Folk tales in the work of the artist Vasnetsov. Paintings by Vasnetsov on fairy tales

The hall of paintings by Viktor Mikhailovich Vasnetsov in the Tretyakov Gallery is one of the most beloved by both young and adult viewers. As if finding ourselves in a fairy-tale kingdom, we see how Alyonushka is sad over the black, ominously silent water, Ivan Tsarevich rushes on a wolf, the dresses of the princesses of the underworld shine with gems, the knight stopped in thought at a crossroads and mighty heroes stand in an insurmountable outpost ... Viktor Mikhailovich Vasnetsov was born in 1848 in the small village of Lopyal, Vyatka province, in the family of a priest. Soon the Vasnetsov family, which had six sons (Viktor was the second in seniority), moved to the neighboring village of Ryabovo. Here, among the endless forests and fields, the artist's childhood passed. Later, the Vasnetsov brothers recalled how their father “went with the children into the field, inhaled the aroma of meadow grasses, listened to the fight of quails and the creaking of corncrakes, admired the twinkling starry sky, told the boys about the structure of the universe and showed various constellations” and how during these walks in the souls of children poured "a living indestructible idea of the Living, really existing God!".

Vasnetsov was the first among Russian artists to turn to Russian antiquity and folklore. By order of Mamontov, the artist painted the paintings “Battle of the Slavs with the Scythians” (1881), “Flying Carpet” (1880), “Three princesses of the underworld” (1881). Continuing the tradition folk art, Vasnetsov at the same time created decorative panel paintings typical of the Art Nouveau style, taking the viewer into the world of magical dreams (“Sirin and Alkonost. Song of Joy and Sorrow”, 1896).

Not far from Mamontov's Abramtsevo estate, Vasnetsov once met his Alyonushka.

"ALIONUSHKA"

“Alyonushka seemed to have been living in my head for a long time, but in reality I saw her in Akhtyrka (near Abramtsevo) when I met one simple-haired girl who struck my imagination,” said Vasnetsov. “There was so much longing, loneliness, purely Russian sadness in her eyes ... Some kind of special Russian spirit blew from her.”

In Alyonushka, the artist does not literally follow the content of the fairy tale, but creates a poetic image that is close to the sad folk song- I'm crying. In the picture there is neither a goat, which the girl's brother Ivanushka turned into, nor a heavy stone on Alyonushka's neck, which pulled her to the bottom. Like unknown folk masters, Vasnetsov creates his own pictorial fairy tale, finding its motives in the colors of Russian nature. Vasnetsov's landscape is never just a backdrop for action. How in folk songs and legends, nature in his paintings is a living, animated being; herbs, trees and forest animals help the heroes to find happiness and, on the contrary, prevent the dark forces from carrying out their intrigues.

Alone, huddled in a ball, dropping her head on her knees, Alyonushka sits on a cold stone above an ominously frozen black pool. But there is no sense of hopelessness in the picture. And even though Alyonushka is a defenseless orphan among people, nature responds to her grief and protects the girl. Vasnetsov found a surprisingly subtle consonance between Alyonushka's mood and the state of nature. The sun is slowly setting, the bright midday colors are fading. Summer is turning to autumn, the first leaves are beginning to turn yellow. It seems that ahead is only hopeless darkness and a cruel winter cold. But the trees bristled with an impregnable wall, protecting Alyonushka from evil offenders. Reeds rise from the black water, comforting the girl with a gentle touch. A thin aspen, personifying the unfortunate and miserable in fairy tales, twists its lower branch into a wreath above Alyonushka's head, swallows sway on the wreath branch. The messengers of spring seem to chirp that grief and adversity will certainly go away, giving way to hard-won happiness, just as spring invariably replaces winter.

"IVAN TSAREVICH ON THE GRAY WOLF"

Alyonushka is protected by trees and grass, and Ivan Tsarevich and Elena the Beautiful are riding a wolf through a dark and terrible enchanted forest. The forest surrounded the heroes of the picture from all sides, danger lurks at every step. Not a single ray of the sun penetrates through the tightly closed branches of trees covered with gray mosses. Wisps of fog creep up from the dark thicket. There is not a single well-trodden path in this forest, underfoot there is a bottomless quagmire. One wrong step - and you can disappear forever in a swamp. In the foreground of the picture, a frog lurks among the grass and blue forget-me-nots. Maybe this is a harmless inhabitant of the swamp, or maybe the evil spirits of the forest took on her appearance, preparing a fatal trap for people.

But nature gave Ivan Tsarevich a magical and wise companion - the Gray Wolf. It seems that a huge beast does not run through the forest, but flies over the earth, carrying Ivan Tsarevich and Elena the Beautiful from the kingdom of darkness to the light. But even here, in the middle of a dark enchanted forest, they are already surrounded, shrouded in light. Their brocade robes shine with precious mother-of-pearl tints. The girl trustingly clung to the prince. As the fairy tale says, "Ivan Tsarevich, sitting on the Gray Wolf with the beautiful Elena, loved her with all his heart, and she loved Ivan Tsarevich." It is this light of love, which seems to radiate from within their figures, that protects and keeps the heroes of the picture in the darkness that has come close. And where they float above the ground, a miracle happens - a dead tree blooms with delicate spring flowers.

"BOGATYRI"

The famous "Bogatyrs" (1881-1898) Vasnetsov began to write in Abramtsevo, near Moscow. As if from the Abramtsevo nature itself, images of the yearning Alyonushka and three mighty fairy-tale knights were born. Vasnetsov said that three sprawling giant oaks near the house of the owner of the estate, Savva Ivanovich Mamontov, helped him "see" the legendary heroes. Over the picture, which the artist considered his "creative duty, obligation to his native people", he worked for 18 years. Started simultaneously with Alyonushka in 1881, it was completed only by 1898.

Looking at the picture, we seem to feel the presence of the mighty and just defenders of the Russian land. According to the artist, “at the heroic exit, they notice in the field, is there a enemy somewhere, are they offending someone somewhere?” This is probably the most important thing for Vasnetsov - the knights protect not only from foreign invaders, but also - most importantly - from injustice, embodying the eternal people's dream. Nothing is hidden from their keen eyes, and they will definitely come to the rescue.

On the left is Dobrynya Nikitich, “the son of a rich guest (that is, a merchant) from Ryazan”, a combatant of Prince Vladimir the Red Sun. He has a direct open look and a noble posture; the sword-treasurer, obtained by him in a duel with the Serpent Gorynych, is half snatched from its scabbard. The winner of the Serpent is a fighter with the dark, evil spirit, and the horse under him - white color, personifying light, purity and courage.

In the center is the peasant son Ilya Muromets, the most important and powerful of the heroes. His powerful, thickset figure is flesh from the flesh of the earth. He peers vigilantly into the distance from under menacingly shifted eyebrows. A one-pound club hangs easily on his hand, and the other hand squeezes a damask spear. A black horse is a match for him - like a thundercloud; fire blazes from the nostrils, and lightning seems to lurk in the eyes.

