Russian artist, since 1872 - teacher at the Academy of Arts.
“According to Grabar, Chistyakov’s system of teaching drawing was essentially no different from the one that prevailed at the Academy. Meanwhile, everyone who wrote about Chistyakov's pedagogy opposes it to the academic one. And indeed: why did all the disciples of Pavel Petrovich remain until the end of their days in reverence for him, why, for example, Repin so sharply separated his teacher from the Academy, calling him "the only teacher"? Today there is an opportunity to slightly supplement the description of Chistyakov's practical methodology. At the turn of the XIX-XX centuries in Munich there was an art workshop under the direction of Anton Ashbe.
It enjoyed well-deserved fame, and people from various European countries studied there, including quite a few Russians. As it turns out; the essence of Ashbe's teaching was very close to the basis of Chistyakov's system. (It is not uncommon for time and necessity to give rise to very related phenomena in different places, which arise independently of each other.) One of Ashbe's students, M.V. Dobuzhinsky, spoke about the methods of his teacher: “A new student ... diligently drew “eyes”, “curls” and “fingers” with marigolds. Ashbe, on the other hand, taking a thick piece of coal, mercilessly drew a thick line through all this timid rubbish, showing how, first of all, to “build” a figure. "Nur mit grossen Linien arbeiten" (Work only with large lines- Approx. I.L. Vikentieva)- this was his first motto, and he acted beneficially. Many, however, got stuck on this grosse Linien and could not insert details into it. But in any case, it was an excellent technique against amateurish and short-sighted copying of nature ... Along with the "big line", Ashbe also taught the "big form", absorbing small details. This was served by his "Kugel Sistem" (The ball system - Note by I.L. Vikentiev) ...
It boiled down to the fact that Ashbe forced to look at the head as a ball, from which separate parts of the face - “masks” protrude and are pressed into, and taught to distribute chiaroscuro in the drawing of the head according to the distribution of the strength of shadows and reflexes on the ball. Grabar, who also studied with Ashbe, wrote to D.N. Kardovsky, how he, Grabar, told Chistyakov about Ashbe’s pedagogical methodology, to which his old teacher “only repeated: my, my, absolutely my system, my system ... When I showed him the photographs, he sorted out all the heads and about each said that it was built, molded sensibly and consciously. He, like a child, rejoiced when, in response to his questions, what he told us about the eyes and about the construction, the scheme, etc., I told him everything that he himself demands. They also had something in common in the form construction system.
Pavel Petrovich taught to analyze the form, breaking it into a number of plans, which were supposed to be transmitted by planes. Ashbe taught the same thing, and some of his students brought this technique to a kind of “cubist” constructions. There was another feature of Chistyakov's teaching, which was very to his liking.
Left Russia for1863 city, visitedGermany, worked inparisAndRome. Upon returning to St. Petersburg1870 Mr.. received the title of academician for paintings written abroad "Roman beggar", "Head of a chucharka" and "A Frenchman going to a public ball." After that, devoting himself mainly to teaching, he very rarely exhibited his new works.
IN1872 received the post of adjunct professor at the academy, and upon the transformation of this institution into1892 Mr. was appointed a member of the academic council, a professor at a higher art school and head of a mosaic workshop. He headed the workshop from 1908 to 1910, headed the mosaic department from 1890 to 1912.
Chistyakov passed awayNovember 11, 1919inChildren's Village(now the city of Pushkin inSt. Petersburg).
TEACHER
Upon arrival in St. Petersburg, Pavel Petrovich immediately plunged into the life of the Academy of Arts. From now on and until the end of his days, he will fully live by its educational schedule, exhibitions, events. On November 2, 1870, Chistyakov was recognized as an academician for the totality of the Italian works presented. They were exhibited at the autumn exhibition and were successful, but for the first time the question of the unfinished canvas hung painfully in the air. “The last minutes of Messalina, wife of Emperor Claudius” - a painting for the title of professor, begun in Italy and left unfinished, served as a formal reason for the persecution of a teacher objectionable to the authorities throughout his life. The history of this canvas is very revealing for Chistyakov and his views on art. Turning for the first time to such a conditional and, in essence, distant for himselfplot , he began to work on it according to his own requirements for the picture: deepeningimages characters, subordinating all visual means to the disclosure of the main idea. But the artist's trouble was that the idea itself was too insignificant. The consciousness of this over time begins to torment him more and more. Breaks appear in work, a feeling of dissatisfaction grows. He did not leave the picture in Russia, trying to convince himself that the point was not in the plot, which had ceased to resonate in the soul, but in skill. However, the artist could not make a deal with his conscience: "Messalina", which did not leave Chistyakov's workshop until the last days, remained unfinished. The twenty-year period of Chistyakov's work as an adjunct professor of art classes at the academy became the most fruitful stage in the development and improvement of his pedagogy. In the seventies, not only outside the academy, but also within its walls, there were more and more people who understood that the established and once brilliant system of training artists had decayed.drawing art - the main thing, which was undoubtedly recognized as her merit, degenerated before our eyes, and this falldock has long been noticed by outsiders.
The passionate temperament of the teacher did not allow Chistyakov to put up with this state of affairs:
“Say a wonderful joke, and everyone is delighted; repeat it for forty years every day and to everyone, you will become stupid yourself and bother everyone, like God knows what ... Everything that is monotonous and endlessly repeated, no matter how good it may be at the beginning, in the end becomes stupid, invalid, routine, simply annoying dies. You need to live, move, although in one place, but move.
