All pictures of John. Konstantin Fedorovich John - Russian Soviet painter, master landscape
Day of Annunciation, 1922
Artist Konstantin Jun - Russian and Soviet painter, one of the brightest representatives of Russian modern and symbolism, theorist of art and theater artist, People's Artist of the USSR.
To my great regret, it's hard to find high-quality reproductions of pictures of this artist, and therefore I gathered the best of what I managed to find. Works that would make it possible to create a faithful impression of the skill of really one of the brightest painters of the twentieth century. And it is difficult to say, for what reason today this artist fell for oblivion.
Biography of the artist Konstantin Fedorovich John
Self-portrait, 1953 Artist Konstantin Fedorovich John was born in 1875 in the family of the insurance servant, in Moscow. The mother of the future artist was fond of music and tried to convey his love for music to his son, but the boy became interested in painting.
In 1892, Konstantin Jouu entered the Moscow School of Painting, Scary and Architecture. His teachers were K.A. Savitsky, N.A. Kasatkin, A.E. Archups. After graduating from the school, in 1898, Jun entered the artist's workshop V.A. Serov and two years worked with the famous painting master, and then opened his own studio, in which he taught everyone who wanted painting.
For seventeen years of work, the studio has prepared several artists who later glorified the Patriotic School of Painting: Brothers Vesnins, V.A. Vatagin, V.I. Mukhina, A.V. Kubrin, V.A. Favorsky, N.D. Collie, MG Roiter and many others.
In 1903, Konstantin Fedorovich took an active part in creating the Union of Russian artists, subsequently joined the team of the "World Peace" team, since 1907 he worked a lot like theatrical artist.
After the October Revolution, the prechistan work courses were organized, on which, together with I.O. Dudine, he trained all the wishing paintings. In 1925 he joined AHRR.
The Soviet period in the work of the artist is described very scoop. It is known that from 1948 to 1950 Konstantin Fedorovich John was the director of the "Research Institute of the Theory and History of Fine Arts AH of the USSR", in 1950, John was awarded the title of People's Artist of the USSR, from 1952 to 1955 - Professor at the Moscow Art Institute named after VI Surikova.
Pictures of the artist Konstantin Fedorovich John
Procession on the slope, 1899 
Birch. Petrovskoe, 1899 
At the Novodevichy Monastery in the spring, 1900 
Festive day, 1903 
Moscow, Apartment of the artist's parents, 1905 
Suburban landscape, 1908 
Spring sunny day, 1910 
Poky dance. Ligachevo, 1912 
Trinity-Sergiyev Lava. In winter, 1920 
Dome and swallows. Assumption Cathedral of Trinity Sergiyeva Lavra, 1921 
New Planet, 1921 
July. Bathing. 1925 
Winter day, 1910 
Trinity Lava Winter, 1910 
Landscape of the Novgorod province, 1910 
Moskvoretsky bridge. Old Moscow, 1911 
Village of Novgorod province, 1912 
Troika in Uglich, 1913 
Winter. Bridge, 1914 
Adjust. Water (Lachengo), 1017 
Bathing, 1920 
View of Trinity Lavra, 1916 
Martov Sun, 1915 
Blue bush Painting is the most visuality of all arts. She is the "Songlessness" and in nature, it would seem, does not require any verbal additives and explanations. A skillful artist - the author, by means of his art, can say everything. Konstantin Fedorovich John knew how to perceive and capture the living pulse of creative methods. And this gift that has developed irrelevant and grew, represents a diverse and deep culture of Russian art.
Russian art is rich in talents. Each era of its development left a great many of the names of excellent artists. But in a special heat, we remember those masters who devoted all their life to chanting the beauty of their native land. These landscape players are also Konstantin Fedorovich John. Throughout the creative life, the artist was looking for a unique Russian folk style, typics of paints and forms. Only in the show of this characteristic uniqueness, Konstantin Fedorovich John genuine artistic truth, which is the most important value in his art.
The activity of such an artist is always of exceptional interest. Its value is comparable to the role of the autoportist. The artist is always unconscious or not, builds his perfect image, draws himself, no matter how much he would like to be. He catches the life of a life for plexing from them some new yarn, emphasizes other impacts and influence, in other things illuminates the usual, because it seems very differently and understands his own creativity from the inside than it is coming from the outside.
Jun As a representative of the very beginning of the Moscow School of Painting, was the son of a succession from Switzerland, which became Russian in fact and fundamentally. For a long time deserving recognition and wide artistic - public popularity, belonged to the number of the largest masters of Russian art, whose activities became a link between the art of the Silver Century and the Soviet artistic culture. The latitude of his talent and artistic interests allowed K.F. John to seek astounding results both in machine painting and in the design of theatrical performances.
K. F. John, born in 1875, the mascara of the Moscow School of Painting, Sculpture and Architecture, which was engaged in Serov, soon became on his feet, a member of the best and advanced associations of the Russian art world, the head of the most popular art school in Moscow, at the same time Strange escapes from the opportunity to give him any durable historical - artistic label. The time of his first performance and fruitful activity, the first twenty-fiveth anniversary of the 20th century, is unusually rich in the events of influences, innovations, revolutions, catastrophes, the revival of Russian painting.
The position of K. F. John in this conglomerate of flows, clashes, partying and extremes was always special: a resident, central, non-partisan and - lonely. He was a member of the "world of art", but remained in his Moscow group after decay; Began, maybe the most prominent member of the "Union of Russian Artists", which is of fundamentally sympathetic to the Petersburgers.