Alyosha, "the son of the Rostov cathedral priest" - the youngest of the heroes. He wins not by force, but by cunning, and his weapons are also the most “cunning” - a bow and arrows that can be fired at the enemy from afar, from an ambush, without entering into a duel with him. His red horse peacefully nibbles the grass, at the same time mowing on the sides with a sly eye. Alyosha Popovich in the picture is not only a warrior, but also a singer, a harper. To the left of his saddle there is a harp, an ancient stringed instrument, to the accompaniment of which folk storytellers sang heroic songs - epics. His gaze is thoughtful, as if immersed in itself: maybe now the melody of a future song sounds in it.

Vasnetsov found that harmonious alloy of strength, kindness and wisdom that folk fantasy endowed with epic heroes in the peasant of the Vladimir province, Ivan Petrov. He became the prototype of Ilya Muromets (a portrait of Ivan Petrov hangs in the hall of the Tretyakov Gallery next to the painting "Heroes"). In the guise of Dobrynya Nikitich, one can find similarities with the artist himself, and Alyosha Popovich resembles the son of Savva Ivanovich Mamontov - Andrey.

The riders rise to the top of the hill. Their figures exude a calm and confident strength, in which there is no aggressive threat. We look at the heroes as if from the foot of the mountain, from the bottom up. In the distance, behind the hill, forests and fields stretch. Our gaze hovers over them, along with a bird that has taken off from the gray stone on the right. Combining two points of view in the picture, Vasnetsov helps us to feel both the irresistible power of the heroes and the open spaces where the free wind walks. The wind bends grasses and trees to the ground and drives clouds across the sky, but storms and time have no power over the heroes, they are the eternal guardians of the Russian land.

The events of Russian history in the works of Vasnetsov are also covered with a heroic epic spirit. In the painting “After the battle of Igor Svyatoslavich with the Polovtsy” (1880), the dead Russian soldiers do not look dead, but only sleeping; they are powerful and beautiful, like fabulous heroes.

In his portraits (“Portrait of B. V. Vasnetsov”, 1889; “Portrait of E. A. Prakhova”, 1894; “Portrait of V. S. Mamontova”, 1896), Vasnetsov searched for and found the Russian national image of beauty.

"SNOW MAIDEN"

Together with the artists who gathered in Abramtsevo, Vasnetsov participated in the design of the performances of the Private Russian Opera by S. I. Mamontov. In his costumes and scenery for the opera "The Snow Maiden" by N. A. Rimsky-Korsakov based on the play-tale by A. N. Ostrovsky (1886), for "The Mermaid" by A. S. Dargomyzhsky (1884) and other performances, the master sought to recreate the color Russian antiquity, poetic atmosphere folk life, her light sincere beauty.

IN ABRAMTSEVO
According to Vasnetsov's designs, the Church of the Savior Not Made by Hands (1881-1882), one of the first examples of the neo-Russian style, and the famous "Hut on Chicken Legs" (1882) were built. In the Abramtsevo carpentry workshop, according to the sketches of the artist, pieces of furniture and arts and crafts were created in the spirit of Russian antiquity. Figurative motifs and ornaments Vasnetsov scooped up in ancient wooden carvings, in miniatures of ancient Russian handwritten books.
Here, in a spacious studio on the second floor, paintings were created, which the artist himself called the "Poem of Seven Tales": "Baba Yaga" (1901-1917), "Kashchei the Immortal" (1917-1926), "The Sleeping Princess" (1900- 1926), "Princess Nesmeyana" (1916-1926), "Sivka-Burka" (1914-1926), "The Frog Princess" (1918), "Flying Carpet" (1919-1926), as well as fabulous battles: " The battle of Ivan Tsarevich with the three-headed snake "(1913-1918) and" The battle of Dobrynya Nikitich with the seven-headed Serpent Gorynych. In 1906, the façade of the Tretyakov Gallery was adorned with a main entrance in the style of Russian towers, made according to a drawing by Vasnetsov.

MONUMENTAL PAINTING
In 1883-1885. the artist created monumental panels for the Historical Museum " Stone Age". The three-part frieze depicts scenes from the life of primitive people. Sketches for them are exhibited in the halls of the Tretyakov Gallery.

Vasnetsov devoted more than 10 years of his life to painting the Vladimir Cathedral in Kiev. In 1885-1896. a large-scale restoration of ancient Kiev cathedrals took place. In his paintings, the artist sought to resurrect the spirit of Byzantine and ancient Russian frescoes and icons. Before starting work, he traveled to Italy to study the special artistic language and symbolism of Byzantine mosaics, to see the monumental painting of the Renaissance. Continuing the ancient traditions, Vasnetsov brought a penetrating lyrical beginning to them. The style of the painting in the Vladimir Cathedral is close to the Russian version of Art Nouveau.

Until the end of his life, Vasnetsov continued to paint pictures on fairy tales in his Moscow tower. Devastation reigned all around, there was a civil war, and in Vasnetsov's house time seemed to stop, forever remaining in a fairy tale. The Soviet authorities did not dare to take away Vasnetsov's house, and after the death of the artist in 1926, his children continued to live there. In 1953, a museum was opened in the house of V. M. Vasnetsov; Now the Vasnetsov House-Museum is a branch of the State Tretyakov Gallery.

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What a delight these stories are! PROJECT I L I S T R A C I AND V A S N E T O V A K S K A Z K A M PERFORMED: SHALNEV YAROSLAV, Grade 5

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The purpose of the study: to get acquainted with the work of Yuri Alekseevich Vasnetsov, to identify the main artistic techniques characteristic of his work. Tasks: learn about the life and work of Vasnetsov; analyze the work of the artist; identify the features characteristic of all the works of the artist; Hypothesis: Vasnetsov's works are still relevant.

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Vasnetsov's biography The son of a poor rural priest, Viktor Vasnetsov (1848-1926), after graduating from a religious school, entered the Vyatka theological seminary. However, the love of fine arts prevailed in the final choice of profession. Having reached the last philosophical course, Vasnetsov left the seminary and went to St. Petersburg. There he managed to get first to the school of the Society for the Encouragement of Artists, and then to the Academy of Arts. Here Vasnetsov stayed (with interruptions) from 1868 to 1875. His main teacher was P.P. Chistyakov, who later provided Vasnetsov with power in many of his undertakings. I. N. Kramskoy and V. V. Stasov treated the young artist with great attention.

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Bilibin's illustrations framed by floral ornaments very accurately reflect the content of the tale. We can see the details of the costumes of the heroes, the expression on the faces of the surprised boyars, and even the pattern on the kokoshniks of the daughters-in-law. Vasnetsov in his picture does not linger on the details, but perfectly conveys the movement of Vasilisa, the enthusiasm of the musicians, who, as it were, stamp their feet to the beat of a dance song. We can guess that the music Vasilisa dances to is cheerful, mischievous. When you look at this picture, you feel the nature of a fairy tale.

