (1872), "Children, asking for alms", the group "Maternal love" (1876) and the head of the old man-Jew . The works of the sculptor belong to the Busts "Safo", "Spring", "Chuchard", Kapuchin, also several portrait busts: "Grand Duke Vladimir Aleksandrovich", "Emperor Alexander II", "The Great Russian singer bass o.A. Petrov, "the famous Russian historian, a researcher of socio-political and economic History Russia "N.I. Kostomarov ". From among its other works it is necessary to note the statues: "Trade" (1876), "Industry" (1876), "Mephistophelle" (1881), "Shamefulness", Rhodopa "(1882), Bornef" Angel "(1884g .). Sculptor is the author of the bronze group "Amur and Psyche" (1887) and the allegorical sculpture "Russia" (1896). Laverstsky N.A. The author of the monument "M.I. Glinka "in Smolensk and the Monument" Catherine II "in Simferopol. Laverstsky N.A. He was a member of the society of mutual assurance of Russian artists in St. Petersburg (1871), a member of the OVCP and Eah (1876).

Nikolai Akimovich Laverssky Outstanding Russian Sculptor died in 1907.

Developed in his work the topic of genre compositions L.V. Won.

Pozen Leonid Vladimirovich (1849-1921) -russian sculptor, schedule, was born in the family of the retired Guard headquarters on July 10, 1849 in the estate of Obolon Poltava province L.V. Posan (1867-1873) studied at the law faculties first Kharkov, and then St. Petersburg universities. He graduated from the University with a degree of candidate of law. Until 1876 he worked as a jury attorney in St. Petersburg. In 1876, L.V. Posan moved to Poltava, where he served as a comrade of the district court comrade. L.V. Poshene is systematic art Education not received. Since 1877, Leonid Vladimirovich must engage in modeling. As samples for copying, we used the works of modern sculptors to it: N. I. Liberich, E. A. Lancere, French Animalist P.-H. Maine. According to the council G. G. Myasedov introduced the sculptural group "on the will" at the 10th exhibition, after which he became a permanent participant in the exhibitions of the partnership (until 1918). In 1891, having received an appointment for the service, came to St. Petersburg. In the same year joined TPHV. In 1894, due to the disease L.V. Posen went to Rome, where he was treated and pass through the museum collections. In 1894 he was elected a valid member. In 1900 appointed a member of the Council. At the beginning of the 1900s, a monument to the poet I. P. Kotlyarevsky, who was opened in 1903. In 1914-1915 he worked on the monument to N. V. Gogol for Poltava, which was opened in 1934. L.V. In 1915, he refused to refuse him the title of academic sculpture "for considerations of a principled nature. L.V. Posanow belongs to the number of noticeable sculpture masters of the second half of the XIX - the beginning of the twentieth century in Russia. I purchased the greatest fame with its office genre compositions on topics from the life of the Ukrainian people. I also performed a number of portrait busts and works on historical plots. In his work, he divided the views of the famous artists, was the first of the sculptors who joined the partnership. From 1882 to 1918, he exhibited his works at mobile exhibitions, since L.V. Posan was a member of the partnership since 1894. Created a number of portrait busts of artists "N. A. Yaroshenko, "G.G. Myasouedov "," P.A. Brullov "and others. L.V. Posan creates genre compositions that were greatly interested in the spectators "Beggar", "Lirnik with guide", "peasant", "Scythia in war". Favorite material L.V. Wax was woven. Many of his wax models were acquired from mobile exhibitions by bronzeville K. F. Verfel, and for several decades the castings were made to their Petersburg workshop for several decades. Late castings from the sculptor models, made in the middle of the twentieth century, are known. Works L.V. Women are in many museum meetings, including in the State Tretyakov Gallery, Kiev Museum of Russian Art, Poltava art Museum And others. L.V. Posen since 1895 - a full member of the Academy of Arts.

The region of the cabinet bronze sculpture in Russian art developed by E.A. Lancer.

Lancer Evgeny Aleksandrovich (1848-1887) -realist, the author of many bronze cabinet sculptures, was born in Morshansk. In 1862 left native city, I went to study in St. Petersburg. E.A. Lancer lived only 38 years old, but thanks to his talent and hardworking, she took a prominent place in the history of Russian sculpture. Announcer Evgeny Aleksandrovich performed small genre figurines and groups, mostly images of animals, as well as scenes from the life of Russian peasants and the peoples of the Caucasus and Central Asia, in which he showed great observation and skills to transmit the gestures of people and the hood of animals, sculpturally issued the works of decorative and applied art (inks, candlesticks, etc.). A number of works E.A. Lancer was intended for replication at the Castle cast iron factory. "St. Petersburg Electron Galvanoplastic Plant of Art Bronze of the Duke of Leihtenbergsky", President of the Imperial Academy of Arts - Later "The Factory of Art Bronze Genk, Rold and Morana", which produced monumental works (a number of sculptures of St. Isaac's Cathedral, two equestrian statues of Anichkova Bridge) and small bronze. Later, A. Moran began to work independently, leaving his "foundry" name on a number of works by E.A. Lancer. On the task of Felix Chopin in 1883 E.A. Lancer went to Algeria, where he worked on creating a series of works on national motives. Early period In the work of Lancer E.A. contains romantic mood, historical plots (response to the events of the Russian-Turkish war 1877-1878) "Don Cossacks-Fuzhair" revealed opportunities animal genre, "Zaporozhets. After the battle, "" Vityaz "," Svyatoslav "," catching a wild horse. " His works more than once received awards at world exhibitions. In the Morshansky Historical and Art Museum there are sculptures E.A. Lancer "Dakhma", "Djigitovka", "Altmez", "Horseman on a horse", "Horseback for a horse", "Farewell to the Cossack with Cossack." Evgeny Aleksandrovich Lancer is a source dynasty. His children: E.E. Lesser (1875-1946) - Painter, N.E. Ansenser (1879-1942) - Sculptor, Architect, Z. Serbryakova (1884-1967) - artist.

