Message about Russian artist Shishkin. Shishkin Ivan Ivanovich

Ivan Shishkin The brief biography of the famous Russian artist is set out in this article.

Ivan Shishkin Biography briefly

Famous paintings Shishkin: "Autumn", "Rye", "Morning in Pine Bor", "Before Thunderstorm" and others.

Ivan Ivanovich Shishkin was born 13 (25) January 1832 in Elabuga - a small town, in a family of a poor merchant.

From children's years he was fond of drawing. Parents tried to attract him to trade classes, but unsuccessfully.

In 1852 he went to Moscow for admission to the School of Painting and Sculpture and here for the first time a serious school of drawing and painting was held. Shishkin read a lot and pondered about art and came to the conclusion that the artist needs to study nature and follow it.

In Moscow, he studied under the guidance of Professor A. A. Mokritsky. In 1856-60. Continuing his studies at the St. Petersburg Academy of Arts at the landscape system S. M. Vorobyva. His development goes rapidly. With other young landscape students he worked on the island of Valaam. For their successes, Shishkin receives all possible awards.

In 1860, a large gold medal for the landscape "View on Valaam Island" was awarded. Obtaining a large gold medal at the end of the Academy in 1860 gave Sishkin right to a foreign business trip, but at first he went to Kazan and further on Kam. I wanted to visit my native land. Only in the spring of 1862, he left the abroad.

For 3 years, lived in Germany and Switzerland. Engaged in the painter workshop and Engraver K. Roller. Even before his trip, he was known as a brilliant draftsman. In 1865, for the painting "View in the vicinity of Düsseldorf" received the title of academician. Since 1873, he became a professor of art.

I. I. Shishkin was the first of the Russian landscape players of the second half of the XIX century, attached great importance to the etude from nature. The theme of the solemn and clear beauty of the native land was for him the main one.

Shishkin was engaged not only with drawing, but in 1894 he began to teach in the Higher Art School at the Academy of Arts, knew how to appreciate the talents.

Shishkin Ivan Ivanovich (1832-1898)

Kramskaya I.N. - Portrait of the artist Shishkin 1880, 115x188
Russian Museum

Ivan Ivanovich Shishkin - not only one of the largest, but hardly the most popular among Russian landscape players. Shishkin knew the Russian nature "scientists" (I. N. Kramskaya) and loved her with all the power of his mighty nature. From this knowledge and this love were born images that have long been peculiar symbols of Russia. Already the figure of Shishkin personified for contemporaries Russian nature. He was called "Forest Bogatyr-artist", "Tsar of the Forest", "Old Man-Lesovik", he could be compared with the "old sturdy pine, moss," but, rather, he is like a lonely oak with his famous painting, despite many fans , students and imitators.

"Among the valley is flat ..."
1883
Canvas, oil 136.5 x 203.5

Kiev

Ivan Shishkin was born on January 25, 1832 in Elabuga (Vyatka province, now - Tatarstan). His father was a merchant of the Second Guild - Ivan Vasilyevich Shishkin.
Father quickly noticed the passion of his son with art and sent him to study in the Moscow School of Painting and Sculpture. The mentor of the young artist was A. Mokritsky - very sensitive and attentive teacher. He helped Shishkina to find himself in art.
In 1856, the young man enters the St. Petersburg Academy of Arts to S. Vorobyev.

The successes of the young artist, marked with gold and silver medals, confirm the feedback of his former mentor Mokritsky, in connection with the arrival of Shishkin to the Academy: "We lost a great and greenery student, but we hope to see in it with the time of a great artist if he with the same love engage in the academy. " The development of it goes rapidly. For their successes, Shishkin receives consistently all possible awards. Her Hardness of his hand causes amazement: many of it carefully made, the complex landscape drawings with a pen and ink seems to be engravings. Experiments in lithographs, studies various printing methods, looks short to etching, not very common in Russia. She strives for "loyalty, similarity, portrait of the pictured nature" in early work.

In 1858 - 1859, Shishkin often happens on Valaam, the harsh, the majestic nature of which was associated with the young people with the nature of his native primarily.
In 1860, for two Valaam landscape, Shishkin receives a large gold medal and the right to overseas travel.

View of the island of Valaam1858

View of the island of Valaam. Cucco's locality1858-60

Landscape with a hunter. Balaam Island 1867.

However, he is not in a hurry abroad and in the spring of 1861 goes to Elabuga, where he writes a lot in nature, "from which only there may be a significant benefit for a landscape system"

"Shalash"
1861
Canvas, oil 36.5 x 47.5
State Museum of Fine Arts of the Republic of Tatarstan
Kazan

Abroad, Shishkin rides only in 1862. Berlin and Dresden did not make a special impression on him: the longing of the Motherland also affected.
In 1865, Shishkin returns to Russia and for the painting "View in the vicinity of Düsseldorf" (1865) receives the title of academician.

"View in the vicinity of Dusseldorf"
1865
Canvas, oil 106 x 151

St. Petersburg

Now he writes with pleasure "Russian expanded with gold rye, rivers, groves and Russian far," who dreamed of him in Europe. One of his first masterpieces can be called the song of joy - "noon. In the vicinity of Moscow "(1869).

