Portrait is the art of reproducing an image of a person or group of faces with absolute precision. As a rule, this is an art drawing that obeys a certain style. The artist who painted the portrait may belong to one or another school of painting. And his works are recognizable thanks to the personality and style that the painter follows.
Past and present
Portrait painters depict real-life people, drawing from life, or reproduce images from the past from memory. In any case, the portrait is based on something and carries information about a specific person. Often, such a picture reflects some era, be it the present or the past. In this case, portrait painters, instead of the usual background, depict several accompanying conventional signs, such as the architecture of that time, indicated in the background, or other characteristic objects.
Rembrandt
Fine art is diverse, and its individual genres can exist independently of each other, or they can be synthesized. So in the portrait, different subjects are combined into one whole, but the person's face always dominates. The great portrait painters of the past mastered the art of artistic depiction to perfection. Such masters include the Dutch painter Rembrandt van Rijn (1606-1669), who painted many portraits. And each of them is recognized as a masterpiece of painting. True art is immortal, because the paintings of Rembrandt van Rijn are more than five hundred years old.
Engraving is a fine art
Great portrait painters of the past are the national treasure of the countries in which they were born, lived and created their paintings. A notable mark in the history of painting was left by the German artist Albrecht Durer (1471-1528), who worked in the genre of engraving. His canvases are exhibited in the most prestigious museums in the world. Paintings painted by the artist at different times, such as "Portrait of a Young Venetian", "Portrait of Emperor Maximilian", "Portrait of a Young Man" and others, are unsurpassed masterpieces. Great portrait painters differ from all other artists in their high level of self-expression. Their canvases are examples to follow.
Women's theme
Giovanni Boldini (1842-1931), Italian painter, is one of the first in the list of "Great portrait painters of the world." He is recognized as an unsurpassed master of female portrait. His canvases can be viewed for hours, so precise and picturesque are the images. Juicy colors, mainly cold shades, contrasting strokes, the play of halftones - everything is collected in his paintings. The artist manages to convey the character of the lady depicted on the canvas, and even her mood.
Famous Russian portrait painters
There have been great artists in Russia at all times. The art of portraiture originated in the 14th century AD, when talented painters such as Andrei Rublev and Theophan the Greek appeared. Their work did not fully correlate with the portrait genre, since these artists painted icons, but the general principles for creating images were the same.
In the same period, the famous artist Dionysius (1440-1502), a protege of Ivan III, Tsar of Moscow, worked. The monarch commissioned the artist to paint a cathedral or church, and then watched him create his masterpieces. The Tsar liked to participate in such a godly deed.
One of the first masters of Russian portraiture was Ivan Nikitin (1680-1742), who studied in Europe. He enjoyed the favor of Emperor Peter the Great. The most famous works of Nikitin are portraits of Augustus II, King of Poland and Duke of Mecklenburg.
Alexey Zubov (1682-1750), an outstanding master of portrait art. He was the favorite of Peter the Great. Together with his father, the famous icon painter Fyodor Zubov, he took part in the design of the Armory Chamber of the Moscow Kremlin.
The great portrait painters of the 18th century in Russia, as a rule, painted to order.
Vasily Tropinin (1776-1857), a famous Russian artist, became truly famous in 1827. He created a half-length portrait of Alexander Sergeevich Pushkin, the brightest representative of Russian poetry. The order was made by the poet himself. And the painting was intended for a friend of Alexander Sergeevich, Sobolevsky. The portrait became the most famous creation that ever depicted Pushkin. The painting "Alexander Pushkin" by Tropinin has forever become a classic of the genre.
Orest Kiprensky (1782-1836) began writing at the age of 22. The first portrait was created by Kiprensky in the style of Rembrandt; A.K. Valbe was depicted on the canvas. The most famous work of the artist is considered "Portrait of E. V. Davydov", written in 1809. Several paintings by Orest Kiprensky are in the Tretyakov Gallery.
Alexei Venetsianov (1780-1847) is a Russian artist who is considered the founder of the story style in portraiture. He was a student of the venerable painter Vladimir Borovikovsky. The young artist Venetsianov gained wide popularity thanks to the painting "Portrait of a Mother", created in 1801.
Borovikovsky Vladimir (1757-1825), a native of Mirgorod, became famous and famous after meeting with Catherine II, traveling as part of her tour of 1787. The painter created a series of artistic paintings in the palace, which was on the path of the empress. Ekaterina was delighted with the work of Borovikovsky and rewarded him with a large sum of money.
The list of "Great portrait painters of Russia of the 19th century" is headed by Ivan Nikolaevich Kramskoy (1837-1887), an outstanding painter, master of religious murals. Kramskoy's portrait art allowed him to create a number of images of famous people, including P. M. Tretyakov, S. P. Botkin, I. I. Shishkin, M. E. Saltykov-Shchedrin, L. N. Tolstoy and others.
The most famous portrait painters of modern Russia
Igor Belkovsky (born 1962), Corresponding Member of the Russian Art Academy, member of the Union of Artists of Russia, laureate of the "For a Bright Future" prize established by the Governor of the Chelyabinsk Region.
Alexander Shilov (born 1943), People's Artist of the USSR, member of the Presidential Council for Culture and Arts. Author of numerous portraits of his contemporaries.