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The famous Russian artist Viktor Vasnetsov painted the famous painting The Frog Princess in 1818. The main element of this painting is the figure of a young girl; her arms are spread out to the sides, her head thrown back, the artist depicted her in a dance. The girl is wearing an amazingly beautiful embroidered dress of emerald color, under it you can see a dazzling white shirt, in her hand she has a light handkerchief. She is depicted with her back to the viewer, so we see only her thick long hair. The musicians playing a dance tune smile and look at her with admiration, apparently the girl is distinguished by unearthly beauty. If you remember famous fairy tale, then it becomes clear that in the next moment Vasilisa the Wise will show everyone her amazing magic: after a wave of one hand, a lake will appear, after a wave of the other, beautiful swans will swim across it. Vasnetsov beautifully depicted the royal chambers in which the Frog Princess was dancing: carved table legs, floor painting with intricate ornaments, tables covered with white tablecloths and various treats. In the background, the artist showed a lake with white swans, behind it - village huts, birch trees, a field. A small but beautifully presented piece of landscape adds additional realism to the picture. On this canvas, Vasnetsov tried to convey the soul and beauty of Russian creativity, inspiration, and the identity of the Russian people.

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The painting by V. Vasnetsov creates a generalized image of a beautiful princess: next to her are harpists, people. The illustration by I. Bilibin specifically depicts an episode of the feast: in the center is Vasilisa the Wise, at the wave of her hand miracles happen; around people amazed by what is happening.

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The famous Russian artist Viktor Vasnetsov painted the famous painting The Frog Princess in 1818. The main element of this painting is the figure of a young girl; her arms are spread out to the sides, her head thrown back, the artist depicted her in a dance. The girl is wearing an amazingly beautiful embroidered dress of emerald color, under it you can see a dazzling white shirt, in her hand she has a light handkerchief. She is depicted with her back to the viewer, so we see only her thick long hair. The musicians playing a dance tune smile and look at her with admiration, apparently the girl is distinguished by unearthly beauty. If we recall the famous fairy tale, it becomes clear that in the next moment Vasilisa the Wise will show everyone her amazing magic: after a wave of one hand, a lake will appear, after a wave of the other, beautiful swans will swim across it. Vasnetsov beautifully depicted the royal chambers in which the Frog Princess was dancing: carved table legs, floor painting with intricate ornaments, tables covered with white tablecloths and various treats. In the background, the artist showed a lake with white swans, behind it - village huts, birch trees, a field. A small but beautifully presented piece of landscape adds additional realism to the picture. On this canvas, Vasnetsov tried to convey the soul and beauty of Russian creativity, inspiration, and the identity of the Russian people. Year of painting: 1918.

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Snow Maiden. 1899. Year of painting: 1899. Size of the painting: unknown. Material: canvas. Painting technique: oil. Genre: mythological painting. Style: romanticism. Gallery: State Tretyakov Gallery, Moscow, Russia.

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The painting by Viktor Vasnetsov "Ivan Tsarevich on the Gray Wolf" is perhaps one of the most folklore works of Russian fine art. The plot of the picture is based on the famous Russian folk tale - "Ivan Tsarevich and the Gray Wolf." Ivan Tsarevich with Elena the Beautiful stolen by him flee from the chase on the Gray Wolf - Ivan's faithful friend. The prince carefully looks around, tightly presses his beloved to his chest. Elena, subdued and indifferent to what is happening, trustingly clung to her savior. She tries not to look around, frightened by the chase, the dense forest, and even the wolf. Particular attention of the viewer is attracted by the Gray Wolf with his human look. This is an unusual character: the Gray wolf is a werewolf, a werewolf, as he used to be called. But both in the Russian folk tale and in the picture, his image is positive, full of courage and fidelity. The gray wolf easily carries away its riders from the chase. He runs barely touching the ground, as if hovering over a gloomy swamp in the middle of a dense forest. In the picture in this forest, marsh lilies and apple blossoms stand out as bright spots. An apple tree in the middle of a dense forest, in a swamp? With this, the artist refers us to the plot of a folk tale - after all, adventures began from an apple tree with golden apples. The clothes of the heroes of the canvas are also fabulous. Ivan Tsarevich, dressed in a caftan embroidered with gold, and Elena in a blue silk dress complement each other stylistically. And the Gray Wolf is not at all gray, the color of his coat echoes the color of the prince's clothes. The whole picture creates the mood of a fairy tale, a miracle, a riddle. Year of painting: 1889.

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Magic carpet. 1880. A proud young man from a flying carpet looks at the expanses of the Russian land spreading below. The discreet northern nature served as a backdrop for the painting by the artist. Rivers and lakes sparkle, a forest stands like a dark wall, huge birds accompany the carpet. The Firebird caught by the hero burns with bright fire in the cage. This canvas tells about the wisdom, strength, dexterity of the people.

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The whole country is deservedly proud of this work of the famous Russian artist Viktor Vasnetsov, because on it the artist was able to convey both the greatness and the very spirit of the Russian people. Of course, other artists tried to grasp this idea, but Vasnetsov managed to get to the very essence and convey it to the audience through paints. The painting depicts three famous heroes of Russian legends and epics - Dobrynya Nikitich, Ilya Muromets and Alyosha Popovich. They symbolize all the best that the Russian people can be proud of - courage, fortitude, love for the motherland. Dobrynya Nikitich in epics is shown as a man not only wise, but also courageous. He was always helped by his magic armor and the sword-treasurer, which even now he is ready to get out of the scabbard. So he is depicted in the picture, and his white horse is like a reflection of his master. Ilya Muromets is a really living person, about whose extraordinary strength many legends were composed. His image in the picture is shown not only very strong, but also sincere, open and sincere. A half-smile plays on the face of the third character in Vasnetsov's painting "Bogatyrs". This shows the audience that Alyosha Popovich is not only a strong and brave warrior, but also a simple cheerful person. Viktor Vasnetsov has been creating this work for almost 30 years, thoroughly studying the real and fictional life and exploits of these legendary characters in Russian history. Year of painting: 1881.

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The remarkable Russian artist Viktor Vasnetsov gained his fame for a series of paintings-illustrations for Russian folk tales. One of these paintings - "Alyonushka", which is an illustration for the fairy tale "Sister Alyonushka and her brother Ivanushka", was written in 1881. On this canvas, the artist managed to masterfully convey the image of a girl from a fairy tale. Tired, exhausted by the futile search for her brother, Alyonushka sits in a sad pose by a forest pond on a large boulder. The dark forest around the heroine and the gloomy, cloudy sky enhance the mood of sadness and sadness. The dense forest surrounded the girl on all sides, sadly shedding bitter tears into the water of a quiet pond. Alyonushka's hair was disheveled from the long search for her brother; barefoot, in an old sundress, she sits and thinks about the fate of her brother Ivanushka. Above Alyonushka's head, the artist depicted several swallows, which are a symbol of hope, showed that the sad story that happened to his brother and sister will certainly end well. The forest landscape depicted in the picture does not distract the viewer from the central figure of Alyonushka, on the contrary, every detail emphasizes the essence and depth of the work. The picture is filled with an atmosphere of light sadness and complete silence. Very picturesque Vasnetsov depicted the immovable expanse of the pond, reeds, aspens above the water. The dark green colors of the surrounding landscape contrast with the blush and flowers on the girl's sundress. The picture leaves the impression of a fairy tale, mystery and the feeling that this fairy tale will end well. Year of painting: 1881.