The new aesthetics "The World of Art" was at that time a genuine revelation and influenced through his journal even on art circles of Western Europe. Many of the cultivated ideas have a truly constant value, among which, first of all, though always "relative", but by itself the unrepenting idea of \u200b\u200bbeauty. Beauty, as the principle of world harmony, always reflected by art, hardly ever could be leisure.
Together with this, even the very first exhibitions of the "World of Art", who have had its own specific sharpness, their sophisticated intimate Miroch, seemed to be some rare phenomenal toy, some strange durning flower compared to heavy, but sober, close to the surrounding, live prose Life, the art of Mobile, - and this impression somewhere in the depths of the soul left a perplexed and unsatisfied sediment. The name of the newly open and mounted beauty of the artists of the Artists of Arts is one of its side of the artist of the artists of the artists of the "World Peace", - vaguely protested against his convergence, in most cases, from living Russian life and from life in general, against the impurities to this art of some kind of alien - Alien notch and regretted that art as if he moved away from a large style and from self-sufficient painting.
As a representative of the "Union of Russian Artists", Jun introduced a novelty and freshness to the art of that time, having developed a special plastic language in which the principle of impressionistic vision was used. This affected the appeal to various impressionistic techniques: the creation of an etude - small-format paintings, the open air, combined the landscape with a household genre, interior or still life, which is a typical expression of an impressionistic mixing of genres; Used asymmetric construction of the composition, fragmentation, expressiveness of the angles - all this gave birth to the sense of chance of an unexpectedly seen scene. The main thing here was the expressive tool - the artist actively worked as clean color, without mixing paint on the palette, used contrasts of additional tones, reflexes, which made it possible to create a real impression of bright sunlight, the feeling of "respiratory" of nature.
Throughout his long creative path, K. F. John applied to various activities in the field of art. In addition to his favorite painting, he also was engaged in graphics, and the design of performances, was known as a major art critic and an excellent teacher.
It was a realistic, impressionist, symbolist, decorator and a painter to the end, and perhaps, without being any of them. He was brought together with Levitan, and of course incorrectly, because Jun is not a lyric, and does not have in painting his own in the "moods". Levitan gave much more responses to the main topics of impressionistic air deferences, light, spreading impressions. Forms of painting JOUT Too rosary and cutting, too sharply noticed in their too random movement.
Now the conversion of Jouu with Serov, but the Jouon is much more pepper, is celebrated and at the same time week. There is no Serovsky Europeanism in it, and one thing is that the picturesque portrait, the true kingdom of Serov, for John stands in the background, determines the successor and continuer of Serov in it. John was inspected by a realist, while maintaining the membership in the Association of Artists of Revolutionary Russia (AhRR), some durable start-up of movement.
The whole life path of the artist passed in Moscow, and he tried to choose the apartment on the quiet streets so that nothing bothered. Circumstances of life JOUT They contributed to the formation and development of his talent, he did not have to survive or painful wandering in search of his place in art, nor strong upheavals. Inexhaustible optimism and bright vision of the world imposed a mark on all the work of the master.
Konstantin began to draw early. Being in nature by a man of boiler energy, purposeful and sociable, an eight-year-old boy did not retreat from his passion. In these years, his bright charisma manifested itself in creating an exciting "architecture", which he managed to captivate his peers. These were fabulous cities with unprecedented and fantastic architecture. It was the passion for the architecture that he led him to the Moscow School of Painting, although soon, as refreshing in the memory of Jun, "paints pulled out." Yes, and passion for architecture was painted with a special cosmic feeling, gusting to utopianly unusual worlds.
With admission to the school, Jun enters the atmosphere of innovation of Russian art. His mentors and favorite teachers who became a sample of taste were K.A. Korovin, K.A. Savitsky and A.E. Archups. In 1898, at the end of the School, until 1900, Jun was engaged in the workshop of Vladimir Serov. "Art youth, - recalled K.F. JOUTH, - seeking truth and striving in the future, saw in Serov, that figure, that "artistic conscience", without which it was difficult to work and even more to learn. It seemed that he had the keys to resolve the emerging conflicts and objections, intertwining with the traditions of movement, about the very new aesthetics of the group of artists who spoke around the magazine "The World of Art", about the influence of the Impressionism movement. V.A. Serov I believed most of all "learning time JunTraveling in Europe, meets the works of Western European masters. Undoubtedly, the technique of impressionists affected the young artist, although not so as to muffle his inner aspirations and external style. Yet the Russian landscape, inhabited by the life, Russians, is the main theme of his canvases.
In search of national, distinctive beauty, John traveled a lot, stopping in the villages and in the ancient Russian cities. During the student's period, they have written many species of Tver province: " In the park. Petrovskoe. Tver Property"(1897)," Birch. Petrovskoe. Tver Property"(1899)," (1890).
In the early 1900s Konstantin Fedorovich Makes long trips to the old Russian cities: the Great Rostov, Nizhny Novgorod, Uglich, Torzhok, Pskov, Veliky Novgorod, Kostroma.
The image of bazaar days in Russian cities find a special place in the works of Konstantin Fedorovich. They are distinguished by exceptional festive, spring gomon and crocity: " Red goods. Great Rostov"(1905)," "(1906)," "(1916). Some decorative in the pictures only slightly emphasizes the unique festive atmosphere.