Valentin Serov is a renowned Russian portrait painter and one of the greatest masters of European painting of the 19th century. Although, except for the portrait, it seemed to him that he was subject to everything. Quiet and modest by nature, Serov had unquestionable authority among the masters of his time. Valentin Serov ()
I. Kramskoy was born into a poor bourgeois family. Studied at the Academy of Arts (). Lived and worked in St. Petersburg. Repin became his most famous student. Ivan Kramskoy ()
Karl Bryul OV () Karl Bryullov was born in St. Petersburg, in the family of academician, woodcarver and engraver Pavel Ivanovich Bryullo. From 1809 to 1821 he was engaged in painting at the Academy of Arts in St. Petersburg. A brilliant student, received a gold medal in the class of historical painting. St. Petersburg year St. Petersburg
Ilya Repin () The future artist was born on August 5, 1844 in the small town of Chuguev in Ukraine, in the family of a military settler. Having early discovered a penchant for drawing and having received, with the help of local painters, the first, but rather confident skills in using a brush and pencil, the nineteen-year-old boy goes to St. Petersburg with the hope of entering the Academy of Arts.
The work of Vasily Andreevich Tropinin covers the entire first half of the 19th century and reflects during this time more than one change in social ideals, artistic trends and stylistic features. It presents unusually gratifying material for an art historian. V. Tropinin () Information resources 1.Portraits of portrait painters V. Serov, V. Tropinin, I. Repin, I. Kramskoy, K. Bryullov - ru.wikipedia.org/wiki..portrait painters. 2. Works of artists (portraits) - ru.wikipedia.org/wiki..artists-portraitists. 3. Fine arts. Grade 2. Lesson plans according to the textbook Kuzin V.S., Kubyshkina E.I. "Fine arts in primary school. Grades 1-2" Volgograd: Teacher-AST, ru.wikipedia.org Serov 6. (6. I. Kramskoy "Christ in the Desert") 7. (V. Tropinin) 9. frames) Serov
Nikolay Nikolaevich Ge (1831-1894)
Russian artist. Born in Voronezh on February 15 (27), 1831 in the family of a landowner. He studied at the mathematical departments of Kiev and St. Petersburg universities (1847-1850), then entered the Academy of Arts, which he graduated from in 1857. He was greatly influenced by K.P. Bryullov and A.A. Ivanova. He lived in Rome and Florence (1857-1869), in St. Petersburg, and from 1876 - on the Ivanovsky farm in the Chernigov province. He was one of the founders of the Association of the Itinerants (1870). He did a lot of portrait painting. He began working on portraits while still studying at the Academy of Arts. Over the years, he painted many of his contemporaries. These were mainly leading cultural figures. M.E. Saltykov - Shchedrin, M.M. Antokolsky, L.N. Tolstoy and others. Ge owns one of the best portraits of A.I. Herzen (1867, Tretyakov Gallery) - the image of a Russian revolutionary, an ardent fighter against autocracy and serfdom. But the transfer of external similarity is not at all limited to the artist's intention. Herzen's face, as if snatched out of the gloom, reflected his thoughts, the adamant determination of a fighter for social justice. Ge captured in this portrait a spiritual historical figure, embodied the experience of her entire life, full of struggle and anxiety.
His works differ from those of Kramskoy in their emotionality and drama. Portrait of the historian N.I. Kostomarov (1870, Tretyakov Gallery) is written unusually beautifully, temperamentally, freshly, freely. The self-portrait was painted shortly before his death (1892-1893, KMRI), the master's face is illuminated with creative inspiration. Portrait of N.I. Petrunkevich (1893) was painted by the artist at the end of his life. The girl is depicted almost full-length at the open window. She is immersed in reading. Her face in profile, head tilt, posture express a state of thoughtfulness. As never before, Ge paid great attention to the background. Color harmony testifies to the unspent powers of the artist.
Since the 1880s, Ge became a close friend and follower of L.N. Tolstoy. In an effort to emphasize the human content of the gospel sermon, Ge switches to an increasingly free manner of writing, sharpening color and light contrasts to the limit. The master painted wonderful portraits full of inner spirituality, including a portrait of L.N. Tolstoy at his desk (1884). In the image of N.I. Petrunkevich against the background of a window open to the garden (1893; both portraits in the Tretyakov Gallery). Ge died on the Ivanovsky farm (Chernigov province) on June 1 (13), 1894.
Vasily Grigorievich Perov (1834-1882)
Born in Tobolsk on December 21 or 23, 1833 (January 2 or 4, 1834). He was the illegitimate son of the local prosecutor, Baron G.K. Kridener, the surname "Perov" was given to the future artist in the form of a nickname by his teacher of literacy, a supernumerary deacon. He studied at the Arzamas School of Painting (1846-1849) and the Moscow School of Painting, Sculpture and Architecture (1853-1861), where one of his mentors was S.K. Zaryanko. Experienced a special influence of P.A. Fedotov, a master of satirical magazine graphics, and of foreign masters - W. Hogarth and genre painters of the Dusseldorf school. He lived in Moscow. He was one of the founding members of the Association of Itinerants (1870).
The best portrait works of the master belong to the turn of the 60-70s: F.M. Dostoevsky (1872, Tretyakov Gallery) A.N. Ostrovsky (1871, Tretyakov Gallery), I.S. Turgenev (1872, State Russian Museum). Particularly expressive is Dostoevsky, who has completely gone into painful meditation, nervously clasped his hands on his knee, the image of the highest intellect and spirituality. Sincere genre romance turns into symbolism, imbued with a mournful sense of frailty. Portraits made by the master (V.I.Dal, A.N. Maikov, M.P. Pogodin, all portraits - 1872), reaching a spiritual tension unprecedented for Russian painting. No wonder the portrait of F.M. Dostoevsky (1872) is rightfully considered the best in the iconography of the great writer.
In the last decades of his life, the artist discovers an extraordinary talent of a writer-essayist (stories of Aunt Mary, 1875; Under the Cross, 1881; and others; the last edition - The Stories of an Artist, Moscow, 1960) In 1871-1882 Perov taught at the Moscow School of Painting, Sculpture and Architecture, where among his students were N.A. Kasatkin, S.A. Korovin, M.V. Nesterov, A.P. Ryabushkin. Perov died in the village of Kuzminki (in those years - near Moscow) on May 29 (June 10) 1882.
