Painting 1st half of the 19th century. Painting of the first half of the XIX century

Lyagin Yana

This work introduces us to the art of the XIX century. The art of any time, like a sponge, absorbs the main problems, ideas and views of their time. For Russian art, this circumstance is most significant, since it was always unable to be politicized, then, in any case, it is closely connected with the ideology of the ruling part of society, the reaction of its circles or revolutionary radicals.

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Municipal Competition of Refemement Works Students

Municipal State Community Institution

secondary school with. Slastay.

Full address: Saratov region, Ekaterinovsky district, s. Slast

ul. Working d. 1

Abstract work:

"Russian art in the XIX century"

Grade 10

Head : Sazonova Julia Andreevna,

art teacher.

2013-2014 academic year

Introduction ........................................................................... ... ......... 3

1. Culture of Russia of the XIX century: general characteristic ...............................4

2.Russian art in the XIX century ..........................................................6

2.1 Russian art in the first half of the XIX century - the "golden age of culture" ................................................................................................. 6

2.2 Russian art in the second half of the XIX century ........................... .... 11

Conclusion ................................................................................................15

List of literature used ............................................. ... ....... 16

Introduction

The art of any time, like a sponge, absorbs the main problems, ideas and views of their time. For Russian art, this circumstance is most significant, since it was always unable to be politicized, then, in any case, it is closely connected with the ideology of the ruling part of society, the reaction of its circles or revolutionary radicals.

Purpose of work - analyze the Russian art of the XIX century.

Tasks:

1. The total characteristic of this era;

2. Briefly describe the Russian art of the XIX century in its views.

1. Culture of Russia XIX century: general characteristics

The history of Russian art of the XIX century is customary to share the stages.

The first half is called the golden age of Russian culture. He began to coincide with the epoch of classicism in Russian literature and art. After the defeat of the Decembrists began a new lift of social movement. This instilled the hope that Russia would gradually cope with his difficulties. The country has achieved the most impressive success in these years in the field of science and especially culture. The 1st half of the century gave Russia and the world of Pushkin and Lermontov, Griboedov and Gogol, Belinsky and Herzen, Glinka and Dargomyzhsky, Bryullov, Ivanova and Fedotov.

The fine art of the first half of the XIX century has internal community and unity, unique charm of bright and humane ideals. Classicism is enriched with new features, its strengths are more clearly manifested in architecture, historical painting, partly in sculpture. The perception of the culture of the ancient world has become more historical than in the XVIII century, and more democratic. Along with classicism, the romantic direction is intensive development and a new realistic method begins to form.

The romantic direction of Russian art of the first third of the XIX century has prepared the development of realism in the following decades, for it to a certain extent brought together romantic artists with reality, with a simple real life. It was the inner essence of the complex artistic movement of the entire first half of the XIX century. In general, the art of the named stage is architecture, painting, graphics, sculpture, applied and folk creativity - outstanding, complete peculiarity phenomenon in the history of Russian artistic culture. Developing progressive traditions of the preceding century, it created many excellent works of large aesthetic and social value, making a contribution to the world heritage.

The second half is the time of final approval and consolidation of national forms and traditions in Russian art. In the middle of the XIX century, Russia survived strong shocks: the Crimean War of 1853-1856 ended with defeat. The Emperor Nicholas I died, who climbed the throne, Alexander II, carried out the long-awaited abolition of serfdom and other reforms. Popular in art became Russian theme. Russian culture was not closed at the national framework, was not separated from the culture of the rest of the world.

1. Russian art in the XIX century

The beginning of the XIX century is the time of cultural and spiritual lifting in Russia. The development of Russian culture in the 19th century relied on the preceding time conversion. The penetration of elements of capitalist relations to the economy has strengthened the need for competent and educated people.Public Bibilights and Museums played a positive role in the cultural life of the country (the first public library was opened in St. Petersburg in 1814). Russia developed against the background of an increasing national identity of the Russian people and in connection with this had a pronounced national character.

2.1 Russian art in the first half of the XIX century - the "golden age of culture

The first third of the XIX centuries is called the "golden age" of Russian culture. Interest in domestic history was the reason for the emergence of numerous novels, stories, ballads, leads on various historical topics. The most famous steel novels M.N. Zagoskin (1789--1852) "Yuri Miloslavsky, or Russians in 1612", "Roslavlev, or Russians in 1812", "Kuzma Roshchin",I.I. Lazhechnikova (1792-- 1869) "Ice House", "Last New Year", "Basurman". Even in the names it is clear that these and other works of historical prose considered crisis periods of Russian history: the civilian struggle of Russian princes, Russian liberation wars, political intrigues and events that have, from the point of view of their authors, essential importance. At the same time, political addictions of the authors opposed the fore. For example, M. N. Zagoskin was an obvious supporter of the monarchy, and these views are not manifested in the author's political declarations, but in his heroes, in the descriptions of the elements of life, depending on the personal relationship of characters from the outcome of many historical events. And yet, in the center of all narches, one common idea was concluded, which mostly issued after the war of 1812 and briefly pronounced I.I. Alazhennikov in the preface to the novel "The Last New Year": "The feeling that dominates in my novel, there is love for debris" .

The story in its extreme moments is the content and ingenious "Taras of Bulba" Gogol, the "Captain's daughter" and "Arape Peter the Great" Pushkin, his drama "Boris Godunov", the poems "Poltava" and so many works that they are impossible and transferred.A.S. Pushkin He became a symbol of his era when the rapid takes place in the cultural development of Russia. Pushkin is the creator of the Russian literary language. It has become an impassive value in development only Russian, but also of world culture. He was a singer of freedom and a convinced patriot. The poet bequeathed to descendants: "It's not only possible to proud to proud of my ancestors, but it should ... respect for the last one - here is a feature that distinguishes the formation of wildness ...."

The humanistic ideals of Russian society were reflected in the high-cost-general samples of architecture of this time and monumental-decorative sculpture, in the synthesis with which decorative painting and applied art, which often turns out to be in the hands of the architects themselves. In the architecture of the XIX century. Classicism dominated. The buildings built in this style are distinguished by a clear and calm rhythm, the correctness of the proportions. Significant differences were available in the architecture of St. Petersburg and Moscow. Back in the middle of the XVIII century. Petersburg was the city of architectural masterpieces, drowned in the greenery of the estates and was in many ways similar to Moscow. Then the regular development of the city began along the cuts of his prospectuses, rays from the admiralty. Petersburg classicism is an architecture of not individual buildings, but entire ensembles affecting their unity and harmony. . An important role in the formation of the architectural appearance of St. Petersburg is played by the building of the Admiralty, erected by the projectA.D. Zaharov (1761-1811). Facade of Admiraltyit was stretched at 406 m. In the center it is located a triumphal arch with a high gilded spire, which became one of the symbols of the city.

The largest architect of this timeAndrei Nikiforovich Voronikhin (1759-1814). The main creation of Voronikhina is the Kazan Cathedral, the majestic colonnade of which formed the area in the center of Nevsky Prospekt, turning the cathedral and the environment in the most important town-planning knot of the center of St. Petersburg. In 1813, in the cathedral, M.I. Kutuzov was buried and the cathedral became a kind of monument to the victories of Russian weapons in the war of 1812. Later on the square in front of the cathedral, the statues of Kutuzov and Barclay de Tolly, performed by a sculptorB.I. Oorlovsky. Russian sculpture of the 30-40s of the XIX century. It is becoming more democratic. In the middle of the century sculpture, the main - two directions: one, coming from the classics, but who came to dry academism; Another detects the desire for a more direct and multilateral display of reality, it gets spread in the second half of the century, but undoubtedly also the fact that both directions of monumental style are gradually lost.

The sculptor, who in the years of decline of monumental forms managed to achieve significant success in this area, as well as in "small forms", wasPeter Karlovich Klodt (1805-1867), author of horses for Narva triumphant gates in St. Petersburg (Arch. V. Stasov), "Tweeders of Konya" for Anichkova Bridge (1833-1850), monument to Nicholas I on Isaac Square (1850-1859), I.A. . Kryona in the summer garden (1848-1855), as well as a large number of animal sculpture. The leading direction of architecture and sculpture of the first third of the XIX century was classicism. In painting, he was primarily developed by academic artists in the historical genre (A.E. Egorov - "Study of the Savior", 1814, Timing; V.K. Shebeyev - "The feat of the merchant of Igolekin", 1839, timing; F.A. Bruni- Death Camilla, sisters Horace ", 1824, timing;" Copper Fri ", 1826-1841, timing). But the true successes of painting lay, however, in another row - romanticism. The best aspirations of the human soul, the ups and parish of the Spirit expressed the romantic painting of that time, and above all the portrait. In the portrait genre the leading place should be assigned to the Cyprinen Oresa (1782-1836). The test part of the Cyprosk creativity is graphic portraits, made in the mainly soft Italian pencil with a saving pastel, watercolor, colored pencils. He depicts General E.I. Chaplica (GTG), A.R. Tomilova (timing), P.A. Olenina (GTG). The emergence of quick pencil portraits-sketching in itself is significant, characteristic of the new time: any miming change of the face is easily fixed in them, any mental movement. But a certain evolution also occurs in the Kiprensky chart: there are no directness and warmth in later work, but they are virtuoser and exquisite by execution (portrait of S.S. Shcherbatova, IT. Car., GTG).

Sequential romance can be called PoleA.O. Orlovsky (1777-1832), he quickly assimilated in Russian soil, which is especially noticeable in graphic portraits. In them, through all the external attributes of European romanticism with its rebellion and voltage is overlooking something deeply personal, hidden, intimate (Self-portrait, 1809, GTG). Oryolsky belongs to a certain role in the "triggering" of ways to realize due to its genre sketches, drawings and lithographs depicting Petersburg street scenes and types that caused the famous quatrains of PA, Vyazemsky:

Russia is former, deleting

You pass off the offspring,

You grabbed her alive

Under the folk pencil.

The first half of the XIX century. marked by the flourishing of Russian music related, first of all, namedMikhail Ivanovich Glinka(1804-1857), which entered the story as the first Russian composer of world importance. M.I. Glinka is considered the founder of Russian classical music. His operas "Life for the king" and "Ruslan and Lyudmila" largely determined the further development of Russian opera music for many decades ahead. A distinctive feature of the creative approach of the composer was to use the motives of Russian folklore, folk music. He wrote a glint and romance. A significant contribution to the development in Russian musical culture made contemporaries GlinkaA.A.Alabyev, A.E.Vlamamov, A.L.Gurlev, famous today, mainly as the authors of Romance.

A.A. Alyabyev. A.L.Gurlev A.E.Vlamov

2.2 Russian art in the second half of the XIX century

Conditions for the development of culture in the second half of the 19th century.

The second half of the XIX century. - the time of final approval and consolidation of national forms and traditions in Russian art. In the middle of the XIX century. Russia experienced strong shocks: the defeat ended the Crimean War of 1853-1856, Emperor Nicholas I died, who climbed the throne Alexander II carried out the long-awaited cancellation of serfdom and other reforms. Popular in art became Russian theme. Russian culture was not closed at the national framework, was not separated from the culture of the rest of the world. Achievements of foreign arts found a response in Russia. In turn, Russian culture received worldwide recognition. Russian culture occupied an honorable place in the family of European cultures.

Fine art could not remain aside from the processes that took place in the public consciousness. The State Tretyakov Gallery in Moscow is one of the largest meetings of Russian visual arts, the world-famous National Cultural Center. The museum is the name of the founder - Moscow merchant P.M.Tretyakova (1832-1898), who presented its picture gallery in 1892, as well as a small collection of brother and the house, which in 1881 opened for visitors.

At this time, Russian artists reached such a level of skill, which put their works in one row with the best examples of European art. The current is based on the ideas of critical realism. One of the first masters of this area was Vasily Grigorievich Perov (1833-1882). His genre works ("Rural Travel in Easter" of 1861, "Wires of the Deader" of 1865, Troika 1868) are the sorrowful stories of the life of a simple people set forth in the language of painting.

Unprecedented heyday reached a landscape. Landscape painting turned into one of the advanced areas of artistic creativity, this genre was raised to a new height. Expressive funds were improved, the technique developed. Landscape II Half XIX is no longer just an image of the "species of landscapes", and painting, through the images of nature, transmitting the finest movements of the human soul. The greatest masters of the landscape in Russia were A.K. Savrasov ("Gracchi flew" of 1871), I.I. Chishkin ("Sosnovy Bor" 1873, "Rye" of 1878), A.I.Kounezhi (" Birch grove "1879," Moonlight on the Dnieper "1880), V.D. Polenov (Moscow Dvorik, 1878), I.I. Lemitan (" Evening "1892," Spring. Big Water "1897), K.A. Korovin (" Winter "1894" Paris. Capuchin Boulevard "1906).

The vertices are realistic art II half of the XIX century. reached in creativityI.E. Pepina and V.I. Surikova. Historical painting found its highest expression in the work of Vasily Ivanovich Surikova (1848-1916). In the history of the artist, people were most interested in: People's Mass and Strong Bright Persons.

The first work that brought V.I. Surikov to Glory, "Morning Strelletsky execution" (1881). The composition is built on contrast: grief, hatred, the suffering embodied in the figures of the shooters going to the death and their loved ones, are opposed to the squeezing on horseback, a stone frozen in the distance.

In addition to V.I. Surikova paintings on historical topics wrote V.M.vasnetsov. The image of history in his works has a tangible epic, fabulous shade: "After going to Igor Svyatoslavich with Polovtsy" (1880), "Alenushka" (1881), especially the brightly compound of the epic and history manifested itself in the grand canvase "Bogatyry" (1898 G.).