So he writes in the next memorandum to the conference secretary of the academy.
“After all, it’s nonsense,” a painful one breaks out from him, “that learning is boring. It is good to teach, which means that loving to teach, and loving to do nothing is not boring.
Chistyakov loved the academy because he loved to teach, he did not tolerate bureaucratic, bureaucratic indifference in the educational business. For him there were no trifles in pedagogical theory and practice, absolutely everything in the process of creating a master artist was important and dear to him. For the sake of his beloved cause, he endured a lot, vainly striving to overcome the inertia, indifference and intrigues of the reactionaries by devotion to his beloved cause alone.
How, under the conditions of academic class routines, was Chistyakov able to create his own school of “Chistyakovites”? It would seem that the constant change of professors on duty (the charter of 1859 abolished the attachment of students to certain professors) served as a serious obstacle to this, nullifying the individual guidance and responsibility of the teacher. However, Pavel Petrovich was different. The days of his duty were an event; high spirits reigned in the class from the mere consciousness that Chistyakov was on duty today.
Here is the impression of A. I. Mendeleeva from the first meeting with her beloved teacher: “Carried away by drawing, I did not see anyone and nothing but a brightly illuminated plaster figure standing in front of me and my drawing. Someone's cough made me look around sya. I saw a new professor for me: thin, with a sparse beard, long mustache, large forehead, aquiline nose and bright, shining eyes. He stood at some distance from me, but looked at my drawing from a distance, hiding a thin smile under his long mustache. Due to my inexperience, I made strange proportions of the body of Germanicus. Pavel Petrovich bit his lips, holding back his laughter, then suddenly quickly came up to me, easily stepped over the back of the bench, sat down beside me, took the eraser and pencil from my hands, and began seriously to correct my mistakes. Then I heard the words that remained in my memory for the rest of my life: “When you draw an eye, look at the ear!” It didn't take me long to realize the wisdom of this. A well-drawn part of a face or figure will not express anything if it is out of place and out of harmony with the rest of the parts.
But no most detailed explanation would have made such an impression and would not have been remembered as enigmatic:
"When you draw the eye, look at the ear."
In contrast to the rest of the academic professorship, Chistyakov was never satisfied with the obligatory classroom duties. All those who were interesting and close to him as a student, in whom he saw a spark of talent or real devotion to the cause of the artist, sooner or later ended up in his personal workshop, located in the same building of the academy. Here teaching continued, they wrote and drew from life, here Chistyakov's pedagogical gift was truly freely revealed. He taught in his studio always and free of charge. Since there were much more people who wanted to work with him than the workshop could accommodate, Chistyakov often agreed he hesitated to come to one or another of the disciples; academicians gathered there in groups and also usually painted living nature. Pavel Petrovich visited many capable students who were of interest to him at home and followed their work, never leaving them without advice and instructions.
There were rumors and legends about Chistyakov's captiousness. Pavel Petrovich, in fact, was sometimes cool with his students, he knew how to harshly ridicule complacency, which he rightly considered in the artist the main obstacle to growth and perfection. With unmistakable intuition and knowledge, he determined the scale and nature of the student's abilities. Surikov remembered the teacher's saying all his life:
"It will be as simple as peeing a hundred times."
A well-known case with Viktor Vasnetsov, already a renowned artist, who never mastered the anatomy of the leg that Chistyakov set for him. Another incident happened, according to the stories, with Serov, whom Pavel Petrovich gave to draw a crumpled piece of paper thrown on the floor, and soon made the artist convinced that this was by no means a mockery, but a difficult task.
Unlike many colleagues, Chistyakov personally very rarely "corrected" the student: he always sought in a clear and sharp form to make the student understand what was required of him, and not to force him to passively copy the teacher. The special attraction of Chistyakov's pedagogy was its figurativeness. Pavel Petrovich's inclination, celebrated in legends, to speak with his students in "parables" and sayings, was rooted in his love for epic folk speech. He often wrote letters in parables, and slowly composed poems like songs, and when he “was sick,” he spoke in verse.
“I know,” he wrote in one of his letters, “there are people ... who say: P.P. fights off everything with jokes. Of course, for them they are jokes, but for the youth, for business, these are no jokes. A teacher, especially of such a complex art as painting, must know his business, love the young future and convey his knowledge skillfully, briefly and clearly ... Truth in three lines, skillfully launched ... immediately moves the masses forward, because they believe and will believe it in practice".
Upon verification, it turns out that even the most unexpected "words" by Chistyakov, subsequently adopted by academicians as walking wit, had a basis and a specific reason. Such, for example, is the story of Chistyakov's famous "suitcase man". In the academic world, it has come to mean everything very biting and crackling. Meanwhile, the meaning of this expression was more specific and simpler. When Delaroche's famous painting "Cromwell at the Coffin of Charles V" was exhibited in the Kushelev Gallery, Chistyakov's opinion was asked in the presence of admiring spectators. He paused, stroked his beard, and distinctly, distinctly pronounced in the silence: "Suitcase!" Everyone immediately saw that the shiny brown coffin with the remains of the king, and indeed the whole painting of this fashionable French academician, with its outward empty elegance, shapelessness and color, surprisingly resembled leather suitcases.