Evgeny Alexandrovich Lancer The outstanding sculptor died in 1887.

The problem of the monumental sculpture was the creativity of the outstanding sculptor I.Ginzburg.

Ginzburg Ilya Yakovlevich (1859-1939) - The real name and surname Elias Ginzburg, was born on May 15, 1859 in Grodno, Russian Sculptor, Professor of Art Workshops (1918). Childhood Ilya Ginzburg spent in villy, where the sculptor M. Antonticolsky drew attention to him. Since 1870, he studied in the workshop M. M. Antocolsky in St. Petersburg, accompanied him on a trip in Italy. During this period, the sculptor creates a genre work "Boy going to swim". Upon his return, he entered the real school, then in 1878 on the sculptural branch of the St. Petersburg Academy of Arts, where he studied at Alexander Romanovich Boca, Nikolai Akimovich Laverskoy and Ivan Ivanovich Sussess. In 1886, for the work of "Plach of the Prophet Jeremiah on the ruins of Jerusalem" received a gold medal and the title of "Classroom Artist 1 degree". Since 1918, Ganzburg I.Ya. Bul was appointed professor to the head of the sculptural workshop of Petrograd state-owned art workshops. In 1921-1923. - Dean of the sculptural faculty of the highest artistic workshops. Ginzburg I.Ya. created monuments "N. V. Gogol "in the town of Sorochintsy," IK Aivazovsky "in the city of Feodosia. The sculptor was the author of the tombstone "V. V. Stasov "(Museum of Urban Sculpture, St. Petersburg), in soviet time Participated in the implementation of a monumental propaganda plan, created in Leningrad monuments "G.V. Plekhanov "(before the building of the Institute of Technological Institute in co-authorship with M. Ya. Kharlamov) and" D. I. Mendeleev. " AND I. Ginzburg is known as a master of small plastics. The sculptor created the figurines "I.I. Shishkin "," V.V. Vereshchagin "," I.E. Repin "," In I. Surikov "," L.N. Tolstoy, "Conductor Director", "V.V. Stasov ".

Ilya Yakovlevich Ginzburg outstanding Russian soviet sculptor He died on January 31, 1939 in Leningrad.

Movements

Association of Mobile Art Exhibitions (Mobile) - creative association russian artistsexisting in the latter third XIX. century. IN aesthetic plan Participants in the Partnership, or Movie, purposefully opposed themselves to representatives of the official, academic artistic Direction. The founders of the Company were I. N. Kramskaya, G. M. Myasedov, N. N. Ge and V. G. Perov. In their activities, the heads were inspired by the ideas of populism. Movies led active educational activities, in particular, by organizing mobile exhibitions; The life of the partnership was built at a cooperative basis. In 1863 on November 9th, the most prominent students the Imperial Academy Artists admitted to the competition for the first gold medal, appealed to the Council of the Academy with a request - to replace the competitive task (writing the picture on the specified plot from the Scandinavian mythology "feast of God of Odin in Valgalle") for free assignment, writing a picture to chosen by the artist himself. At the refusal of the Council, all 14 people left the Academy. This event entered the story as "Bunction 14". It was they organized "Art Artel", later, in 1870, it was transformed into a "partnership of mobile art exhibitions". The industry of the activities of the mobile partnership fell in 1870-1880.

The composition of the Mobile in different time included: I.E. Repin, V.I. Surikov, V. E. Makovsky, I. M. Sanishnikov, A. K. Savrasov, I. I. Shishkin, V. M. Maksimov, K. A. Savitsky, A.M. and V.M. Vasnetsov, A. I. Kindji, V. D. Polenov, N. A. Yaroshenko, I. I. Levitan, V. A. Serov, A. E. Arkhipov and many others. The participants of the exhibitions of the partnership were M. M. Antokolsky, V. V. Vereshchagin, A. P. Ryabushkin, I. P. Trutnev and others. A great role in the development of the art of the mobileians was played by a well-known explorer of art and critic V. V. Stasov; P. M. Tretyakov, acquiring on his gallery the works of mobileians, provided them with important material and moral support. Many of the works of the heads were made by order of Pavel Mikhailovich Tretyakov. The last head of the partnership chosen in 1918 was the Radimov Pavel Alexandrovich. For the pictures of the heads were characterized by aggravated psychologism, social and class focus, high mastery of typing, realism, bordering with naturalism, tragic In general, a look at reality. Leading styles in the art of mobileians were impressionism and realism.