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Konstantin Jun did not think the image of architecture without household scenes, deployed at the foot of the monuments of the ancient Russian architecture, for example, the cathedrals, the fortress walls of the Trinity-Sergiye Lavra or the Moscow Kremlin, as evidenced by the paintings "" (1903), "" (1904), " "(1903).
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1903. Canvas, oil. 53 x 107. |
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The artist does not prescribe people of his characters: it is more important for him to the mass of the very action, tightening in the generality of a motley color spot.
John can be called the discoverer of the unique artistic appearance of ancient Russia. In the pictures "" (1906), "" (1914), "" (1913) and others it introduces a special point of view to the development of a landscape composition. In the everyday life of provincial cities and towns, the artist saw genuinely national beauty. The entire inner world of the modern, driving key of the life of medium-Russian cities in combination with the old architecture and excellent nature acquired a new meaning in the canvases, and embodied love, with a clarity and artistry inherent in it.
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In the picture "" (1906), the juicy corpus colorful smear is equally fully and visible and the looseness of the lifting snow, and reliable "flesh" of the old walls, and the flickering of the sunset sky. All these contrast motives are links of a single pictorial space. The favorite theme of the artist since the 1900s was the types of vintage Russian cities.
The solemn architectural images in its canvases are "revived" by the cheerful activity of the solid domestic scenes.
Each city, Jouu finds and accurately reproduces his face, its unique peculiarity. In his works dedicated to the Russian province, the beauty and festivity of the worldview, delight of the artist in front of nature and the architecture of Russia. Contemporaries often called his work "carnival", as they resemble people and a variety of paints with their colors symphony. "The Higher Happiness of the Painter is to sing in paints," the artist himself said. Recall at least it " Dome and swallows», «», « End of winter. Noon».
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The big cycle of John's works is devoted to Lower Novgorod. In these landscapes of the artist entails the infinity of the space. According to the observation of the famous Soviet art historian N. G. Mashkovtseva, Volga was interested in painting there, "where it is simply touching and majestic." He portrayed it "squeezed by tired sands, forced by chaos of steamats, marins and barges." As a rule, it is not very attractive places near Nizhny Novgorod, where an eye in the Volga.
A bright example of such a landscape is the picture "" (1909). Sketch is available in the State Tretyakov Gallery. It belongs to the favorite Jonea winter landscapes. For better visual coverage of the panorama of the Okoy Coast, the artist chooses the top view of the review, and the main characters of his works are becoming gray tightened by the clouds of the sky and even snowy space with silhouettes of the city buildings on the horizon.
On the banks of the river, on the bridge, horse wagons and pedestrians will be squeezed through it. Life is hurting here. For the external picturesque chaos of the movement, a special order has been pursuer than the established business bustle of the river - workers. There is a very characteristic connection for the work of Nature and the life of people.
The artist kept loyalty to the landscape until the end of his life. But in Soviet times, he, being very sensitive to the public life of his country, seeks to make a feature of a new feature. During these years its thematic paintings appear, reflecting the holidays and labor of Soviet people, heavy weekdays of war, joyful days of victory.
In the estate of Ligachevo, Jun acquired a house. The estate was not far from the House of Parents of Claudia Alekseevna, the artist's wife, acquaintance with which was the main page in the life of the artist. Back in 1900, working on nature, Jouny saw a young girl with a luxurious long oblique, which slowly rose from the river to the mountain. The ambulance brought the artist to the artist's anger of his father, extinguished him from the house.
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But this anger lasted not long. The kindness and spiritual generosity of the peasant girl from the village of Slah Ligachevo softened all the estate prejudices by making a daughter-in-law.
Here he wrote his best works. In 1915, Jun writes his most famous landscape "". And much later, in 1947, I will write landscape "".
The big picture "" has a stunning effect on the audience audience. Standing in front of scenic work, as if you feel frosty air and blue sky and snow. The March Sun pouring everything around a bright flame broke up at sunset, lighting the branches and trunks of trees.
The image of the winter takes a special page in the work of Konstantin Fedorovich. Winter was one of his favorite topics. The artist confessed: "Whiteness of the snow covers of the native land gives me the most expensive experiences and paints for me." In the picture "", dedicated to the winter, Konstantin Jouon appears with a genuine poet of Russian Nature. Here it creates a clear and completed composition. A picture of Russian life appears in front of the audience against the background of the winter landscape.
The viewer is a soft and fluffy snow, a thick cover, which dressed the ground, the fairy tale of it, decorated the branches of mighty trees, and waking up all the items frosty haze. All this is transmitted with the help of many finends of cold colors, while painting K.F. JOUT Mostly colorful. As a result, an image of the real Russian "Mother - Winter" is created.
In 1910, John's creativity won durable popularity at the viewer. For him, the period of maturity of talent is coming. The inclined to bring your artistic world into a slender system, Jouu highlights its main elements: architecture, snow, sky, light, space, movement, body.
He has his own, quite a kind of palette: he loves bright paints and bright sun, as well as fresh yellow yellow and perfect human body. But from all the picturesks of Junovsky time it highlights a positive attitude towards white color: be it snow or wall, sky or sheet of paper.
In their watercolors and pencil drawings, Jun reiterates any schemes. His portrait drawings Infinitely interesting. He idealizes the top of the persons of his models.
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His line is not a pric, his graphics is not contrasting, and nevertheless, it is unlikely that one of him modernly understood the true charm of the self-sufficient pencil drawing, a transparent or very saturated watercolor, juicy lithographs or just arabesque lace black and white graphics like a John.