Without hesitation, he called the dark roughetude student "shutter". Not advising too early to turn to the details in the drawing, he called them "cobwebs". Describing the general process of the painter's workabove the picture, said:
“You need to start according to talent and end according to talent, and in the middle it’s stupid to work.”
In his notes many times there is a provision that at the beginning and at the end it is necessary to fully maintain a lively, free and "hot" attitude towards the plot and subject, and over the details,perspective, clarification forms work hard and patiently in the middle. Unable to bear the meticulous and boring copying of the subject, he usually said with irritation:
"That's right, that's bad."
A long experience, an abyss of observations, Chistyakov knew how and liked to put into a short expressive word. This is how his famous formula, his demand for a complete master artist, was postponed:
“To feel, to know and to be able is a complete art.”
Chistyakov's teaching is based on constant and inquisitive peering into the infinite diversity of nature, the objective world and man. According to V. Vasnetsov, he was "an intermediary between the student and nature." He tirelessly studied himself and taught others to learn and master the diversity of the objective world:
“All my life I have been reading the great book of nature, but to draw everything only from oneself ... without referring to real nature means to stop or fall.”
But Chistyakov always warned his students against petty copying, from "the path of a photographer." Surikov remembered his testament for the rest of his life:
“It is necessary to approach nature as close as possible, but never do exactly the same: as exactly as it is, so again it doesn’t look like it. Much further than it was before, when it seemed to be very close, just about to grab.
This wise advice is a direct commandmentrealism : to always be able to maintain a figurative, poetic attitude to the depicted, not to dry up, not to overdo it with details - one of the cornerstones of Chistyakov's technique. This principle is directly related to the words of Serov about the need for the artist to even “no, no, and make a mistake” so that carrion does not turn out.
His pedagogy was never confined to questions of art, it broadly connected them with life and its requirements. Firmly convinced that art cannot and should not exist without science, Chistyakov was inquisitively interested innews of optics, physiology of vision, attended lectures on perspective,anatomy , physics, general physiology. Here is what his son said:
“Pavel Petrovich, in addition to painting, was interested in a lot of things: music, singing, literature, philosophy, religion, science and even sports - all this not only interested, but sometimes fascinated him ... Having become interested in something, he would certainly delve into the most the essence of the issue, tried to study it, discover the laws of the phenomenon that interested him, and if he succeeded, he immediately sought to teach others what he himself had studied.
The exceptional breadth of Chistyakov's creative outlook also determined the criterion of his requirements forskill . He taught a gradual striving for improvement, love for the technique of drawing and painting, and demanded the same love from his students. The Master never made magic and mystery out of technique. He constantly maintained that art is not as far from science as it may seem and as it so often seems to be. A great master artist should also be close to knowledge, just as “science in its highest manifestation turns into art” (medicine, chemistry, etc.).
However, high technology in the understanding of Chistyakov is not limited to knowledge of the laws of the structure of objects. “Objects exist and appear to our eye. Appearance is a ghost; laws, study - the essence. What's better?" - he asks a question in one of the draft entries. And he immediately answers: “Both are good, both together ... You must first study everything with a legitimately good method, and then write everything as you see.” Every true artist knows the bliss of moving forward and overcoming difficulties. But he is familiar with the torment and joy of searching for the only form that would fully correspond to the given plan, the greater idea, it is necessary “to find such a form, as it were, a square or a circle, that is, impeccable, out of a thousand and one thousand and one.” This is in Chistyakov's understanding of high technology.
PUPILS
Most of all in the student he loved Chistyakov's talent. For him, he forgave a lot, although he taught a talented student strictly and "tormented" him with the most difficult tasks. Chistyakov forgave the talented student eventaste there were differences with him, because he was extremely careful about the nature of the student’s abilities and his orientation, which he called “mannership”. Even in dealing with devoted and close students, the teacher outweighed the artist in him. And he revealed to the student, first of all, what the latter needed, and not what was dearer to Chistyakov himself. He was unusually sensitive and careful with any individual manifestation of real talent. That is why the best Russian artists, leaving him by different paths, lovingly and gratefully pronounced his name.
The only real proof of the value of a particular pedagogical system is the practical results of teaching. By the end of Chistyakov's teaching career, the number of his students was enormous. Not to mention the academic classes, where several hundred students passed through his hands, most Russian artists are second half of XIX century, in contact with the Academy of Arts, in one way or another used his advice and guidance. And many went through a systematic school with him, including E. Polenova, I. Ostroukhoe, G. Semiradsky, V. Borisov-Musatov, D. Kardovsky, D. Shcherbinovsky, V. SaVinsky, F. Bruni, V. Mate, R. Bach and many others. But the best evidence of Chistyakov's role in the history of Russian art is the brilliant galaxy of our outstanding masters - Surikov, Repin, Polenov, Viktor Vasnetsov, Vrubel, Serov.
In 1875, in one of his letters to Polenov in Paris, Pavel Petrovich makes the following prophecy:
“There is a student of Surikov here, a rather rare specimen, writes on the first gold. In a hat will give neighbors over time. I am happy for him. You, Repin and he are a Russian troika ... "
Then Surikov only fledged, it was still far from the “Archers” and “Menshikov”. But the keen eye of the teacher not only singled him out from the motley student flock, but also boldly, confidently placed the brilliant pupil of the Academymissions in line with the largestmasters Russian art . Surikov began to work with Chistyakov in the etude class, therefore, he did not take the drawing course under the guidance of Chistyakov.