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CONCLUSION: Yuri Alekseevich Vasnetsov is an outstanding Russian Soviet artist, an unsurpassed illustrator of folk tales, songs, nursery rhymes. His colorful illustrations imbued with the spirit of folklore have pleased more than one generation of young readers and will continue to delight for a long time, because this is an example of true art in the design of children's books. More than one generation of young readers has grown up on bright, original and witty illustrations by Vasnetsov. In the work, we got acquainted with the biography of Yuri Vasnetsov, reviewed popular books with his illustrations, conducted a survey and confirmed the hypothesis about the relevance of the artist's works to modern children. Vasnetsov's works are still relevant.

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List of information sources: 1. Literature: Unknown Yury Vasnetsov. Materials for the biography of the great artist. "Red steamer", 2011, 448 p., 256 ill. Ed.: Yu.V. Vasnetsova. 2. Internet resources: 1) virtualrm.spb.ru›Virtual branch›node/6701 "Fairy-tale world of Yury Vasnetsov" 2) fairyroom.ru›?page_id=1127Yuri Vasnetsov | "Pictures and conversations" 3) livelib.ru›book/1000571606Materials for the biography of the great

Vasnetsov V. M. (realism)

Master of historical and mythological painting, wrote more than 30 works on the themes of Russian fairy tales, songs, epics, historical events. "I have always lived in Russia," said Viktor Mikhailovich Vasnetsov. He became famous for such works as "Bogatyrs", "The Knight at the Crossroads", "Alyonushka", etc. They can be called picturesque poetic tales about the native Russian people, about the glorious national antiquity and its immortal Russian heroes.

Vasnetsov's childhood and early youth were spent in a semi-patriarchal family, in the distant Vyatka side, in the small village of Ryabovo. The father, a village priest, taught his sons to read and write. In long winter evenings children loved to listen to fairy tales about Alyonushka, about Kashchei the Immortal. And little Vitya loved to draw - the blue sea, sailing ships floating on the rising waves. The brother of Victor, Appolinary Vasnetsov, was also engaged in drawing in the family.

Victor first studied in Vyatka, in a theological seminary. But he was more interested in drawing. And after graduating from the seminary, Viktor Vasnetsov went to study in St. Petersburg, at the Academy of Arts. He earned the money for the trip himself. He did not enter the Academy immediately, he studied at the Drawing School.

While studying at the Academy, money was constantly lacking, and Vasnetsov worked as an illustrator in magazines and cheap publications. His illustrations were popular, they are full of lively observation, sincere, sometimes humorous and deserved a bronze medal at the World Exhibition in London.

Vasnetsov began to work in domestic genre, having gained fame with such paintings as "Beggars Singers", "Bookshop" and others. In them, the artist showed without embellishment the life of the poor, social injustice in Russian society.

At the turn of the 70s - 80s in the art of Vasnetsov, a turning point occurs. He becomes a master of Russian historical and mythological painting. In 1878, Vasnetsov moved to Moscow, which greatly influenced the artist's work - with its patriarchal streets, the ancient Kremlin, ancient churches, she inspired him, inspired him.

In Moscow, the Vasnetsov brothers actively participated in the Mamontov circle of artists, art lovers, who gathered at the Mamontov estate in Abramtsevo. It included such Russian artists as Repin, Polenov, Levitan, Nevrev, Vrubel and many others. And this also contributed to the flowering of the talent of the artist Viktor Vasnetsov.

No one, like Vasnetsov, drew so widely and freely from the world of ancient, Russian folk, nameless creativity and left so many wonderful works for its glory.

He was a believer and painted many paintings on a religious theme. He himself wrote about it this way: "As for my religious painting, I will also say that I, as an Orthodox and sincerely believing Russian, could not help but put even a penny candle to the Lord God. Maybe this candle is made of coarse wax, but it was delivered from the heart,

In his canvases, Vasnetsov glorified the Russian people, their heroic prowess, courage, their kindness and nobility. He painted scenery for theatrical performances, came up with sketches for costumes. A true masterpiece was the project he created for the facade of the Tretyakov Gallery, made in the spirit of ancient Russian buildings.

Alyonushka (1881)

The plot of this picture was born in Vasnetsov's head by chance, when he saw in the town of Akhtyrka, not far from Abramtsevo, one simple-haired girl who struck the artist's imagination. There was so much longing, loneliness and purely Russian sadness in her eyes that Vasnetsov immediately imagined the picture. I wandered around the neighborhood for a long time, looking for a suitable landscape, drawing sketches, writing sketches...

This is one of the most touching, sincere images in Russian painting, exciting the soul with its soulful lyricism, in tune with a fairy tale and a folk song about the bitter fate of a defenseless orphan.

A thin, fragile girl with an affectionate Russian name Alyonushka is yearning over the river. She bowed her head sadly, clasped her knees with thin hands, thought, perhaps, about her bitter fate or about her brother Ivanushka. Hardened bare feet, old, faded clothes in places - it would seem that they are unattractive, but for an artist who sympathizes with his heroine, there is a whole world of beauty here, just like in a modest Russian landscape - dark Christmas trees, a pale sky, ordinary thin-barreled aspens and birches, as if protecting the peace of Alyonushka. Deep sorrow lurks in the soul of a suffering teenage girl, it shines through in a helplessly drooping figure, and in a pale face with parched lips, and in large eyes full of unshed tears.

Alyonushka is shown by Vasnetsov sitting on a gray "combustible" stone, surrounded by her native nature - at the edge of the forest. This modest and simple Russian landscape, with its thoughtful sensitive silence, broken only by the obscure rustle of the yellowed foliage of aspens and birches, trembling with every movement of air, corresponds to the state of mind of the orphan.

Bogatyrs (1898)

Vasnetsov worked on this painting for almost 25 years, and finally, in 1898, this large epic canvas was completed.

Three heroes - Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich - stand in a strong heroic outpost to protect holy Russia. In the middle, on a black horse - "large ataman Ilya Muromets, a peasant's son". His horse is huge, arched its neck like a wheel, sparkles with a red-hot eye. You won’t get lost with such a horse: “He jumps from mountain to mountain, jumps from hill to hill.” Ilya turned heavily in the saddle, took his foot out of the stirrup, put his hand in a patterned mitten to his eyes, and on his hand was "damask club forty pounds." Vigilantly, sternly, he looks into the distance, takes a closer look, if there is an enemy somewhere. On his right hand on a white shaggy horse - the hero Dobrynya Nikitich, takes out his long, sharp sword-hoarder from the scabbard, and his shield burns, interrupted by pearls, gems. To the left of Ilya - on a golden horse - the youngest hero, Alyosha Popovich. He looks slyly with beautiful, clear eyes, took out an arrow from a colored quiver, attached it to the ringing bowstring of a tight bow. and harp-samogudy hang by the saddle.