In 1898, a new artistic association was founded in St. Petersburg, the named"World of Art" . Artist's artist stood up at the head of the circleA.N. Benua and Messenat S.P. Dyagilev. The main core of the association wasL.S. Bakst, E.E.Lesser, K.A. Osov. The "World of Art" arranged the exhibition and published a magazine under the same name. The union included very many artists:M.A.Vrubel, V.A.Serov, I.I. Levitan, M.V.nesterov, A. P. Ryabushkin, N.K. Ryrich, B.M. Kustodiev, Z. Serbryakova, K. S.Petrov-Vodkin. Miriskussniks defended freedom of individual creativity. The main source of inspiration was recognized as beauty. The modern world in their opinion is deprived of beauty and therefore instead of attention. In search of beautiful artists of the "World Peace" in their works often turn to the monuments of the past.

Also the second half of the XIX century. - This is a period of outstanding achievements of science and technology. Chemistry, physics, geography, biology develop ...

The development of natural sciences, the wide connections of Russian scientists with Western testified of a sufficient location in Russia in the world community.

Conclusion.

russian sachets your painting architecture

The art of the XIX century can be compared with a multicolor mosaic, where each stone takes its place, has its meaning. So it is impossible to remove any, even the smallest, without violating the harmony of the whole. However, in this mosaic there are stones the most valuable, emitting particularly strong light.

Throughout the centuries-old history, Russian art was experiencing significant, sometimes indigenous changes: it was enriched, complicated, improved, but always remained original.

Russian architecture, visual, folk and applied arts testify to the invaluable contribution, which introduced our people to the treasury of domestic and world artistic culture.

The XIX century, perhaps, the most difficult and interesting period in the history of Russian art. This era gave rise to a brilliant creativity A.S. Pushkin, folk and all-life, full dream of freedom. This is a period of flourishing of spiritual culture: literature, philosophy, music, theater and visual art.

Bibliography.

1.Ilina T.V. Art history: domestic art. Tutorial / TV. - M.: Higher School, 2007. - 407 p.

2. Schoolboy's full reference book 5-11 classes (2 volume). E.V. Simonova.

Interest in Fine Arts covered increasingly wide sections of society, which was expressed in the creation of various artistic societies, growing the popularity of exhibitions at the Academy of Arts, the basis of art journals, creating artistic museums.

The portrait remained the leading genre in painting, its development was associated with the work of O.A. Cyproshensky and V.A. Tropinine. In the works of these artists, the desire to catch the uniqueness of the spiritual and emotional world of contemporaries, romanticism is intertwined with the features of realism. The landscape developed along with the portrait associated with the name S.F. Shchedrin, for whom the poetic perception of the natural appearance of nature is characteristic. Household genre is represented by the creativity of A.G. Venetsianova who deliberately chose him as an independent and full type of painting, and P.A. Fedotova. The subject of their painting is national and democratic. Historical painting developed under the influence of the war of 1812, the growth of patriotism and national self-consciousness. This direction was represented by A.A. Ivanov, who wrote the famous picture of Christ's phenomenon to people, A.E. Egorov, etc. Some artists worked evenly in various genres. Thus were F. Bruni, K.P. Bryullov, the largest artist of his time, in whose work drama, humanity, brilliant skill, was embodied.

Almost all the development of painting at that time was held within the framework of classicism, in the painting of the acquisition of Academism. Academaism was focused on the highest visual technique, mythological and biblical plots, composition decorativeness. In general, for painting Xih in. It is characterized by the expansion of genres, plots, improvement of technical techniques and artistic aspects. For Russian visual arts, romanticism and realism were characteristic. However, classicism was officially recognized method.

Classicism in architecture at the beginning of the XIX century. Reached the highest level of development by creating a fertile soil to express civilian pathos. Characteristic feature - the creation of large ensembles. Russian architecture has distinguished high professionalism, searching for new paths.

Among the architects of that time, OI should be allocated. Beauva, who led the work on the restoration of Moscow after a fire of 1812. Under his leadership, unique city ensembles were created: Theater, Resurrection, Red Square; Alexander Garden; Buildings of the Bolshoi Theater, Maneja - structures, converting the appearance of the city. In St. Petersburg, classicism retained its official character and reflected the value of the city as the capital of the Empire. The Kazan Cathedral (1801-1811) architect A.N. belongs to the number of outstanding monuments. Voronikhina; Building of the Exchange (1804-1811) of the architect Tom de Tonon; Urban ensembles k.I. Rossi, who turned the city into the work of art. According to the draft hell. Zakharov was erected by the Admiralty building. The rays of Petersburg prospectuses were separated from him. According to the project A.A. Monferran was created by St. Isaac's Cathedral - the highest building of Russia of the time.

To change the classicism, which exhausted its capabilities that came to the contradiction with the changed aesthetic needs of the era in the 30s. Hih in. Eclectic came. Its main principle is the use of elements of various architectural styles of the past in free form. Architect K.A. The tone is one of the most striking representatives of this area. By his project was built by the Church of Christ the Savior (1839-1883) in honor of the victory in the Patriotic War of 1812

The most significant successes were achieved at this time in the field of monumental sculpture. As in other directions of artistic culture, there was a lot of influence of the Patriotic War of 1812, the topics of heroism, patriotism, etc. were popular. The sculpture developed in the framework of classicism style, but quite a strong influence acquire realistic features. A characteristic feature of the development of the Russian sculpture of the first half of the century was the synthesis of sculpture and architecture, which was particularly pronounced in the creation of urban ensembles, solving other urban planning tasks.

Among the outstanding sculptors - monumentalists, the special place is occupied by V.I. DEMUM - Malinovsky and S.S. Pimenov. Together with the architect, Voronichin, they created a unique decor of the Kazan Cathedral, then the bas-reliefs for the Mining Institute. Several ambit statues were carved from the stone for the Admiralty building. Sculptors also worked in collaboration with the architect Rossi, the top of their creativity is the sculpture of the arch of the General Staff.

Among the prominent monuments of the era include the Minin and Pozharsky monument on Red Square, created by the sculptor I.P. Martos. In the images of the heroes of the XVII century. The features of patriotism, national pride are embodied. Of great importance was the work of B.I. Orlovsky, author of the figure of an angel, crowing the Alexander column, monuments of Field Marshal M.I. Kutuzov and General Barklay de Tollya in front of the Kazan Cathedral in St. Petersburg. Alexandrovskaya Column - Mengir, one of the most famous monuments of St. Petersburg. Embossed in the ampir style in 1834 in the center of the Palace Square by architect Auguste Monferran by the decree of the younger brother of Emperor Alexander I Nicholas I in memory of the victory over Napoleon. The column is a monolithic obelisk that stands on a decorated bas-relief pedestal with a dedication inscription "Alexander I thank Russia". Upstairs columns - an angel sculpture of Boris Orlovsky. Angel's face is given the features of Alexander I. In his left hand, Angel holds a four-pin Latin cross, and the right attitude towards the sky. The head of an angel is tilted, his gaze is fixed on the ground. The column is facing the facade side to the Winter Palace. It is not only an outstanding architectural monument, but also a large engineering achievement of his era. In the first half of the XIX century. An independent Russian musical art appeared, although the influence of Italian, German, French schools was still very felt. Russian national musical culture was created on the basis of folk creativity, as evidenced by the creativity of A.A. Alyabyeva, the creator of the Russian National Opera M.I. Glinka. Significant contribution to the development of domestic musical art, innovative opera A.S. Dargomyzhsky. The combination of folk motives with romanticism led to the emergence of a special genre - Russian romance (A.A. Alyabyev, A.E. Varlamov, Al. Gurilev). At that time, the role of the drama theater in the cultural life of Russia seriously increased. In Moscow, the center of this type of art was the Small Theater, where democratic trends were very strong; In St. Petersburg - Alexandrinsky, who retained the value of the official. The theatrical art of this time has developed as part of the style of romanticism (especially in the work of PS Mochalov, who played Schiller's play, Shakespeare; a special success had his role Hamlet). Gradually, a realistic direction was approved in the Russian scene due to Dramaturgia A.S. Griboedova, N.V. Gogol, A.N. Ostrovsky. Among the actors who created the fame of the Russian scene should be allocated by M. S. Shchepkin, P.S. Moochalova, E.S. Semenova, et al. There were various types of theaters. Fortress theaters belonged to Russian aristocratic surnames (Sheremetev, Apraksin, Yusupov, etc.) were still widely distributed. State theaters were a bit (Alexandrian and Mariinsky in St. Petersburg, big and small in Moscow). A special place in the cultural life of Russia was occupied by ballet theatrical art. It developed in close connection and under the influence of domestic literature. Leaving the past ballets "Purest Classicism". They came to shift sentimental melodrams and romantic productions. Ballets appeared in the repertoire, the plot of which was suggested by the domestic literature.

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The first decades of the XIX century. In Russia, they were held in the situation of the nationwide lift associated with the Patriotic War of 1812. The ideals of this time were found in the poetry of the young Pushkin. The war of 1812 and the Decembrists' uprising largely determined the nature of the Russian culture of the first third century.

Especially acute contradiction of time were marked in the 40s. It was then that A.I. revolutionary activity began Herzen, with brilliant critical articles V. G. Belinsky, passionate disputes led Westerns and Slavophiles.

Romantic motives appear in the literature and art, which is natural for Russia, already more than a century involved in the pan-European cultural process. The path from classicism to critical realism through romanticism determined the conditional separation of the history of the Russian art of the first half of the XIX century. As if by two stages, the watershed of which were the 30s.

Much has changed compared to the XVIII century. In the visual, plastic arts. The public role of the artist, the importance of his personality, his right to freedom of creativity, in which social and moral problems have now raised increasingly.

The growth of interest in the russian life of Russia was expressed in the building of certain artized societies and the publication of special journals: "Free Society of Literature Literators, Sciences and Arts" (1801), "Journal of Fine Arts" first in Moscow (1807), and then in St. Petersburg (1823 and 1825), "Society for promoting artists" (1820), "Russian Museum ..." P. Swistina (1810s) and "Russian Gallery" in Hermitage (1825), provincial art schools, like school A.V. Stupina in Arzamas or A.G. Venetianova in St. Petersburg and the village of Safonkovo.

The humanistic ideals of Russian society were reflected in the high-cost-general samples of architecture of this time and monumental-decorative sculpture, in the synthesis with which decorative painting and applied art, which often turns out to be in the hands of the architects themselves. The masterful style of this time is mature, or high, classicism, in the scientific literature, especially the beginning of the 20th century, often referred to as Russian ampir.

Architecture

The architecture of the first third of the century is primarily the solution of large urban planning tasks. In St. Petersburg, the layout of the main squares of the capital is completed: Palace and Senate. The best ensembles of the city are created. Especially intensively after the fire of 1812, Moscow is built. An ideal becomes antiquity in its Greek (and even archaic) version; Cenning heroic of antiquity inspires Russian architects. A doric (or Tuscan) warrant is used, which attracts its severity and laconicism. Some elements of the order are enlarged, it usually concerns the colonnade and arches, the power of smooth walls is emphasized. The architectural image is striking magnifier and monumentality. A huge role in the general appearance of the building is played by a sculpture that has a certain semantic value. Much solves the color, usually the architecture of high classicism two-color: columns and stucco statues - white, background - yellow or gray. Among the buildings are the main place are occupied by public structures: theaters, departments, educational institutions, the palaces and temples are much less likely (with the exception of regferred cathedrals under the barracks).

The largest architect of this time Andrei Nikiforovich Voronikhin (1759-1814) began his independent path in the 90s with restructuring after F.I. Demetsov interiors of the Stroganov Palace F.-B. Rastrelli in Petersburg (1793, Mineral Cabinet, Picture Gallery, Corner Hall). The classic simplicity is characteristic of the Stroganovsky cottage on the black river (1795-1796, not preserved. For landscape butter "Cottage Stroganova on a black river" , 1797, MRM, Voronikhin received the title of academician). In 1800, Voronikhin worked in Peterhof, fulfilled the draft galleries at the Buchet Fontana "Samson" and taking part in the overall reconstruction of a big grotto fountains, for which the artist's Academy was officially recognized as an architect. Later, Voronikhin often worked in the suburbs of St. Petersburg: he designed a number of fountains for the Pulkovskaya road, separated the cabinet "Flashlight" and the Egyptian lobby in Pavlovsky Palace,

Wiscontal bridge and pink pavilion in Pavlovsk Park. The main brainstorm of Voronikhina - Kazan Cathedral (1801-1811). The semi-curvous colonnade of the temple, which he erected not from the part of the main - Western, and from the side - the northern facade, formed the square in the center of the Nevsky Perspective, turning the cathedral and the building around to the most important urban-planning unit. Armenia, the second is completed by the colonnade, connect the building with the surrounding streets. The proportionality of the side travel and the buildings of the cathedral, the drawing of the portico and the cannoned Corinthian columns testify to the excellent knowledge of the ancient traditions and the skillful of their modifications in the language of modern architecture. In the remaining unfinished project of 1811, the second colonnade was assumed from the southern facade and a large semicircular area of \u200b\u200bWestern. Only a wonderful cast iron lattice in front of the Western facade was made of this design. In 1813, M.I. was buried in the cathedral Kutuzov, and the building has become a kind of monument to victories of Russian weapons. There were banners and other relics, shot down from Napoleonic troops. Later, the monuments of M.I. were delivered to the cathedral. Kutuzov and M.B. Barclay de Tolly, performed by sculptor B. I. Orlovsky.

Even more strict, anticipated character gave Voronikhin to the Mountain Cadet Corps (1806-1811, now the Mountain Institute), in which everything is subordinated to a powerful doric portico from 12 columns facing the Neva. As much severely, the image of the sculpture decorating its sculpture, perfectly combined with the smoothing of the side walls and doric columns. I.E. Grabar correctly noticed that if the classicism of the Catherine Epoch came out of the ideal of Roman architecture (quarters), then "Aleksandrovsky" as it would resemble the state-of-the-artistic style of Pestum.

Voronikhin - the architect of classicism - a lot of strength gave the creation of an urban ensemble, synthesis of architecture and sculpture, organic combination of sculptural elements with architectural members in both large buildings and small. The Mountain Cadet Corps seek view of Vasilsvsky Island from the sea. On the other side of the island, on his arrow, Tom de Tomon in these years builds an Exemble of Exchange (1805-1810).

