View of the Palace Embankment from the Petropavlovsk fortress Alekseev. View of the Palace Embankment from the Petropavlovsk Fortress

Alekseev F.Ya.

Alekseev Fedor Yakovlevich (1753 (4?), St. Petersburg - 1824, St. Petersburg)
Painter. One of the founders of the Russian urban landscape. Born in St. Petersburg in the family of the Storam of the Academy of Sciences. He studied in a garrison school. The point of Father entered the Imperial Academy of Arts (1766). During his studies at the Academy in 1767, he was among the students of the class of ornamental sculpture, which Louis Rollan was led by painting in the city of Farderminth and A. Perezinotti in the class of fruits and flowers, then on the landscape class. Pensioner of the Academy of Arts in Venice (1773-1777), where he studied at the prospects of D. Maretti, later P. Gaspari. It was also cultivated as a theater artist and a landscape system. In the 1790s. He made scenery of St. Petersburg for which Academician was received (1794). At the same time, Catherine II ordered Alekseev's copies of paintings by A. Kanaletto, B. Belotto. In 1795, he was sent to the south of Russia and in the Crimea to sketching places, which in 1787 visited Catherine II. Among the works of this period is "Type of City of Nikolaev", (1797-1800, Russian Museum). With 1799 painter at the Directorate of Imperial Theaters. In 1800, at the direction of the Senate was sent to Moscow to write urban species. Advisor to the Imperial Academy of Arts (from 1802). He taught in the class of promising painting of the Academy of Arts (from 1803 to the end of life). In 1800-1810. Created a new series of St. Petersburg landscapes, among which - "View of the Palace Embankment from the Petropavlovsk Fortress" (1794, Russian Museum).

Fedor Yakovlevich Alekseeva with full right can be considered creator of the cityscape in Russian painting. Overalls in Italy all secrets of skill of famous contemporaries, Venetian landscape players - Canaletto, Belotto and Guard, The young artist returned to his homeland and was fascinated by the strict and slim beauty of St. Petersburg. He managed to feel the scale of the capital on the Neva, and this was informed of his particular solemnity and lifting.

Little northern light, high pale sky, and air humidity determined the exquisite silver-blue gamut of its best landscapes. But even among his masterfully, painted by the palace embankment from the Petropavlovsk fortress, stand out by their subtlety and poetry, which does not prevent documentary accuracy in the architecture image.

Behind a wide mirror of a full-flower Neva, on which boats and rafts are silent, lined up along the embankment of magnificent palaces and continuing their fence in the summer garden. The clarity of the lines is softened by the distance, saturated with air, and their reflections in the river are trembling and melting. The feeling of greatness and at the same time grace causes this classic view of St. Petersburg. The State Tretyakov Gallery received from the meeting of Alexander Sergeevich Taneyev.

Picture:

Artist: Fedor Yakovlevich Alekseev (1753/55 - 1824)

Picture writing date: 1794 year

Picture size: 70x108 cm

Constantly exhibited: Tretyakov Gallery. Lavrushinsky Lane, 10, Hall 6

About this painting now stored in the Tretyakov Gallery, Poet Konstantin Batyushkov wrote with admiration: " Look now on the waterfront, on this huge palaces one of the other majestic! On this houses one more beautiful! ... as a majestic and beautiful this part of the city!»

The foreground of the picture takes the wall of the Peter and Paul Fortress. Turning to the city landscape, Fyodor Alekseev created the perfect harmonic world in the painting. Water, air and architecture merge into a single inseparable integer. Poetry and noble restrained admiration fill the landscape. The contemporary of the artist enthusiastically wrote about "Harmony and transparency, koi make up the main advantage of his brush."

Academician of the Imperial Academy of Arts Fyodor Alekseev - The first in Russian painting Master of the cityscape. In lyric, with a large fineness of executed paintings, he captured the strict appearance of St. Petersburg, the picturesque beauty of Moscow, the poetry of everyday urban life.

Since 1803 and until the end of the life, Fedor Alekseev taught in the landscape class of the Academy of Arts a promising painting. His disciples were famous artists and future famous teachers M.N. Vorobev, F.F. Shchedrin, S.F. Shchedrin.