The heroes are dressed in rich, beautiful clothes, clad in strong armor, they have helmets on their heads. Autumn day, gray - the sky is low, clouds are walking across the sky; the grass is crushed under the feet of the horses, the fir-trees are tenderly green. The free Russian steppe spread wide before the heroes, and behind them dense forests, hills and mountains, cities and villages - the whole native country of Russia.

Do not jump enemies on our land,
Do not trample their horses on the Russian land,
Do not overshadow our red sun ...

"The language of this ballad painting is simple, majestic and powerful; every Russian will read it with pride, every foreigner with apprehension if he is an enemy, with a feeling of calm faith in such power - if he is a friend," the Soviet artist V. N. Yakovlev.

The Frog Princess (1918)

And here the cheerful and clever Princess-frog dances in the royal chambers: "she waved her left hand - a lake became, she waved her right hand, and white swans swam on the water ..."

Tea drinking in a tavern (tavern) 1874

During the first hungry months of life in Petersburg, when he wandered around the city, he looked for a place to eat cheaply and sit warmly, more than once he went into a rundown tavern, into a tea room. I watched for a long time, listened to the conversations of various visitors, sometimes made sketches. This is how the idea of the painting came about.

The door to the tearoom is open. To the right of the door, a group of peasants is sitting at a table, apparently this is an artel of carpenters who came to St. Petersburg to work. They rest after work. There are two teapots on the table, as it was then customary, one large - with boiling water, the other small, colorful - for tea. Tea is drunk slowly, sedately. The younger guy has already taken a sip of tea, knocked over a cup, listens to what the artel clerk is reading, who has a newspaper in his hand. An old man sits at a table to the left of the door; he was deep in thought, and he has such an exhausted face that one can immediately say that he lived a hard life. A boy, a tavern servant, stopped at the door; he looks at a lonely old man who is probably carrying a teapot and a saucer of sugar. And behind the boy's back is a new visitor, who looks like a tipsy craftsman.

The painting was exhibited at the third traveling exhibition, where it made a good impression on the audience.

Sketch of a building for the Tretyakov Art Gallery

Ivan the Terrible (1897)

Before us is a portrait of Ivan the Terrible, the image of one of the most controversial rulers of the Russian state. Ivan the Terrible is presented in full growth, so that the viewer is forced to look at him as if from the bottom up, which gives the image a special significance and grandeur. As in a hard reliable case, the figure of the king is dressed in heavy, tightly buttoned, woven golden clothes (feryaz), in patterned mittens and chobots studded with pearls. And in this barbaric splendor, with a carved staff, imperiously clutched in a sinewy hand, he seems to be some kind of pagan deity.

Looking into the pale and thin face of the Terrible, which clearly stands out in the dim space of the stairs, you see in it traces of the stormy, unbridled passions of the autocrat. Before us is a passionate, violent and contradictory nature.

Ivan Tsarevich on the Gray Wolf (1889)

Another "fabulous" picture of Vasnetsov. When she appeared at the exhibition, the audience stood in front of her for a long time. It seemed that they heard the dull noise of the dense forest, the pale pink flowers of the wild apple tree gently rustling, the leaves rustling under the feet of the wolf - here he is, a strong, kind giant wolf, out of breath, saving Ivan Tsarevich and Elena the Beautiful from the chase. And curious birds sit on a branch and look at them.

"Your "Ivan Tsarevich on the Wolf" delighted me, I forgot everything around, I went into this forest, I breathed this air, sniffed these flowers. All this is mine, dear, good! I just came to life! Such is the irresistible effect of a true and genuine creativity. - This is how Savva Ivanovich Mamontov, an industrialist, a famous philanthropist and a great lover of art, an exceptionally gifted person, wrote to Vasnetsov after the exhibition.

Carpet - plane (new version) 1919-1926

But Ivan Tsarevich flies through the sky on a magic carpet with his Elena the Beautiful. A clear moon is shining, a cheerful, free wind is blowing, far below the forests, fields, seas and rivers - the native Russian land, the Motherland.

Carpet - plane (1880)

The hero of this picture is Ivanushka the Fool - a wonderful prince. He is always laughed at by his older brothers. And he, when trouble comes, overcomes all obstacles, and his smart, kind heart conquers evil, as the sun conquers darkness. He manages to wake up the sleeping beauty, make the princess-Nesmeyana laugh, get the firebird, which brings happiness to people.

A magic carpet flies high in the sky and firmly holds Ivan Tsarevich the firebird in a golden cage. Like a huge bird, the magic carpet spread its wings. In fear, night owls fly away from an unknown bird ...

When Vasnetsov painted this picture, he remembered that first Russian man, a lord's serf, who, on wings made by himself, even during the time of Ivan the Terrible, tried to fly into the sky from a high tower. And let him die, let people ridicule him then for his daring attempt, but the proud dreams of flying into the sky will never disappear, and the magic magic carpet will always inspire people to exploits.

Beggars-singers (pilgrims) 1873

The first picture, written by Vasnetsov in St. Petersburg, was "Beggars-singers". The plot arose from childhood memories of those beggar-singers who, on holidays, usually crowded at the Ryabov church, sat on the ground. As a child, these beggars evoked in him some poignant, dreary feeling. And so began the preparation for the picture. Vasnetsov drew, made sketches, wrote sketches. Work on the painting progressed slowly, but Vasnetsov's perseverance and diligence took their toll and the work was completed. And although the picture was praised by many, Vasnetsov himself already saw all its shortcomings.

Underwater tower (1884)

A fantastic, fabulous world full of mysterious inhabitants, unknown wonders, mysterious places, exciting events!.

Duel of Peresvet with Chelubey (Telebey) 1914

According to the "Tale", the Battle of Kulikovo begins with an epic single combat of the "old man", that is, the monk, Peresvet with the Tatar giant Telebey. Telebey left the great Tatar regiment, showing his courage in front of everyone. His appearance is described in the style of epics: "its height is five fathoms, and its breadth is three fathoms." Alexander Peresvet rode out to meet the Tatar. He wore a monastic hood instead of a helmet and a schema instead of armor. And they hit hard with spears, almost the earth did not break under them. And both fell from their horses to the ground and died. Peresvet by his death saved many Russian soldiers who would have fallen at the hands of a giant Tatar. His single combat with the Tatar was perceived as a victory of the spirit over brute physical strength. After the duel between Peresvet and Telebey, both troops entered the battle and fought hard.

After the battle of Igor Svyatoslavich with the Polovtsy (1880)

A large historical canvas, written on the motive of "The Tale of Igor's Campaign". The epigraph to Vasnetsov's work is the lines from the "Word" ..:

"From dawn to evening, the whole day,
Arrows fly from evening to light,
Sharp sabers thunder on helmets,

With a crack of spears, damask steel breaks ...
... The third day they are already fighting;
The third day is approaching noon;
Here and Igor's banners fell!