Tom de Tomon (OK 1760-1813), Swiss by origin, came to Russia at the end of the 18th century, already working in Italy, Austria, perhaps after passing the course in the Paris Academy. He did not receive completed architectural education, nevertheless, he was entrusted to construction building

Exchange And he brilliantly coped with the task (1805-1810). Tomon changed the entire appearance of the arrows of the Vasilyevsky Island, by placing the semicircle of the coast of the two beds of the Neva, putting along the edges rostral Lighthouse Columns , thereby forming the area of \u200b\u200bExchange Square. The Exchange itself has a form of a Greek temple - periptera on a high base, intended for trading warehouses. The decor is almost absent. Simplicity and clarity of forms and proportions give the building a majestic, monumental character, make it the main thing not only in the arrow ensemble, but also affecting the perception of both embankments as university and palace. The decorative allegorical sculpture of the building of the stock exchange and Rostral columns emphasizes the appointment of structures. The center of the Exchange with a laconic Doric Antablement is blocked by a caissious semi-curvous arch.

The exchange ensemble was not the only conservation of Tom de Tomon in St. Petersburg. He built in royal suburban residences, using the Greek type of construction here. The romantic mood of the artist was fully expressed in the mausoleum "Spouse-benefactor", erected by Empress Maria

Fedorovna in memory of Paul in Pavlovsk Park (1805-1808, a memorial sculpture is performed by Martos). Mausoleum resembles an archaic type of church-forgable. Inside the hall is also blocked by a caissonated arch. Smooth walls are lined with artificial marble.

The new century was marked by the creation of the main ensembles of St. Petersburg. Graduate of the St. Petersburg Academy and the student of the Paris architect J.-F. Shalgrena Andreyan Dmitrievich Zakharov (1761-1811), from 1805 "The Chief Admiralty Architect", starts construction Admiralty (1806-1823). Restruiting the old Korobovskoye building, he turned it into the main ensemble of St. Petersburg, invariably standing in the imagination, when the city refers to the city and today. Zakharov's composite solution is extremely simple: the configuration of two volumes, and one volume is embedded in another, of which the external, P-shaped, separated by the channel from two internal fregenel, M-shaped in the plan. Internal volume is ship and drawing workshops, warehouses, external agencies, administrative institutions, museum, library, etc. The facade of the Admiralty stretched out 406 m. Side facades-wings go to the Neva, the central ending in the middle of the triumphal travel arch with the spire, which is a castle of composition and through which

runs the main entrance inside. Zakharov retained the brilliant Korobovsky plan of the spire, showing the beat and respect to the tradition and sowing it to transform in the new classic image of the building as a whole. The monotony of almost half-kilometer facade is broken by uniformly located portico. In a striking unity with architecture there is a decorative plastic building, having both architectonic, and semantic meaning: Admiralty is the Marine Office of Russia, a powerful marine power. The entire sculpture system was developed by Zakharov himself and brilliantly embodied by the best sculptors of the beginning of the century. Over the parapet of the upper platform of the pavilion of the tower, topped with a dome, depicted allegories of winds, shipbuilding, etc. in the corners of the attic - filled with F. Shchedrine Four sitting warrings in lats, based on shields, below -Mominal, up to 22 m length, relief frieze " Fleet Installation in Russia "I. Terebenev, then in a flat relief Image of Neptune, transmitting Peter Trident as a symbol of domination over the sea, and in high relief - winged glory with banners - Symvari victories of the Russian fleet, even lower sculptural groups" Nymph, holding globes " As the Zakharov himself called them, filled with F. Shchedrin. This is a combination of a round sculpture with high and low terrain, statue plastics with relief-ornamental compositions, this ratio of sculpture with a smooth array of the wall was used in other works of Russian classicism of the first third of the XIX century.

Zakharov died, not seeing admiralty in the finished form. In the second half of the XIX century. The shipyard of the shipyard was built up with profits, much in sculptural decoration was destroyed, which distorted the original idea of \u200b\u200bthe Great Arch Republic.

The best traditions of domestic architecture were connected in Zakharovsky Admiralty (it's not by chance that his walls and the central tower remind many of the simple walls of the Old Russian monasteries with their gentle bell tower) and the most advanced town planning tasks: the building is closely related to the architecture of the city center. From here, it takes the beginning of three avenues: Voznesensky, pea ul .. Nevsky Prospect (this radiation system was conceived by Peter). Admiralty needle echoes high spiers of the Peter and Paul Cathedral and Mikhailovsky Castle.

The leading St. Petersburg architect of the first third of the XIX century. ("Russian ampury") was Karl Ivanovich Rossi. (1777-1849). The initial architectural education of Rossi received in the workshop of Brenna, then

made a trip to Italy, where he studied antiquity monuments. Self-independent his work begins in Moscow, continues in Tver. One of the first works in St. Petersburg -Postroika on Elagin Island (1818). We can say about Rossi that he "thought the ensembles." Palace or the theater turned into a town-planning knot from the squares and new streets. So, creating Mikhailovsky Palace (1819-1825, now the Russian Museum), it organizes the square in front of the palace and lays the street to Nevsky Prospect, and in this case, at the same time, with his intention with other nearby buildings - Mikhailovsky castle and the space of Marsov fields. The main entrance of the building placed in the depths of the front courtyard behind the cast-iron grille looks solemnly, monumentally, which is facilitated by the Corinthian portico, to which there is a wide staircase and two ramps.

Much in the decorative decoration of the Palace Rossi did himself, and with an impeccable taste - a drawing of the fence, the interiors of the lobby and the white hall, in which white with gold prevailed, characteristic of an ampury, like the painting of the Griezaile.

In decoration Palace Square (1819-1829) before Rossi stood the most difficult task - to combine the baroque Palace of Rastrelli and the monotonous classic facade of the building of the Main Staff and Ministries. The architect violated the sadness of the last triumphal arch discovering the exit to a large maritime street to Nevsky Prospect, and gave the right form of the area - one of the largest among the areas of European capitals. The Triumphal Arch, crowned by the chariot of glory, reports the entire ensemble of a highly important character.

One of the wonderful ensembles of Rossi was launched by him at the end of the 10th and completed only in the 30s and included the building. Alexandrian theater built according to the latest technology of that time and with rare artistic perfection adjacent to Him Alexandrian Square, theatrical

the street behind the facade of the theater, who received the name of her architect, and the Square of the Fontanka embankment of the Fontanka. In addition, the ensemble entered the Socolomic Building of the Public Library, modified Rossi, and the Palace Palace, built by Russia in 1817-1818.

Last creation Rossi in St. Petersburg - senata Building and Synod (1829-1834) on the famous Senate Square. Although it still strives to the dangling scope of the creative thought of the architect, which combined the triumphal arch of two buildings, separated by a gallery street, should not be noted the emergence of new features characteristic of the late creativity of the architect and the last period of an ambiguity as a whole: some fraction of architectural forms,

overloading with sculptural elements, stiffness, coldness and pompousness.

In general, the creativity of Rossi is a general sample of urban planning. As once Rastrelli, he himself made a decor system, designing furniture, creating wallpaper drawings, and also headed the huge team of wood and metal masters, painters and sculptors. The integrity of his ideas, the Unified Will helped creating immortal ensembles. Rossi constantly collaborated with sculptors S.S. Pimenal senior and V.I. Demoust-Malinovsky, the authors of famous chariots on the triumphal arch of the main headquarters and sculptures on the Alexandria theater.

"The strictest" of all architects of late classicism was Vasily Petrovich Stasov (1769–

1848) whether it was a barracks (Pavlovsk barracks on a Mars in St. Petersburg, 1817-1821), whether the imperial stables rebuilt ("Stable Office" on the embankment washing at the stable area, 1817-1823), whether shelf cathedrals were erected (Izmailovsky Cathedral , 1828-1835) or Triumphal Arches (Narva and Moscow Gates), or issued interiors (for example. Winter Palace after the fire of 1837 or Ekaterininsky Tsarskoselsky after the fire of 1820). Everywhere Stasov emphasizes the mass, its plastic severity: his cathedrals, their dome cargo and static, columns, usually doric orders, are as impressive and heavy, the overall appearance is devoid of grace. If Stasov resorts to the decor, then it is most often heavy ornamental friezes.

Voronikhin, Zakharov, Toma de Tonon, Rossi and Stasov - Petersburg architects. In Moscow at that time, no less wonderful architects worked. In the war of 1812, more than 70% of the entire city residential foundation were destroyed - thousands of houses and more than a hundred churches. Immediately after the expulsion of the French, the intensive restoration and construction of new buildings began. It reflected all the innovations of the epoch, but remained a living and fruitful national tradition. This was the originality of the Moscow Construction School.

First of all, the Red Square was cleared, and on it O.I. Bove (1784-1834) were rebuilt, and in fact, re-erected trading series, the dome over the central part of which was located opposite the Dome of the Kazakovsky Senate in the Kremlin. On this axis, a monument to Minin and Pozhassky was somewhat later.

Beauvais also engaged in the reconstruction of the territory adjacent to the Kremlin, including a large garden at his walls with a gate from the Mokhovaya Street, the grotto at the foot of the Kremlin Wall and Rampus in the Trinity Tower. Bovy creates theatrical Square ensemble (1816-1825), building a large theater and tying a new architecture with an ancient Kurtkoe wall. Unlike Petersburg squares, it is closed. Osip Ivanovich also belongs to the buildings of the First Hospital (1828-1833) and Triumphal doors At the entrance to Moscow on the part of St. Petersburg (1827-1834, now on Cutuzov Avenue), the church of all the grieving joy at Big Ordyanka in

Zamoskvorechye, which Bevea attached to the erected at the end of the XVIII century. Bazhenovy bell tower and refectory. This is the Church-Rotunda, the dome of which supports the colonnade inside the cathedral. The master adequately continued the case of his teacher Kazakov.

Almost always together fruitfully worked Domenico (Demente Ivanovich) Libolddi (1788-1845) and Athanasius Grigorievich Grigoriev (1782-1868). Liberadi rebuilt burnt during the war Cossack Moscow University (1817-1819). As a result of the rearrangements, the dome and portico become more monumental, from the ionic turned into a doric. Many and successfully Liberadi and Grigoriev worked in a manor architecture ( manor Usacheva on Jauze, 1829-1831, with its fine scenery; The estate of Golitsyny "Kuzminki", the 20s, with his famous equestrian yard).

The special charm of the Russian amp was conveyed to us by the Moscow residential buildings of the first third of the XIX century: the solemn allegorical figures on the facades peacefully adjoin themselves - with the motif of balconies and barisades in the spirit of provincial ussers. The end facade of the building is usually bred on the red line, while the house itself is hidden in the depths of the yard or garden. The composition of comprehensive painting and dynamics, in contrast to the St. Petersburg equilibrium and orderliness (Lunin house, in the Nikitsky gate, built by D. Livilladi, 1818-1823); House Khrushchev, 1815-1817, now Museum A.S. Pushkin, built by A. Grigoriev; His house Stanitskaya, 1817-1822, now Museum L.N. Tolstoy, both on the prechistenka.

Liberadi and Grigoriev in many ways contributed to the spread of a Moscow ambigue, mainly wooden, throughout Russia, from Vologda to Taganrog.

By the 40s of the XIX century. Classicism has lost its harmony, weightless, complicated, we see this on the example

St. Isaac's Cathedral in St. Petersburg built Auguste Monferran Forty years (1818-1858), one of the last prominent monuments of cult architecture in Europe XIX century, which united the best forces of architects, sculptors, painters, bricklayers and founders.

Ways to develop the sculpture of the first half of the century are inseparable with the paths of development of architecture. In the sculpture, such masters continue to work as I.P. Martos. (1752-1835), in the 80-90s of the XVIII century. Happressed by his tombstones noted by the greatness and silence, the wise acceptance of death, "like an ancient" ("sorrow my light ..."). By the XIX century. His handwriting changes much. Marble is replaced by bronze, lyrical start - heroic, sensitive-strict (gravestone E.I. Gagarina, 1803, HMGS). Greek antiquity becomes a direct sample to imitate.

In 1804-1818 Martos is working on monument to minin and a fire The funds on which were going on a public subscription. Creating a monument and its installation took place during the highest public lifting and reflected the mood of these years. The ideas of the highest civil debt and the feat in the name of Martos Motherland embodied in the images of ordinary and clear, in concise artistic form. Minina's hand is simple to the Kremlin - the greatest folk shrine. His clothes are Russian shirt, and not an antique Toga. At the Prince of Pozbassy, \u200b\u200bancient Russian armor, an isochih helmet and a shield with a picture of the rescue. The monument is revealed differently from different points of review: if you look at the right, it seems that, leaning on the shield, the Pozharsky stands towards minin; From the frontal position, from the Kremlin, it seems that Minin convinced the Pozharsky to take on a high mission of the defense of the Fatherland, and the prince is already taken after the sword. The sword becomes a link

all composition.

Together with F. Shchedrian Martos also works on sculptures for the Kazan Cathedral. They are executed relief "Water outflow Moses" On the Attics of the Eastern Wing of the Colonnade. Clear membership of figures on a smooth background of the wall, strictly classic rhythm and harmony characteristic of this work (Frieze Attica Western Wing "Copper Zmiy", as mentioned above, was executed by Prokofiev).

In the first decades of the century, the best creation was created F. Shchedrin - The sculptures of the Admiralty, as mentioned above.

The next generation of sculptors is represented by names Stepan Stepanovich Pimenova (1784-1833) and Vasily Ivanovich Demoust-Malinovsky (1779-1846). They, like no other in the XIX century, reached in their work organic synthesis of sculpture with architecture - in sculptural groups from

poodostic stone for Voronikhinsky Mining Institute (1809-1811, Demoust-Malinovsky - "Abduction of Proserpina Pluto" , Pimenov - "The Battle of Hercules with Antehe"), the nature of the cargo figures of which is conspired by the Doric portico, or performed from the sheet copper the chariot of glory and the chariot of Apollo for the Republic of National Creation of the Dvorts Triumphal Arch and the Alexandria.