Unfortunately, the end of the life of the Honored Master was sad. It died in poverty November 11, 1824, three days after the creation of its last sketch of flooding in St. Petersburg (at the Bolshoi Theater). Was buried at the Smolensk Orthodox Cemetery of St. Petersburg. Money for the funeral and the help of a large family allocated the Academy of Arts.

Alekseev Fyodor Yakovlevich is the first in Russian painting Master of the cityscape.

In 1766- 73. He studied at the Academy of Arts, first in the class of "painting flowers and fruits", then in the landscaped. In 1773, the gold medal was received for the program landscape and was sent for three years in Venice to engage in painting theater decorations, although it did not fit his inclinations.

"Type of Petropavlovsk Fortress and Palace Embankment"
1799.
Canvas, oil 71.5 x 109

St. Petersburg

Next year, the artist is sent to Novorossia and Crimea to write seats that in 1787 visited Catherine II. So there are landscapes of southern cities - Nikolaev, Kherson, Bakhchisaraya.


"View of the city of Nikolaev"
1799
Canvas, oil 197 x 178

Moscow
Repeating the Empress route, Alekseev made sketches and watercolor sketches. The paintings were written after returning. The city of Nikolaev is the Malorossiysk city, the sea and river port, founded during the Russian-Turkish War 1787-1791 on the command of Prince G.A. Potemkin. In 1788, shipyard was built here for the construction of ships, thanks to which the city became an important port and administrative center. The picture shows a view of Nikolaev from the river Ingul. On the banks of the river in the depths of the left - the Admiralty Cathedral, in the center you can see the buildings of the Black Sea Admiralty Board, on the right - a complex of official houses of the maritime department. Water has elling for storing rowing courts. To the left of them depicts a striped booth of the Moscow outpost.

"View of the city of Bakhchisaraya"
1798
Canvas, oil. 197 x 178.5 cm
State Russian Museum
St. Petersburg
Russia

"Square in Kherson"
Paper, Watercolor, Italian Pencil
1796 - 1797
Canvas, oil 23 x 40
State Tretyakov Gallery
Moscow

In 1800, Emperor Paul I gives Alekseev the task to write the types of Moscow. The artist became interested in the old Russian architecture. He stayed in Moscow for more than a year and fulfilled a large number of sketches from nature, according to which he subsequently created a series of picturesque canvases. Brought from there a number of paintings and many watercolors with views of the Moscow streets, monasteries, offended, but mainly a variety of images of the Kremlin. These species are distinguished by even documentality. Moscow works attracted numerous customers to Alekseyev, among whom were the most significant proprietors and members of the imperial family.

"Red Square in Moscow"
1801.
Canvas, oil. 81.3 x 110.5 cm

The landscape recreates the appearance of the first-hearth capital of the 18th-XIX centuries. Majestic monuments of medieval architecture are the main "heroes" of the paintings. Many verticals - churches, bell tower, towers are equalized by a calm horizontal canvas format. Such a composition likes the space of the Grand Theater Scene area. In the center of Red Square - the temple of Vasily blissful and frontal place. The Kremlin Wall and Spasskaya Tower closes the right side of the painting. In the foreground, on the left depicted the building of the main pharmacy, as well as trade ranks. To the right of the tower, behind the wall, the heads of the Ascension Monastery rise, the tent of the tsarist tower is visible to the left. The artist does not just "lists" the many and diverse buildings of the ancient capital, but also trying to create a holistic, uniform image of the city. People fill in the area, as well as thoroughly drawn numerous and expressive details - shopping shops, carriages, wagons, horses, dogs - everything participates in the disclosure of the city's image, make warmth and humanity.