Symbolically comprehended Konstantin Jun. Fatal grandiose revolutionary change in " Symphony action"(1920), where he introduced the global space scale of the events: people die on the expressed land and cities are destroyed, and against the background of the blazing sky, they are not clear then the vague outlines of the coming. And in the revolutionary allegory "" (1921), the revolution is interpreted by the event of an universal scale: as a result of space shifts and disasters in the world, a new planet is born, illuminating the land of anxious crimson-red light and causing tremendous spiritual shocks of people.
It was the tragedy of the people who took the bloody moon of underworld for the sunrise of the radiant shone. A easily ready symbolic plot acquires a significantly wider semantic range in a picturesque performance. The human set, conventionally outlined by the "fan" of tiny silhouettes and personifying humanity, is shown before the fact of uncontrolled "light-hand" in the full spectrum of various reactions: from exalted delight to confusion and horror. The earthly solid, on which it nests is a set, meager in comparison with the colossal scale of the space world transmitted through the abstracted hyperbolism of huge planets and gigantic flows of flowing from heaven of light. And there is no doubt that this blazing space is able to absorb the strugency vanity of the earth's house.
The sensational "division" of the art life of John is referring to theater. If in the pictures of Konstantin Fedorovich, everything is very steadily, very subject to, then becoming a theater decorator, Jun will not donate any of this subject stability of the illusory conventions of the most unreal of all arts. No wonder on the stage of the academic small theater, the artist feels the most in the "plastic".
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Work in the theater is one of the sparkling faces of artist's creativity. They made decorations for twenty-five plays and operas. The main place in the work of the artist belongs to Russian drama: works of M.P. Mussorgsky " Khookishchina", A.N. Ostrovsky " On every sage pretty simplicity», « No guilt to blame", N.V. Gogol " Auditor", A.M. Gorky " Thomas Gordeev" The debut of the artist in the theater was sketches of scenery to opera M.P. Mussorgsky " Boris Godunov" She was set in Paris, in 1913 in the framework of the famous Dyagilevsky "Russian seasons".
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Uzami, especially deep friendship, the artist was associated with the Moscow Small Theater. This theater cannot be submitted without flowery costumes, picturesque interiors and scenic landscapes of Zamoskvorechye, made by Jone for Pieces A.N. Ostrovsky " Heart is not a stone», « Mad money», Poverty is not a vice».
Konstantin Fedorovich John belongs to those happy artists who have already enjoyed the well-deserved glory and the love of the audience. So, in 1958, when, during the presentation in the theater, one of the plays of Emil Braginsky, her heroine, seeing the hero on the wall of the hero's reproduction "" John, said: "Jou' ... I love John ...", - the hall broke out by applause . It was a tribute to the artist, admiration for his talent.
Konstantin Fedorovich John (October 12, 1875 - April 11, 1958) - Russian artist, schedule, artist Scenbon.
Born 12 (24) October 1875 In Moscow in the Swiss-German family. Father - employee of an insurance company, later - its director; Mother is a musician amateur.
Landscape, author of portraits, genre paintings. Konstantin John is a representative of symbolism and modern, which organically continued these traditions to the Soviet era.
The picturesque manner of Konstantin John was under the influence of the lessons of Kostantin Korovin Ivalentina Serov. Konstantin Jun participated in the exhibitions of the Moscow Partnership of Artists (1899, 1902), the partnership of mobile art exhibitions (1900), the "world of art" (1901, 1906). Since 1903 he was a permanent exhibitor of the Union of Russian Artists, from 1904 - was part of the Union Committee. Konstantin Jun worked mainly as a landscape system, gaining "wide fame" at the Moscow and St. Petersburg public. In the late 1900s - early 1910s, the opera performances of Russian seasons S. P. Dyagileev in Paris.
After the revolution, Konstantin John was one of the initiators of the creation of schools of fine art in the Moscow branch of the national education. In 1920 he received the first prize for the project of the curtain for the Bolshoi Theater. In 1921 elected a valid member of the Russian Academy of Arts. From 1925 - a member of the Association of Artists of Revolutionary Russia. In 1938-1939, he led the personal workshop in the All-Russian Academy of Arts in Leningrad. In 1940, performed sketches of the mosaic design of the Palace of Soviets. In 1943 he was awarded the Stalin Prize, in 1947 he was elected a full member of the Academy of Arts of the USSR. From 1943 to 1948, Konstantin Jun worked as the chief artist of the Small Theater. In 1950, the title "People's Artist" was awarded. In 1948-1950, he headed the history and theory of fine art of the Academy of Arts of the USSR. Doctor of art history. In 1952-1955, he taught at the Moscow State Art Institute IM.V. I. Surikova, Professor. Since 1957 - First Secretary of the Board of the Union of Artists of the USSR.
After the revolution, the individual handwriting of the artist changed little, somewhat different became a circle of plots. In the 1920s - 1950s, the Enebstantine Jun created a number of portraits, paintings on the topics of the history of the revolution and the modern life in which he adhered to realistic tradition. The landscapes of this time are close in the manner of execution by earlier work of the 1910s, in which elements of impressionism and "mobile realism" are closely intertwined. Filled with thin lyrics, they represent the greatest value in all the creative heritage of the master.
1912 Self-portrait Konstantin John. H., m. 54x36. GRM
1890th landscape with church. Cardboard, oil.