Chariot of Glory Triumphal Arch (Or, as it is also called, the composition "Victory") is designed for the perception of silhouettes, clearly drawn against the background of the sky. If you look at them directly, it seems that the mighty six horses, where the most extremely removed under the coziers, presented in a calm and strict rhythm, reigns over the entire area. On the side of the composition becomes more dynamic and compact.

One of the recent examples of the synthesis of sculpture and architecture can be considered the statues of Barclay de Tolly and Kutuzov (1829-1836, delivered in 1837) at the Kazan Cathedral of work B.I. Orlovsky (1793-1837), which did not live a few days before the opening of these monuments. Although both statues were executed in two decades after the construction of the cathedral, they brilliantly fit into the passages of the colonnade, who gave them a beautiful architectural framing. The idea of \u200b\u200bthe monuments of Orlovsky concisely and brightly expressed Pushkin: "Here is the prickle of Barclay, and here the performer of Kutuzov", i.e. the figures personify the beginning and the end of the Patriotic War of 1812. From here Resistance, internal voltage in Barclay's figure - symbols of heroic resistance and ahead of the gesture. Kutuzov's hands, Napoleonic banners and eagles under his legs.

Sculpture

Russian Classicism found an expression in the machine sculpture, in the sculpture of small forms, in medal art, for example in famous medallion reliefs Fedor Tolstoy (1783-1873), dedicated to the war of 1812, an expert of antiquity, especially Homeric Greece, the finest plastic, extensive

draftsman. Tolstoy managed to combine the heroic, sublime with intimate, deeply personal and lyrical, sometimes painted even a romantic mood, which is so characteristic of Russian classicism. Tolstoy reliefs were performed in the wax, and then the "old manir", as the Senior Seniper did in Petrovsky, were cast by the Metal Master himself, and numerous gypsum options were preserved, or translated into china, or filled in mastic ("People's Militia", "Battle Borodino "," Battle of Leipzig "," Mir of Europe ", etc.).

It is impossible not to mention the illustration of F. Tolstoy to the poem "Drain" I.F.

Tolstoy F. P. Illustration to "Drain". 1820-1833

Bogdanovich, performed in a carcass and feather and bezed by a cutter - an excellent sample of Russian enemy graphics on the plot of Ovidievsky "Metamorphosis" about the love of Amur and Psychia, where the artist expressed his understanding of the harmony of the ancient world.

Russian sculpture of the 30-40s of the XIX century. It is becoming more democratic. It is not by chance that these years appear such works as "a guy playing in grandmother" N.S. Pimenova (Pimenova younger, 1836), "The guy playing in pike" A.V. Loganovsky, hotly met by Pushkin, who wrote the famous poems about their exposure.

Interesting creativity sculptor I.P. Vitaly (1794-1855), who performed the sculpture among other works

for the triumphal gates in memory of the Patriotic War of 1812 in the Tver Ocpain in Moscow (Arch. O.I. Bow, now on the ave. Kutuzov); Pushkin bust, made shortly after the death of the poet (marble, 1837, WMD); Colossal figures of angels at the lamps at the corners of St. Isaac Cathedral - Possible, the best and most expressive elements from the entire sculptural design of this giant architectural structure. As for portraits Vitaly (the exception is a bust of Pushkin) and especially portraits of the sculptor S.I. Galberg, then they bear the direct stylization features for ancient hem, poorly caring, according to a fair remark of researchers, with almost naturalistic persons.

Genre jet is clearly traced in the works early deceased students S.I. Galberg - P.A. Stavasser ("Fisherman", 1839, marble, timing) and Anton Ivanova ("Lomonosov's Patterns on the Sea",

1845, marble, timing).

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

The sculptor, who in the years of decline of monumental forms managed to achieve significant success in this area, as well as in "small forms", was Peter Karlovich Klodt (1805-1867), author of horses for Narva triumphant gates in St. Petersburg (Arch. V. Stasov), "Tweeders of Konya" for Anichkova Bridge (1833-1850), monument to Nicholas I on Isaac Square (1850-1859), I.A. . Kryona in the summer garden (1848-1855), as well as a big

the number of animal sculptures.

Decorative and applied art, so powerfully expressed itself in a general single stream of decorative design of the interiors of the "Russian ampury" of the first third of the XIX century, - the art of furniture, porcelain, fabric, - also by the middle of the century loses the integrity and purity of the style.

Painting

The leading direction of architecture and sculpture of the first third of the XIX century was classicism. In painting, he was primarily developed by academic artists in the historical genre (A.E. Egorov - "Study of the Savior", 1814, Timing; V.K. Shebeyev - "The feat of the merchant of Igolekin", 1839, timing; F.A. Bruni- Death Camilla, sisters Horace ", 1824, timing;" Copper Fri ", 1826-1841, timing). But the true successes of painting lay, however, in another row - romanticism. The best aspirations of the human soul, the ups and parish of the Spirit expressed the romantic painting of that time, and above all the portrait. In the portrait genre, the leading place must be assigned Kiprensky Oresa (1782–1836).

Cyprinsky was born in the St. Petersburg province and was the son of the landowner A.S. Dyaconov and serf. From 1788 to 1803, he studied, starting with an educational school, at the Academy of Arts, where he worked in the class of historical painting from Professor G.I. Ugryumov and french painter G.-F. Duyien, in 1805 he received a big gold medal for the picture "Dmitry Donskaya for winning victory over Mama" (MRM) and the right to a pensioner trip abroad, which was carried out only in 1816 in 1809-1811. Cyprinsky lived in Moscow, where he helped Martos in working on a monument to minin and a fire, then in Tver, and in 1812 he returned to St. Petersburg. Years after the end of the Academy and before departure abroad, received by romantic feelings, the highest flourishing of Cyprossky's creativity. During this period, he rotated in the medium of the free-sisted Russian noble intelligentsia. I knew K. Batyushkova and P. Vyazemsky, he posed V.A. Zhukovsky, and in later years - Pushkin. His intellectual interests were also wide, no wonder Goethe, whom Kiprensky portrayed in his mature years, noted him not only as a talented artist, but also as an interesting person. Complex, thoughtful, changeable in the mood - Let us appear before us depicted by Kiprensky E.P. Rostopina (1809, GTG), D.N. Tail (1814, GTG), Chelishchev boy (approx. 1809, GTG). In a free posture, looking to the side, looking carelessly on the stone slab, stands Colonel Labigycapo E.B. Davydov (1809, timing). This portrait is perceived as a collective image of the war hero 1812, although it is quite concrete. The romantic mood is enhanced by the image of the thunderstorm landscape, against the background of which the figure is presented. The flavor is built on the sonorous, taken in full strength of the colors of red with gold and white with silver-in the clothes of the hussar - and on the contrast of these colors with dark tones of the landscape. Opening a different face of the human character and the spiritual world of man, Cyprosensky used various painting opportunities every time. Each portrait of these years is marked with picturesque maestre. Painting is free, built as in the portrait of the tail, on the thinnest transitions of one tone to another, on different lights of color, then on the harmony of contrasting clean large light spots, as in the image of the Boy Chelischev. The artist uses bold color effects affecting form modeling; Pastomian painting will prompt energy expression, strengthens the emotionality of the image. According to the fair remark D.V. Sarabenova, Russian romanticism has never been such a powerful artistic movement as in France or Germany. There is no extreme excitement or tragic hopelessness. In the romanticism of the Cyprinsky there is still a lot from the harmony of classicism, from the subtle analysis of the "twist" of the human soul, so characteristic of sentimentalism. "The century of the current and age of the past", faced in the work of the early Cyprozen, who was held as a creative person in the best years of military victories and rainbow hopes of Russian society, and amounted to the originality and inexpressible charm of his early romantic portraits.

In late, Italian, the period by virtue of many circumstances of his personal destiny, the artist rarely managed to create something equal to early works. But here you can call such masterpieces as one of the best lifetime portraits of Pushkin (1827, GTG), written by the artist in the last period of his stay in the homeland, or portrait of the Avdulina (approx. 1822, timing), full of emacient sadness.

The invaluable part of Cyproshensky's creativity - graphic portraits made in the mainly soft Italian pencil with a seafood pastel, watercolor, colored pencils. He depicts General E.I. Chaplica (GTG), A.R. Tomilova (timing), P.A. Olenina (GTG). The emergence of quick pencil portraits-sketching in itself is significant, characteristic of the new time: any miming change of the face is easily fixed in them, any mental movement. But a certain evolution also occurs in the Kiprensky chart: there are no directness and warmth in later work, but they are virtuoser and exquisite by execution (portrait of S.S. Shcherbatova, IT. Car., GTG).

Sequential romance can be called Pole A.O. Orlovsky (1777-1832), 30 years of those who lived in Russia and bringing the topic to Russian culture, characteristic of Western romantics (Bivuaki, horsemen, shipwreck. "Take your rapid pencil, draw, Orlovsky, Sword and Sich," Pushkin wrote). It quickly assimilated in Russian soil, which is especially noticeable in graphic portraits. In them, through all the external attributes of European romanticism with its rebellion and voltage is overlooking something deeply personal, hidden, intimate (Self-portrait, 1809, GTG). Oryolsky belongs to a certain role in the "triggering" of ways to realize due to its genre sketches, drawings and lithographs depicting Petersburg street scenes and types that caused the famous quatrains of PA, Vyazemsky:

Russia is former, deleting

You pass off the offspring,

You grabbed her alive

Under the folk pencil.

Finally, romanticism finds its expression and in the landscape. Sylvester Shchedrin (1791-1830) began the creative path with a student of his uncle Seeds of generous with classic compositions: a clear division of three plan (the third plan is always architecture), on the sides of the scenes. But in Italy, where he left the St. Petersburg Academy, these features were not repurchased, did not turn into a scheme. It was in Italy, where Shchedrin lived for more than 10 years and died in a heyday of the talent, he revealed as a romantic artist, became one of the best painters in Europe along with Constable and Coro. He first discovered a captive painting for Russia. True, like the barbizons, Shchedrin wrote in the open air only etudes, and completed the picture ("decorated", by his definition) in the workshop. However, the motive itself changes accents. So, Rome in his canvases is not the majestic ruins of ancient times, but a lively modern city of simple people -Enbakov, merchants, sailors. But this everyday life under the brush generrine has gained an elevated sound. Harbor Sorrento, Naples embankments, Tiber at the castle of St. Angel, people who catch fish, simply talking on the terrace or vacationing in the shade of trees, - everything is transmitted in the complex interaction of the light-air environment, in the delicious merger of silver-gray tones, united usually by the blow of red - in clothing, and headdress, in rusty foliage of trees where any one red branch was lost. In the last works of Shchedrin, an interest in black and white effects, foreshadowing the wave of new romanticism Maxim Vorobyov and his students (for example, "View of Naples on the Lunar Night") appeared. Like portraitist Cyprinsky and Battalist Orlovsky, landscape officer Generin often writes genre scenes.

A certain refraction of the household genre found, oddly sounded, in the portrait, and above all in the portrait of St. Andreevich Tropinin (1776 - 1857), the artist, only by 45 years of freeding dependence. Tropinin lived a long life, and he was destined to learn true recognition, even glory, to get the title of academician and become the most famous artist of the Moscow portrait school of the 20s and 30s. Starting from sentimentalism, the truth, more didactically sensitive than the Sentimentalism of Borovikovsky, Tropinin acquires its own image style. In its models there is no romantic gust of the Cypriansky, but simplicity, the idleness, sincerity of the expression, the truthfulness of characters, the accuracy of the household details are brivered in them. The best portraits of tropinine, such as a portrait of a son (approx. 1818, GTG), Portrait of Bulakhov (1823, GTG), marked with high artistic perfection. This is especially visible in the portrait of the son of Arsenia, an unusually sincere image, the liveliness and the immediacy of which is emphasized by skillful lighting: the right side of the figure, the hair is permeated, filled with sunlight, skillfully transmitted master. Gamma colors from golden-ohloous to pink-brown is unusually rich, the wide use of lescing still resembles the picturesque traditions of the XVIII century.

Tropinin in his work goes along the path of imparting naturalness, clarity, equilibrium with simple compositions of the cereal portrait image. As a rule, the image is given on a neutral background with a minimum of accessories. That is how Tropinin A.S. depicted Pushkin (1827) - sitting at the table in a free pose, dressed in a home dress, which emphasizes the naturalness of the appearance.

Tropinin is the creator of a special type of portrait-painting, that is, the portrait in which the traits of the genre are brought. "Laneby", "Hand", "Guitarist", "Gold Summer" -typed images with a certain storyline, who did not lose, however, concrete damn.

The artist contributed to his work to strengthen the realism in Russian painting and had a great influence on the Moscow school - by definition D.V. Sarabaunova, a kind of "Moscow Bidermeer".

Tropinin just entered the genre element in a portrait. An Alexey Gavrilovich Venetsianov (1780-1847) was the real attitude of the household genre (1780-1847). Amermer for education, Venetsianov left the service for the sake of painting, moved from Moscow to Petersburg and became a student of Borovikovsky. The first steps in the "Arts" he did in the portrait genre, creating pastel, pencil, butter amazingly poetic, lyrical, sometimes received by the romantic mood of images (portrait of B.c. Putyathy, GTG). But soon the artist leaves a portrait for the sake of caricature, and for one-minded caricature of "Welject" the first number of the "magazine of cartoons for 1808 in the faces" was closed. The etching of Venetsianova was, in fact, an illustration for Oda Derzhavin and depicted crowded in receptionist, while in the mirror was visible to the venel, which is in the arms of beauty, it is assumed that this is a caricature on the Krafamodko's graph).