It was enough for the teacher to looksketches Surikov, to immediately be convinced of his great pictorial talent. The Surikov archive allows us to establish that the "path of a true colorist" was largely suggested to the artist by Chistyakov. Surikov captivated Chistyakov with his talent, originality, scope. After the Council of the Academy refused the first gold medal to the best student, Chistyakov indignantly informs Polenov:
“Our antediluvian blockheads failed the best student in the entire Academy, Surikov, for not having time to write calluses in the picture. I cannot speak, my dear, about these people; the head is now aching, and the smell of carrion is felt all around. How hard it is to be between them.
Surikov, who left for Moscow, did not break his lively connection with the teacher, took a lively part in the personal work of Pavel Petrovich. Their correspondence is not extensive, but very interesting. In 1884, Surikov traveled abroad for the first time. His letters from there to Chistyakov are the best after Alexander Ivanov's Travel Notes from what is written in Russian literature about the art of the Italian Renaissance.
“Polenov, Repin, at the end of the course at the Academy, took drawing lessons from me in Levitsky’s apartment, that is, they learned to draw a plaster ear and the head of Apollo. So, I’m a good teacher, if with gold medals students take drawing lessons from the ear and from the head, and besides, it was necessary to say something new about the alphabet to people who are so developed already in everything."
With Polenov, Chistyakov always had warm, friendly relations. Polenov deeply loved Pavel Petrovich, and not only appreciated his teacher. And this love, repeatedly confirmed, he passed on to his own students. Through Polenov, Chistyakov's pedagogical fame spread even more widely throughout Russia, for his teaching was carried out not only within the walls of the Academy of Arts, but also at the Moscow School of Painting, Sculpture and Architecture, where Polenov taught. The teacher from the first days determined his character. “You are a colorist,” he said to Polenov. Considering this feature of the student from the very beginning, he encouraged and developed it in every possible way. This example clearly reveals Chistyakov's deep and unique knowledge as a teacher of painting.
Repin, undoubtedly, worked too little with Chistyakov to be considered his close student. But the features of the Chistyakov system, like a great artist with a very developed eye and feelingforms , nevertheless managed to catch and evaluate. “He is our common and only teacher,” Repin used to say more than once. Already a renowned master, he did not consider it humiliating or superfluous to work in a circle where Bruni and Savinsky drew, and along with them to listen to Chistyakov's advice. Calmly and consciously, he gave Chistyakov to improve his beloved student Serov. Pavel Petrovich always remained a teacher for Repin, despite a serious disagreement with him on a number of issues of art. Chistyakov, on the other hand, highly appreciated Repin's talent and his role in the Russian school of painting.
Chistyakov had a deeply friendly relationship with V. Vasnetsov. “I would like to be called your son in spirit,” the artist wrote to the teacher in 1880. Chistyakov was deeply touched by Vasnetsov's poetic interpretation of Russian history, the Russian folk epic. Here is how he responded to a visit to the exhibition, where Vasnetsov's painting "After the battle" was exhibited:
" You -Russian in spirit, native to me in meaning! Thank you sincerely…”
Gratitude, love and respect for Chistyakov Vasnetsov kept all his life.
Vrubel got into Chistyakov's personal workshop in 1882. When, still not knowing Chistyakov, he had to deal with dry clichés and the rules of academic technology, he was comforted by the hope: "Assimilation of these details will reconcile me with the school." But "here the schematization of living nature began, which so revolts the real feeling." The satisfaction of the young man was all the greater when Chistyakov's teaching turned out to be, in his words, the formula of a living relationship to nature. To Pavel Petrovich, apparently, the artist owed the foundations of his brilliant knowledge of watercolor. Vrubel studied at the academy for only two years, but his love for the teacher remained in him until the end of his life.
Serov came to Chistyakov as a fifteen-year-old boy - precisely at the age that Chistyakov considered especially successful for the beginning of a serious mastery of art. And he ended up right in Chistyakov's personal workshop, which he attended, in addition to compulsory classes. This was reflected in Serov's academic success to a large extent. At the academy, Serov always received average numbers for class work: the numbers were strictly reduced by the council as soon as Chistyakov's system was discovered in the academician's drawing. But deep searches and remarkable results of the artist in drawing were highly appreciated by his teacher.
Questions of composition meant as much for Serov as they did for Surikov. For example, Chistyakov very strictly demanded to train the eye for a keen ability to harmoniously place a drawing on a sheet of paper or on canvas; required taking into account the relationship of the depicted figure withformat plane, with free space background.
A brilliant galaxy of Russian masters made Chistyakov's pedagogical glory. Their diversity as artists allowed each individual to master those aspects of the multifaceted Chistyakov system.themes that responded more than others to their own inclinations. Chistyakov knew how to extract from his vast store of knowledge about art what was necessary in a given case. And the student invariably received from him a solid foundation of mastery. For, in the words of Leonardo da Vinci, truly great love comes from great knowledge of the subject you love.