"Noon. In the vicinity of Moscow
1869
Canvas, oil 111.2 x 80.4

Moscow

"Pinery. Mast forest in Vyatka province "
1872
Canvas, oil 117 x 165
State Tretyakov Gallery
Moscow
For Shishkin, as for his contemporaries, the Russian nature is inseparable from the idea of \u200b\u200bRussia, the people, his fate. In the painting "Sosnovy Bor", the artist determines its main theme - the mighty, majestic Russian forest. The master creates a theatrical scene, offering a "performance". It is not by chance that the time of day is also chosen - noon as the image of Russia, full of dormant domestic forces. Artistic critic V.V. Tasov called the paintings by Shishkin "Landscapes for Bogatiy." At the same time, the artist is committed to the maximum reliable, "scientific" approach to the image. This is the artist I.N. Kramskaya's artist: "The forest is a deaf and stream with a glandular, dark yellow water, in which all the bottom, destroyed by stones ..." About Shishkin said: "He is a realist convinced, realist to the bone's brain, Deeply feeling and hot loving nature ... "

Kramskaya, highly appreciated the art of Shishkin, who helped him, up to the fact that he provided his workshop to work on the tender picture of the "mast forest in Vyatka province" (1872, this picture is now called "Sosnovy Bor"), wrote about the advantages of Shishkin: "Shishkin We are simply amazed by your knowledge ... And when he is before in kind, then exactly in his element, here he also dare, and he does not think about how that and why ... He knows everything, I think that this is the only one A person who knows the nature of the scientist ... Shishkin -: This is a school-school. "

"Forest Dali"
1884
Canvas, oil 112.8 x 164
State Tretyakov Gallery
Moscow

The picture is devoted to the nature of the Urals. The artist chooses a high point of view, seeking to portray not so much a specific place, how much to create the image of the country as a whole. The space is built with clear plans, fascinating the view of the viewer deep into the silver lake in the center of the composition. Forest arrays are transfused and flow into each other, like sea waves. The forest for Shishkin is the same primary element of the universe as the sea and the sky, but at the same time the national symbol of Russia. One critics wrote about the picture: "Farming the prospect of forests covered with a light haze, an outstanding inadurface of water, the sky, the air, the word, a whole panorama of Russian nature, with her eyes who are not in the eyes of beauty, depicted on canvas with striking craftsmanship." The picture is written in the period when the artist began to be interested in the problems of the plenier. Keeping the epichacity of the image of nature, painting Shishkin becomes softer and free.

These works have planned a direction that has developed by the partnership of mobile art exhibitions. Together with I. N. Kramsky, V. G. Pepov, G. G. Myasedov, A. K. Savrasov, N. N. Ge and others in 1870, he becomes a member of the founder of the partnership.
In 1894-1895, he headed the landscape workshop of the Supreme Art School of Art.

"Morning in a pine forest"
1889
Canvas, oil 139 x 213
State Tretyakov Gallery
Moscow

The motive of the coniferous forest, to which Shishkin draws in this picture, is typical for his work. Evergreen pines and ate emphasize the feeling of the greatness and eternity of the world of nature. It is often found in the paintings of the artist and a composite reception, when the tops of the trees are cut off the edge of the canvas, and huge powerful trees as if they would not fit even in a fairly large canvas. There is a kind of landscape interior. The viewer arises the impression that he was inside the impassable age, where the bears were comfortable, located on a broken pine. They were portrayed by K.A. Savitsky, who informed his relatives: "The picture is sold for 4 thousand, and I am a member of the 4th share." Next, Savitsky reported that he had to put his signature under the picture, but then he took her down, thereby refused the copyright.

On the second exhibition, Shishkin introduced the picture "in the forest wilderness", for which in 1873 he receives the title of professor. With the help of a shaded foreground and the spatial construction of the composition (somewhere in the depths, there is a weak sunny surveillance among pasta trees) The artist gives you the opportunity to feel the damp of the air, the humidity of the moss and a dog, to penetrate this atmosphere, as if leaving the viewer alone with the oppressive coat. And as a real forest, this landscape opens with the viewer not immediately. Full details, it is designed for a long viewing: suddenly suddenly notice the fox and flying away from her.

"Backwoods"
1872g.
Canvas, oil 209 x 161
State Russian Museum
St. Petersburg

And, on the contrary, full of attorney, sun, light, his famous painting "Rye" (1878). Picture of Epic: It seems to synthesize the features of the national nature of Russian nature, then native, significant, which saw Shishkin in it: "Razdly. Spacious. Rye, rye. God's grace. Russian wealth ... "

"Rye"
1878
Canvas, oil 187 x 107
State Tretyakov Gallery
Moscow

The landscape combined two traditional motifs for the artist: fields with running away Dear and mighty pines. In the inscription made by Cishkina on one of the sketches to the picture, the saying is: "Razno, space, land, rye, grace of God, Russian wealth." Critic V.V. Tasov compared pines on a canvas with columns of ancient Russian temples. In front of the viewer - the majestic panorama of Russian nature, represented as a theatrical sight. The nature of Shishkin understands as a universe, correlated with man. Therefore, two tiny points are so important - human figures that scalle the image. Shishkin wrote his etudes near his native Elabuga, standing on the bank of the Kama River, but his paintings are always composed, there is nothing casual in them.

For the illusory discharge of the details of Shishkin often reproached. Many artists found His painting inequate, called his paintings by painted pattern. Nevertheless, its paintings, with all their detail, always give a holistic image. And this is the image of the world that Shishkin cannot "lubricate" the arbitrary movements of his own soul. In this sense, he is far from emerging in the 1880s. In Russian painting "Landscape of mood." Even the smallest in the world carries a large particle, because its individual appearance is no less important than the image of a whole forest or field ("grass", 1892
That is why small is never lost in his program pictures. It goes to the fore, as if we were under your feet, each edge, flower, butterfly. Then we translate the look further, and it is lost among the vast expanses that have entered everything.