Nikolay Alexandrovich Yaroshenko (1846-1898)
Born in Poltava on December 1 (13), 1846 in a military family. He graduated from the Mikhailovskaya Artillery Academy in St. Petersburg (1870), served in the Arsenal, in 1892 he retired with the rank of Major General. Studied painting at the Drawing School of the Society for the Encouragement of Arts under I.N. Kramskoy and at the Academy of Arts (1867-1874). He traveled a lot - to the countries of Western Europe, the Near and Middle East, the Urals, the Volga, the Caucasus and the Crimea. He was a member (since 1876) and one of the leaders of the "Association of Wanderers". He lived mainly in St. Petersburg and Kislovodsk.
His works can be called a portrait - type "Fireman" and "Prisoner" (1878, Tretyakov Gallery). "Fireman" is the first image of a worker in Russian painting. "Prisoner" is an actual image during the years of the stormy populist revolutionary movement. "Kursistka" (1880, State Russian Museum) a young girl with books walking along the wet St. Petersburg pavement. In this image the entire era of women's struggle for the independence of spiritual life found expression.
Yaroshenko was a military engineer, highly educated with a strong character. The Wanderer artist served revolutionary democratic ideals with his art. Master of the social genre and portrait in the spirit of "Itinerants". He won a name for himself with his island-expressive pictorial compositions, appealing to the sympathy of the socially outcast world. A special kind of alarming, "conscientious" expression gives life to the best portraits by Yaroshenko (P.A.Strepetova, 1884, ibid .; G.I.Uspensky, 1884, Art Gallery, Yekaterinburg; N.N. Ge, 1890, Russian Museum, St. Petersburg ). Yaroshenko died in Kislovodsk on June 25 (July 7) 1898.
Ivan Nikolaevich Kramskoy (1837-1887)
Born in the Voronezh province in the family of a minor official. From childhood he was fond of art and literature. After graduating from the district school in 1850, he served as a scribe, then as a retoucher for a photographer.
In 1857 he ended up in St. Petersburg and worked in a photo studio. In the autumn of the same year he entered the Academy of Arts.
The predominant area of \u200b\u200bartistic achievement for Kramskoy remained the portrait. Kramskoy in the genre of portrait is occupied by an exalted, highly spiritual personality. He created a whole gallery of images of the greatest figures of Russian culture - portraits of Saltykov - Shchedrin (1879, Tretyakov Gallery), N.A. Nekrasov (1877, Tretyakov Gallery), L.N. Tolstoy (1873, Tretyakov Gallery), P.M. Tretyakov (1876, Tretyakov Gallery), I.I. Shishkin (1880, State Russian Museum), D.V. Grigorovich (1876, Tretyakov Gallery). portrait painting artistic
The artistic manner of Kramskoy is characterized by some protocol dryness, the monotony of compositional forms, schemes, since in the portrait features of the work of a retoucher in his youth are noticeable. The portrait of A.G. Litovchenko (1878, Tretyakov Gallery) with picturesque richness and beauty of brown, olive tones. Collective works of peasants were also created: "Woodsman" (1874, State Tretyakov Gallery), "Mina Moiseev" (1882, State Russian Museum), "Peasant with a bridle" (1883, KMRI). Repeatedly Kramskoy turned to this form of painting, in which two genres came into contact - portrait and everyday. For example, the works of the 1980s: "Unknown" (1883, State Tretyakov Gallery), "Inconsolable Grief" (1884, State Tretyakov Gallery). One of the heights of Kramskoy's work is the portrait of Nekrasov, Self-portrait (1867, State Tretyakov Gallery) and the portrait of the agronomist Vyunnikov (1868, Museum of the BSSR).
In 1863-1868 Kramskoy taught at the Drawing School of the Society for the Encouragement of Artists. In 1870, Kramskoy became one of the founders of TPHV. When writing a portrait, Kramskoy often resorted to graphic techniques (the use of wort, whitewash and a pencil). This is how the portraits of the artists A.I. Morozov (1868), G.G. Myasoedov (1861) - State Russian Museum. Kramskoy is an artist of great creative temperament, a deep and original thinker. He always fought for advanced realistic art, for its ideological and democratic content. He worked fruitfully as a teacher (at the Drawing School of the Society for the Encouragement of Arts, 1863-1868). Kramskoy died in St. Petersburg on March 24 (April 5) 1887.
Ilya Efimovich Repin (1844-1930)
Born in Chuguev in the Kharkov province in the family of a military settler. He received his initial artistic training at the school of typographers and from local artists I.M. Bunakov and L.I. Persanov. In 1863 he came to St. Petersburg, studied at the Drawing School of the Society for the Encouragement of Artists under R.K. Zhukovsky and I.N. Kramskoy, then was admitted to the Academy of Arts in 1864.
Repin is one of the best portrait painters of the era. A whole gallery of images of his contemporaries was created by him. With what skill and power they are captured on his canvases. In Repin's portraits, everything is thought out to the last fold, every feature is expressive. Repin had the greatest ability of an artist's instinct to penetrate into the very essence of psychological characteristics, continuing the traditions of Perov, Kramskoy, and Ge, he left the images of famous writers, composers, actors who glorified Russian culture. In each individual case, he found different compositional and coloristic solutions, with which he could most expressively reveal the image of the person depicted in the portrait. As the surgeon Pirogov squints sharply. The mournfully beautiful eyes of the artist Strepetova (1882, Tretyakov Gallery) are darting about, and how the sharp, intelligent face of the artist Myasoedov is painted, the thoughtful Tretyakov. With merciless truth he wrote "Protodeacon" (minister of the church, 1877, RM). The patient M.P. was written with warmth. Mussorgsky (1881, Tretyakov Gallery), a few days before the composer's death. The portraits of the young Gorky, the wise Stasov (1883, State Russian Museum) and others are heartfelt. "Autumn Bouquet" (1892, Tretyakov Gallery) is a portrait of Vera's daughter, as the face of the artist's daughter shines in the warm shade of a straw hat. With great love, Repin conveyed a face attractive for its youth, cheerfulness, health. The vastness of the fields, still blooming, but touched by the yellowness of the grass, green trees, the transparency of the air bring an invigorating mood to the work.