The publication was prepared according to the materiallamas of the following books: Ginzburg I.Pavel Petrovich Chistyakov and his pedagogical system. L.-M., "Art",1940; Lyaskovskaya O. P. P. Chistyacov. 1832-1919. M., Gosu Publishing Housededicatory Tretyakov Gallery,1950; Chistyakov P.P. Letters. Forwriting books. Memories. 1832- 1919. M., "Art", 1953.
P. P. CHISTYAKOV ABOUT DRAWING
Drawing as the study of living form is one of the aspects of knowledge in general; it requires the same activity of the mind as the sciences recognized as necessary for elementary education.
The study of drawing, strictly speaking, must ... begin and end with nature; by nature we mean here all kinds of objects that surround a person.
Since not all young men are equally talented, not all look at nature correctly when drawing, then first of all they must be taught to look properly. It's almost the essentials.
However, there is no doubt that drawing can be useful in the sense of a general educational tool only when it is taught rationally, that is, when the student, looking at the forms of the visible world that appear to him, learns to reproduce them in the most faithful and characteristic features. understanding their mutual relationship. This goal is achievable and obligatory, whatever the student's abilities...
Drawing, as you know, in the visual arts is the basis ... only on it can art rise and improve.
I have long wanted to get to know the work of this Russian artist. In the history of the world visual arts teaching activities Pavel Petrovich Chistyakov is, perhaps, unique in its fruitfulness.
He was a teacher of such remarkable masters of painting as M. Vasnetsov, M. A. Vrubel, V. D. Polenov, I. E. Repin, A. P. Ryabushkin, V. A. Serov, V. I. Surikov and others.
Repin. Pavel Petrovich Chistyakov.
Over the long years of teaching, Chistyakov developed a special "drawing system".
The method of teaching drawing that existed at the academy was reduced to teaching students certain techniques and developing techniques that made it possible to quickly, but exclusively mechanically perform any drawing or sketch.
Chistyakov, with his characteristic directness, goes against the established norms: “Say a wonderful joke, and everyone is delighted; repeat it for forty years every day and to everyone, you will become stupid yourself and annoy everyone, as God knows what, everything that is monotonous and endlessly repeated, no matter how good it may be at the beginning, in the end becomes stupid, invalid, routine, just gets bored and dies. .
The artist must constantly learn from nature, "to draw everything only from oneself means to stop or fall."
According to V. Vasnetsov, Chistyakov was "an intermediary between the student and nature." Vrubel, who was disappointed with teaching at the academy and who believed that he was being taught lifeless cliches and schemes, Chistyakov's training was called the formula of a living relationship to nature.
Serov recalled that his first assignment, received from Chistyakov, was to draw a piece of crumpled paper carelessly thrown on the floor. At first, such an exercise seemed to Serov ridiculous and even offensive, but he began to draw and could not cope. To solve this problem, one talent was not enough, knowledge was needed.
Portrait of Pavel Chistyakov, artist Valentin Serov 1881
Recalling the academic years as the brightest in his artistic life thanks to his studies with Chistyakov, M. A. Vrubel wrote: “He was able to surprisingly quickly debunk in the eyes of every neophyte the dreams of painting and the ravings of civic service to the arts; and in place of this ballast, ignite a love of secrets the art of the self-sufficient, the art of the chosen."
The multifaceted activity of Chistyakov became that important and necessary phenomenon in which the almost interrupted thread of continuity between creativity A. A. Ivanova and art at the turn of the 19th and 20th centuries.
A LITTLE ABOUT THE ARTIST
Chistyakov was born into the family of a serf who served as the manager of the estate. At baptism, for the merits of his father, he received freedom. While studying at the Bezhetsk district school, he became seriously interested in drawing.
At the age of seventeen he entered the Academy of Arts, where he was listed in the class of historical painting by P.V. Basin.
Chistyakov. Grand Duchess Sofia Vitovtovna at the wedding of Grand Duke Vasily the Dark.
In 1861, for the painting "Grand Duchess Sofya Vitovtovna at the wedding of Grand Duke Vasily the Dark ..." he received a large gold medal. The composition of this picture is built like a mise-en-scene with dynamic and rhythmically contrasting movements of the characters, emotionally reacting to the event in accordance with their historical role.
The psychological characterization of the action demonstrated the new possibilities of historical painting, free from the external effects of late romanticism. The program drew attention, and VV Stasov called it "brilliant".
Chistyakov P.P. boyar
Only in 1876 he showed a new picture - "Boyarin". This portrait, skillfully executed in Rembrandt's colors, caused streams of vivid associations among modern critics: in the old boyar's thoughtfulness they saw a "human ruin" with traces of former greatness, "a whole epic" from Russian history. The image of the lived, passing life continued the theme of the unfinished Roman composition; apparently, the position of the figure was not chosen by chance, especially the hands of the old man, reminiscent of the movement of Messalina.
Chistyakov. Portrait of the mother.
Chistyakov Portrait of his father.
As if paired with "Boyarin" in composition, manner of performance and psychological depth was the last completed work - "Portrait of a Mother" (1880). Chistyakov began teaching during his studies (since 1850). “It seems that I was born with the ability and love for teaching,” he once wrote to P. M. Tretyakov.