1899 birch. Petrovskoe. X.M. 147x80. Vologda
1899 Portrait of Z.A. Dhetsky. Fragment.
1900 Monastery in the snow.
1900 in Novodevichy Monastery in spring. B., AKV., Mascara, Bel. GTG
1901 Old Elm.
1903 April Morning.
1903 Festive Day. Cardboard, temperatures 95.5x70. GRM
1903 in the monastery pose. In Trinity-Sergius.
1903 Red Sledge. Trinity-Sergiev Posad.
In the monastery pose. In Trinity-Sergius.
1903 landscape.
1904 Life on the shore. Pskov. Saratov
1905 window. Moscow, the apartment of the artist's parents. Cardboard, pastel. 49x64. GTG
1906 near the banks of the Pskov River. B. On the cardboard, AKV., Belil, coal.
1906 Gate of the Rostov Kremlin.
1906. Spring evening. Great Rostov. HM 70x96. Serpukhov
1906 Cathedral in Rostov Great. B., AKV., Bel. Emergency
1906 Blue day. Great Rostov. H., m. 77x160. Ryazan
1906 Winter. Great Rostov.
1907 Interior.
1907 Bouzina bush. Decorative landscape. Pskov. H., m. 70.5x123. Tashkent
1908 in the noble assembly. X. On cardboard, m. 71x95.7. GTG (Q)
Winter forest, paper, gouache, 18x25
Seascape. Mountain Skat. Emergency
Autumn view from the balcony. Canvas, oil. 71.8x58.
1908 Bridge over r. OKU in N.Novgorod.
1908 Voskresensk city.
1908 Blue bush. Canvas, oil.
1909 Troika at the Old Yar. Winter. H., m. 71x89. Bishkek
1909 Walking on the maiden field. ESC. to cards. of the same name 1909-47 from gtg. X., m., 30x44.5. EFS, M.
1909 Nizhny Novgorod in winter.
1909 Crossing through OKU. Nizhny Novgorod. B., AKV., Belil.
1909 night. Tver Boulevard. B., AKV., Belil.
1910 Spring sunny day. Canvas, oil. 87x131. GRM
Procession on the slope.
1910 intimate world. B., Temp. 62x95. Pskov.
1910 View of Moscow with Sparrow Mountains. H., m. 71x198. Yerevan
1910 Winter Day. X., m. 80x110,5. Kharkov
1910th First Easter Day. B., AKV. PN
1910th landscape with birch. Canvas on cardboard, oil.
1910 Trinity Lavra. March. B., AKV., Bel.
1910 Moscow. Kremlin. B., AKV. 32x35. Yerevan
1910 winter. Plywood oil. 23.2x30.2. Emergency
1910 Trinity Lava Winter. Canvas, oil. 125x198. GRM
1910th Landscape of the Novgorod province.
1910th Winter. Landscape with the Red Church.
1910 Rural holiday. Tver province. Canvas, oil.
1911 Moskvoretsky Bridge. Old Moscow. B., AKV., Belil. 62.5x167.5. GTG. Fragment.
1912 Village of the Novgorod province. H., m. 58x70.5. GRM
1912 dance whales. Ligachevo. H., m. 134x200.
1912 Portrait of Bori John, the Son of the artist. 87.7x69.8. Gt
1913 body.
1913 ESC. To Opera Mussorgsky "Boris Godunov". II act. Term Tsar Boris. Cards., Gouache. 63.5x83.5. GCTM
1913 Troika in Uglich. B., AKV., Bel. 53x69. GRM
1913 Carousel. Uglich. B., AKV., Bel.
1913 Mill. October. Ligachevo. Canvas, oil. 60x81. GTG
1913 Coronation Mikhail Fedorovich in 1613. Cathedral Square, Moscow Kremlin. Canvas, oil. 81x116.
1913 Coronation Mikhail Fedorovich in 1613. Cathedral Square, Moscow Kremlin. Canvas, oil. 81x116. Fragment
1914 Winter. Bridge. Canvas, oil. 68.6x104. Penza
1915 May morning. Nightingale. Ligachevo. H., m.
1916 Troytskaya Lavra. Paper, watercolor, bleel. 22.5x30. GTG
1916 Winter Sun. Ligachevo. H., m. 105x153. Riga
1916 Verbal Bazaar on Red Square. 1916. B. on cards., AKV., Bel.
1917 Adjust. Water (Ligachevo). Canvas, oil. 78x119. Irkutsk
1917 at the Pskov Cathedral. B. on cards., Gouache. 30.3x22.9. M.-KV. Brodsky
1920 Bathing. OK. 1920.
1920 provincials. Paper pasted on cardboard, gouache. 62x75.5. Nikolaev
1920th Trinity-Sergiyev Lava. In winter.
1920s in the village. Hostess. Kazan
1921 dome and swallows. Assumption Cathedral of the Trinity-Sergius Lavra. H., m. 71x89. GTG
1921 New Planet. Cardboard, temperatures 71x101. GTG
1922 Forestry Trinity Sergius Lavra. Canvas, oil.
1922 Symphony action. X., m. 78x92. Private assembly. Moscow
1922 august evening. Ligachevo. X., m. 76x98. Simferopol.