In Moscow, Alekseeva is interested, first of all, an old architecture, a kind of color of the city, which emerged for centuries. As a true classicist artist, in addition, the theater decorator by education, Alekseev turns the majestic, but very clear, easily readable scene, where the ancient buildings act as the main characters, and the role of statists is assigned to the walking Muscovites.
Figures of people in the foreground larger than in the "form on the stock exchange and the admiralty from the Petropavlovsk fortress" (1810). In their appearance and clothing, the artist displays patriarchals, even reminiscent of the traditional old Russian structure and features, but from the point of view of the St. Petersburg fashion seeming archaic. Alekseev, St. Petersburg Master, who has passed a learning to Italy, looks at the city through the eyes of a European foreigner.
A similar attitude to Moscow expressed a contemporary artist poet K.N. Batyushkov: "Strange mixing of the ancient and the latest architecture, poverty and wealth, erections of European with the businesses and customs eastern!"


"View of the Moscow Kremlin from the stone bridge"
Canvas, oil. 63 x 103 cm
State Russian Museum

View of Vladimir (Nikolsk) Gate of China-Cities. 1800-E.

"View of the Resurrection and Nikolsky Gate and the Neglin Bridge from Tverskaya Street in Moscow"
1811
Canvas, oil 78 x 110.5
State Tretyakov Gallery
Moscow
Majestic monuments of medieval Moscow architecture are the main "heroes" of the landscape of Alekseev. In the foreground, the artist depicted a bridge across the River Negling, leading to the Resurrection (Iversky) gate with two tents towers and the Iverly chapel between drives. The building of the main pharmacy is adjacent to the gate, in which the university was originally located. On the right depicts the Arsenal Tower of the Moscow Kremlin. Between the Resurrection Gate and the Arsenal Tower - part of the Kilitary Wall. Left can be seen the building of the coil. Sunlight stains the entire landscape in warm, golden tones. Carefully peering into images of numerous citizens, crowding on the square, you can get an idea of \u200b\u200bthe appearance of Muscovites of the turn of the XVIII-XIX centuries. Carenets, wagons, horsemen on horseback, dogs - all this seems to be an artist important to create an image of the first-hearth capital. Dar P.A. Buryshkin in 1917.

"Cathedral Square in the Moscow Kremlin"
Canvas, oil 81.7 x 112
State Tretyakov Gallery
Moscow
In the picture, the artist depicts the Cathedral Square - the main and most ancient ensemble of the Kremlin, whose unique architectural appearance has been formed by the beginning of the XVI century. In the center of the composition, in the depths of the Square - the Assumption Cathedral, the main temple of the Moscow state, where the Russian autocrats were married to the kingdom. For him, the Church of the Twelve Apostles, Chios Monastery and the Senate Building are visible. On the right - the complex of the bell tower of Ivan the Great, which was created for more than a hundred years. Directly behind the bell tower is visible Spasskaya and a number of the tsarist tower. Because of the walls, the heads of the Pokrovsky Cathedral appear (Vasily Blessed Church). In the first plan, on the left, the building of the grain chamber with the red porch is depicted, on the right - a fragment of the western facade of the Arkhangelsk Cathedral.

Illumination at the Cathedral Square in honor of the coronation of Emperor Alexander I. 1802

View from Lubyanka to Vladimir Gate.1800-E

View of the Church of Grebidskaya Mother of God and Vladimir Gate of China-Cities. 1800-E.

View of the church of Nikola Big Cross on Ilyinka

Ivan the Great belltower. 1800-E.

Moskvoretskaya Street with people. 1800-1802.

Holiday icons of the Kazan Mother of God on Red Square

"Boyarskaya Playground or Bed Porch and Savior Temple for Golden Grid in the Moscow Kremlin"
1810
Canvas, oil. 80.5 x 110.5 cm
State Tretyakov Gallery

Square in front of the Assumption Cathedral in the Moscow Kremlin

View of the educational house. 1800-E.

Boyarskaya playground in the Moscow Kremlin. 1810-E.

View of Moscow from the Troitsk gate of the Kremlin. 1810-E.