P. Chistyakov. Roman beggar.
In 1872 the artist was invited to the classes of the Academy of Arts as an adjunct professor. At the same time, he taught classes in his workshop, led private studios, corresponded with students. The popularity of the teacher was huge. This gave rise to a prejudiced attitude towards him on the part of his colleagues: only in 1892 was he appointed professor. However, after the reform of the Academy of Arts, Chistyakov retired from teaching in 1894.
Chistyakov Portrait of M. A. Grigorieva 1862
In 1890-1912. he was in charge of the mosaic department of the Academy of Arts and oversaw the implementation of the main mosaic work in Russia at the turn of the century: in the Cathedral of Christ the Savior in Moscow, St. Isaac's Cathedral and the Church of the Resurrection of Christ in St. Petersburg.
In 1908, at a critical moment for the former Repin workshop, Chistyakov briefly became its leader, and in 1910 he handed it over to his student V. E. Savinsky.
By the end pedagogical activity Chistyakov, the number of his students was enormous. Not to mention Chistyakov's academic classes, which had several hundred students; most Russian artists of the second half of the 19th century, to one degree or another, used his advice and guidance.
And many went through a systematic school with him, including V. Borisov-Musatov, I. Ostroukhov, E. Polenova, V. Savinsky, G. Semiradsky and many others. But the best evidence of Chistyakov's pedagogical activity in the history of Russian art is the galaxy of his outstanding pupils - Vasnetsov, Vrubel, Polenov, Repin, Serov, Surikov. Even graduates who graduated from the Academy of Arts with gold medals went to Chistyakov to study, or rather, to finish their studies.
Chistyakov passed away November 11, 1919 year in Detskoye Selo (now the city Pushkin).
GALLERY OF THE ARTIST'S WORKS.
Patriarch Hermogenes refuses to sign the letter to the Poles,
1860, Museum of the Russian Academy of Arts, St. Petersburg
The head of a girl in a bandage, 1874,
Tretyakov Gallery, Moscow
“In general, the order and the correct form of an object in drawing are the most important and dearest of all. God will give talent, and the laws lie in nature, ”Chistyakov wrote in his notes. He greatly appreciated talent, but he repeated: “You need to start according to talent and finish according to talent, and in the middle it’s stupid to work.”
An artist who cannot draw, like an orator without language, cannot convey anything. “Without it [technology], you will never be able to tell people your dreams, your experiences, the beauty you have seen.” And this is the most important thing! Learn to see, learn to think, learn to understand.
An artist does not copy reality, and a painting is not a photograph. “So natural, even disgusting”; or even more scathingly: “And it’s true, but bad!” - Chistyakov often grumbled, appreciating too realistic works. “Art is complete, perfect art is not a dead copy from nature, no, [art] is a product of the soul, the human spirit, art are those aspects of a person by which he stands above everything on earth.”
Art should express the best in man and the best that he can find in the universe. Severely criticizing empty paintings, he constantly reminded his students that painting is not "aesthetic pampering", it requires dedication and constant work on oneself from the artist.
“To feel, to know and to be able is a complete art” - this is the credo of a true master, Chistyakov believed.
Boyaryshnya Annushka, 1870s,
Odessa Art Museum
Beggar children, 1861,
The Russian Museum
three men ,
1858, Russian Museum
Portrait of a girl, study,
Penza Art Gallery
His academic workshop was open to everyone. He led numerous circles and groups outside the walls of the academy, gave written recommendations to artists who could not come to St. Petersburg. If he saw a spark of talent in a person, he invited him to individual lessons. Learning from Chistyakov was not easy: he required a very serious attitude to business. “It will be as easy as pissing a hundred times,” he encouraged the students, forcing them to redo the work again and again.
At the dacha in Tsarskoye Selo, where the Chistyakovs were leaving the capital for a vacation, Pavel Petrovich built a workshop where he was going to finish the painting “The Last Minutes of Messalina, wife of the Roman Emperor Claudius”, begun back in Italy, created sketches for the composition “Date” based on the story Turgenev, began to paint a portrait of his mother, Anna Pavlovna Chistyakova.
But they couldn't finish what they started. As soon as Chistyakov moved to the dacha, the house was immediately filled with people: he visited D.I. Mendeleev and A.N. Korkin, O.D. Forsh and P.P. Gnedich, Z.N. Gippius and D.S. Merezhkovsky. Of course, artists also came, not only to get valuable advice, but also to talk about new ideas, to argue about art. Chistyakov did not refuse anyone, and all personal creative plans were inevitably postponed until better times.
GREAT TEACHER OF TALENTED STUDENTS.
Chistyakov's students were:
V. E. Borisov-Musatov
F. F. Buchholz
V. M. Vasnetsov
M. A. Vrubel
I. M. Grabovsky
A. I. Kandaurov
N. D. Losev
V. D. Polenov
E. D. Polenova
Y. M. Peng
I. E. Repin
A. I. Ryabushkin
N. S. Samokish
V. A. Serov
V. I. Surikov
V. E. Savinsky
A. V. Fishchev
K. L. Khetagurov
Years passed, but with many students Chistyakov maintained ties throughout his life. “I can still go to Chistyakov and take a sip of a refreshing drink of advice and criticism from him,” Vrubel wrote in his letter. He often visited his teacher Polenov, who taught at the Moscow Academy of Painting, Sculpture and Architecture according to the “Chistyakov system”. “I would like to be called your son in spirit,” Vasnetsov admitted.