1922 Day of Annunciation. Canvas, oil.
1923 people. X., m. 91 x 121. Kharkov
1924 Portrait of K.A.uon, artist's wife. X., m. 50x55. Assembly O.I.uon. Moscow
1924 body. B., AKV. 30.5x24.5. Cathedral O.I.Uon. Moscow
1924 Alexandrovsky Garden near the Kremlin. Canvas, oil
1926 Portrait of the poet Gregory Shirman. Emergency
1926 Komsomolskiy. 1926. H., m. 52x67. CMR
1926 Moscow region youth. Ligachevo. X., m.
1926 in those days. At the House of Unions in the days of the funeral V.I. Lenin. B., AKV., Bel. 32x49. Central Museum V.I. Lenin
1927 The first appearance of V.I. Lenin on the sentence. Petrosovet in Smolny 25 Oct. 1917 H., m. 132x191. GRM
1928 Wires of a working squad to the front. H., m. 198x310. CMVS USSR
1928 Holiday cooperation in the village. Plywood, m. 71x89. Sevastopol
1928 First collective farmers. In the rays of the sun. Podolino. Mosk. oblast H., m.
1928 Window in nature. Ligachevo, May. Canvas, oil, 65x100
1928 Collection of apples. H., m. 94x120. Kaluga
1929 End of winter. Noon. Ligachevo. Canvas, oil. 89x112. GTG
1929 Exiting Province. H. on plywood, m. 79x104. Voronezh
1929 Seni. Ligachevo. X., m. 85x99. Private assembly. Moscow
1929 Portrait of Oleg Jun boy, artist's grandson. X., m. 31x25. Cathedral O.I.Uon.
1929 Future people. H. on plywood, m. 66,5x100. Tver
1929 universities. H. on plywood, m. 72x90. GTG
1930 Ski Excursion. Canvas, oil. 71x123. GTG
1930 Meeting of the Association "Nikitinsky Saturdays". HM
1930 Return from work. 1930. H., m.
1930 Vasilka in the ray of the sun. Plywood, m. 49,5x40,6. Arkhangelsk
1930s Portrait of Shura. The beginning of the 1930s. Vologda
1930s Lefortov Garden in Moscow. Emergency
1930th female portrait. The end of the 1930s. Private Assembly
1935 Winter in the forest.
1935 Light and air. H., m. Mn
1935 Start of spring. H., m. 93x133. Kishinev
1940 ESC. To the opera Mussorgsky "Hovhanshchina". Marfa. 1940 (q)
. October 12, 1875 (Moscow) - April 11, 1958 (Moscow).
Painter, schedule, scene. Born in the family of the insurance agent, a leaving from Switzerland. In 1894 he entered the manviza, for the architectural department. Soon switched to a picturesque department, he studied at K. A. Savitsky, A. E. Arkhipov, L. O. Pasternak, in 1899 he worked in the workshop V. A. Serov.
From 1896 until the end of the 1900s, Paris was visited repeatedly, where he was engaged in private studios. From 1898 gave private lessons. In 1900-1917 he headed the school K. F. John and I. O. Dudin in Moscow. He fascinated by the culture of ancient Russia. In the late 1890s - 1900th, he repeatedly traveled according to the old Russian cities. I also visited Italy, Austria, Switzerland, Germany. He lived in Moscow, in Sergiev Posad (1903, 1911, 1918-1921), Tver Province (1905-1906, 1916-1917), Pereslavl-Zalessky, Yaroslavl.
He took part in the exhibitions of the Moscow Partnership of Artists (1899, 1902), the partnership of mobile art exhibitions (1900), the "Art World" (1901, 1906). Since 1903 he was a permanent exhibitor of the Union of Russian Artists, from 1904 - was part of the Union Committee. He worked mainly as a landscape officer, gaining "broad fame" at the Moscow and St. Petersburg public.
In the late 1900s - early 1910s, the opera performances of Russian seasons S. P. Dyagileev in Paris. The undoubted luck of John in the field of scenography was the design of the opera M. P. Mussorgsky "Boris Godunov", set on the stage of the Theater of the Champs Elysees in Paris in 1913. In decorations and costumes, the knowledge of Russian culture and history was manifested, which was distinguished by many picturesque works of the Master.
Since 1910, the artist collaborated in the theaters K. N. Nellobin, Opera S. I. Zimin, Male Theater, MHT. In 1916, he took part in the design of the literary and artistic collection "Polec for the book: to the 50th anniversary of the publishing activities I. D. Sotina.
After the revolution was one of the initiators of the creation of schools of fine art in the Moscow branch of the national education. In 1920 he received the first prize for the project of the curtain for the Bolshoi Theater. In 1921 elected a valid member of the Russian Academy of Arts. From 1925 - Member of AHRR. In 1938-1939, he led the personal workshop in the All-Russian Academy of Arts in Leningrad.
In 1940, performed sketches of the mosaic design of the Palace of Soviets. In 1943 he was awarded the Stalin Prize, in 1947 he was elected a full member of the Academy of Arts of the USSR. From 1943 to 1948 he worked as the main artist of the Small Theater. In 1950, the title "People's Artist" was awarded. In 1948-1950, he headed the history and theory of fine art of the Academy of Arts of the USSR. Doctor of art history. In 1952-1955 he taught at the Moscow State Art Institute. V. I. Surikova, Professor. Since 1957 - First Secretary of the Board of the Union of Artists of the USSR.
In early work, Jun often applied to the renowmns of the Russian village: the artist was interested in the state of nature, the change of seasons, the life of provincial cities and villages, the architecture of ancient churches and monasteries. His picturesque manner was influenced by the lessons of the Korovin and Serov. After the revolution, the individual handwriting of the artist changed little, somewhat different became a circle of plots. In the 1920s - 1950s, he created a number of portraits, paintings on the topics of the history of the revolution and the modern life in which he adhered to realistic tradition. The landscapes of this time are close in the manner of execution by earlier work of the 1910s, in which elements of impressionism and "mobile realism" are closely intertwined. Filled with thin lyrics, they represent the greatest value in all the creative heritage of the master.