"Hesterns"
Etude.

"Snow-grass. Pargolovo »
Etude.
1884
Canvas on cardboard, oil. 35 x 58.5 cm
State Russian Museum

Etude "Snow-grass. Pargolovo" One of the many "exercises" of the Great Master of the Landscape. We have a launched corner of the country garden, overgrown with sick-grass. The name of the "sick-grass" can tell about many. After all, the word "sick" is nothing but the modified Russian word "snack" (food, food). This plant and the truth in ancient times served as food for our ancestors ...

Sunlight, picturesque thickets of herbs, a country fence - that's all the simple paintings content. Why is it difficult to tear a look from this work Shishkin? The answer is simple: left by the attention of man, this small corner is beautiful with its simplicity and naturalness. There, behind the fence, other world, modified by a person in favor of his needs, and here nature is accidentally granted the right to be ... in this work magic, her ingenious simplicity.

"Among the valley is flat ..."
1883
Canvas, oil 136.5 x 203.5
State Museum of Russian Art
Kiev

The poetic feeling is imbued with the canvas "among the valley of the Rusty" (1883), it combines greatness and sincere lyrics. The name of the painting strings from the poem A. F. Merzlyakov, known as the folk song. But the picture is not an illustration of poems. The feeling of Russian Razdany gives rise to the structural structure of the canvas itself. Something joyful and at the same time thoughtful in the wide-open steppe (this feeling causes a free, unlocked composition of the picture), in alternating the illuminated and darkened spaces, in dried stems, as if sparing down the feet of the traveler, in a majestic oak, towering among the plains .

The picture "Among the valley of the Rusty ..." was written by Ivan Ivanovich Shishkin a year after the sudden death of his beloved wife. He was very worried about the loss. But native nature, which always manifes the artist to himself, did not allow him to dissolve in his grief.

Once, going through the valley, Shishkin accidentally came to this majestic oak, which is alone towered over the surrounding spaces. This oak reminded the artist himself, the same lonely, but not broken by storms and adversities. This picture was born.

The central place in the picture occupies oak. It rises above the valley, like gigid, spreading his mighty branches. The background he serves the sky. It is covered with clouds, thunderstorm already gathered. But she is not scary giant. No thunderstorms, no storms will be able to break it. It is firmly standing on Earth, serving the pendant and heat, and in bad weather. Oak So Silen and Fasters, so mighty that the incoming clouds seem to be insignificant who do not even touch the giant.

The drowned path runs straight to the oaku-giant, which is ready to hide you with its branches. The crown of the tree is so thick, which reminds the tent, the dark shadow spread over the tree. Oak itself is brightly lit by the rays of the sun, which has not yet covered the thunderstorm clouds.

Standing at the mighty tree, Shishkin remembered the words of the ancient Russian song "Among the Rusty Valley ...", in which he serves a lonely oak, about the mountain of a man who lost a "gentle friend." The artist, as it were, came to life after this meeting. He began to create again, walking alone in life, but tightly standing on his native land, like that oak in his picture.

Despite the success of Shishkin in landscape painting, close friends persistently advised him to pay attention to expressive funds, in particular, to transmit a light-air environment. Yes, and life itself demanded that. It is enough to recall the coloristic advantages of the works of Repin and Surikov known by the time. Therefore, in the paintings of Shishkin "Misty Morning" (1885) and "Pines lit by the Sun" (1886) attracts not so much a linear composition, how many harmony of lighting and colors. It is a great beauty and fidelity in the transmission of the atmospheric state of nature, and a visual illustration of such an equilibrium between the subject and the environment, between the general and individual.

Foggy morning
1885. Canvas, oil, 108x144.5

Painting I. I. Shishkin "Misty Morning", like many works of the great masters of the landscape, passes a surprisingly calm and peaceful atmosphere.
The focus of the artist is quiet, foggy morning on the river bank. Strong shore in the foreground, the water surface of the river, in which only the movement is barely guessed, the hilly opposite bank in the smoke of the morning fog.
Dawn seemed to wake up the river, and, sleepy, lazy, she only picks up the strength to run deep into the paintings ... Three elements - the sky, land and water, - harmoniously complement each other, revealing, it seems the very essence of each of them. They cannot exist without each other. The pale-blue sky, saturated with color, goes into the tops of the hills covered with a fog cap, then goes into the greens of trees and herbs. Water, reflecting all this magnificence, without any distortion, emphasizes and refreshes the morning.
The presence of a person is barely guessed in the picture: a narrow path in the grass, a sticking column for tosing a boat - that's all the signs of human presence. The artist, thereby only emphasizes the greatness of nature and the great harmony of God's world.
The light source in the picture is located directly opposite the viewer. Another second and sunlight will store all this corner of the Russian nature ... The morning will come into your rights completely, the fog will dispel ... Therefore, it is so attractive this moment before dawn.

"Sun lit pines"
Etude.
1886
Canvas, oil. 102 x 70.2 cm
State Tretyakov Gallery

In the painting, the main component of the plot is sunlight. Everything else is only scenery, background ...

Confidently standing on the forest edge of pine, confront the stream of sunlight, however, lose it, merge, they sweat it ... Only indestructible shadows lying on the opposite side of the pines, create the volume of the picture, give it a depth. The light lost not only the trunks, but also confused in the crowns of trees, without coping with winding thin branches, dyed by cheese.