The brave Russians are no more
Here is bloody wine for a feast,
We got the matchmakers drunk, and ourselves
They fell for their father's land."

The picture is not just an image of the battle, but an epic majestic and enlightened poetic work that evokes deep admiration for the heroic death of the heroes who fell for the Motherland, for Holy Russia. The painting depicts a field after a battle, the artist tells how brave Russians know how to die defending their native land.

The battle is over; the moon slowly rises from behind the clouds. Quiet. The bodies of the killed Russian knights lie on the field, the Polovtsians lie. Here, spreading his arms wide, the Russian hero sleeps in eternal sleep. Next to him is a beautiful fair-haired young man, struck by an arrow - he seems to be sleeping. In the depths of the field, on the right, solemnly and calmly, lies the killed hero, in his hand there was a clamped bow. The flowers have not yet withered - blue bells, daisies, and vulture eagles are already hovering over the field, sensing their prey. In the foreground, on the left, an eagle is cleaning its feathers. Blue clouds cover the horizon, red, as if washed in blood, the moon hung over the steppe. Dusk falls on the steppe. Deep sadness is poured throughout the Russian land.

How heroic outpost, Igor's regiments stood up on the border of their land and perished for its honor and inviolability - such is the content of this epicly majestic and deeply lyrical picture.

Preference (1879)

This is Vasnetsov's last work in the domestic genre. Here the artist showed the narrow-minded life, devoid of vivid impressions, too leisurely, too shallow. The insignificance of human characters and interests stands out vividly in contrast to the poetic life of nature - the beauty of a summer night, seen through the door open to the balcony. The painting "Preference" completes the cycle of household paintings by Vasnetsov. A decisive turning point comes in the artist's work.

Crucifixion (1902)

Flat to Flat (1876)

Gloomy Petersburg winter day. Grey sky. The Neva has frozen over, and two people are walking through the dirty snow across the Neva - an old man and an old woman. They walk slowly, bent over, their faces are sad, submissive. In the hands of bundles with miserable rags, a coffee pot. With them, the old dog is a faithful comrade both in grief and in joy. It must not be the first time, like this, in the middle of winter, they move to a new apartment cheaper. The picture is painted in grayish-brown tones, and this color scheme, which conveys the idea of the picture so well, is perhaps the first time Vasnetsov managed to find it with such subtle sincerity.

Snow Maiden (1899)

Light, wonderful picture. Here she is, dear, light Snow Maiden - a child of Frost and Spring - comes out of the dark forest alone, to the people, to the sunny country of the Berendeys.

Young lady! Is it alive? - Live!
In a sheepskin coat, in boots, in mittens!

The Sleeping Princess (1919)

An enchanted forest, trees, grasses, birds sleep, and in the palace a long time ago the princess sleeps, hay girls, buffoons sleep, guards sleep; sleeping on the steps a seven-year-old girl, a brown bear, a fox with a hare...

Last Judgment (1904)

The canvas "The Last Judgment" was created in 1896 - 1904, among other works for St. George's Cathedral in the city of Gus-Khrustalny, Vladimir Region, commissioned by the largest breeder and philanthropist Yu.S. Nechaev-Maltsev, who built this cathedral. The artist completed several works on a religious theme, but the Last Judgment was to take center stage in the cathedral.

The artist made a large number of sketches for the picture, so acquaintances and friends who saw these sketches in Vasnetsov's workshop showed great interest in the picture in advance. At first, the artist was offered to exhibit the painting at the Tretyakov Gallery, but this venture failed, since the dimensions of the painting significantly exceeded the size of the room. Nevertheless, such an exhibition took place in February 1904 at the Historical Museum in Moscow. The new work caused numerous responses in the press, mostly enthusiastic. Later, the painting, along with others made for the cathedral, was exhibited twice more: in the halls of the Academy of Arts in St. Petersburg and again in the Historical Museum in Moscow.

Finally, in 1910, the paintings were delivered to their destination and fixed on the walls of St. George's Cathedral, where they briefly found peace.

And soon after the October Revolution, the service in the cathedral was stopped. In February 1923, the authorities made a decision: "... transfer the empty premises of the St. George's Cathedral to a cultural and educational institution ..." God?" In the future, the cathedral was used either as workshops or as a cinema.

Meanwhile, the paintings were taken to the Assumption Cathedral in Vladimir. They took it out as it should, without being careful. Moreover, the picture "The Last Judgment" was rolled onto a large pole, torn at the bottom and hastily sewn up with twine. And before that, it was folded several times and rubbed on the folds.

In the 80s of the last century, it was decided to restore the St. George's Cathedral in Gus-Khrustalny again, and also to return Vasnetsov's paintings to their original place.

"The Last Judgment" was in serious condition. Therefore, it was entrusted to be restored by a team of Leningrad restorers under the leadership of the largest specialist A.Ya.Kazakov, known for restoring the murals of St. The colossal dimensions required a large room, so the canvas was restored in the Catherine Palace in Pushkin.

The work carried out by the specialists was unique in scope and complexity. A single canvas measuring 700X680 centimeters turned out to be punctured in more than 70 places, there were numerous breaks in the edges, breakthroughs. The canvas was seriously deformed, resulting in scree, peeling paint. Hard work has been going on for about a year. And so the special commission accepted the work with an "excellent" rating. In 1983, the painting took its place in St. George's Cathedral.

The artist embodied in the picture the idea of free moral choice man between good and evil. The work was not just an illustration of a religious plot. Before it, everyone could feel in the place of an unknown soul, awaiting the verdict of a higher court. The people who came to the cathedral had to think and make their choice of "path in life" by "free will". Vasnetsov eloquently makes it clear that the scales in the hand of an angel come into action not only at the moment doomsday. The entire middle part of the picture is perceived as a huge scale, on the bowls of which are crowds of righteous and sinners, light and darkness ... "The whole history of mankind is the struggle of a man of the beast with a spiritual man ...", the artist wrote.

Good and evil in the picture are personified in characters from Russian and Christian history. Among the righteous are the figures of the Byzantine emperors Constantine and Helena, Princess Olga and Prince Vladimir, Alexander Nevsky and Sergius of Radonezh. Among the sinners are the emperor Nero, the conqueror Batu, eastern despots and Roman cardinals ... At the same time, many allegorical characters are introduced: Faith, Hope, Love, Sophia, Mercy and others - on the one hand, and on the other - Greed, Drunkenness, Robbery, Anger, etc. Texts and inscriptions are actively used.

Religion, history, folklore are intricately intertwined here. So, the miser swallows gold coins - he looks somewhat like Repin's Ivan the Terrible... Among the righteous, an old man and an old woman are depicted, as if transferred to the Court from a Russian folk tale, and the harlots placed behind the back of the Devil resemble the characters of salon painting...

One of the critics wrote this many years ago: "The Last Judgment" is a series of symbols, sometimes powerful, sometimes weak, but generally irresistible. This is a terrible oratorio outside of time and space. But it's one of those few truly artistic creations worth seeing once to remember forever." And he was right...