Just as the theater decorator is greatly inferior to Jouu-painter. Most of its theatrical works are not distinguished by the novelty and artistic imagination, which are characteristic of the scenography of many of his contemporaries.
The personal exhibitions of John were organized in 1926, 1945, 1955 in the State Tretyakov Gallery (they were confined to the 25th anniversary, the 50th anniversary of the 60th anniversary of creative activity), 1931 - in the State Museum of Fine Arts, 1950 - at the Academy of Arts of the USSR. Posthumous retrospectives of the Master took place in 1962 and 1976 in the Tretyakov Gallery, in 1976 in the Russian Museum.
The works of the artist are in the collections of many domestic museums, including GTG and GMI them. A. S. Pushkin in Moscow, timing in St. Petersburg.
Buried at the Novodevichy Cemetery. On the house where Jouon lived and worked, 14-16 street), - a memorial plaque.
(The article uses the information of the site ARTinvestment.RU)
 Bereza Petrovskoe. 1899. X.M. |
 Holiday. 1903. Cardboard, tempera. 95.5x70. State Russian Museum |
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Exhibitions:
Literature:
K. F. John, Moscow in my work, M., 1958;
K. F. John, about art, t. 1 - 2, M., 1959.
A P U W K and N Ya. V., K. F. John, M., 1936;
Tretyakov N., K. F. John, M., 1957;
K. F. John. Man, artist, public figure. Teacher. [CataloClicker], M., 1968;
[Romashkova L.], K. JUN. [Album], M., 1973;
K. F. John, century from birth, 1875 - 1975, M., 1976.
JUON Konstantin Fedorovich
1875, Moscow - 1958, Ibid.
Fate in every way fagged by K. F. John. He lived a long life. He had an uncomfortable happy marriage. The surroundings loved him. He never had to fight the need. Success came to him very early and always happened to him. After the revolution, honors, high awards, titles, guidelines, as it were, were looking for him.
Advanced was less - this is a breaking over for several years with the Father (employees of the Bank) because of the marriage of John on the peasant and the early death of one of the sons. In 1892, Jun entered the men, where he was engaged in K. A. Savitsky, N. A. Kasatkina, A. E. Arkhipova, V. A. Serov.
The audience noticed his paintings on the student exhibitions and bought them so hardly that a student Jon was able to take a journey through Russia and in Europe. Subsequently, his paintings were always welcome and at the exhibitions of the Movements, and at the exhibitions of the World of Art and the SRH (a member of which he was). He wrote the leading critics and art historians of his time -an. Benouua, I. E. Grabar, P. P. Muratov, and M. Efros, D. E. Arkin ... He himself performed as art historian with works on the work of Russian artists, about painting technique, about artistic education.
Soon after the end of the school, John began teaching activities and worked out all his life, having deserve the great appreciation of his students, among whom were V.I. Mukhin, sculptor-animal V. A. Vatagin, etc.
Jouk left a lot of work of different levels. He was a painter, a schedule and theater artist. I tried myself in the thematic picture, wrote portraits of my contemporaries, but a landscape painting was true to his vocation.
Like other Master of the SRH, John learned some principles of French impressionists, without giving up with the traditions of Russian realism of the second half of the XIX century, that is, not "dissolving" the form of objects in the environment. Like A. P. Ryabushkin and B. M. Kustodiyev, he loved Russian old days, her decorativeness and colorfulness.
The opening of the Old Russian iconography occurred on his memory. Restorers began to clear the icons and discovered bright, clean colors. All this influenced the formation of John's manner. He loved joy and beauty in nature and life; Most of the whole depicted the sun, snow, bright folk clothes, monuments of the ancient Russian architecture ("Troitskaya Lava Winter", "Spring Sunny Day", both 1910; "March Sun", 1915). His picture "Dome and Swallows. Assumption Cathedral of the Trinity-Sergiye Lavra" (1921). This panoramic landscape, written from the Cathedral's bell tower with a clear summer evening, at sunset. Under the gentle sky, the Earth is gracious, and in the foreground shone the dome lit by the sun with golden patterned crosses. The motive itself is not only very beautiful, but also bold for the era of the merciless struggle of the new power with the church.
The historical topics - the revolution and the Patriotic War - Jun also approaches the landscape, and, summarizing, seeks to be extremely reliable ("before joining the Kremlin. Nikolsky gates 2 (15) November 1917", 1926; "Parade on Red Square in Moscow November 7, 1941, 1942).
Among the later works of John, those written in the village of Ligachevo near Moscow, where the artist had a house and where he worked from 1908 to 1958 ("The end of winter. Naldon", 1929; "Russian winter. Ligachevo", "open window . Ligachevo, "Both 1947), and those written in the memoirs of youth and are associated with the poetic side of the life and life of the old Moscow, which has robbed the artist (" feeding pigeons on Red Square in 1890-1900 ", 1946).
(According to the materials of the site staratel.com)
JUN, Konstantin Fedorovich
(born 1875) is a famous painter. He studied at the Moscow School of Painting, Sculpture and Architecture (1893-98), the last year working in the class D. Serov (see).
At the same time, Yu exhibited at the student exhibitions and committed several trips abroad.
In 1900, together with the artist Dudine, an art school was opened in Moscow, from which a number of large artists (including Yakulov, Vatagin, BR. Spring).