At the turn of the 10-20s, Venetsian was left from St. Petersburg to Tver province, where he bought a small estate. Here he gained his main theme, dedicating himself to the image of peasant life. In the picture "Khumno" (1821- 1822, MRM), he showed the work scene in the interior. In an effort to accurately reproduce not only the poses of working, but also lighting, he even ordered to cut one wall of the gum. Life as it is - that's what the Venetsian wanted to depict, drawing peasants for the cleaning of beet; The landowner who gives the task of the courtyard; sleeping shepherd; a girl with a brunch in his hand; admiring the butterfly of peasant children; Scenes of harvest, Senokos, etc. Of course, Venetsians did not open the most acute collisions of the life of the Russian peasant, did not raise the "sick issues" of modernity. This is a patriarchal, idyllic life. But the artist did not make a poetry from the outside, did not come up with her, and her scream in her most depicted with such love of people's life. There are no dramatic strings in Venetsian's paintings, a dynamic plot, they, on the contrary, are static, "nothing happens in them." But a person is always in unity with nature, in eternal work, and it makes Venetianov's images are truly monumental. Is he realist? In the understanding of this word, artists of the second half of the XIX century - hardly. In his concept there are many and from classic ideas (it is worth remembering his "spring. On arable land", GTG), and especially from Sentimentalist ("in the harvest. Summer", GTG), and in understanding them space - and from romantic. And, nevertheless, Venetianov's work is a certain stage on the way of the addition of Russian critical realism of the XIX century, and in this also the incredit meaning of his painting. This determines its place in Russian art as a whole.

Venetcianov was an excellent teacher. School of Venetsianova, Venetsianovents are a whole Pleiad of artists of the 20s and 19th, who worked with him both in St. Petersburg and in his estate Safonkovo. This is A.V. Tyranov, E.F. Krendovsky, K.A. Zelentsov, A.A. Alekseev, S.K. Zarynko, L.K. Plakhov, N.S. Wings and many others. Among the disciples of Venetsian is many people from the peasants. Under the brush of Venetsianians, not only the scenes of peasant life were born, but also urban: St. Petersburg streets, folk types, landscapes. A.V. Tyranov wrote scenes in the interior, and portraits, and landscapes, and still lifes. Venetsianovtsy "Family portraits in the interior" were especially loved - combined the specificity of the images with the details of the narrative, transmitting the atmosphere of the environment (for example, the picture of Tyranchov "Workers' workshop brothers Chernetovsky", 1828, in which the portrait and genre, and still life are combined).

The most talented student of Venetsian is undoubtedly Grigory Soroka (1813-1864), the artist of tragic fate. (Soroka was freed from the serfdom only by reform 1861, but as a result of litigation with the former landowner, he was sentenced to bodily punishment, did not make one thought about it and committed suicide.) Under the brush, Soroki and the landscape of his native Lake Moldino, and all objects In the office of the estates in the islands, and the figures frozen over the stroke of Lake fishermen are transformed, filled with the highest poetry, benevolent silence, but also with a leaning sadness. This is the world of real objects, but also the perfect world imaginary by the artist.

Russian historical painting of the 30-40s developed under the sign of romanticism. "The genius of compromise" between the ideals of classicism and innovations of romanticism called one researcher (M.M. Allenov) Karl Pavlovich Bullov (1799-1852). Glory to Bhorlylov came back at the Academy: Already, ordinary etudes turned into brullov in the finished paintings, as it was, for example, with his "daffissism" (1819, MRM). After graduating from the course with a gold medal, the artist went to Italy. In the Dwitalian works, Bullov appeals to the plots of biblical ("Appearance of the Three Angels of the Three Angels of Mamvrian", 1821, Timing) and ancient ("Oedip and Antigone", 1821, the Tyumen Regional Museum of Local Lore), engaged in lithography, sculpture, writes theatrical scenery, draws Costumes to productions. Pictures "Italian Morning" (1823, Location Unknown) and "Italian afternoon" (1827, MRM), especially the first, show how close the painter approached the problems of the Plenäer. Brullov himself so determined his task: "I covered the model in the sun, suggesting the lighting from behind, so that the face and chest in the shade and reflectically from the fountain lit by the Sun, which makes all the shadows much more pleasant in comparison with simple lighting from the window."

The tasks of the plenary painting thus interested in Bullova, but the path of the artist, however, was lying in a different direction. Since 1828, after a trip to Pompeii, Bryullov is working on its equal work - "Last Day Pompeii" (1830- 1833). The real event of ancient history is the death of the city with an eruption of Vesuvius in 79 N. e. - It made it possible to show the artist to show the greatness and dignity of a person in the face of death. Fire Lava comes to the city, the buildings and statues are crumbling, but children leave their parents; Mother covers the child, the young man saves his beloved; The artist (in which Bryullov depicted himself) takes paints, but leaving the city, he looks wide open eyes, trying to capture a terrible sight. Even in the death of a person remains beautiful, as a beautifully discarded with the chariot, a woman in the center of the composition. In the painting of Bryullov, one of the essential features of his painting was clearly shown: the connection of the classic stylist of his works with the features of romanticism, with which Bhorlylovsky classicism unites faith into the nobility and the beauty of human nature. Hence the amazing "survivability" preserving the clarity of the plastic shape, the drawing of the highest professionalism prevailing over other expressive means, with the romantic effects of pictorial lighting. Yes, and the very topic of the inevitable death, the inexorable rock is so characteristic precisely for romanticism.

As a certain standard, established artistic scheme, classicism largely limited Romance artist. The convention of the academic language, the language of the school, as the Academy called in Europe, was fully manifested in Pompei: theatrical postures, gestures, facial expressions, lighting effects. But you need to admit that Bullels sought to play historical truth, trying to reproduce specific monuments, open archaeologists as close as possible and the whole world, fill the scenes described by Penny younger in a letter to Tacititis. Exposed first in Milan, then in Paris, the picture was brought to Russia in 1834 and had noisy success. Gogol reconsidered him enthusiastically. The value of the works of Bryullov for Russian painting is determined by the well-known words of the poet: "And the" Last Day Pompeii "was the first day for Russian brush."

In 1835, Brullov returned to Russia, where he was met as a triumph. But the historical genre itself was no longer done, for "Osada Pskov, the Polish King of Stefan Batatory in 1581" was not completed. His interests were in a different direction - a portrait, to which he turned, leaving historical painting, like his great contemporary Cyprosensky, and in which he showed all his creative temperament and shine skill. You can trace a certain evolution of the bullov in this genre: from the front portrait of the 30s, the sample of which can even be a portrait of how much a generic image, for example, a brilliant decorative canvas "Horseman" (1832, GTG), where the pupil of the Countess Yu is depicted P. Samoyallova Jovanina Pachchini, it does not accidentally have a generalized name; or portrait Yu.P. Samoilova with another pupil - Amacylia (about 1839, TRM), to portraits of the 40s - more chamber, and a subtle, multifaceted psychological characteristics (portrait of An. Strigovshchikov, 1840, GRM; Self-portrait, 1848, GTG). In the face of the literator Strigovsk, the tension of internal life is read. Fatigue and bitterness disappointment blows from the appearance of the artist on a self-portrait. Sad thin face with astonvatibious eyes, it was powerlessly hung up aristocratically thin brush hands. In these images, a lot from the romantic language, while in one of the latest works - the deep and heartfelt portrait of the archaeologist Michelangelo Lunch (1851), we see that the Bullels are not alien to the realistic concept in the interpretation of the image.

After the death of the brullov, his students often used only thoroughly developed formal, purely academic principles of the letter, and the name of the Bryullov was to endure a lot of houls from the critics of a democratic, realistic school of the second half of the XIX century, first of all V.V. Stasova.

The central figure in painting of the middle of the century was undoubtedly Alexander Andreevich Ivanov (1806-1858). Ivanov graduated from the St. Petersburg Academy with two medals. He received a small gold medal for the painting "Atam, requested from Achilles the Hector's body" (1824, GTG), in connection with which criticism noted the attentive reading by the artist Homer, and a large gold medal - for the work of "Joseph, interpreting dreams with him in the dungeon Vinolrypia and Khlebodar "(1827, TRM), full expression, expressed, however, simply and clear. In 1830, Ivanov leaves Dresden and Vienna to Italy, in 1831 he enters Rome and only one and a half months before the death (he died from cholera) returns to his homeland.

The path of A. Ivanov was never easy, he did not fly the winged glory, as for the "Great Carl." During his lifetime, his talent was valued Gogol, Herzen, Sechenov, but there were no painters among them. Ivanov's life in Italy was filled with work and reflections on painting. Neither wealth, nor secular entertainment he searched, spending his days in the walls of the workshop and on Etudah. Ivanova's worldview had a certain influence of German philosophy, first of all, the Schedule with his idea of \u200b\u200bthe prophetic destination of the artist in this world, then the philosophy of the historian of Religion D. Straus. The fascination of the history of religion led to an almost scientific study of the sacred texts, the consequence of which the creation of famous biblical sketches and appeal to the image of the Messiah appeared. Researchers of Creativity Ivanova (D.V. Sarabianov) are fairly called its principle "the principle of ethical romanticism", that is, romanticism, in which the chief emphasis was postponed from the aesthetic beginning to moral. Passionate faith of the artist in the moral transformation of people, in improving a person looking for freedom and truth, led Ivanov to the main theme of his creativity - to the picture he dedicated 20 years (1837 - 1857), "the phenomenon of Christ to the people" (GTG, the author's version - Timing).

Ivanov went for a long time to this work. He studied the painting of Jotto, Venetsians, especially Titian, Veronese and Tintoretto, wrote a two-year-rate composition "The phenomenon of Christ Mary Magdaline after the resurrection" (1835, GRM), for which the St. Petersburg Academy gave him the title of academician and extended the period of retirement in Italy for three years.

The first sketches of the "Messiah phenomena" refer to 1833, in 1837 the composition was transferred to a large canvas. Further, the work went, which can be judged by the numerous remaining sketches, sketches, drawings, along the specificization of characters and landscape, the search for the total tone of the picture.

By 1845, the "phenomenon of Christ the people" was essentially over. The composition of this monumental, software work is based on a classic basis (symmetry, placement of the expressive main figure of the foreground - John the Baptist - in the center, the bas-relief location of the entire group as a whole), but the traditional scheme is rethought with an artist. The painter sought to transfer the dynamic of construction, the depthness of the space. Ivanov has been looking for this decision for a long time and achieved it because of the fact that the figure of Christ appears and approaches people who take the baptism of John in the waters of Jordan, from depth. But the main thing that strikes in the picture is the extraordinary truthfulness of a variety of characters, their psychological characteristics that inform the amazing reliability of the entire scene. Hence the persuasiveness of spiritual rebirth of heroes.

The evolution of Ivanov in the work on the "phenomenon ..." can be defined as the path from the specific-realistic scene to the monumental-epic web.

Changes in the worldview of Ivanov-thinker, who had occurred over many years of work on the picture, led to the fact that the artist did not finish his main work. But he did the main thing, as Kramskaya said, "he woke the inner work in the minds of Russian artists." And in this sense, researchers are right, saying that Ivanov's picture was the "foresight of hidden processes", which took place in art. Ivanov's finds were so new that the viewer was simply not able to evaluate them. No wonder N.G. Chernyshevsky called Alexander Ivanov One of those geniuses, "who strongly become people of the future, sacrifice ... Truth and, approaching her already in mature years, are not afraid to start their activities again with the dedication of youth" ( Chernyshevsky N.G. Notes about the previous article // Contemporary. 1858. T. XXI. November. P. 178). Until now, the picture remains a real academy for generations of masters, as the "Athens School" of Rafael or the Sequestinian Plafon Michelangelo.

Ivanov said his word in the development of the principles of the Plenuer. In the landscapes written outdoors, he managed to show all the power, beauty and intensity of nature of nature. And the main thing is not to crush the image in the pursuit of an instantaneous impression, in the desire to accuracy the details, and to preserve its syntheticity, such a characteristic classical art. From each of his landscape there is harmonic clarity, whether it depicts lonely drinking, a separate branch, maritime expanses or Pontic swamps. This is a majestic world conveyed, however, in all the real wealth of the light-air medium, as if you feel the smell of grass, hesitation of hot air. In the same complex interaction with the Wednesday, he depicts a human figure in his famous studes of naked boys.

In the last decade, Ivanov has an idea of \u200b\u200bcreating a cycle of biblical-gospel paintings for any public building to portray the plots of the Holy Scriptures in ancient color flavor, but not ethnographically straightforwardly, but exalted-generalized. The biblical sketches (GTG) performed by watercolor biblical sketches (GTG) occupy a special place in the work of Ivanov and at the same time organically completed it. These sketches provide us with new opportunities for this technique, its plastic and linear rhythm, watercolor stain, not to mention the extraordinary creative freedom in the interpretation of the plots themselves showing the whole depth of Ivanov-philosopher, and about his greatest gift of the monumentalist ("Zechariah in front of the angel", "Sleep of Joseph", "Pelting about the Bow", etc.). Ivanov's cycle is the fact that ingenious work and sketches can be a new word in art. "In the 19th century, the century of the deepening analytical splitting of the former integrity of the art into individual genres and individual scenic problems - Ivanov is the great genius of synthesis, committed by the idea of \u200b\u200buniversal art, interpreted as a kind of encyclopedia of spiritual quest, collisions and the growths of the historical self-knowledge of man and humanity. (Allenov M.M. Art of the first half of the XIX century // Allenov M.M., Evangulova OS, Lifshits L.I. Russian art x - early XX century. M., 1989. P. 335). The monumentalist by calling, Ivanov lived, however, at the time when monumental art quickly went on a decline. The realism of Ivanovo forms is little consistent with the asserting art of a critical nature.

The socio-critical direction, which became the main one in the art of the second half of the XIX century, in the 40-50s declared itself in the chart. A undoubted role here played "Natural School" in the literature, associated (very conventionally) with the name N.V. Gogol.