The portrait was not only the leading genre, but also the basis of Repin's work in general. When working on large canvases, he systematically turned to portrait sketches to clarify the appearance and characterization of the characters. Such is the Hunchback portrait associated with the painting Religious Procession in the Kursk Province (1880-1883, Tretyakov Gallery). From the hunchback, Repin persistently emphasized the prosaic, wretchedness of the hunchback's clothes and his entire appearance, the ordinariness of the figure is more than its tragedy and loneliness.
Repin's significance in the history of Russian Art is enormous. In his portraits, his closeness to the great masters of the past was especially affected. In his portraits, Repin reached the highest point of his pictorial power.
Repin's portraits are surprisingly lyrically attractive. He creates acute folk types, numerous perfect images of cultural figures, graceful secular portraits (Baroness V.I. Ikskul von Hildebrandt, 1889). The images of the artist's relatives are especially colorfully sincere: a number of paintings with Repin's wife N.I. Nordman-Severovoy. His purely graphic portraits, executed in graphite pencil or charcoal, are also virtuoso (E. Duse, 1891; Princess M.K. Tenisheva, 1898; V.A.Serov, 1901). Repin also showed himself as an outstanding teacher: he was the professor-head of the workshop (1894-1907) and the rector (1898-1899) of the Academy of Arts, at the same time he taught at the Tenisheva's workshop school.
After the October Revolution of 1917, the artist found himself isolated from Russia, when Finland gained independence, he never moved to his homeland, although he kept in touch with friends living there (in particular, with K.I. Chukovsky). Repin died on September 29, 1930. Chukovsky in 1937 published a collection of his memoirs and articles on art (Dalekoye Close), which was then reprinted several times.
Valentin Alexandrovich Serov (1865-1911)
Born in St. Petersburg in the family of the composer A.N. Serov. Since childhood V.A. Serov was surrounded by art. Repin was the teacher. Serov worked near Repin from early childhood and very soon discovered talent and independence. Repin sends him to the Academy of Arts to P.P. Chistyakov. The young artist won respect, and his talent was admired. Serov wrote "Girl with Peaches". Serov's first major work. Despite its small size, the picture seems very simple. It is painted in pink and gold colors. Received an award from the Moscow Society of Art Lovers for this painting. The next year Serov painted a portrait of his sister Maria Simonovich and later called it "The Girl in the Sunshine" (1888). The girl sits in the shade, and the glade in the background is illuminated by the rays of the morning sun.
Serov became a fashionable portrait painter. Famous writers, aristocrats, artists, painters, entrepreneurs and even tsars posed in front of him. In adulthood, Serov continued to paint relatives, friends: Mamontov, Levitan, Ostroukhov, Chaliapin, Stanislavsky, Moskvin, Lensky. Serov carried out the orders of the crowned - Alexander III and Nicholas II. The emperor is depicted in a simple jacket from the Preobrazhensky regiment; this painting (destroyed in 1917, but preserved in the author's replica of the same year; the Tretyakov Gallery) is often considered the best portrait of the last Romanov. The master painted both titled officials and businessmen. On each portrait Serov worked to the point of exhaustion, with full dedication, as if the work begun was his last work. The impression of spontaneous, light artistry was reinforced in Serov's images also because he worked freely in a variety of techniques (watercolor, gouache, pastel), minimizing or even nulling the difference between a sketch and a painting. Black-and-white drawing was always an equal type of creativity with the master (the inherent value of the latter was fixed in his work since 1895, when Serov performed a cycle of animal sketches, working on illustrations of I.A.Krylov's fables).
At the turn of the 19th and 20th centuries. Serov becomes almost the first portrait painter in Russia, if someone in this regard is inferior, then only one Repin.
It seems that best of all he succeeds in intimate-lyrical images of women and children (N.Ya.Derviz with a child, 1888-1889; Mika Morozov, 1901; both portraits - Tretyakov Gallery) or images of creative people (A. Mazini, 1890; K.A.Korovin, 1891; F. Tamagno, 1891; N.A.Leskov, 1894; everything is in the same place), where the colorful impression, a free brushstroke reflect the state of mind of the model. But even more formal, secular portraits organically combine subtle artistry with an equally subtle gift of an artist-psychologist. Among the masterpieces of the "secular" Serov - Count F.F. Sumarokov-Elston (later - Prince Yusupov), 1903, Russian Museum; G.L. Girshman, 1907; IN. Girshman, 1911; I.A. Morozov, 1910; Princess O.K. Orlova, 1911; all - in the same place).
In the portraits of the master during these years, Art Nouveau completely dominates with its cult of a strong and flexible line, monumental catchy gesture and posture (M. Gorky, 1904, Museum of A.M. Gorky, Moscow; M.N. Ermolov, 1905; F.I. Chaliapin, charcoal, chalk, 1905; both portraits are in the Tretyakov Gallery; Ida Rubinstein, tempera, charcoal, 1910, Russian Museum). Serov left a grateful memory of himself as a teacher (in 1897-1909 he taught at the Moscow School of Painting, Sculpture and Architecture, where among his students were K.F.Yuon, N.N.Sapunov, P.V. Kuznetsov, M. S. Saryan, K.S. Petrov-Vodkin). Serov died in Moscow on November 22 (December 5) 1911.
Russian portrait has its own history of development and its remarkable portrait painters.