The summer forest appears in front of us in all of her scenario of magnificence. Following the light, the view of the viewer penetrates deep into the thicket of the forest, as if committing a leisurely walk. The forest is surrounding the viewer, hugs him and he does not let go.

Endless combinations of yellow and green colors so really transmit all shades of the color of the needles, a pine layered and thin bark, sand and grass, transmitting the heat of the sun, the shadow coolness, which in the imagination is easily born the illusion of the presence, odors and sound sounds. It is open, friendly and deprived of any mysteriousness, mystery. The forest is ready to meet this clear and warm day.

"Oak trees"
1887
Canvas, oil. 147 x 108 cm
State Russian Museum

"Golden Autumn" (1888),

"Mortrevan oaks"
1891
Canvas, oil. 84 x 111 cm
State Russian Museum

"Fall"
1892
Canvas, oil. 107 x 81 cm
State Russian Museum

"Rain in the Dubov Forest"
1891
Canvas oil 204 x 124
State Tretyakov Gallery
Moscow

In 1891, a personal exhibition of Shishkin (more than 600 etudes, drawings and engraving) took place at the Academy of Arts. The artist masterfully owned the art of drawing and engravings. His drawing has undergone the same evolution as painting. The drawings of the 80s, which the artist performed coal and chalk, much more picturesque than the drawings of the pen relating to the 60s. In 1894, the album was released "60 Ofortov I. I. Shishkin. 1870 - 1892. In this technique, he then did not know himself equal and also experimented in it. For some period, he taught at the Academy of Arts. In the learning process, as in his work, for a better study of natural forms, he used a photo.

"Oak Grove"
1893
Etching. 51 x 40 cm

"Forest River"
1893
Etching. 50 x 40 cm
Regional Art Museum

"Oak Grove"
1887
Canvas, oil 125 x 193
State Museum of Russian Art
Kiev

On the painting "Oak Grove" depicts a bright sunny day in the oak forest. Powerful, overwhelming, dumb witnesses change of centuries and generations are striking with their magnificence. Carefully drawn items so close the picture to the naturalness, which sometimes forget that this forest is written by oil and cannot be logged into it.

Naughty solar specks on the grass, lit crowns and trunks of century-old oaks as if emitting warmth, awakening in the soul of the memories of cheerful summer. Despite the fact that the oaks depicted in the picture have already acquired by the sneaking branches, their trunks were curved, and the bark in some places laired, their crowns are still green and lush. And they involuntarily think about the fact that these oaks will be able to simultane more than one hundred years.

It is noteworthy that Shishkin's path from the idea of \u200b\u200bwriting an oak grove to the first brush strokes in the landscape amounted to three decades! It was so much time it took that the artist formed the vision of this monumental canvas, and this time was not in vain. The painting of the oak grove is often called the best product of the brilliant artist.

"Before the storm"
1884
Canvas, oil. 110 x 150 cm
State Russian Museum

Painting I. I. Shishkin "Before the Thunderstorm" is one of the most colorful works of the master. The artist perfectly managed to convey the atmosphere of thick stuffiness in front of a thunderstorm. The moment of complete silence before the fear of the elements ...
The horizon line shares the landscape smoothly into two parts. The upper part is the pre-severe lead sky, full of giving moisture. The Lower - the Earth, the crushed river, trees, is frowning along this very moisture.
The abundance of shades of blue and green colors is striking, brilliant possession of perspective, complex, inhomogeneous light.
The viewer feels the approach of thunderstorm, but as if from the side ... he is only a viewer, and not a participant in Natural Mystery. This allows him to quietly enjoy the details of the prejudication landscape. Those details that always slip away from human eye in nature. Simultaneously with this, there is absolutely nothing in the picture. Harmony.
Strange, but looking at the picture, the question arises: And the artist himself got under the rain or managed to hide? The work itself is so realistic that the question of the reliability of the landscape does not occur at all.

"Foggy morning"
1897
Canvas, oil. 82.5 x 110 cm
State Museum-Reserve "Rostov Kremlin"

"Amanora"
1880-1890,
Tretyakov Gallery

Etude Shishkin "Mohamor" - a vivid example of a talented sketch of the great Russian artist. The plot of the etude is akin to a Russian fairy tale: Amanoras - an indispensable attribute of unclean strength, magical rituals, mysteries and transformations.

The viewer appears the family of bright mushrooms in more than virgin forest. Each of the seven-depicted ammorov seems to have its own character, biography, fate. In the foreground, a couple of young strong beauties guarding the elders of the genus in the center of the composition. In the center, on the contrary, old mushrooms with tracks, wilts ... The artist schematically, blurred and infectiously depicts the forest around the main "heroes" of the paintings. Nothing should distract the viewer's attention from the picturesque group of amansor. On the other hand, it is the green forest and brown leaves that advocate the brightness of the hats of mushrooms, white and spots on the hats.

Proering improved work creates a feeling of fabulousness and unreality of the image. As if the vision inspired by cunning and poisonous mushrooms in the magical forest.

"Pine forest", 1889
Museum-Reserve V. D. Polenova

In the picture, we see the corner of a pine forest flooded with the summer sun. The sandy paths lowered by sunlight indicate that nearby, most likely, is the sea. The whole picture is filled with a pine smell, special coniferous cheerfulness and silence. Nothing disrupts forest rest in the morning clock (the shadows on the sand say that it is the morning).