From 1900 Yu. Takes part in the exhibitions "World of Art", "36", and then the "Union of Russian Artists" (until 1920). Member of the Paris Autumn Salon (from 1906); Repeatedly exhibited abroad.
Creativity Y. is characteristic of the art of the breakdown of prom. capitalism in Russia. With a response against academic "literary writes" and the complexity of the plot narrative of the movement of mobile life, the interest in the very subject of the image was rising, which, together with new formal provisions, proclaimed French impressionism, created conditions for the heyday of the landscape in Russian painting.
Fastened Rus. Capitalism, who acquired European importance, was looking for national forms for his expression in art. The expressives of these aspirations were many large masters of the Russian Landscape, including Y. in their landscapes of Y. willingly introduces people and things that emphasize the national, Russian nature of nature. The influence of K. Korovin and Serov, already closely approached the problem of the captivity.
In his work, on the other hand, it uses topics and techniques, first affected by Ryabushkin. Not limited to the show of the endless Dali, which at first glance is covered by the passive viewer, the artist in different plans put a number of volumetric items serving milestones, gliding in which the eyes with the greatest convincing perceives the illusory depth of the image ("March Sun", 1916). The same role is played by the volume forms of architecture - the inevitable motive in the pictures of Yu. The plot of Yu. Always Besfaben.
In very emotional landscapes, Yu. The main sense does not receive permits in the actions of the central person, but drawn to all elements of the picture equally. Gradually, this effective principle is localized in the "animated" landscape of figures (as an example of which the "dance of the Swam" can serve as an example, which later led to the unification of the scattered figures into a single crowd. This facilitated the transition of Y. to a purely externally understood revolutionary subject and led to the possibility of joining it in 1925 in ACPP.
The sample of the work of the last period can be the "parade of the Red Army" (1923). From 1912 Y. Works in the theater. They are drawn up by performances: "Boris Godunov" in the Dyagilev Theater (Paris), the "Auditor" in the art theater, a number of performances in the theater of the Neminobin and Zimin, and after the revolution - "Arakcheevshchyna" in the Moscow Male Theater and others in the field of decorative art Yu. He worked a lot in Mososelprom.
The mansion is the "cosmic" paintings (cycle "CO-CREATION OF THE WORLD", which was published in the magazine "Scales", 1910, etc.). From 1926 Yu. - Honored Art Worker.
A large number of John's works is located in the Tretyakov Gallery in Moscow and the Russian Museum in Leningrad.
E. Kronman.
The most famous canvas Konstantin Jun
Self-portrait, 1953
Konstantin Jun was one of those artists to which fate favors from the very beginning. His talent was noticed even during the student exhibition, the paintings were eagerly bought, even though the name of the artist no one then knew. He managed to write the canvas about the simple life, about the beauty of the Russian land.
He liked to portray bright landscapes, the transition of the seasons, Jouu loved to complement his paintings with bright folk costumes. In all his works, the worship of the Russian man and the beauty of the Russian land is felt.
He was born in a secured family on October 24, 1875, and in 1902 he began to write decorations for performances, was a permanent exhibitor of the Union of Russian artists. After the revolution, the glory is not going anywhere, on the contrary, the talent was noted and encouraged. It was Konstantin Fedorovich that is the initiator of the creation of schools of visual art in the Moscow branch of the national education.
He himself immediately at the end of the school led active teaching activities and did his whole life. Among his students there were such sign figures for Soviet art as V.I. Mukhina and V. A. Vatagin.
A stunning man in his paintings showed the purity of nature and souls, the canvas are literally permeated with the inner light. He wrote portraits, made a schedule, but he managed to landscapes. We offer today to familiarize yourself with the most famous pictures of the Soviet artist.
"Trinity-Sergiyev Lavra. In winter
1920 - this picture is called the most famous and successful painters in the arsenal. Peeling into thin light, covered by snow, the dome of the cathedral express some solemn holiness.
The stunning energy of the painting was due to early hobbies of Johscopeus. He repeatedly fell to exhibitions and temples with ancient icons. Even then, in pre-revolutionary Russia, it was conquered paints and light that comes from icons. Therefore, temples and everything connected with faith, he was especially inspired.
"July. Bathing »1925.
- The painter managed to make an unusual summer landscape with simple and bright accents. Picturesque nature, bright paints and amazing energy - as in all the pictures of John.
"Autumn view from the balcony"
- All years of year were subject to Brush John. He knew how to masterfully portray the slightest details and focus on trifles. It would seem, a simple view from the window - that he can show. But the artist managed to convey the elusive energy of the autumn leavefall.
"Parade on Red Square November 7, 1941,"
The picture was written in 1949. The legendary parade on November 7 was sacred for the entire Soviet Union. To raise the combat spirit and persuasion of people in the victory, a parade was held, even despite the broken war.
"Komsomolskaya", 1926
- The new power did not interfere with the artist to create further. He saw new paints, Komsomol and communism became another theme for creativity.
"Blue bush"
- This picture in the style of impressionism is impossible not to remember when conversation about Konstantin John. The picture seems to be permeated with light energy and bright colors. The stain of the blooming bush on the sunny lawn gives a wonderful mood and joy from viewing.
"Night. Tver Boulevard "
- A universal and talented artist perfectly knew how to transfer not only daytime paints and refraction of sun rays, but also urban lights and night walking. From the very birth, he lived in Moscow, and, like no other, loved this city. He managed to convey in the picture a wilderness of the summer evening, the game of light and shadows after sunset.
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