In general terms, we will talk about how the portrait genre developed in Russia. In general, because this topic is immense for one article.
History of Russian portrait
In the Middle Ages, the Russian portrait differed from the understanding of this genre at a later time: the individual traits of a particular person were almost not reflected in his image. In a medieval portrait, it was a timeless image. Individuality was manifested only in the depiction of his social position, or rather, the ideal that corresponded to representatives of a certain stage in the feudal hierarchy. Naturally, only noble people, church leaders and other dignitaries of their time were depicted in the portraits.
Miniature from "Izbornik Svyatoslav" 1073 "Svyatoslav with his family." Svyatoslav is on the far right. Svyatoslav is the third son of Yaroslav the Wise and Ingegerda of Sweden.
And here is a group portrait of "Daughter of Yaroslav the Wise". Here we see some individualization of images, although it is not the main criterion in this portrait, it was more important for the artist to show the princely dignity of girls.
Some of the icon-painting images of Dionysius differ in their individual characteristics. For example, the icon of Joseph Volotsky.
Dionysius. Icon of Joseph Volotsky
Dionysius (c. 1440-1502) - famous Moscow icon painter, continuer of the traditions of Andrei Rublev.
In the XVI century. a secular portrait was born in Russia. The hundred-headed cathedral of 1551 legalized the possibility of writing on the icons of kings, princes and the people, a little later it was allowed to write on icons along with the usual plots and parables - this made it possible to insert household motives into icons. At the same time, according to the decision of the Stoglavy Cathedral, in the underwear row of icons (lower), kings, and princes, and saints, and peoples who were alive could appear.
And Ivan the Terrible himself demanded to display historical events and his deeds in art. Under him, the royal workshop was created, which in the 17th century. became the basis of the school of tsarist iconographers of the Armory Chamber.
In the Russian kingdom of that period, the portrait genre was called "parsuna" - a distorted transcription of the Latin word "persona" - "personality", "person". Parsuns of the 17th century, with rare exceptions, do not have the signatures of the authors and indicate the time of writing. And although the portrait resemblance in Parsun is transmitted rather conditionally, and the signature helps to determine the personality of the person depicted, nevertheless, this was already a step towards the further development of Russian pictorial portrait.
Parsuna XVII century "Portrait of Tsarevich Peter Alekseevich". Russia, late 17th - early 18th century Unknown artist. Canvas, oil.
By the XVI century. include lifetime images of Ivan the Terrible and many other historical figures of that time.
Parsun Ivan the Terrible
In the XVII century. the genre of the portrait continues to develop, the icon-painting face is increasingly beginning to approach the individual face, the artists depict not only tsars, but also boyars, stewards, merchants. It is especially important that the resemblance to the model is already mandatory. The artists of the Armory Iosif Vladimirov and Simon Ushakov became innovators in the field of creating a realistic portrait image. Vladimirov creates an image as he sees it in life. Their work is approaching realism. Ushakov worked a lot on the image of a human face. He created new icon-painting images with anatomically correct, volumetric modeled faces, real rendering of the shape of the eyes and the shine of the pupils. But these were only separate steps towards a realistic portrait.
XVIII century. brought his achievements into the portrait genre: artists introduce direct perspective, depth and three-dimensional image on a plane; comprehend the relationship between light and color, the role of light as a means of building volume and space.
The central theme of the art of the Petrine era is man, and the main genre is the portrait. At this time, the transition from parsuna to portrait was taking place. By the middle of the XVIII century. original and talented portrait painters have already appeared. The Russian school of portraiture was represented by the artists Ivan Nikitin, Andrey Matveev, Ivan Vishnyakov, Alexey Antropov, Ivan Argunov. Let's turn to the creativity of at least one of them.
Ivan Petrovich Argunov (1729-1802)
I.P. Argunov was a serf of the Sheremetevs. He studied portrait painting with his cousin Fyodor Leontievich Argunov, as well as with foreign masters. Under the guidance of his teacher Georg Christopher Groot, he created icons for the church of the Catherine Palace in Tsarskoe Selo.
I. Argunov "Self-portrait"
He is the author of excellent ceremonial and chamber portraits. Argunov became famous for his portraits of St. Petersburg nobility, for example, P.B.Sheremetev. In 1762 Argunov received an order to create a portrait of Empress Catherine II.
I. Argunov "Portrait of Catherine II" (1762)
The portrait was painted in the tradition of a ceremonial portrait. The Empress is depicted in an emphatically theatrical pose, her gaze directed at the viewer from top to bottom. The details are carefully written: a fragment of a column, luxurious draperies, gilded furniture details, regalia.
A special place in the work of I. Argunov is occupied by portraits of children and youth. One of the most famous portraits of the artist is "Portrait of an Unknown Peasant Woman in a Russian Costume".
I. Argunov "Portrait of an Unknown Peasant Woman in a Russian Costume" (1784)
In this portrait, he managed to show the natural beauty and dignity of a person, regardless of his class affiliation. Soft facial features, a friendly smile and a calm posture - all this emphasizes the modesty, openness and kindness of a woman from the people.
It should not be forgotten that foreign artists also worked in Russia during the time of Peter the Great, who also contributed to the development of the portrait genre. Thanks to them, this genre began to develop in a new quality. To designate Western European artists who worked in Russia, there is a special term - "Russia". Some of the names are: Georg Hrstofor Groot, John Wedekind, Louis Caravac, Alexander Roslin, Pietro Rotari, Stefano Torelli and many others.
L. Karavak "Portrait of princesses Anna Petrovna and Elizaveta Petrovna"
In the works of the portrait genre, composition, color, and style are developed.