Apparently, we have one of the summer suburbs of St. Petersburg, where the artist found the plots for his work. So now, walking the summer morning in the forest, the intersection of sandy paths attracted the attention of the master. Dozens of shades of green, bluish mosses, slightly twisted yellow dazzling sand ... This entire palette of natural paints could not leave Shishkin indifferent. Looking at the picture you begin to remember the pine spirit, the noise of the Baltic Sea slightly heard in the ears. Quiet, warm, fragrant. Summer serenity ...

Like any other work of Shishkin, the painting "Pine Forest" amazes with its reliability, a pedantic attitude towards the smallest detail, the reality of the plot and unadigital beauty.

Walking in the forest
1870s. Canvas, oil. 73x56.
Donetsk Regional Art Museum

"Walking in the forest" is an amazing masterpiece I. Shishkin, who amazes with its simplicity and originality. It would seem that the usual plot: trees, road, a small house. However, something manits us for a long time to contemplate this picture, as if hoping to find an encrypted message in it. Well, there can not be such a masterpiece to be just a picture written by the mood. That immediately rushes into the eyes, it is high birch on both sides of the road. They stretch up - closer to the sun.

Dark green tones are dominated in the picture and only in the background we see the grass and trees foliage lit by the rays. The sun ray is also falling onto a wooden womb, thereby highlighting it in the picture. She is the main highlight of the masterpiece - the brightest detail. The picture amazes with its volume. When looking at her, there is a depth - the viewer as if the trees are overgrown from all sides and mounted forward.

The forest depicted by the shishkina seems thick. Through it, it's not so easy to break through the sunlight, but in the very center of the picture - where there is a guardhouse, we see a clearance. The picture is impregnated with the admiration of nature and at the same time expresses the contrast between nature and man. What is this wagon in comparison with mighty trunks of pine and high birch? Only a little speck among the forest.

"Swamp. Polesie »
1890
Canvas, oil 90 x 142
State Art Museum of the Republic of Belarus
Minsk

"In the Forest of the Council of Mordvinova. Peterhof "
1891
Canvas, oil 81 x 108
State Tretyakov Gallery
Moscow

"Summer day"
1891
Canvas, oil. 88.5 x 145 cm
State Tretyakov Gallery

"Summer"
Canvas, oil. 112 x 86 cm
State Central Museum of Music Culture. M.I. Glinka

"Bridge in the Forest"
1895
Canvas, oil. 108 x 81 cm
Nizhny Novgorod Art Museum

"Kama near Elabugi"
1895
Canvas, oil 106 x 177
Nizhny Novgorod State Art Museum
Nizhny Novgorod

"Pinery"
1895
Canvas, oil. 128 x 195 cm
Far Eastern art museum

"In the park"
1897
Canvas, oil. 82.5 x 111 cm
State Tretyakov Gallery

"Birch Grove"
1896
Canvas, oil 105.8 x 69.8
Yaroslavl Art Museum
Yaroslavl

The picture of the "Birch Grove" painting was written by pin oil in 1896. At the moment, the picture is located in the Yaroslavl Art Museum.
The painting is predominated with shades of green, brown and white. It would seem - the combination of colors is more than simple, but surprisingly successful: looking at the picture, you fully feel yourself among these trees, you feel warmly sunny rays.
A birch grove poured on the sun as if herself radiates some kind of special light, felt by each who sees the picture. By the way, Shishkin, being a patriot of his country, not in vain chosen the heroine of this picture precisely by Berezu, because it is precisely the national symbol of Russia since ancient times.
It surprises the incredible clarity with which all the details are drawn: the grass seems to be amazingly silky, the birch bark as a real and every birch leaf makes you remember the aroma of a birch grove.
This landscape is written so natural that it is difficult to even call his picture. Rather, the name is reflected in reality.

"Ship Grove"
1898
Canvas, oil. 165 x 252 cm
State Russian Museum

The painting "Ship Grove" is one of the latter in the work of the Master. The composition of the work is inherent in strict equilibrium and clear seittences of plans, but it does not have the composition of the landscape characteristic of the painting of the XVIII - the first half of the XIX century.
Thin observation and unmistakably found point of view allow you to successfully capture the particle of nature, turning it into a scenic area of \u200b\u200blively nature. The sensitivity of perception in childbirth, the love comprehension of her features and the workshop of the language of painting of her charm makes the Shishkin canvas tactile, giving the viewer the opportunity to feel the resinous smell of the forest, its morning coolness and freshness of the air.

Tragically folded the personal life of Shishkin. Both of his spouses died pretty early. Behind them - both of his son. Deaths did not stop at this - after the expensive heart, people died, perhaps the closest person - father. Shishkin with his head plunged into the work, which remained the only ones. Behind the work of Shishkin and died. This happened on March 20 in a new style in 1898. The artist died suddenly. In the morning I wrote in the workshop, then visited my relatives and returned to the workshop again. At some point, the master just fell from the chair. It immediately noticed the assistant, but, ranging, I saw that he was no longer breathing.

"Self-portrait"
1886
Etching. 24.2x17.5 cm.
State Russian Museum
St. Petersburg

Ivan Ivanovich Shishkin13 (25) January 1832 was born in Elabuga - a small provincial town located on the banks of Kama. Here, the future painter held children's and youthful years.