Such "sons in spirit" were many of his disciples. It was Chistyakov who advised Vasnetsov to agree to the painting of the Vladimir Cathedral in Kyiv and supported the idea of creating paintings on the themes of Russian fairy tales. Long conversations with artists about God, religion and the soul turned into Vrublev's "Demon" and "Christ", a cycle of paintings about Jesus by Polenov.
87 years lived in endless labors and searches And what is the result? Several historical paintings and portraits, unfinished notes on art and pedagogy. Yes, but not only. The main result is hundreds of paintings created by grateful students, returning to the world everything that Pavel Petrovich put into them.
“Art is beauty after all. And the beautiful should not be either angular or extreme. ”
“To teach well means, loving to teach, and loving to do nothing is not boring.”
“God is in creativity. We talk with him through creativity. God in general is in us.”
Sources.
http://smallbay.ru/artrussia/chistyakov.html
http://www.artsait.ru/art/ch/chistykov/main2.htm
https://en.wikipedia.org/wiki/%D0%A7%D0%B8%D1%81%D1%82%D1%8F%D0%BA%D0%BE%D0%B2,_%D0%9F %D0%B0%D0%B2%D0%B5%D0%BB_%D0%9F%D0%B5%D1%82%D1%80%D0%BE%D0%B2%D0%B8%D1%87
http://www.c-cafe.ru/days/bio/21/052_21.php
(1832 – 1919)
In one of the articles written in the mid-90s of the 19th century, V.V. Stasov, comparing P.P. Chistyakov with M.I. Glinka, said that they were related by an understanding of a serious school of professional skill and virtuoso mastery of this skill.
Like Glinka, we owe the creation of a national music school, and Chistyakov - the birth of an artistic and pedagogical system of ideological realism, unique in the history of fine arts, which served to shape the talents of Repin, Surikov, the Vasnetsov brothers, Polenov, Serov, Ostroukhov and other outstanding Russian artists.
But knowing about the brilliant results of the Chistyakov school, about how it was valued by his students and contemporaries, we know little about the personality and work of the artist himself. He wrote very few completed works, and they say very little about an outstanding figure in the history of Russian art.
Pavel Petrovich Chistyakov was born on June 23 (July 5), 1832 in the village of Prudy, Tver province, in the family of a serf. Pavel Chistyakov received his first drawing lessons at the Bezhetsk district school, after graduating from which he worked as an assistant surveyor.
He studied at the Academy of Arts (184901861) in the class of historical painting under P.V. Basin. In 1860, for the program "Patriarch Hermogenes refuses the Poles to sign a letter on the dissolution of the militia" (NIM RAH) he was awarded a small gold medal.
For the painting “Grand Duchess Sofya Vitovtovna at the wedding of Grand Duke Vasily the Dark in 1433 tears off the belt that once belonged to Dmitry Donskoy from Prince Vladimir Kosoy” (RM) in 1861 he was awarded a large gold medal, received the title of class artist of the 1st degree and the right to retirement travel abroad.
In 1863-1870 Pavel Chistyakov retired from the Imperial Academy of Arts, worked in Italy and France, traveled to Germany and Austria.
Upon his return to Russia, he was awarded the title of academician of historical painting for his works. In 1892, Pavel Chistyakov received the title of professor. He taught at the Imperial Academy of Arts (1872-1910), from 1905 to 1915 (with interruptions) - a member of the Council of the Imperial Academy of Arts. In 1889-1912 he was in charge of the Mosaic Institute at the Imperial Academy of Arts, in this capacity he supervised the work on the decoration of St. Isaac's Cathedral and the Church of the Resurrection of Christ (Savior on Spilled Blood) in St. Petersburg.
In addition to working at the Academy, Pavel Chistyakov led numerous circles and groups, gave written recommendations on the composition, technique and technology of painting. He left a great epistolary heritage, the author of memoirs, notes on art, teaching methods.
In 1987, in the city of Pushkin, at the dacha of P.P.
5. Pavel Chistyakov “Grand Duchess Sofya Vitovtovna at the wedding of Grand Duke Vasily the Dark in 1433 tears off the belt that once belonged to Dmitry Donskoy from Prince Vladimir Oblique” 1861 Oil on canvas 147.5x201.5 State Russian Museum 6. Pavel Chistyakov “Begging Children” 1861(2?) Oil on cardboard 31.5x23 State Russian Museum
11. Pavel Chistyakov “Patriarch Hermogenes refuses the Poles to sign a letter dissolving the militia” 1860 Oil on canvas 175x216 Research Museum of the Russian Academy of Arts 12. Pavel Chistyakov “Giovannina” 1864 Oil on canvas 72x61.5 Research Museum of the Russian Academy of ArtsFeatures of the art school of drawing P. P. Chistyakov.
P. P. Chistyakov believed that the Academy of Arts of the time of his teaching (1872-1892) needed reform and new methods of working with students, it was necessary to improve the methods of teaching drawing, painting, and composition.
Since 1871, Chistyakov took an active part in the production of drawing in secondary schools.