Huge success had an album of lithographic cartoons "Yelash" N.M. Nevakhovich, who, like the Venetian "caricature magazine," was devoted to the satire of morals. On one page of a large format could be placed several plots, often faces were portrait, quite recognizable. "Elash" was closed on the 16th issue.

In the 40s, the edition of V.F. was in great demand. Timma, illustrator and lithograph. "Ours, written off from Nietarya Russians" (1841-1842) - Image of the types of Petersburg Street from Flankers-France to janitors, cabers, etc. Timm also illustrated "pictures of Russian morals" (1842-1843) and performed drawings to the poem I.I. . Matlev about Mrs. Kurdyukova, Provincial Widridge, from boredom traveling in Europe.

The book of this time becomes more affordable and cheapel: The illustrations began to print with a wooden board with large circulations, sometimes with the help of politicia - metal castings. The first illustrations for the works of Gogol - "One hundred drawings from the poem N.M. Gogol "Dead Souls" A.A. Azgin, engraved E.E. Vernadsky; The 50s were marked by the activity of T. G. Shevchenko as a drawrower ("Parable about the Prodigal Son", implancing cruel morals in the army). Caricatures and illustrations for books and magazines Timma and his associates Agina and Shevchenko contributed to the development of Russian genre painting of the second half of the XIX century.

But the main source for genre painting the second half of the century was the work of Pavel Andreevich Fedotov (1815-1852). In just a few years he devoted his painting with his short tragic life, but he managed to express the spirit of Russia for the 40s. The son of the Suvorov soldier, adopted in the Moscow Cadet Corps for the merits of the Father, Fedotov for 10 years served in the Finnish Guards Regiment. Having resigned, he is engaged in the battle class A.I. Cheeperweed. Fedotov began with household drawings and caricatures, with a series of sepii from the life of Fitelka, the Barynina Dog, who has been in a bose and a packed hostess, from the series, in which he declared himself as a satirical sense - the Russian houses of his "caricatyuran" (in addition to the sword - Sepia "Fashion Shop", 1844-1846, GTG; "The artist who married without dowry in the hope of his talent", 1844, GTG, etc.). He studied on Hogarth engravings, and the Dutch, but most of all - at the most Russian life, an open figure of a talented artist in all its disharmony and contradictions.

The main thing in his work is home painting. Even when he writes portraits, it is easy to detect genre elements (for example, in the watercolor portrait "Players", GTG). His evolution in genre painting - from the image of caricature to the tragic, from overload in detail, as in the "fresh cavalier" (1846, GTG), where everything is "sucking": a guitar, bottles, mockery of the maid, even papillos on the head of the unreachadered hero, - To the limit laconism, as in the "Widow" (1851, Ivanovo Regional Art Museum, option - GTG, TRM), to the tragic feeling of meaninglessness of existence, as in his last picture "Anchor, still Ancor!" (about 1851, GTG). The same evolution and in understanding the color: from the color, sounding crawled, through clean, bright, intense, saturated paints, as in the "Major Watch" (1848, GTG, version-timing) or "Aristocrat breakfast" (1849-1851, GTG ), Before the exquisite colors of "Widowers", which betrays the subject matter, as if dissolved in the scattered light of the day, and the integrity of the single tone of its last canvas ("Ancor ..."). It was a way from simple life-making to the implementation in clear, restrained images of the most important problems of Russian life, because what is, for example, "Major's Watching", as not to blame one of the social facts of the life of his time-bugs of impoverished nobles with merchant "cash bags"? And "picking up the bride, written on the plot borrowed from I.A. Krylova (very, by the way, appreciated by the artist), how is not a marriage at the calculation? Or or the impassment of the void of a secular rush, powdering dust in the eye, - in the "Aristocrat breakfast"?

Fedotov's painting power is not only in the depths of problems, in the existence of the plot, but also in the amazing skill of execution. It is enough to remember the full charm chamber "Portrait of N.P. Zhdanovich for Claviersin "(1849, TRM). Fedotov loves a real substantive world, with delight discourages every thing, poeticing it. But this delight in front of the world does not observe the bitterness of what is happening: the hopelessness of the position of "widows", the lie of the marriage transaction, the longing of the officer service in the "bear corner". If Fedotova breaks through Fedotov, then this is the same Gogol "laughter through the invisible to the world of tears." Fedotov graduated from life in the "sorrow house" on the fateful 37th year of life.

The art of Fedotov ends the development of painting of the first half of the XIX century, and at the same time completely organically - due to its social pointedness - the "Fedotovsky direction" opens the beginning of a new stage - the art of critical, or, as more often, they say democratic, realism.

For Russian visual arts, romanticism and realism were characterized. However, classicism was officially recognized method. The Academy of Arts has become a conservative and oblique institution that prevented any attempts by freedom of creativity. She demanded strictly follow the canons of classicism, encouraged writing paintings on biblical and mythological plots. Young talented Russian artists did not satisfy the framework of Academiz-Ma. Therefore, they more often turned to a portrait genre.
In painting, the romantic ideals of the era of the national lift were embodied. Having rejected strict, not allowing deviations of the principles of classicism, artists discovered the diversity and uniqueness of the world. This not only reflected in the usual already genres - portrait and landscape - but also gave impetus to the birth of a household painting, which was the focus of attention of the masters of the second half of the century. In the meantime, the championship remained behind the historical genre. He was the last refuge of classicism, however, and here for the formally classicistic "facade" hid romantic ideas and topics.
Romanticism - (Franz. Romantisme), ideological and artistic direction in the European and American spiritual culture of the end 18 - 1st floor. 19 centuries. Reflecting the disappointment in the results of the French revolution of the end of the 18th century, in the ideology of enlightenment and public progress. Romanticism contrasted utilitarianism and the leveling of the personality as limitance to unlimited freedom and "endless", thirst for perfection and renewal, pathos of personal and civil independence. The painful disorder of the ideal and social reality is the basis of romantic worldview and art. Approval of the intrinsicness of the spiritual and creative life of the person, the image of strong passions, the image of strong passions, spiritualized and healing nature, in many romantics - the heroes of protest or struggle are adjacent to the motives of "world grief", "world evil", "night" soul side, taking Forms of irony, Grotesque Poetics of Dogmirine. Interest in the national past (often - his idealization), the traditions of folklore and culture of their own and other peoples, the desire to create a universal picture of the world (first of all history and literature), the idea of \u200b\u200bthe synthesis of arts found an expression in ideology and romanticism practice.
In the visual art, romanticism was most brightly manifested in painting and graphics, less clearly in sculpture and architecture (for example, false gothic). Most national romantic schools in visual arts have developed in the fight against official academic classicism.
In the depths of official-state culture, the interlayer of the "elite" culture serving the dominant class (aristocracy and the royal court) is noticeable and possessing special susceptibility to foreign innovations. It is enough to recall the romantic videos of O. Kiprensky, V. Tropinin, K. Bryullova, A. Ivanov and other large artists of the XIX century.
Cyprosa Orest Adamovich, Russian artist. An outstanding master of Russian visual art of romanticism, known as a wonderful portrait. In the painting "Dmitry Donskaya in the Kulikov field" (1805, the Russian Museum) demonstrated a confident knowledge of the canons of an academic historical picture. But early the region, where his talent is revealed in the most natural and at ease, the portrait becomes. His first picturesque portrait ("A. K. Schwalbe", 1804, and there), written in the Rembrandt manner, stands out for its expressive and dramatic black and white light. Over the years, his skill, - the pro-appearance in the ability to create primarily unique individual-characteristic approaches, selecting special plastic tools in order to reject this characterity, it is growing. Impressive vitality is full: Portrait of a boy A. A. Chelischev (about 1810-11), paired images of spouses F. V. and E. P. Rostopchinny (1809) and V. S. and D. N. Podvovkov (1814, all Tretyakov Gallery). The artist increasingly beats the possibilities of color and black and black contrasts, landscape background, symbolic details ("E. S. Avedul", about 1822, there). Even big front portraits, the artist knows how to do lyrically, almost intimately relaxed ("Portrait of the Life-Gusar Colonel of Evgraph Davydova", 1809, Russian Museum). His portrait of a young, shefied poetic glory A.S. Pushkin is one of the best in creating a romantic image. Cyprosen Pushkin looks solemn and romantic, in the halo of poetic fame. "You flatter me, Orest," Pushkin sighed, looking at the finished canvas. Cyprosensky was also a virtuoso drawrider, created (mainly in an Italian pencil and pastel technique) samples of graphic skills, often superior to the open, exciting emotional portraits. These are household types ("Blind Musician", 1809, Russian Museum; Kalmychka Bayaust, 1813, Tretyakov Gallery), and a famous series of pencil portraits of participants in the Patriotic War of 1812 (drawings with the image E. I. Chaplica, A. R. Tomilov, P. A. Olenina, the same drawing with the poet Batyushkov et al.; 1813-15, Tretyakov Gallery and other meetings); The heroic beginning here acquires a sincere shade. A large number of sketches and text certificates show that the artist is all his mature period for creating a large (according to his own words from the letter A. N. Olenina of 1834), "spectacular, or, in Russian, to say, a strike and magical painting", Where in the allegorical form, the results of European history would be depicted, as well as the purpose of Russia. "Newspaper readers in Naples" (1831, Tretyakov Gallery) - Output just a group portrait - in fact there is a hidden-symbolic response to revolutionary events in Europe.
However, the most ambitious of the picturesque Allegories of the Kiprensky remained unfulfilled, or disappeared (like the "Anacreonic tomb" completed in 1821). These romantic searches, however, got a large-scale continuation in the work of K. P. Bryullov and A. A. Ivanov.
Realistic Manera reflected works by V.A. Tropinine. Early portraits of Tropinin, written in the restrained colorful range (family portraits of the Counts of the carrots 1813 and 1815, both - in the Tretyakov Gallery), still belong to the tradition of the century of enlightenment: the model is in them the unconditional and stable center of the image. Later, the painting of painting Tropinin becomes more intense, the volumes are usually more clearly and sculpturally, but the most important thing - the purely romantic feeling of the moving elements of life, only part, whose fragment seems to be a portrait hero (Bulakhov, 1823; "K. G. Ravich" , 1823; Self-portrait, about 1824; all three are there in the same place). Takov and A. S. Pushkin on the famous portrait of 1827 (All-Russian Museum A. S. Pushkin, Pushkin): Poet, putting his hand on a stack of paper, no matter how "Musey hesitates," listens to the creative dream, the environment is invisible halo . He also wrote a portrait of A.S. Pushkin. Before the viewer appears magician life experience, not a very happy person. At the portrait of the tropinin poet homely charming. Some kind of special Staromoshkovsky warmth and comfort fonds from the works of tropinin. Up to 47 years of age he was in the fortress capture. Therefore, it is probably so fresh, so spiritualized on its canvases of the face of ordinary people. And the infinite youth and charm of his "lace". Most often V.A. Tropinin applied to the image of people from the people ("Lace", "Portrait of Son", etc.).
Artistic and ideological search for Russian public thought, waiting for change affected the pictures of K.P. Bryullova "Last Day Pompeii" and A.A. Ivanova "Phenomenon of Nar-Stow people."
The great creation of art is the painting "Last Day Pompeii" Karl Pavlovich Bryullova (1799-1852). In 1830, the Russian Hu-devin of Karl Pavlovich Brullov was visited on excavations of the ancient city of Pompeii. He walked along the ancient bridge, admired the frescoes, and in his imagination, the Thor of the Tragic Night of August 79 g. E. When the city was covered with a routine ashes and a pembassant woken by Vesuvia. Three years later, the painting "Last Day Pompei" made a triumphant journey from Italy to Russia. The artist found amazing paints for the image of the tragedy of an ancient city, dying under Looy and the ashes of an erupted Vesuvius. The picture is imbued with high humanistic ideals. She shows the courage of people, their dedication, shown during a terrible catastrophe. Bryullov was in Italy on a business trip of the Academy of Arts. In this educational institution, training technique of painting and drawing was well delivered. However, the Academy unequivocally focused on an antique heritage and heroic topics. For academic painting, a decorative landscape, theatricality of the overall composition was characterized. Scenes from modern life, the usual Russian landscape was considered unworthy of the artist's brushes. Classicism in painting received a title of Academism. Bryullov was associated with the Academy of all his work.
He possessed a powerful imagination, with a growing eye and a faithful hand - and his live creations agreed with the canons of Academism were born. Truly with Pushkin grace, he knew how to capture on the canvas and beauty of the naked human body, and the shake of a sun beam on a green leaf. The non-worn masterpieces of Russian painting will forever be left his canvases "Horseman", "Wirzavia", "Italian Morning", "Italian midday", numerous front and intimate portraits. However, the artist always has greatly to large historical topics, to the image of significant events of human history. Many of his ideas in this regard were not implemented. I never left the bullov idea to create an epic cloth on the plot from Russian history. He starts the painting of the "siege of Pskov by the troops of King Stephen Batory." It depicts the culmination moment of the siege of 1581, when Pskov warriors and. Citizens of Ki are given to the attack on the Poles who broke into the city and discard them for the walls. But the picture remained unfinished, and the task of creating a truly national historical paintings was not carried out by the Bullylov, but the next generation of Russian artists. One year's Pushkin, Bryullov survived him for 15 years. Last years he was sick. From the autoportist written at that time, a reddish man is watching us with subtle features of the face and a calm, thoughtful gaze.
In the first half of the XIX century. He lived and worked by the artist Alexander Andreevich Ivanov (1806-1858). He devoted all his creative life to the idea of \u200b\u200bthe spiritual awakening of the people, embodying her in the painting "The phenomenon of Christ to the people." For more than 20 years he worked on the picture "The phenomenon of Christ to the people", in which he put all the power and brightness of his talent. In the foreground of his grand cloth, the courageous figure of John the Baptist, pointing to the people on the approaching Christ, is thrown into the eyes. His figure is given in distance. He has not come yet, he goes, he will definitely come, the artist says. And brighten, the faces and souls are cleared of those who expect the Savior. In this picture, he showed how I. E. Repin said later, "the oppressed people, the eager for freedom."
In the first half of the XIX century. In Russian painting enters household plot.
One of the first to him addressed Alexei Gavrilovich Venetsianov (1780-1847). He was in-sacred his creativity to the image of the life of the peasants. It shows this life in an idealized, embellished form, giving tribute to the fashionable then sentimentalism. However, the pictures of Venetsianov "Khumno", "on the harvest. Summer "," on arable land. Spring "," Peasant woman with cornflowers "," Zakharka "," Morning of the Namer "Displays the beauty and nobility of ordinary Russian people, served as a statement of the dignity of a person, regardless of his social status.
His tradition continued Paul Andreevich Fedotov (1815-1852). Its canvas are realistic, filled with satirical content, exposing the trading morality, life and morals of the top of society ("Major's" Major "," Fresh Cavalier ", etc.). He began his path of the artist-Satirik, being an officer-guardsman. Then he did cheerful, naughty dawls of army life. In 1848, his picture "Fresh Cavalier" was presented at the academic exhibition. It was a bold ridicule not only over a stupid, self-satisfied official, but also over academic traditions. The dirty robe, in which the main character of the picture was dodged, very much reminded by an antique tower. Bullels stood for a long time before the cloth, and then said the author of the semi-drying semi-dry: "I congratulate you, you won me." Comedy-satirical character and other pictures of Fedotov ("Breakfast of the Aristocrat", "Major"). The last pictures are very sad ("Anchor, Anchor!", "Widow"). Contemporaries fairly compared P.A. Fedotov in painting with N.V. Gogol in literature. The boring of the ulcers of serfs of Russia is the main theme of the work of Pavel Andreevich Fedotov.