Three Princesses of the Underworld (1881)

The picture is written on the plot of a Russian folk tale, which Vasnetsov heard more than once in childhood. Three brothers were looking for a bride. The elder brother searched - did not find. I searched for the middle one - I did not find it. And the youngest, Ivan the Fool, found the treasured stone, pushed it away and got into underworld, where three princesses lived - Gold, Precious Stones and Princess Copper.

Three princesses are standing near a dark rock. Seniors - in rich outfits, strewn precious stones; the youngest is in a black dress, and on her head, in her black hair, an ember burns as a sign that the lands of the Donetsk region are inexhaustible (the picture was painted by order of the Donetsk railway). Vasnetsov took some liberties here and turned Princess Med into Princess Coal. According to a fairy tale, the younger sister marries Ivanushka the Fool.

Knight at the Crossroads (1878)

At a roadside stone, on a white mighty horse, a Russian hero stopped - a knight in rich armor, in a helmet, with a spear in his hand. The boundless steppe with boulders scattered over it goes into the distance. The evening dawn is burning down; a reddish stripe brightens on the horizon, and the last weak ray of the sun slightly gilds the knight's helmet. The field, where Russian soldiers once fought, is overgrown with feather-grass, the bones of dead people turn white, and black crows are above the field. The knight reads the inscription on the stone:

"How to go straight - I live not to be:
There is no way for a passer-by, or a traveler, or a flyer.
Further lines are hidden under grass and moss. But the knight knows what they are talking about:
"To the right to go - to be married,
On the left - be rich."

What path will the knight choose? Vasnetsov is sure that the audience will "finish" the picture themselves. The glorious Russian knight is not looking for easy ways, he will choose a difficult, but direct path. All other paths are ordered to him. Now he will shake off unnecessary thoughts, raise the reins, spur his horse, and carry his horse to the battles for the Russian land, for the truth.

Bayan (1897)

O Bayan, O prophetic songwriter,
The nightingale of bygone times...

Here he is, the "prophetic songwriter" Bayan, sitting on a high burial mound, among field grasses and flowers, sorting out the psaltery, composes and sings songs. Around the prince's retinue and the prince himself with his little prince, and clouds swirl and float across the sky.

A decorative, widely painted picture, it caused a lot of the most controversial rumors! But in this simple and at the same time complex picture, Vasnetsov's inherent amazing sense of proportion, taste, sincerity was affected.

In the kingdom of Koshchei the Immortal (1926-27)

Somewhere in a distant kingdom, in a distant state, the terrible Koschei the Immortal lives in an underground palace, and holds a beautiful princess captive ...

Oleg's meeting with a magician (1899)

As the prophetic Oleg is now going to take revenge on the unreasonable Khazars,
Their villages and fields for a violent raid he doomed to swords and fires;
With his retinue, in Constantinople armor, the prince rides across the field on a faithful horse.
From the dark forest, an inspired wizard walks towards him,
Submissive to Perun, the old man alone, the promises of the future messenger,
In prayers and divination spent the whole century. And Oleg drove up to the wise old man.
"Tell me, sorcerer, favorite of the gods, what will come true in my life?
And soon, to the delight of neighbors-enemies, will I be covered with grave earth?
Reveal the whole truth to me, do not be afraid of me: you will take a horse as a reward for anyone.
"Magi are not afraid of mighty lords, and they do not need a princely gift;
Truthful and free is their prophetic language and friendly with the will of heaven.
The coming years lurk in the mist; but I see your lot on a bright forehead.
Now remember my word: glory to the warrior is joy;
Glorified by victory your name; your shield on the gates of Tsaregrad;
And the waves and the land are submissive to you; the enemy envies such a wondrous fate.
And the deceptive wave of the blue sea in the hours of fatal bad weather,
And the sling, and the arrow, and the crafty dagger spare the winner for years ...
Under formidable armor you know no wounds; an invisible guardian is given to the mighty.
Your horse is not afraid of dangerous labors; he, sensing the master's will,
Either the meek stands under the arrows of enemies, or it rushes along the battlefield.
And the cold and cutting him nothing ... But you will accept death from your horse.

Bogatyrsky lope (1914)

Gamayun - prophetic bird (1897)

Guslars (1899)

Bookshop (1876)

Baptism of Russia (1890)

Portrait of son Boris

Portrait of Vera Mamontova

Sirin and Alkonost (1898)

Warriors of the Apocalypse (1887)

In my opinion, there is no better illustrator of fairy tales than V. M. Vasnetsov, well, except perhaps I. Bilibin. About him on the next page.

Viktor Mikhailovich Vasnetsov (1848-1926) is one of the first Russian artists who pushed the boundaries of the usual genres and showed the fairy-tale world, illuminated by the poetic imagination of the people. Vasnetsov, one of the first Russian artists, turned to recreating the images of folk tales and epics in painting. His fate turned out as if he was destined in advance to be a singer of a Russian fairy tale. His childhood passed in the harsh picturesque Vyatka region. The talkative cook, who tells fairy tales to children, stories of wandering people who have seen a lot in their lifetime, according to the artist himself, "made me love the past and present of my people for life, largely determined my path." Already at the beginning of his work, he created a number of illustrations for The Little Humpbacked Horse and The Firebird. In addition to fairy tales, he has works dedicated to the heroic images of epics. "The Knight at the Crossroads", "Three Heroes". The famous canvas "Ivan Tsarevich on a gray wolf" is written on the plot of one of the most famous and widespread fairy tales reproduced in popular prints of the 18th century.

"Princess-Nesmeyana"

In the royal chambers, in the prince's palaces, in a high tower, Nesmeyana the princess flaunted. What a life she had, what freedom, what luxury! There is a lot of everything, everything is what the soul wants; but she never smiled, never laughed, as if her heart did not rejoice at anything.

Here are merchants, and boyars, and foreign guests, storytellers, musicians, dancers, jesters and buffoons. They sing, clown, laugh, strum on the harp, whoever is in what much. And at the foot of the high tower - ordinary people, also crowding, laughing, shouting. And all this buffoonery is for the princess, the only royal daughter. She sits sadly on a carved white throne by the window. “There is a lot of everything, there is everything that the soul wants; but she never smiled, never laughed, as if her heart did not rejoice at anything. And what is there, to tell the truth, to rejoice if no one ever talks heart to heart with her, no one comes up with a pure heart?! Everyone around is just making noise, they are aiming for suitors, they are trying to present themselves in the best light, and no one cares about the princess herself. That is why she is Nesmeyana, until the only, long-awaited one comes, who will give her a smile instead of buffoonery, warmth instead of indifference. And he will come, of course, because that's what the fairy tale affects.

"Koschei the Immortal and Beloved Beauty"

As soon as he managed to leave the yard, and Koschey into the yard: “Ah! - is talking. - Russian scythe smells; know you had Ivan Tsarevich. - “What are you, Koschey the Immortal! Where can I see Ivan Tsarevich? He remained in the dense forests, in the viscous mud, until now the animals have eaten! They began to have supper; at dinner, Beloved Beauty asks: “Tell me, Koschey the Immortal: where is your death?” - “What do you want, stupid woman? My death is tied in a broom."