Chistyakov's teaching system covered various aspects of the artistic process: the relationship between nature and art, the artist and reality, the psychology of creativity and perception, etc. Chistyakov's method brought up not just an artist-master, but an artist-creator. Chistyakov attached decisive importance in his system to drawing, urged to penetrate into the very essence of visible forms, to recreate their convincing constructive model on the conditional space of the sheet. The advantage of Chistyakov's teaching system was integrity, unity at the methodological level of all its elements, logical following from one stage to another: from drawing, to chiaroscuro, then to color, to composition (composition).
He attached great importance to color, seeing in color the most important means of figurative expression, revealing the content of the work.
The composition of the picture is the result of the artist’s training, when he was already able to comprehend the phenomena of life around him, to summarize his impressions and knowledge in convincing images “According to the plot and technique” was Chistyakov’s favorite expression.
Chistyakov's teaching methods for drawing are comparable to those of the famous Munich art schools.
Over the long years of teaching, Chistyakov developed a special "drawing system". He taught to see nature as it exists and as it seems, to combine (but not mix) the linear and pictorial principles, to know and feel the subject, regardless of what needs to be depicted, be it a crumpled sheet of paper, a plaster cast or a complex historical plot. In other words, the main provisions of the "system" were the formula of a "living relationship to nature", and drawing was a way of knowing it.
Chistyakov's methods, quite comparable to those of the famous Munich art schools, his ability to guess the special language of each talent, careful attitude to any talent gave amazing results. The variety of creative personalities of the master's students speaks for itself - they are V. M. Vasnetsov, M. A. Vrubel, V. D. Polenov, I. E. Repin, A. P. Ryabushkin, V. A. Serov, V. I. Surikov and others.
Analyzing the pedagogical activity of P. P. Chistyakov, one can identify the main components of the system of his work, thanks to which a high level of quality in teaching drawing was achieved. It consisted of the interaction of the following components: the goals and objectives of teaching as the starting point for the functioning of the pedagogical system; science-based content educational material; the use of various types and forms of conducting classes, thanks to which the activities of students were organized in the assimilation of artistic literacy in drawing; various forms of control, with the help of which possible deviations from the tasks set were prevented when performing the drawing; the ongoing self-improvement of P. P. Chistyakov himself, which was aimed primarily at improving the positive impact on students. Also, an integral part of the system of work of Pavel Petrovich Chistyakov was built relationships with students, which had a humanistic orientation of activity, aimed at communication with wards, dialogue and respect for the individual. P. P. Chistyakov (1832-1919) is known not only as an artist, but also as an outstanding teacher, whose many years of work at the Academy of Arts largely determined the fate of the realistic school of painting in Russia in the late 19th and early 20th centuries. Chistyakov's works were already recognized in Soviet times and were summarized in a number of art criticism works. Despite the existence of a number of works devoted to the activities of Chistyakov, his pedagogical system is so revolutionary in nature and does not find analogies in the theory and practice of other national art schools. Found by Chistyakov, a bold and consistent solution to the pressing problems of contemporary art was based not on rejection, but on the comprehensive use of existing traditions, which allowed him to create a school. fundamentally new, which brought up the largest masters of Russian painting of the end of the past - the beginning of this century. Chistyakov's system was not a simple, albeit talented, experiment of a remarkable teacher. With all its aspects, it was built in the perspective of the art that it expressed and served. And this internal dynamite contained in it determined the further development of national painting that (its individual provisions have retained their significance in our time.! The Chistyakov system is scientific and artistic in the largest and deep sense these concepts. This system was based on a complete revision of pre-existing teaching methods and at the same time served to systematize and rethink them on the basis of new ideological premises. main role in Chistyakov's training system, the picture plane played, which was an intermediary between the full-scale and drawing and helped to compare the image with nature. That is why Chistyakov called his system of drawing as a whole "the system of checking drawing." Considering drawing as a serious academic subject; Chistyakov pointed out that the methodology of his teaching should be based on the laws of science and art. The teacher has no right to mislead the student with his subjective reasoning, he is obliged to give reliable knowledge. Chistyakov's ideas concerning the relationship between the teacher and pupils are of great value to us. “A real, developed, good teacher with a stick of a student is not a duet, in case of an error, failure, etc., he tries to carefully explain the essence of doing it deftly. Lead the student on the true path.” When teaching students to draw, one should strive to intensify their cognitive activity. The teacher must give direction, pay attention to the main thing, and the student must solve these problems himself. In order to correctly solve these problems, the teacher needs to teach the pupil not only to pay attention to the subject, but also to see its characteristic sides. In educational drawing, the issues of observation and knowledge of nature play a paramount role. Like teaching drawing, Chistyakov divides the science of painting into several stages. The first stage is the mastery of the figurative nature of color, the development of the young artist's ability to be accurate in determining the color shade and in finding its correct spatial position. The second stage should teach the student to understand the movement of color in form as the main means of conveying nature, the third - to teach how to solve certain plot-plastic problems with the help of color Chistyakov was a true innovator who turned pedagogy into high creativity. Taking into account the modern requirements of art, he not only revised individual points in education, but also completely revolutionized the latter, starting with the question of the relationship of art to reality and ending with professional skills to skill. His teaching system brought up the artist in the true sense of the word. Mastery came as the maturity of the painter, and not as the handicraft basis of his work. The system was based on a deeply realistic, objective reflection of the world through the feelings of the artist and his understanding of life. Chistyakov was one of the first to prove that the artistic image is not a systematization by the painter of what he sees, but an expression of his own experience.
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