I.G. Tannauer "Portrait of Peter I"
The next new step in the portrait genre was made by the artists of the 18th century. F. Rokotov, D. Levitsky, V. Borovikovsky. Read about them. By the end of the 18th century. In terms of its high level of quality, the Russian portrait is on a par with contemporary world models. Levitsky and Rokotov move from the ceremonial portrait to the chamber one. Their portraits are characterized by delicacy, thoughtfulness, restrained attentiveness.
In the genre of an official portrait at the end of the 18th century. S. Shchukin (1762-1828), a student of D. Levitsky, was considered an indisputable authority. The famous portrait painters Vasily Tropinin and Alexander Varnek were the pupils of S. Shchukin himself.
S. Shchukin "Paul I in the Maltese crown" (1799). Hermitage, Petersburg
For this portrait S. Shchukin was awarded the title of academician.
By the end of the 18th century. Russian portraiture began to develop in accordance with the general European style trends of baroque, rococo, classicism, sentimentalism.
The flourishing of Russian portraiture
With the onset of the era of romanticism at the beginning of the 19th century. the portrait genre has received a new development. The most famous masters of this period were Orest Kiprensky, V. Tropinin, K. Bryullov, Alexander Varnek.
Alexander Grigorievich Varnek (1782-1843)
A. Varnek "Self-portrait"
Graduate and later teacher of the Academy of Arts, master of portrait. The main theme of his work was portraits. Celebrate his ability to grasp similarities, choose lighting, portray a model truthfully and without embellishment. Many portraits of his contemporaries belong to his brush. For example, a portrait of M.M. Speransky, a Russian public and statesman, a reformer who took part in the education of Tsarevich Alexander Nikolaevich.
A. Varnek "Portrait of Mikhail Mikhailovich Speransky" (1824). Canvas, oil. Irkutsk Regional Art Museum. V.P.Sukacheva
From the middle of the XIX century. The best examples of the realistic portrait genre are created by the Itinerant artists Vasily Perov, Ivan Kramskoy, Nikolai Ge, Nikolai Yaroshenko, Valentin Serov, Ilya Repin. They created portraits of representatives of the intelligentsia of this era, many of which were made directly by order of P.M. Tretyakov, a renowned art patron and collector.
I. Kramskoy "Self-portrait"
Ivan Nikolaevich Kramskoy created a number of portraits of prominent Russian writers, artists and public figures: L.N. Tolstoy (1873), I.I.Shishkin (1873), P.M. Tretyakov (1876), M.E.Saltykov-Shchedrin (1879), A.S. Griboyedov, V. Solovyov, Emperor Alexander III and many others.
I. Kramskoy "Portrait of Emperor Alexander III" (1886)
The portrait is also widely introduced into the paintings of the everyday and historical genre, for example, in the paintings of V. Surikov.
Valentin Alexandrovich Serov (1865-1911) - Russian portrait master.
V. Serov "Self-portrait"
His most famous portrait is "Girl with Peaches".
V. Serov "Girl with Peaches" (1887). Oil on canvas, 91 x 85 cm.The State Tretyakov Gallery (Moscow)
This portrait was painted in the Abramtsevo estate of Savva Ivanovich Mamontov, a Russian entrepreneur and philanthropist. And the portrait depicts Mamontov's daughter, 12-year-old Vera. Her spontaneity, lively mind and curiosity are skillfully conveyed by the artist. Although the portrait was created for almost 2 months, and all this time the girl posed for the artist, there is no sense of stability on the canvas. It seems that Vera just ran into the dining room for a minute to eat a peach, and now she will go about her business again. By the way, peaches were grown in the Mamontov greenhouse.
V. Serov created a portrait gallery of "the highest persons", including portraits of the Grand Duke Georgy Mikhailovich, Emperor Alexander III, Grand Duke Pavel Alexandrovich, the coronation portrait of Nicholas II, etc.
V. Serov "Portrait of Nicholas II"
Silver Age portrait painters
The portrait genre continued its development in the works of Mikhail Vrubel, Sergei Malyutin, Abram Arkhipov, Boris Kustodiev, Malyavin.
These artists created portraits-types of people from the people. Their works are mostly colorful, full of optimism, color and freshness of perception.
A. Arkhipov "The Woman in Red" (1910)
Viktor Borisov-Musatov, Konstantin Somov, Zinaida Serebryakova portraits are more lyrical. K. Somov, for example, created a gallery of portraits of his contemporaries (A. Blok, E. Lancere, S. Rachmaninov, V. Ivanov, M. Dobuzhinsky, etc.)
K. Somov "Portrait of S. Rachmaninoff"
As you know, the Silver Age is the time of the search for a new artistic language, and this search is reflected in the portraits of that time. Silver Age portrait painters: Kazimir Malevich, Ilya Mashkov, Pyotr Konchalovsky, Aristarkh Lentulov, Alexander Osmerkin, Robert Falk, Nathan Altman, etc.
P.P. Konchalovsky "Portrait of V. E. Meyerhold" (1938). Oil on canvas, 211 x 233 cm.The State Tretyakov Gallery
The famous director is depicted in the portrait shortly before his arrest and death. The conflict between the personality and the surrounding reality is emphasized. The composition of the portrait plays an important role, to some extent it is allegorical: it seems that the canvas depicts a dreamer, whose dreams are embodied in colorful patterns that cover the entire wall and sofa to the floor. But at the same time we see a person immersed in his thoughts, as if removed from the surrounding world. The image is revealed through contrast: a bright ornament, and against its background - a monochrome figure, as if lost and tangled in the countless curves of patterns.
N. Altman "Portrait of A. A. Akhmatova" (1914). State Russian Museum, St. Petersburg
The portrait of A. Akhmatova was painted in the style of cubism.
The outstanding graphic artist of this period is Yuri Annenkov. He created a large gallery of pictorial and graphic portraits of many figures of Russian culture: Akhmatova A.A., Benois A.N., Gorky A.M., Zamyatin E.I., Lunacharsky A.V., Pasternak B.L., etc. ...