View in the Kremlin on the Senate, Arsenal and Nikolsky Gate

View of the temple of Vasily blissful from Moskvoretskaya Street

Passionate Square

Kremlin. Troitskaya and Kutafia Tower. Right - Church of Nicola in a boot

Trinity-Sergiyev Lavra

View of Moscow

In the 1800s. Alekseev is the head of the class of promising painting at the Academy of Arts (from 1802) again returned to his beloved theme of St. Petersburg. But now addiction to the harmony of the holistic space of paintings by the artist changed great interest in the world of people and their lives against the background of the same beautiful palaces and a wide Neva. His works as if the city's noise appeared. People with their everyday affairs are now the whole foreground of the canvases. Forms have become more clear, volume, harder, flavor significantly wrapped, painting has acquired a special density. These are "type of English embankment from Vasilyevsky Islands", "view of the Admiralty and palace embankment from the first Cadet Corps", "View of the Kazan Cathedral in St. Petersburg", "View on the Arrow of the Vasilyevsky Island from the Petropavlovsk Fortress"

View of Mikhailovsky Castle and Connyabl Square in St. Petersburg around 1800

"View of Mikhailovsky Castle in St. Petersburg by Fontanka"
About 1800.
Canvas, oil. 156 x 185 cm
State Russian Museum
St. Petersburg
Russia

The picture was written in the year of the construction of the Exchange Building, so that the famous architectural ensemble of the central part of St. Petersburg was finally developed. The artist sought to present the capital of the Russian Empire with an exemplary city, in which the nature and creation of human hands merged. The semantic accent in the composition is occupied by the Exchange Building. From him to the Neva leads an architecturally designed descent. To the left of the Exchange - the Rostral Column. Behind the Exchange is the building of the Twelve College. The opposite bank of the Neva is built up with palaces and administrative buildings: in the depths - the old building of the Senate (before the house of A.P.Bestuzheva-Ryumin), Admiralty with the domes of the Church of the Church of the Church of Dalmatsky, due to him. In the left side of the picture, the Winter Palace is visible. On the wide water stroit of the Neva, which was called the main avenue of St. Petersburg, slides a lot of large and small vessels.


"View of the stock exchange and admiralty from the Petropavlovsk Fortress"
1810g.
Canvas, oil. 62 x 101 cm
State art gallery.

Alekseev, when constructing a composition, uses the classic principle, comparing the first plan, marked with a brown left corner and a dark cloud on the right, and a greenish-blue open space in depth.
The building of the exchange is presented a few on the right, so that the center of the composition turns out to be a spectacular panorama of the Neva. In the background, the Winter Palace and Admiralty form a single ensemble with heaven and the river, as if claiming the idea of \u200b\u200bharmony of mind and nature for the era of enlightenment.
The artist shows St. Petersburg. So, how he saw contemporaries, as the ideal capital of the enlightened state. Poet K.N. Batyushkov wrote: "Take a look at the embankment, on this huge palaces one of the other majestic! On this houses, one of the other is more beautiful! Look at the Vasilyevsky Island, [...] decorated with a stock view, Rostral columns and granted embankment [...]. Like Majestin And beautiful this part of the city! [...] Now, from the exchange with any pleasure, my eyes should go along the shores and is lost in the distance between the two embankments, the only one in the world! "

November 7, 1824 on the square in the Bolshoi Theater. 1824.

Gradually, the audience forgets an aging artist. This wonderful painter died, many years and stubbornly, proven to be a landscape system, in a great poverty, leaving a large family. The Academy was forced to issue money on his funeral and benefit of widow and small children.

View of the Palace Embankment from the Petropavlovsk Fortress

1794. State Tretyakov Gallery, Moscow

From the corner of the Petropavlovsk fortress, against the background of a huge cold northern sky and a wide mirror stroy of a full-flower Neva, a majestic panorama of the Palace Embankment of St. Petersburg opens. On the right, the marble palace is visible, then the house of the Baryatinsky and the Palace of Ribas; Closes the panorama of the summer garden lattice. Clear poetry, harmony and noble restraint feelings permeate the entire artistic fabric of this landscape. "See what unity! - wrote Poet K. Batyushkov about the embankments of St. Petersburg. - How all parts are responsible for a whole! What the beauty of buildings, what taste, and, in general, what a variety of originating from the mixing of water with buildings. "