Father's figure was very meaningful to Ivan Shishkin. The father himself was a merchant, not at all rich, traded grain from the rented mill. In addition, he was fond of archaeology, history. They were written by the book "History of the city of Elabugi", a system of local water supply was developed and implemented. Ivan Vasilyevich Shishkin restored the ancient tower located in the suburbs located in the suburbs. It is also known about his participation in the excavations of the famous Ananievsky grain. He taught all these knowledge to his son, developed his interest in nature. Ivan from early childhood did not part with coal and chalk, diligently decorating the walls and the doors with intricate figures, cut out, like the Father, on a tree.

For several years, Shishkin studied in the Kazan gymnasium, but it was not necessary, he returned home, began to draw pain again, reading. He was very strongly attracted by the forest, Shishkin could walk in the forest for a long time, in his surroundings, studying his features. Thus went around 4 years old, Shishkin, having received the resolution of his father, leaving to Moscow.

Since 1852, Shishkin has become a student of the Moscow School of Painting and Sculpture. Immediately, he falls to the exhibition of Caucasian mountain species L.F. Belaruso and Marin I.K. Ayvazovsky, among whom was the famous "ninth shaft". This exhibition only strengthened the save of Shishkin to the landscape.

At that time, the principles of the Venetsian pedagogical system were widely used with the installation on a careful study of nature. Shishkin, being quiet, shy, turned out to be in the class of professor of portrait painting A.N. Mokritsky, fan K. Brullova. Having determined the great abilities of Shishkin, Mokritsky managed to send it along the right path, encouraged in it interest in nature, passion to the scenery.

Shishkin draws a lot from nature in Moscow and Moscow region, copies Western European masters.

After graduating from the school in 1856, Shishkin enters the St. Petersburg Academy of Arts. Here he also entered the circle of democratically tuned young people. Art was recognized not only by means of knowing the world, but also a serious factor in his reorganization. Under the influence of these ideas was formed the worldview of Shishkin. Subsequently, the artist managed to clearly express them in his work.

Shishkin's chief teacher has always been nature. In Etudes ("Stones in the forest. Valaam") he loves and amazingly masterfully for a novice artist transmits the ancient boulders, fern leaves.

Shishkin was a born handselter, with a line, to an open stroke. The drawing from the very beginning has become an important means of studying nature for him. Success in the picture brought Shishkin in 1857 one of the first academic awards is a silver medal. His works were executed by such professional skills that the Academic Council decided to make them a model for students.

The Academy of Shishkin graduated in 1860 with the highest award - a large gold medal and the right for three years of trips abroad. But the artist is not in a hurry to travel, but goes to his native elabuga, and only in April 1862 leaves abroad. Even there Ivan Shishkin did not forget about the native country. Letters of friends who reported on occurring events strengthened the desire to return, besides, and the author did not satisfy the work performed in Germany and Switzerland. His landscapes, marked by the outeromantic traits - the figures in the fall of the village, herd on pastures, were obvious traces of academic school. It was possible to create the same national landscape in Russia, where Shishkin and returned in 1865. He has already accompanied fame. Pictures of pen, masterfully sponed with the smallest, beaded strokes, with a filigree decoration of details, hit the audience. Two such drawings were acquired by Düsseldorf Museum, and the picture "View in the vicinity of Düsseldorf" brought the artist the title of Academician.

With the arrival of the homeland in Shishkin, as if new forces were settled. It gets closer to the members of Artel, around which representatives of the progressive creative intelligentsia were grouped, participating in meetings about the role of art, the rights of the artist. Ivan Shishkin has always been surrounded by comrades. I.E.Pepin spoke about him like this: " The voice of I.I. Chishkina was louder: like a green mighty forest, he hit everyone with his health, a good appetite and a true Russian speech ... The public, having been, Ahala for his back, when he mighty paws Lyubov and Corywood from work The fingers begins to stare and rub his brilliant pattern, and the drawing, exactly a miracle or magic, from such a gross appeal of the author is all graceful and brilliant."

The works of Shishkin, created in the late 60s, marvel a new stage in a creative wizard.

To seek ultimate similarity with kind, the artist at first carefully discharges every detail, and it interferes with the integrity of the image. An example of such works is the painting "Forest Cutting". In the 60s, Shishkin finally overcomes the abstractness of the landscape characteristic of the academic school. The best work of these years is "noon. In the vicinity of Moscow." The advantage of this bright in color, filled with the joyful-peaceful mood of the picture not only in the skill of the transmission of space, but primarily the fact that created by the bishic landscape is truly Russian in its nature.

In 1870, Shishkin joined the founders of the largest association of masters of the realistic direction - the partnership of mobile art exhibitions. To the end of his life, Shishkin remained one of the most active and faithful members of the partnership.

On the second mobile exhibition Shishkin presented a picture of "Sosnovy Bor" (1872), which was a new step in the creative development of the Master. The artist managed to create an image of a mighty, the magnificent Russian forest.

Creativity Ivan Ivanovich Shishkin was a step towards the knowledge and reflection of the surrounding world, according to the expression of Kramsky, was a "live school" work with kind.

In the 70s, most of the works of Shishkin dedicated to the coniferous forest: "Forest Wilderness", "Chernolesie", "Spruce Forest". Shishkin attracts extensive forest arrays. The best scenery of that time is filled with a magnificent solemnity.

In the 70s. The artist seeks a greater generalization of the forms, the integrity of coloristic solutions. At the same time, he is very close enough with Kramsky. Friendship with this person, ideological leader of the partnership, theorist and the subtle critone of art, played a special role in the creative development of Shishkin. There was no other person who would have probably noticed his mistakes and helped them overcome. Often they lived together in the country where they worked fruitfully.