Y. Annenkov "Portrait of B. Pasternak" (1921)
By the 30s of the XX century. in the Russian portrait genre, realism again became in demand, it was now called "socialist realism". The image of a contemporary was also in demand. But this image had to be ideologically correct. “The main content of the Soviet portrait is the image of the new man, the builder of communism, the bearer of such spiritual qualities as collectivism, socialist humanism, internationalism, revolutionary determination. A representative of the people becomes the protagonist of the Soviet portrait ”(Great Soviet Encyclopedia). New portraits-types and portraits-paintings, reflecting the everyday life of Soviet people and their heroic deeds (artists Kuzma Petrov-Vodkin, Georgy Ryazhsky, Alexander Deineka, Sergei Gerasimov, Semyon Chuikov) appear.
A. Deineka "Runners" (1934)
Whole pictorial cycles have been formed dedicated to the leaders of the revolution and the Soviet state (Leninian, Stalinian).
One of the most famous paintings about the war was the "Mother of the Partisan" by artist S. Gerasimov.
S. Gerasimov "Mother of the Partisan" (1943-1950). Oil on canvas, 184 x 229 cm.The State Tretyakov Gallery (Moscow)
The theme of his painting is the heroism of an ordinary Soviet man during the war. In the center of the picture stands the mother of the partisan with her head held high. S. Gerasimov said about the idea of \u200b\u200bthis picture: “I wanted to show in her image all the mothers who sent their sons to war”. A woman cannot be intimidated by German invaders. Her native land is behind her. The face is the embodiment of the people's anger, which even the fascists feel: against the background of this heroic Russian woman, the German officer seems pathetic.
In the second half of the XX century. The genre of Russian pictorial portrait was enriched by artists of a new generation: Nikolai Andronov, Viktor Popkov, Tair Salakhov, Boris Korneev, Lev Rusov, Evsey Moiseenko, Oleg Lomakin, as well as Dmitry Zhilinsky, Alexander Shilov (works in the manner of "photorealism"), Ilya Glazunov.
T. Salakhov created a gallery of images of cultural figures: composers D. D. Shostakovich, Kara Karaev, F. M. D. Amirov, artist R. Rauschenberg, actor M. Schell, writers Rasul Rza, G. Hesse, M. Ibragimbekov, cellist M. L. Rostropovich and others.
T. Salakhov "Portrait of M. Rostropovich"
Group portrait of D. Zhilinsky "Spring of the Art Theater" (1988)
Look closely at the faces of the characters and you will find many familiar faces.
D. Zhilinsky created portraits of people close to him in spirit.
D. Zhilinsky "Richter plays"
In the portrait gallery of I. Glazunov there are his contemporaries: from a simple rural carpenter to heads of state. He created a series of portraits of Soviet and foreign political and public figures, writers, people of art. The artist created many artistic images of historical characters.
I. Glazunov "Portrait of the Writer Valentin Rasputin" (1987). Canvas, oil. 121 x 90 cm
I. Glazunov "Kiss of Judas" (1985). Canvas, oil
We see how diverse the creative searches of portrait painters of the 20th century are.
Contemporary Russian portrait
The Russian portrait continues to develop. Now he is no longer bound by any ideological conditions, although the ceremonial portrait has been preserved - customers have existed at all times.
The most famous authors of this genre are Alexander Shilov, Nikas Safronov, the Leningrad artist Sergei Pavlenko, who lives in London and received two orders for portraits of the British royal family, including Queen Elizabeth. He works in line with the school of Korovin and Nesterov.
S. Pavlenko "Portrait of Elizabeth II", 250 x 210 cm
S. Pavlenko "Olga". Oil, 163 x 95 cm
Natalia Tsarkova, a graduate of the I. Glazunov Studio and the Surikov School, is the official court portraitist at the court of Pope Benedict XVI. But he paints portraits of popes Tsarkov from photographs, since
not supposed to pose. Natalia Tsarkova is the only woman in the world who painted portraits of the four popes of Rome.
N. Tsarkova "The Last Supper" (2002)
Here is how the artist herself explains this work: “In fact, I have not changed anything in this well-known evangelical story, I just went from the other side. Jesus sits at the table opposite the apostles and half-turned from his back looks directly at the viewer. In the corner of the canvas, in the form of a servant, I portrayed myself, looking through the open door. This is also incompatible with the traditional canons of the "Supper", but in this way I wanted to emphasize the connection with the present day. This is a view from the third millennium.
A large white canvas lay in my studio for a whole year before the solution to the painting came up. Ideas appeared spontaneously, like insights, in the process of work. I redid many of the details several times. And in the role of the apostles, I decided to portray my Italian friends and acquaintances. For example, the person who posed for Christ for me is Count Peppy Morga, a light designer by profession. "
Portrait painter Ivan Slavinsky is popular in France, Georgy Shishkin is an artist of Monaco.
It is obvious that Russian contemporary realist artists are in demand and successful in the world. Why? Are there really few of their talented artists? Of course they are. But the classical art school practically no longer exists in Europe. And the European aristocracy prefers to have their images for posterity in a classic recognizable manner. Therefore, there are many Russian names among the court artists of our time.
Introduction
I. Russian portrait painters of the first half of the 19th century
1.1 Orest Adamovich Kiprensky (1782-1836)
1.2 Vasily Andreevich Tropinin (1776-1857)
1.3 Alexey Gavrilovich Venetsianov (1780-1847)
1.4 Karl Pavlovich Bryullov (1799-1852)
II. Fellowship of Traveling Art Exhibitions
Chapter III. Russian portrait painters of the second half of the 19th century
3.1 Nikolai Nikolaevich Ge (1831-1894)
3.2 Vasily Grigorievich Perov (1834-1882)
3.3 Nikolai Alexandrovich Yaroshenko (1846-1898)
3.4 Ivan Nikolaevich Kramskoy (1837-1887)
3.5 Ilya Efimovich Repin (1844-1930)
3.6 Valentin Alexandrovich Serov (1865-1911)
Chapter IV. The art of portrait painting
Conclusion
Bibliography
Introduction
The purpose of this work is to tell about the importance of the portrait as one of the main genres of art, about its role in the culture and art of that time, get acquainted with the main works of artists, learn about Russian portrait painters of the 19th century, about their life and work.