Russian painting of the second half of the XIX century

The second half of the XIX century. marked by the flourishing of Russian visual art. It became truly great art, was imbued with Paphos of the liberation struggle of the people, responded to the requests of life and was actively invading life. In the visual art, realism was finally established - the truthful and comprehensive reflection of the life of the people, the desire to rebuild this life on the basis of equality and justice.
The conscious turn of the new Russian painting to the democratic realism, nationality, modernity was marked at the end of the 50s, together with the revolutionary situation in the country, with the public immunity of the discharge intelligentsia, with the revolutionary enlightenment of Chernyshevsky, Dobrolyubov, Saltykov-Shchedrin, with a persistent poetry Nekrasov. In the "essays of the Gogol period" (in 1856), Chernyshevsky wrote: "If the painting is now in general in a rather pitiful position, then the reason for the reason for the alienation of this art from modern aspirations." The same thought was brought in many articles of the contemporary magazine.
The central theme of art was the people, not only the oppressed and suffering, but also the people - the Creator of History, the people, the fighter, the creator of all the best, which is in life.
The approval of realism in art took place in a persistent struggle with the official on-board, whose representative was the leadership of the Academy of Arts. The collaboration of the Academy was inspired by their disciples ideas that the art of above life was put forward only by biblical and mythological themes for artists's creativity.
But painting has already begun to join modern aspirations - before all in Moscow. Moscow School and for the tenth stake did not use the privileges of the St. Petersburg Academy of Arts, but it was less depended on its rooted dogma, the atmosphere was in it more lively. Although teachers in the school are mostly academists, but academists are minor and fluctuating, they did not suppress their authority as in the Academy of F. Bruni, the pillar of the old school, in his time competing with the Bruhlovy picture "Copper Zmiy".
B1862 The Council of the St. Petersburg Academy of Arts decided to equalize all genres, canceling the primacy of historical painting. The gold medal was now awarded regardless of the theme of the picture, given only her advantages. However, the "liberty" in the walls of the Academy has long been long.
In 1863, young artists - participants of the academic competition filed a petition "On the permit to freely choose the plots of those that will wish, in addition to the target topic." The Council of the Academy responded with refusal. What happened next in the history of Russian art is called "Bunt Fourteen". Fourteen students of the historical class did not want to write paintings on the proposed topic from Scandinavian mythology - "Pier in Valgaale" and demonstratively filed a petition - about leaving the Academy. Once without workshops and without money, Buntari united into a kind of commune - according to the type of Communes described by Chernyshevsky in the novel "What to do?", "Artists, whom the painter Ivan Nikolayevich Kramskaya was headed. The arteels took orders to fulfill various artworks, lived in the same house, were collected in a common hall for conversations, discussing pictures, reading books.
After seven years, Artel broke down. By this time, in the 70s, at the initiative of the artist Grigory Grigorievich Myasedov, an union arose - the "partnership of artistic mobile inserts", a professional and commercial association of artists who stood in close ideological positions.
Movie partnerships are not as an example of many later associations cost without any declarations and manifestos. It only said that members of the partnerships should themselves lead their material affairs, did not depend on this regard from anyone, as well as to organize the exhibition and export them to different cities ("move" in Russia) to mean the country with Russian art. Both of these items were essential, arguing the non-dependence of art from the authorities and the will of the artists to a wide communication with people not only at the metropolitan. The main role in creating a partnership and the development of its statute was owned by Kramsky Myasoyedov, Ge - from Petersburgers, and from Muscovites - Perov, Sanidishniki, Savrasov.
"Mobile" were united in their rejection of "Academism" by his mythology, decorative landscapes and pompous theatricality. They wanted to depict a living life. The leading place in their work was occupied by genre (household) scenes. The peasantry was used by a special sympathy of "Mobile". They showed his need, suffering, oppressed position. At that time - in the 60-70s. XIX V.- The ideological side of the art was valued higher than the aesthetic. Only over time, the artists remembered the intrinsicness of painting.
Perhaps the greatest tributeness of the ideas gave Vasily Grigorievich Perov (1834-1882). It is enough to remember these pictures like "the arrival of becoming a consequence", "tea drinking in Mytishchi." Some works of Perov are penetrated with genuine tragedy ("Troika", "old men on the grave of the Son"). Paint Brushes belongs to a number of portraits of his famous contemporaries (Ostrovsky, Turgenev, Dostoevsky).
Some cloths of "Mobile", written from nature or impressed by the real scenes, enriched our ideas about peasant life. In the painting of S. A. Korovin "On the Peace" showing a shake on a rural approach between the rich and the poor. V. M. Maksimov captured rage, tears, and mountain of the family partition. The solemn festivity of peasant labor is reflected in the picture G. G. Myasoyedov "Kosov".
In the work of Kramsky, portrait painting occupied the main place. He wrote Goncharov, Saltykov-Shchedrin, Nekrasov. He belongs to one of the best portraits of Lion Tolstoy. The gaze of the writer does not leave the viewer, with whatever point he looked at the canvas. One of the strongest works of Kramsky - the picture "Christ in the desert".
The first exhibition of "Mobile" opened in 1871 convincingly demonstrated the existence of a new direction that folded over the 60s. It was only 46 exhibits (unlike cumbersome exhibitions of the Academy), but carefully selected, and although the exhibition was not deliberately programmed, the general unwritten program was quite clearly evaluated. All genres were presented - historical, household, landscape portrait, - and the audience could judge what they were new to "Mobile" in them. Not lucky only sculpture (there was one, and then a little remarkable sculpture of F. Kamensky), but this kind of art "was not lucky" for a long time, actually all the second half of the century.
By the beginning of the 90s, among young artists of the Moscow school, it was true, those who deservedly and seriously continued a civilian movement tradition: S. Ivanov with his cycle of paintings about immigrants, S. Korovin - author of the painting "On the world", where it is interesting and Thoughtfully revealed dramatic (really dramatic!) Collisions of the DoreForm village. But they did not ask the tone: the exit to the advancement of the "world of art" was approaching, equally, and from movement and from the Academy. What did the Academy look at that time? Her artistic former rigoristic attitudes were weathered, she no longer insisted on the strict requirements of neoclassicism, on the notorious hierarchy of genres, the domestic genre was quite tolerant, only preferred that he was "beautiful", and not "Menitsky" (an example of "beautiful" neasakademic works - Scenes from the ancient life of popular then S. Bakolovich). In the mass of its non-academic products, as it was in other countries, was the bourgeois-salon, her "beauty" - a vulgarity. But it is impossible to say that she does not put forward talents: very talented was the above-mentioned G. Semiradsky, early V. Smirnov (who had time to create an impressive painting "Death of Nero"); It is impossible to deny certain artistic advantages of painting by A. Svyutsky and V. Kotarbinsky. About these artists, considering them by the carriers of the "Ellinsky Spirit" approvingly responded to his late years of Repin, they impressed Vrubel, as well as Aivazovsky - also the "academic" artist. On the other hand, no one else like Semiradsky, during the reorganization of the Academy, resolutely spoke in favor of the household genre, indicating both on a positive example on Perov, Repin and V. Mayakovsky. So the points of gathering between the "Mobile" and the Academy were enough, and this understood the then Vice President of the Academy I.I. Tolstoy, on the initiative of which and were called to teach leading "Movements".
But the main thing that does not allow not to discount the role of the Academy of Arts, especially as an educational institution, in the second half of the century, is the simple circumstance that many outstanding artists came out of her walls. This is Repin, and Surikov, and Polenov, and Vasna-Tsov, and later - Serov and Vrubel. Moreover, they did not repeat the "Bunt of Fourteen" and, apparently, benefited from their apprenticeship.
Respect for the drawing, to the constructive form built in Russian art. The general focus of Russian culture to the realism was the reason for the popularity of the Chistyakov method, "one way or another, Russian painters to Serov, Nesterov and Vrubel inclusive," unshakable eternal laws of the form "and wore" divorces "or subordination of the colorful amorphous element, no matter how much color loved.
Among the mobileians invited to the Academy, there were two landscape players - Shishkin and Queenji. Just at that time began in the art of hegemony landscape and as an independent genre, where Levitan reigned, and as an equal element of household, historical, partly and port-retain painting. Contrary to forecasts of Stasov, which believes that the role of the landscape will decrease, it has increased in the 90s, more than ever. The lyrical "mood landscape" prevailed, leading his pedigree from Savrasov and Polenov.
"Mobile" made authentic discovery in landscape painting. Alexey Kondratievich Savrasov (1830-1897) managed to show the beauty and slim librism of a simple Russian landscape. His picture "Graci flew" (1871) forced many contemporaries in a new way to take a look at the native nature.
Fyodor Aleksandrovich Vasilyev (1850-1873) has lived a short life. His creativity, broke down at the very beginning, enriched the domestic painting near the dynamic, exciting landscapes. The artist was especially successful in nature in nature: from the sun to the rain, from the clutch to the bore.
The singer of the Russian Forest, Ivan Ivanovich Shishkin (1832-1898) became the epic latitude of Russian Nature. Archka Ivanovich Kindji (1841-1910) attracted a picturesque game of light and air. The mysterious light of the moon in rare clouds, red dawn choppers on the white walls of the Ukrainian Hut, oblique morning rays, made through the fog and playing in the pool on the Raskiye road, are these and many other picturesque discoveries are imprinted on its canvases.
Russian landscape painting of the XIX century has reached the student of the student Savrasova Isaac Ilyich Levitan (1860-1900). Levitan - the master of calm, quiet landscapes a man is very timid, shy and wounded, he knew how to rest alone alone with nature, penetrating the mood of a loved scenery.
One day he arrived on the Volga to write the sun, air and river expanses. But the sun was not, endless clouds were crawled across the sky, and dull rains stopped. The artist was nervous until he was drawn into this weather and did not find a special charm of lilac paints of Russian bad weather. Since then, the upper Volga has a spent town of Ples firmly entered his work. In those regions, he created his "rainy" work: "After the rain", "Gloomy Day", "Over the Eternal Region." There were also written peaceful evening landscapes: "Evening on the Volga", "Evening. Golden Ples "," Evening ringing "," quiet abode. "
In recent years, Levitan drew attention to the work of French Impressionist artists (E. Manne, K. Monte, K. Pistarro). He realized that he had a lot with them in common, that their creative searches were in the same direction. Like they, he preferred to work not in the workshop, but in the air (at the plenier, as artists say). Like they, he lasted the palette, driving dark, earthy paints. Like them, he sought to capture the fleet of being, passing the movement of light and air. In this they went further than him, but almost dissolved in light-air volumetric forms (houses, trees). He escaped it.
"Levitan's paintings require slow viewed, - wrote a large connoisseur of his creativity K. G. Powhovsky, - they do not stun the eye. They are modest and accurate, like Chekhov stories, but the longer peering in them, the silence of provincial posants, familiar rivers and settlers becomes the mile.
On the second half of the XIX century. There is a creative flourishing of I. E. Repin, V. I. Surikova and V. A. Serov.
Ilya Efimovich Repin (1844-1930) was born in the city of Chuguev, in the family of the military settler. He managed to enroll in the Academy of Arts, where his teacher became P. P. Chistyakov, who raised the whole Pleiad of the famous artists (V. I. Surikova, V. M. Vasnetsova, M.A. Drub-la, V.A. Serov). Much learned the Repin as well as Kramsky. In 1870, the young artist co-peak over the Volga. Numerous etudes brought from travel, he used for the painting "Burlaci on the Volga" (1872). She made a strong impression on the public. The author immediately nominated to the ranks of the most famous masters.
Repin was a very versatile artist. His brushes belongs to a series of monumental genre caved. Perhaps no less impression than "burlaci" produces a "procession of the Kursk province." Bright blue sky, driving dust clouds, golden radiance of crosses and clouds, police, simple people and cripples - everything fitted on this web: greatness, power, disregard and pain of Russia.
In many paintings, Repein was touched upon by the revolutionary subject ("refusal of confession", "did not expect", "the arrest of propagandist"). Revolutionaries in his paintings are simply held and naturally, alien to theatrical poses and gestures. In the picture "Refusing from confession", sentenced to death as if deliberately hid his hands in the sleeve. The artist clearly sympathized with the heroes of his paintings.
A number of repincial cloths are written in historical topics ("Ivan the Terrible and his son Ivan", "Cossacks that compose a letter to Turkish Sultan" and others). Repin created a whole portrait gallery. He wrote portraits - scientists (Pirogov and Sechenov), - Writers of Tolstoy, Turgenev and Garshin, - Composers of Glinka and Mussorgsky, - Artists of Kramsky and Surikov. At the beginning of the XX century. He received an order to the picture "Solemn Meeting of the State Council." The artist managed not only to compose on the canvas such a large number of those present, but also to give a psychological characteristic to many of them. Among them were such from-known figures like S.Yu. Witte, K.P. Victorious, p.p. Semenov Tian-Shansky. Malozameten in the picture, but Nicholas II was very subtle.
Vasily Ivanovich Surikov (1848-1916) was born in Krasnoyarsk, in the Cossack family. The flourishing of his creativity falls on the 80s, when he created the three most famous historical paintings: "Morning Strelleskaya execution", "Menshikov in Berezov" and "Boar Morozov".
Surikov knew well and morals of past epochs, knew how to give bright psychological characteristics. In addition, he was a wonderful colorist (color master). It is enough to remember the dazzling fresh, sparkling snow in the painting "Boar Morozova". If you travel to the canvas closer, the snow is "scattered" on blue, blue, pink strokes. This picturesque welcome, when two three different smears merge and give the right color, the French Impressionists are widely used.
Valentin Aleksandrovich Serov (1865-1911), Son of the composer, wrote landscapes, canvas for historical topics, worked as a theater artist. But the glory brought to him, above all, portraits.
In 1887, 22-year-old Serov rested in Abramtsev, Moscow region of the village of Metsnate S. I. Montova. Among his numerous children, the young artist was his man, the participant of their noisy games. One day after dinner in the dining room, two - serov and a 12-year-old mammont beloved were accidentally detained. They sat at the table, on which peaches were left, and the beloved was noticed behind the conversation, as the artist began to throw her portrait. The work was stretched for a month, and the beloved was angry that Anton (so homely called Serov) makes it sit in the dining room for hours.
In early September, "girl with peaches" was completed. Despite the short time, the picture written in pink golden colors seemed very "spacious." It had a lot of light and air. The girl who sat down at the table as it were for a minute and who stopped his gaze on the auditor, was blocked with clarity and spirituality. Yes, and all the canvas was sheatically purely children's perception of everyday life, when happiness is not aware of himself, and ahead is a whole life.
The inhabitants of the Abramtsevsky house, of course, understood that a miracle was happening in their eyes. But only time gives final estimates. It put the "girl with peaches" in a number of the best portrait works in Russian and world painting.
The next year, Serov managed to almost repeat his magic. He wrote a portrait of his sister Mary Simonovich ("The girl illuminated by the Sun"). The name was fixed not, not much inaccurate: the girl sits in the shade, and the rays of the morning sun illuminated the glade on the second plan. But in the picture, everything is so poured, so one - the morning, the sun, summer, youth and beauty, - that the best name is difficult to come up with.
Serov became a fashionable portrait. Famous writers, artists, artists, entrepreneurs, aristocrats, even kings posed before him. Apparently, not to anyone he wrote, he had a soul. Some great-wide portraits, with a filigree execution technique, turned out to be cold.
For several years, Serov taught in the Moscow School of Painting, Sculpture and Architecture. He was a demanding teacher. The opponent of frozen painting forms, serov, at the same time, believed that creative searches should be based on the solid possession of the equipment of the drawing and a picturesque letter. Many outstanding masters considered themselves students of Serov. It is M.S. Sarian, k.f. JUN, P.V. Kuznetsov, K. S. Petrov-Vodkin.
Many paintings of Repin, Surikova, Levitan, Serov, "Mobile" fell into the Tretyakov Meeting. Pavel Mikhailovich Tretyakov (1832-1898), a representative of the ancient Moscow merchant kind, was an unusual person. Thin and tall, with a volatile beard and a quiet voice, he looked more at the holy than on the merchant. Collect the pictures of Russian artists began from 1856. The hobby has grown into the main case of life. In the early 90s. The meeting reached the museum level, absorbing almost all state of the collector. Later, it passed to the ownership of Moscow. The Tretyakov Gallery has become a world famous museum of Russian painting, graphics and sculptures.
In 1898 in St. Petersburg, the Russian Museum was opened in St. Petersburg, in the Mikhailovsk Palace (Creation of K Rossi). It was made by the works of Russian artists from the Hermitage, the Academy of Arts and Some Imperial Palaces. The discovery of these two museums would be crowned with the achievements of Russian painting of the XIX century.