The great importance of Ivan Shishkin attached to etudes. For him, the creation of an etude was truly a creative process based on prolonged observations and thoughts. He took a big role to the drawing and almost did not part with the film. Admiring acute observation and confidence with which Shishkin wrote etudes, Kramskaya told: "... When he is before in kind, then for sure in his element: here he also bold and cleft, not thinking."

The main form of expression of the worried shishkina ideas was always the picture, with the greatest fullness, he revealed in it inspired his ideas. An example of this can be the work of "rye".

At this time, Shishkin is in the Zenith of Glory, but new wonderful accomplishments were waiting for him ahead. 80-90s. - A period of high heyday of the landscape talent. The "Debrist" canvases, Pine Forest, "Burney" are close to the works of the previous decade, but are interpreted with greater picturesque freedom.

In the 80s. Shishkin with passion continues to work on landscapes that chant the expanses of the native land. "Among the Rusty Valley" is one of its best paintings - built on opposing the boundless plain and lonely mighty oak, as if soaring her.

In the last decade of life, the artist perceives nature more penetrating, subtle, increases the role of light in his paintings. In the 90s. Organized two exhibitions of the artist's works. The first in 1891 was retrospective: over five hundred etudes revealed the artist's creative laboratory, his search. At another exhibition in 1893, works performed during the last summer were demonstrated. They testified about the variety of designs, about the exceptional disorders of the eyes and the high skill of the sixty-year-old landscape player.

In 1895, Shishkin comes out the fourth album of the etchings. It was a substantial event in the russian life of the country. The album included 60 sheets - all the best works.

The brilliant outcome of the almost half-century path of the artist in the domestic art was the picture "Ship Grove" (1898). It can be considered classical at the completeness, completeness of the artistic image, monumentality of sound. The work was based on etudes made in Elabuga. The role of Ivan Shishkin in Russian art remained as significant and in those years when many magnificent works of I.levitan, V.Serova, K. Korovina appeared in the landscape painting.

Death to the artist came unexpectedly. Ivan Ivanovich died at Easel 8 (20) of March 1898, working on the painting "Forest Kingdom". After herself he left a huge artistic heritage.

Artist Ivan Ivanovich Shishkin The greatest landscape officer, an amazing master of writing forest landscapes, and to this day he remains an undisputed leader in Russian landscape painting to create an incredible amount of cloths with forest species. A real connoisseur of forest vegetation, colorful shapes of trees, velvety foliage, forest glads with bright grass lit through trees with sunny rays, scenic hemps overgrown with moss and surrounded by various mushrooms. The artist Shishkin, no other than the other in the nature of the forest, all hidden beauty in wild overgrown places where the leg of a man rarely stepped out.

All this unprecedented predominant beauty artist for the first time in Russian visual arts was able to show in his works.

Ivan Ivanovich Shishkin - biography. The artist Shishkin was born in 1832 in a small town on the banks of the Kama River in Elabuga, which is in the Vyatka province in the family of a poor merchant. In 12 years, his father is taken to study in the first Kazan gymnasium.

The study in the gymnasium lasted for a long time, feeling his calling to the visual art of Ivan Shishkin without accustomed in the gymnasium to grade 5, leaves it and arrives in Moscow to study in 1852 the School of Painting, Drainics and Architecture. After studying in it until 1856, the young artist is accepted into the Academy of Arts in St. Petersburg, learning the necessary skills from Professor Vorobiev S. M ..

Of course, the Academy of Shishkina did not really like educational topics and a young artist in his free time was content by writing in the vicinity of St. Petersburg, sometimes he went to write etudes on the island of Valaam. All this very much helped Shishkina to develop the abilities of a young master, knowing in pencil drawings the shape of the branches of trees, shrubs with a foliage later reproduced in etudes.

For pencil drawings in the vicinity of St. Petersburg, he was awarded with two small silver medals. And later in 1859, Ivan Shishkin deservedly receives a small gold medal for a beautiful landscape in the vicinity of St. Petersburg. Shishkin painted with his success stubbornly a lot of work, revealing large knowledge, fascinated by places on Valaam and Kukko, he creates work, for which in 1860 a large gold medal is awarded and deserves a retired trip abroad.

In 1862, Shishkin is first sent abroad by visiting Munich, Zurich, Geneva and Düsseldorf, where he wrote a picture of Düsseldorf vocality, subsequently for this work Shishkin is assigned an honorary title.

Also abroad, he paints drawings with pen and deserves a lot of attention of foreigners who were very surprised and shocked by the unprecedented decorated with the talent of the draftsman Shishkin. Some of these drawings were placed in the Düsseldorf Museum at the level of the works of the famous artists in Europe. But Shishkin wounded in his homeland and in Russian places, he understood that the Russian landscape could not write abroad and he was returning to Russia in 1865.

In Russia, the artist is again poured into art circles, visits exhibitions and artists of artists. It works tightly with drawings and etudes, it creates a gorgeous product of the painting of the woods, Shishkin, exactly stitching the features of the Russian landscape, creates a number of works in 1869 g. At sunset, living in the Bratseno manor, he creates a wonderful summer landscape noon. Neighborhood of Moscow.

1870 Ivan Shishkin is poured into the artist of the artists of the Mobile under the leadership of I. Kramsky. Entering the founders of mobile exhibitions of artists who do not agree with the academic impositions of that time.