Early in the morning Koschei leaves for the war. Ivan Tsarevich came to the Beloved Beauty, took that broom and brightly gilded it with pure gold. The prince had just managed to leave, and Koschei went into the yard: “Ah! - is talking. - Russian scythe smells; know you had Ivan Tsarevich. - “What are you, Koschey the Immortal! He himself flew around Russia, picked up the Russian spirit - you smell of the Russian spirit. And where can I see Ivan Tsarevich? He remained in the dense forests, in the viscous mud, until now the animals have eaten! It's supper time; Beloved Beauty herself sat down on a chair, and she put him on a bench; he looked under the threshold - there was a gilded broom. "What's this?" - “Ah, Koschey the Immortal! You yourself see how I honor you; if you are dear to me, so is your death.” - "Stupid woman! Then I joked, my death is sealed up in an oak tynu.

"Princess Frog"

Consider a reproduction of the painting by V. Vasnetsov "Feast" (p. 19 of the textbook).
If possible, it would be interesting to compare this picture with the illustration made for this episode of the fairy tale by I. Bilibin.
Bilibin's illustrations framed by floral ornaments very accurately reflect the content of the tale. We can see the details of the costumes of the heroes, the expression on the faces of the surprised boyars, and even the pattern on the kokoshniks of the daughters-in-law. Vasnetsov in his picture does not linger on the details, but perfectly conveys the movement of Vasilisa, the enthusiasm of the musicians, who, as it were, stamp their feet to the beat of a dance song. We can guess that the music Vasilisa dances to is cheerful, mischievous. When you look at this picture, you feel the nature of a fairy tale.
- Why do people call Vasilisa the Wise? What qualities does the people glorify in the image of Vasilisa?

1. Describe verbally what you see in each of the pictures (characters, setting, appearance of the people around, their mood, prevailing colors).

2. Compare the image of Vasilisa the Wise by Vasnetsov and Bilibin. Is this how you imagine main character fairy tales?

"Magic carpet"

The fantasy of the people has created a fairy tale about a flying carpet. You see two paintings by Vasnetsov with this name - early and late. On the first of them, a proud young man from a flying carpet looks at the expanses of Russian land spreading below. The discreet northern nature served as a backdrop for the painting by the artist. Rivers and lakes sparkle, a forest stands like a dark wall, huge birds accompany the carpet. The Firebird caught by the hero burns with bright fire in the cage. This canvas tells about the wisdom, strength, dexterity of the people. The second picture is lighter, more colorful. The bright rays of the sunset, cutting through the veil of clouds, have become a successful background for the picture. Nature through the clouds is seen bright, juicy greenery, perhaps because the heroes descended closer to it. And a girl with a young man in sparkling clothes embroidered with gold do not seem to be outsiders on the canvas. Their young faces are beautiful, they gently bowed to each other, personifying fidelity and love.

Alyonushka, Snegurochka, Elena the Beautiful - these fictitious images and portraits of women close to Vasnetsov "in spirit" - Elena Prakhova, Vera and Elizaveta Grigoryevna Mamontovs, portraits of his wife, daughter, niece from different sides highlight what is called the Russian female soul, which becomes for Vasnetsov personification of the Motherland, Russia.

Alkonost. In Byzantine and Russian medieval legends, a wonderful bird, a resident of Iria, a Slavic paradise. Her face is feminine, her body is birdlike, her voice is sweet, like love itself. Hearing the singing of Alkonost, with delight, he can forget everything in the world, but there is no evil from her, unlike Sirin.

Alkonost carries eggs on the edge of the sea, but does not incubate them, but plunges them into the depths of the sea. At this time, the weather is calm for seven days. According to ancient Greek myth, Alcyone, the wife of Keik, upon learning of the death of her husband, threw herself into the sea and was turned into a bird, named after her name alcyone (kingfisher).

It is depicted in popular prints as a half-woman, half-bird with large multi-colored feathers and a girl's head, overshadowed by a crown and a halo, in which a brief inscription is sometimes placed. In addition to wings, Alkonos has hands in which she holds heavenly flowers or a bundle with an explanatory inscription. She lives on a tree of paradise, on the island of Buyan, together with the bird Sirin, has a sweet voice, like love itself. When she sings, she does not feel herself. Whoever heard her wonderful singing will forget everything in the world. With her songs she consoles and uplifts future joy. This is a bird of joy.

But Sirin, a dark bird, a dark force, a messenger of the ruler of the underworld. From the head to the waist, Sirin is a woman of incomparable beauty, from the waist - a bird. Whoever listens to her voice forgets about everything in the world and dies, and there is no strength to force him not to listen to Sirin's voice, and death for him at this moment is true bliss. Dahl in the famous dictionary explained as follows: "... mythical and church birds of an owl, or an eagle owl, a scarecrow; there are popular prints depicting birds of paradise with female faces and breasts”(V. Dal "Explanatory Dictionary of the Living Great Russian Language"). In Russian spiritual verses, the Sirin, descending from paradise to earth, enchants people with her singing. In Western European legends, Sirin is the embodiment of an unfortunate soul. This is the bird of sorrow.

#1
#2
I love Vasnetsov
#3
I WILL RETURN TO YOUR SITE, HERE IS A LOT OF INTERESTING
#4
very interesting
#5
Dear Inessa Nikolaevna, thank you very much for your efforts, for your help in preparing the lessons.
#6
all is cool!)))
#7
Very good
#8
#9
very good text
#10
Thanks! This site has been very helpful!
#11
thanks a lot
#12
thank you very much helped to make the project
#13
Inessa Nikolaevna, kind person! Thank you so much for helping teachers! Yes, God bless you!
#14
Thank you for the information, I am very grateful! Inessa Nikolaevna, you know a lot about art.
#15
Helped a lot
#16
I liked this site
#17
Dear Inessa Nikolaevna, I don’t need to prepare lessons :), but reading the site is very interesting, thank you for taking care of children.

Arriving for the weekend to visit my father-in-law and mother-in-law, I found a carefully prepared stack of children's books for Dmitry Sergeevich. One of them is Russian folk tales” with illustrations by Viktor Vasnetsov. From the first class, accustomed to the canonical "Alenushka" or "Ivan Tsarevich on a gray wolf," he thought it would be boring to yawn, but that was not the case.

There it was!

Who liked it - in high resolution, 3401 x 2448

Unfortunately, the entire spread with this amazing illustration did not fit in the scanner, and using Google, I was surprised that this particular picture could not be found. Often there is (and I remembered it myself) a more well-known, common and, it seems to me, boring variation on this theme.

The fight between Dobrynya Nikitich and the seven-headed Serpent Gorynych

UPD: I still found it, though the size is small

Fight with a snake
The further I flipped through the pages, the more I admired and enjoyed the paintings so frivolously underestimated in childhood. Therefore, I invite you to admire with me.

Ivan Tsarevich on a gray wolf