In this work, we will consider the art of portrait painting in the 19th century:
The greatest masters of Russian art of the 19th century.
Association of Traveling Art Exhibitions.
What is a portrait?
The history of the appearance of the portrait.
First half of the 19th century - the time of the addition of the genre system in Russian painting. In painting of the second half of the 19th century. the realistic direction prevailed. The character of Russian realism was determined by young painters who left the Academy of Arts in 1863, who rebelled against the classical style and historical and mythological themes that were implanted in the academy. These artists organized in 1870
Association of traveling exhibitions, whose task was to provide members of the association with the opportunity to exhibit their work. Thanks to his activities, works of art became available to a wider range of people. Pavel Mikhailovich Tretyakov (1832–1898) from 1856 collected works of Russian artists, mainly the Itinerants, and in 1892 donated his collection of paintings together with the collection of his brother S.M. Tretyakov as a gift to Moscow. In the portrait genre, the Wanderers created a gallery of images of prominent cultural figures of their time: the portrait of Fyodor Dostoevsky (1872) by Vasily Perov (1833-1882), the portrait of Nikolai Nekrasov (1877-1878) by Ivan Kramskoy (1837-1887), the portrait of Modest Mussorgsky (1881) by Ilya Repin (1844–1930), the portrait of Leo Tolstoy (1884) by Nikolai Ge (1831–1894) and a number of others. Being in opposition to the Academy and its artistic policy, the Wanderers turned to the so-called. "Low" topics; images of peasants and workers appear in their works.
The growth and expansion of artistic understanding, needs is reflected in the emergence of many art societies, schools, a number of private galleries (Tretyakov Gallery) and museums, not only in capitals, but also in the provinces, in the introduction of drawing into school education. All this, in connection with the appearance of a number of brilliant works by Russian artists, shows that art has taken root on Russian soil, has become national. The new Russian national art was sharply different in that it clearly and strongly reflected the main currents of Russian social life.
Russian portrait painters of the first half of the 19th century.
1.1 Orest Adamovich Kiprensky (1782-1836)
Born on the Nezhinskaya manor (near Koporye, now in the Leningrad region) on March 13 (24), 1782. He was the bastard son of the landowner A.S. Dyakonov, registered in the family of his serf Adam Schwalbe. Having received his freedom, he studied at the St. Petersburg Academy of Arts (1788-1803) under G.I. Ugryumov and others. He lived in Moscow (1809), Tver (1811), St. Petersburg (from 1812), and in Rome and Naples.
The very first portrait - the adoptive father of A.K. Schwalbe (1804, Russian Museum, Petersburg) - stands out for its emotional flavor. Over the years, the skill of Kiprensky, manifested in the ability to create not only social and spiritual types (predominant in Russian art of the Enlightenment), but also unique individual images, has improved. Naturally, it is customary to begin the history of romanticism in Russian fine art with Kiprensky's paintings.
The Russian artist, an outstanding master of the Russian fine art of romanticism, is known as a remarkable portrait painter. Kiprensky's portraits are imbued with special cordiality, special simplicity, they are filled with his high and poetic love for man. In the portraits of Kiprensky, you can always feel the features of his era. This is always invariably inherent in each of his portraits - and in the romantic image of the young V.A. Zhukovsky, and the wise E.P. Rostopchin (1809), portraits: D.N. Khvostov (1814 TG), the boy Chelishchev (1809 TG), E.V. Davydov (1809 RM).
An invaluable part of Kiprensky's work is graphic portraits, made mainly in pencil with tint with pastels, watercolors, and colored pencils. It depicts General E.I. Chaplitsa (State Tretyakov Gallery), P.A. Olenin (State Tretyakov Gallery). In these images we see Russia, the Russian intelligentsia from the Patriotic War of 1812 to the December uprising.
Portraits of Kiprensky appear before us as complex, thoughtful, changeable in mood. Opening various facets of the human character and the spiritual world of man, Kiprensky each time used different possibilities of painting in his early romantic portraits. His masterpieces, like one of the best lifetime portraits of Pushkin (1827 TG), a portrait of Avdulina (1822 RM). The sadness and thoughtfulness of Kiprensky's heroes is sublime and lyrical.
"Light-winged fashion lover,
Though not British, not French
You created again, dear wizard,
Me, a pet of pure muses. -
And I laugh at the grave
Gone forever from mortal bonds.
I see myself as in a mirror
But this mirror flatters me.
It says that I will not humiliate
Passions of important aonids.
So Rome, Dresden, Paris
My view will be known henceforth, - 1
Pushkin wrote to Kiprensky in gratitude for his portrait. Pushkin treasured his portrait and this portrait hung in his office.
A special section is made up of Kiprensky's self-portraits (with brushes behind the ear, c. 1808, Tretyakov Gallery; and others), imbued with the pathos of creativity. He also owns the heartfelt images of Russian poets: K. N. Batyushkov (1815, drawing, Museum of the Institute of Russian Literature of the Russian Academy of Sciences, St. Petersburg; V. A. Zhukovsky (1816). The master was also a virtuoso graphic artist; working mainly in Italian pencil, he created a number of remarkable household types (like the Blind Musician, 1809, Russian Museum) Kiprensky died in Rome on October 17, 1836.