Shishkin faithful to his work continues to engage in creativity creating new fabrics and at a mobile exhibition exhibits new paintings: evening, pine forest birch, birch forest and painting Forest wilderness very well-appreciated by contemporaries, many positive feedback wrote to this picture Prakhov A. V. for this work Ivan Shishkin awarded the honorary title of professor in landscape painting. In 1878, the master again shocks his new scenery of rye, on the 6th mobile exhibition. The work had a lot of positive feedback.

In 1877, Ivan Shishkin marries Artist Olga Antonova Lagoda, their beautiful house is very visiting by his colleagues and friends, where there were feasts and gouli.

In 1883, Shishkin wrote a picture with a big and chic oak in the valley, the picture was named among the valley of the Rusty.

In 1884, a very air landscape with an extensive panorama called the forest Dali-called artist.

1887 The picture of the oak grove in which Shishkin masterly transmits the state of mighty oaks with thick sinking bits, with dynamic shadows and affectionate rays of the sun.

In 1889, Ivan Shishkin creates one of his brightest calends is a picture

Morning in a pine forest, the picture is saturated with morning forest air, there is a feeling of virgin forest wilderness, a picture and popular to this day and there is probably no equal to this Shishkin masterpiece.

In the 90s, the artist creates a number of paintings, some of them, beautifully transmitted wilderness of the forest in the vicinity of Oranienbaum in the Forest Forevinsky forest. Peterhof.

Accurately handed over the status of rainy weather in the picture of the rain in the Dubov Forest, on the poem of M. Lermontova Shishkin creates an unusual picture in the north of the wild on request P.P. Konchalovsky lonely snow-covered pine rises standing on the background of the lunar night.

In 1898, the artist writes his new product of the ship grove, one can say this final work of the master, in which the entire talent accumulated in life and the skill of the Great Artist is demonstrated. Shishkin, like his colleague Kramskaya died, as an artist, right behind the easel when writing his new regular picture, it happened in March 1898, he left his descendants his very rich heritage.

Many of his paintings have gained huge popularity of not only contemporaries, these paintings are known today and today a large circle of admirers of his works. No one before Shishkin with such stunning frankness did not lead the viewer about his love for his native Russian nature.

Works I. I. Shishkin became a classic of national Russian landscape painting and gained huge popularity. Today, the images of his landscapes can be seen in many places on various reproductions, gift packaging, souvenir boxes and even candies with famous bears, all this talks about the great love of the people to his great creativity.

Many artists are learning on the picture Shishkina, many people are always enchanted by his works. Reputation of his famous landscapes knows every child. Of course, it does not work out and without critics and some critical artists clearly resting against the photorealism of the artist, but it's all from the evil or comes from the ignorance of creativity of the Great Master and not inability to create that either closely similar.

The artist came from a rather ancient and rich merchant kind of shishkina. Born in Elabuga in 1832, 13 (25) January. His father was quite famous in the city of a wealthy merchant. He tried to give his son a good education.

Education

From 12 years old, Shishkin studied in the first Kazan gymnasium, and at the age of 20 he entered the Moscow School of Painting. After his end (in 1857), he continued his studies at the Imperial Academy of Arts as a student of Professor S. M. Vorobyov. Already at that time, Shishkin liked to draw landscapes. He traveled a lot in the vicinity of the Northern Capital, visited Valaam. The beauty of harsh northern nature will inspire him all his life.

In 1861, at the expense of the Academy, he went on a trip abroad and he studied in Munich, Zurich, Geneva, Düsseldorf for some time. There he met works by Benno, F. Adamova, F. Did, A. Kalam. The trip lasted until 1866. By this time, the title of academic was already received at the homeland of Shishkin for his work.

Return to the Motherland and Peak Career

Returning to his homeland, Shishkin continued to improve the landscape technique. He traveled a lot in Russia, exhibited at the Academy, took part in the work of the mobile exhibition partnership, a lot of drawing with a pen (the artist mastered this technique being abroad). He also continued to work with the engraving "tsarist vodka", taking into account in 1870 to the circle of St. Petersburg aquaphors. His reputation was flawless. He was considered the best landscape and engraver of his time. In 1873, he became a professor at the Academy of Arts (received the title for the painting "Forest Wilderness").

A family

Biography Shishkinasano, that the artist was married twice, and the first marriage on the sister of the artist F. A. Vasilyeva, and the second marriage - on his student, O. A. Lagod. He had 4 children from two marriages, of which only two daughters lived to mature age: Lydia and Ksenia.

The artist died in 1898 (suddenly). At first he was buried in the Smolensk cemetery, but then the ashes and gravestone moved to the cemetery of the Alexander Nevsky Lavra.

Other biography options

• The year of birth of the artist is definitely not known. Biographers data differ (from 1831 to 1835). But in official biographies, it is customary to indicate 1832 years.
• The artist perfectly painted with a pencil and pen. His works performed by the pen really liked the European public. Many of them are stored in the art gallery in Dusseldorf.
• Shishkin was an excellent naturalist. That is why his works are so realistic, the spruce is like a fir, and pine on the pine. He knew the Russian nature at all and the Russian Forest in particular.
• The most famous work of the artist "Morning in Pine Bor" was created in collaboration with K. Savitsky. A little earlier than this painting was written by another, "Fog in Pine Bor", which was so liked by the authors that they decided to rewrite it, including some genre scene. Masters were inspired by a trip along the Virgin Vologda Forests.
• The largest collection of shishkina works is stored in the Tretyakov Gallery, a little less - in the Russian Museum. A large number of drawings and made by the artist engraving is in private collections. Interestingly, a collection of photographs Engravy Shishkin was released