In the era of the Board of Alexander 1, Russian art has reached a high art level, the Russian architecture reached its top. At this time, a significant part of the outstanding architectural structures was built in St. Petersburg, which was the monuments of the Russian architecture of classicism. This is the Kazan Cathedral, the building of the Mining Institute (ARH.A.Voronichin), the Mikhailovsky Palace, Alexandrinsky Theater (arch. K. Russia), the building of the Exchange (Arch. J.F. Tom de Tonon), Admiralty (arch. Andrei Zakharov) , Trinity Cathedral, Preobrazhensky Cathedral (Arch. V. Stasov).

After the victory of Russia in the war of 1812, it develops in Russia ampire style, developed on the basis of "Aleksandrovsky classicism". The decorative elements of the St. Petersburg ambigument were made up of elements of the ancient Roman military equipment (according to tradition with French ampir). These were legionnaires with eagles, bundles of copies, axes, boosters of arrows, images of shields, elements of Egyptian art were also used: Egyptian ornament, sphinx images. For a Russian ampury, the pale yellow color of buildings and white color of columns, frontones, pilasters, and others are details of the architectural decor (the color of Napoleonic amp - red, blue white with gold). The leading architect, expressing the ideas of the Russian ampury was Karl Rossi.He built 12 streets and 13 squares in the center of St. Petersburg. Creation K. Rossi: Palace Square, Mikhailovsky Palace with an extensive park and services, Alexandrinsky Theater. Rossi masterfully combined architectural forms with sculptural and picturesque decoration outside and inside. He designed the place and nature of reliefs, paintings, statues, drapery, furniture. The decor in the interior was obeying the same principle as the outdoor design. One of the best samples of the imperial interior is White Hall of the Mikhailovsky Palace. The calm white of the walls and columns is shaded by the gilding of molding eaves and Corinthian capitals. Over doorways - bas-reliefs with functions of holidaymakers of Vakhanok, wreaths, garlands and other impared attributes. The painting of the ceiling and the top of the walls connects multicolor painting, gold patterns and griezail (monophonic painting). Golden tone of parquet and doors harmonizes with blue upholstery of gilded furniture. The interior is complemented by high vessels in the form of columns, chandeliers, candelabras, candlesticks made of bronze, stone and crystal. With all the variety, the interior finish is characterized by a sense of measure, in general, characteristic of an ampyr.

In the first years of the reign of Emperor Nicholas 1. The activities of K. Russia, V. Stasova continued. "Nikolaev Ampir" He became the last phase of the development of classicism in Russian architecture. A visual understanding of the architecture of this period gives the buildings of St. Isaac Square in St. Petersburg. Saint Isaac's Cathedral Erected by the project of architect Augusta Montferana. A huge, rectangular building, on four sides, is decorated with the same multiscount portico with heavy frontones decorated with burners. Above the Cathedral at a height of 101 m. A gilded dome crashes, the drum is surrounded by a colonnade, crowned with balustrade with statues. In the interior of the Cathedral, sculpture, mosaic, painting (made by painters of academic classicism K. Bryrylov, F. Buni, P. Basin) play a major role.

Painting The first half of the 19th century Presented by different directions: there was classicism, romanticism developed.

Russian romanticism was not such a powerful artistic movement as in France and Germany. It has no extreme excitement, there is no tragic hopelessness.

In the genre of portrait, romanticism manifested itself in the work of Keese Cymensky, Vasily Tropinin.

O. Kiprensky finished the St. Petersburg Academy of Painting in the class of historical painting. The young years rotates in the circle of the free-sinky noble intelligentsia. He knew the poets-romanticov Batyushkova, Vyazemsky, he posed V. Yukovsky, and later A. Pushkin. In Portraight, the Cyprossky sought to open various verge of a human character and the spiritual world of man. For this, he uses every time different picturesque techniques. From classicism, the Cyprinsky takes the idealization of the image, but seeks to show the romantic flight of the soul. The most significant work belongs to a series of portraits of military participants 1812. (E. Davodova, I. and A.Lansky, etc.). Cyprian painting is distinguished by artistic freedom. In a free posture, looking to the side, looking carelessly on the stone slab, stands Colonel Labigycapo E.B. Davydov (1809, timing). This portrait is perceived as a collective image of the war hero 1812, although it is quite concrete. The romantic mood is enhanced by the image of the thunderstorm landscape, against the background of which the figure is presented. Coloring is built on the keen, taken in full strength colors - red with gold and white with silver in Gusar's clothes - and on the contrast of these colors with dark tones of the landscape. Kiprensky's masterpiece is "Portrait of Pushkin" (1827). The real appearance of the poet and illuminated by the inspiration. The poet wrote about this: "I see myself as in the mirror, but this mirror flatters me." In the portrait, the Cyprinsky created a collective image. Cyprosan became the founder of the Russian pencil portrait.

Romance artists include Vasily Tropinin (by 45 years, freed from the serfdom). He lived a long fruitful life, received a lifetime recognition, the title of academician, became the most famous artist of the Moscow portrait school of the 20s and 30s. In the portraits of the brush tropinin there is no romantic gust of the Cyprosensky. The best portraits of Tropinin are marked with high artistic perfection. This is especially visible in the portrait of the son of Arsenia, an unusually sincere image, the liveliness and the immediacy of which is emphasized by skillful lighting: the right side of the figure, the hair is permeated, filled with sunlight, skillfully transmitted master. Gamma colors from golden-ohloous to pink-brown is unusually rich, the wide use of lescing still resembles the picturesque traditions of the XVIII century.

As a rule, the image of a tropinine is given on a neutral background with a minimum of accessories. That is how Tropinin A.S. depicted Pushkin (1827) - sitting at the table in a free pose, dressed in a home dress, which emphasizes the naturalness of the appearance. In the images of tropical, the sincerity of the expression, simplicity, idleness, the truthfulness of characters, the accuracy of household details. Tropinin became the creator of the portrait painting, that is, the portrait in which the features of the genre are brought. "Licker", "Hand", "Guitarist", "Gold School" are typified images with a specific plot. The artist conveys the inner world of his heroes.

The romantic landscape is presented on the Sylvester generous scenery. He lived abroad after the Academy of Arts, wrote Harbor in Surroto, Naberezhnye G.Napol, various types of Rome. All the artist transmits in the complex interaction of the light-hearted medium, uses silver-gray tones with the blows of red (in a rusty foliage of autumn trees, in clothes, etc.) of his paintings: "Shore in Sorrento overlooking about. Capri "," View of Naples on the Lunar Night. "

Romanticism in landscape painting is brighter with the work of Alexey Venetsianova (student Borovikovsky). In his paintings, a serene peasant life is presented: "On Pashne. Spring "," On the harvest. Summer "," Morning of the landowners "," Kosks ". Venetcianov passed the poetry of the people's life, this is the romantic charm of his paintings. Venetsianov did not reveal the most acute contradictions of the modern life of the Russian peasant, did not raise the "sick issues" of modernity. This is a patriarchal idyllic life. The pictures "nothing happens", the heroes are static, but a person is always in unity with nature, in eternal work, and it makes Venetsian's images are truly monumental.

Russian historical painting of the 1930s and 19th century also developed under the sign of romanticism. Karl Brullov was the artist who found a compromise between the ideals of classicism and innovations of romanticism. After the Academy of Arts, I lived in Italy, after the trip in Pompei, it works on its main work "Last Day Pompeii" (1830-1833). Showed a real event of ancient history - the death of the city during the eruption of the Vesuvius volcano in 79g. AD (Themes in classicism are always historical). The theme of death is characteristic of romanticism, even in death, a person remains beautiful: the young man saves his beloved, the mother covers the child, the artist takes paints, but leaving the destroyable city, trying to capture the terrible sight. The artist showed the greatness and dignity of a person in the face of death. Picturesque lighting made with romantic effects.

Alexander Ivanov was a central figure in the painting of the middle of the century. After the Academy of Arts, I lived in Italy, 1.5 months before death returns to his homeland. The main picture is the "phenomenon of Christ to the people." Ivanov went for a long time to this work. He believed in the idea of \u200b\u200bthe prophetic purpose of the artist in this world, believed in the improvement of a person looking for freedom and truth. He showed the spiritual impression of people who saw Jesus, so expressed the idea of \u200b\u200bmoral cultivation of mankind. The belonging of this picture to romanticism is disputed: it does not have a dramatic plot, the dynamics of action, there is no raging passion, color and light effects. At the same time, the idea and common idea is undoubtedly romantic: the call of John the Baptist and the preaching of I. Chhrist should awaken from the "century-old silence" the people of Judea.

Sculpture.

In 1838, P.K. Klodt received the title of academician and appointed Professor Sculpture of the Academy of Arts.

Peter Klodt is an outstanding sculptor, creating sculptural groups of horses. They decorate Anichkov Bridge with St. Petersburg, a large theater (quadriga with Apollo on the theater's frontonone). The solemn opening of the bridge with sculptures of Klodt was held on November 20, 1841 with a large propelusion of the admiring public.

On the first of these works, the horse stood up on the souls, he was excited, the nostrils were bloated, he tries to escape, but the young man climbed him and covered his poporn. On the second one, the horse still remains excited, but it was obeyed by a person, the young man leads him next to him - the vigorous, sled and covered by the poporn. P.K. Kolodt participated in the decoration of the interiors of St. Isaac Cathedral (Christ's Gorge of Glava). He is the author of the monument to I.A. Krylov in the Summer Garden in St. Petersburg, the statues of Vladimir Saint in Kiev. The last of his great works is a monument to his patron, the emperor Nicholas I, St. Petersburg.